School’s Out Forever: Film Review

School's Out Forever

Another day, another movie featuring a pandemic! This time we have the gory British thriller School’s Out Forever, which focuses on a bunch of immune people trying to survive inside a private school.

Three weeks after Lee Keegan (Oscar Kennedy) is expelled from St Mark’s School for Boys, he finds himself heading back there after a pandemic breaks out and his dad dies. The contagious disease has no cure but people with O negative blood are immune, making them vulnerable to attacks from others. The school seems like the best and most secure place to survive such an apocalyptic event, but Lee wasn’t bargaining on the parish council forming a militia, led by Georgina Baker (Samantha Bond), and his best mate Mac (Liam Lau Fernandez) turning into a power-hungry and trigger-happy psycho. Georgina’s daughter Claire (Freya Parks) infiltrates the school and ends up with severe injuries and being held captive, sparking a war between the council and the school.

I had high hopes for School’s Out Forever in the beginning as it had a good dollop of humour and seemed to be going for a Shaun of the Dead vibe (the initial apocalyptic street scenes reminded me of it a lot) but then it started taking itself more seriously and got quite dark, violent, and twisted, with people getting killed left right and centre. It could have done with keeping more humour running through it to offset these darker scenes, like Slaughterhouse Rulez (another film this reminded me of).

This is quite a lightweight movie – all the characters, even Lee, are thinly written; you don’t really know an awful lot about them, and the story just descends into madness once the parish council start their war with the school. Then it becomes just non-stop violence, action, shooting, and gruesome bloody deaths. It was enjoyable and amusing enough to watch but I just didn’t care about anyone or the outcome of the story.

Bond was so well cast as one of the main antagonists of the piece – she has this frosty side that works perfectly for a villain, who stays perfectly well-mannered and polite on the surface even though she’s probably about to kill, although Fernandez gives her a run for her money in the bad guy department. Mac is one twisted person and I kept being shocked as he reached new levels of depravity. His nasty behaviour was well offset by Keegan as the compassionate likeable hero of the piece. I also enjoyed Alex Macqueen (Neil’s dad from The Inbetweeners) as Mr. Bates, who tries to lead the survival mission but is soon overruled, and Jasmine Blackborow as Matron, the school nurse, another compassionate soul who Lee has a crush on.

I liked the premise of School’s Out Forever as well as the cast and the fact that the pandemic isn’t dwelled upon – it’s basically just a backdrop to the events – but I wasn’t sold on its chaotic and gruesome third act.

Available for digital download on Monday 15th February and DVD and Blu-Ray on 12th April

Rating: 2.5 out of 5.

Music: Film Review


Unless you’ve been living under a rock, you’ve probably heard about Sia‘s directorial debut Music already thanks to the controversy over her casting Maddie Ziegler as an autistic teen. When the backlash first began late last year, Sia urged people to wait and see the movie before judging it and now I’ve done just that, I can tell you everyone was spot-on with their criticism back then. 

Sia’s longtime muse and regular music video star Ziegler stars as Music, a largely non-verbal teenager who has been raised by her grandmother Millie (Mary Kay Place), with some help from neighbours George (Hector Elizondo) and Ebo (Leslie Odom Jr.). When Millie suddenly passes away, recovering addict Zu (Kate Hudson) is forced to become her younger sister’s guardian, which is a recipe for disaster because she can barely look after herself, let alone a teenager with complex needs. 

Sia has insisted that she had good intentions when she made this movie and I’m sure she didn’t set out to make a film that is offensive to the very community she’s trying to spotlight. Casting Ziegler as an autistic character was a misguided decision in itself – yes, it’s been done in the past (Rain Man and What’s Eating Gilbert Grape spring to mind) but this is 2021 and times have changed – but what makes it even worse is the depiction of the character. Ziegler’s mannerisms are exaggerated and like a caricature of an autistic person; Music never feels like a real human being. 

And what’s even worse (yes, really) is that Music (the person) isn’t the star of this film, even though she’s the title character. You go in expecting her to be the lead and it starts off that way, but she is pushed aside once Zu comes into the picture. Her story is lost in favour of Zu’s redemption arc; her getting her s**t together, learning how to step up and be a responsible adult, and find love. Music fades into the background more and more and becomes a supporting character.

But the issues don’t stop there. The movie is littered with these fantasy musical sequences that are colourful, vibrant, and highly stylised and serve as Music’s daydreams, yet they offer no real insight into her mind. I’m a big fan of Sia’s music so I liked most of the songs and the contemporary choreography was interesting to watch but they made no sense within the context of the rest of the film. It was originally conceived as a straightforward drama and then it became a musical and that doesn’t surprise me because it feels like two very different films have been squashed together. A serious gritty drama about an addict’s recovery doesn’t gel with a series of surreal music videos! They also interrupt the flow of the narrative and don’t add anything to the story or push it forward, they’re basically just pointless musical interludes. They were the highlights of the film for me, but they made absolutely no sense.

I don’t want to place any blame on Ziegler because she was 14 at the time of filming Music and it’s unfortunate that she was cast at all. Given the dance sequences, I can see why Sia hired her go-to dancer, but casting a neurotypical actor as Music was a bad call. Hudson doesn’t do a terrible job yet I’m still baffled about her recent Golden Globe nomination for this, it wasn’t nomination-worthy in my book. Odom Jr. is the kind and compassionate Ebo, who is given an unconvincing romance storyline with Zu, while Ben Schwartz plays Zu’s employer – she sells his drugs to clients such as Evelyn (Juliette Lewis) and “Popstar Without Borders”, played by Sia in a mind-boggling random cameo. But everyone is done a disservice by the script, which only offers up one-dimensional characters. 

Sia once opened up about the difficulties in the editing process for Music, which took over three years, and that’s pretty clear too. The film is a mess, the different tones don’t fit, it’s a mishmash bundle of scenes, and Kathy Najimy is in the credits even though her part has been reduced to us seeing the back of her head. Following the Globe nominations, during which Music was inexplicably nominated for Best Motion Picture – Musical or Comedy, Sia apologised and said the restraint scenes in the film would be removed and a warning label would be added – this was certainly not the case for the copy I watched. 

I don’t recommend watching Music. It’s offensive, tone-deaf, misguided, not to mention poorly made. 

Available on digital platforms from Monday 15th February

Rating: 2 out of 5.

Barb and Star Go to Vista Del Mar: Film Review

Barb and Star Go to Vista Del Mar

I love Kristen Wiig and I was so excited to see her leading a movie with her Bridesmaids co-writer Annie Mumolo for the first time. I had the highest hopes for their latest co-writing project, Barb and Star Go to Vista Del Mar, given how much I loved their work on Bridesmaids, but I’m afraid to report that it’s bad and not funny.


Barb and Star (Mumolo and Wiig respectively) are lifelong friends who live together (in the same bedroom) and work together and basically don’t do anything without the other person. After their workplace closes and they’re booted out of their talking club (they love to talk), they decide they need to do something exciting with their lives so they leave their small town for the first time ever to go on holiday in Vista Del Mar in Florida. While there, they befriend and fall for Edgar (Jamie Dornan) without realising he’s in town to carry out a villainous plot – to kill everyone in Vista Del Mar on behalf of his boss (also Wiig) to get revenge on the people who laughed at her and fired her out of a cannon when she was a child (yes, really).

I don’t usually reveal spoilers but I can’t avoid talking about Wiig’s dual role, which has been kept out of the trailer, IMDb listing, and other marketing materials. Her villain has a striking look, with skin seemingly painted white, overdrawn red lips, a gap tooth, and blunt black bob. She instantly reminded of the poster for the Alexander McQueen Savage Beauty exhibition. She is ridiculous and her plot is far-fetched and cringeworthy in a similar way to Dr Evil in Austin Powers or Mugatu in Zoolander, but less funny. I preferred Wiig in this role though; I think she does camp evil very well and she was fun to look at.

But we spend most of our time with Barb and Star who are incredibly annoying to listen to after a while – don’t get me started on their pronunciation of “culottes”! The accents Wiig and Mumolo put on are funny at first but soon wear thin. Barb and Star felt like characters that might be created for a short sketch on Saturday Night Live but they can’t sustain a feature. And I’m someone who doesn’t find SNL particularly funny.

The most redeeming and appealing cast member is Dornan and that’s saying something since he’s ridiculous as well. The Edgar scenes were entertaining by virtue of the fact we’re watching Dornan perform in a way we’ve never seen him before. He hasn’t been given the opportunity to do comedy much and he throws himself fully into it and it’s an absolute joy watching him singing and prancing around on a beach during his number Edgar’s Prayer, which has a similar energy to Bet On It from High School Musical 2. Clips of Dornan singing to seagulls, climbing a coconut tree, doing ballerina moves, and shaking maracas are definitely going to go viral on social media. The number is completely unnecessary and bizarre as hell – I said WTF a lot – but it’s the film’s most memorable scene by far.

All this talk of singing and dancing may make you think this is a musical but nope! Outside of lounge singer Richard Cheese (Mark Jonathan Davis) singing about boobies at the piano in their hotel, there is only one other number, an ensemble piece: Palm Vista. They come out of nowhere! But the random musical numbers, the crab that talks like Morgan Freeman (it wasn’t actually him) and a cameo by Reba McEntire as a water spirit called Trish are all perfect examples of how bonkers this film is.

All this random madness might make it seem like Barb and Star is a barrel of laughs but it’s not. So many jokes don’t work – you can’t help but cringe at some of them, especially as they seem to be trying so hard – and I didn’t laugh out loud much at all, although I found Dornan, Wiig as the villain, and her child sidekick Yoyo (Reyn Doi) very amusing to watch. It’s hard to critique the actors for their performances in an oddity like this because they’re all done dirty by the weak screenplay, unrealistic heightened characters, and a very thin story that was easily solved.

It’s a real shame that Barb and Star Go to Vista Del Mar is such a step down from the heights of Bridesmaids. It was always going to be a challenge to deliver a comedy as good as that but I didn’t expect Barb and Star to be such a misfire. I’m still processing how insane, absurd, and silly it was!

Available on video-on-demand platforms such as Apple TV, YouTube, Prime Video, and Google Play, from Friday 12th February

Rating: 2 out of 5.

PVT Chat: Film Review

PVT Chat

Julia Fox stars as an online dominatrix who becomes the victim of an obsessive customer in Ben Hozie‘s annoyingly titled PVT Chat.


Fox plays Scarlet, a dominatrix cam girl who claims to live in San Francisco. One of her most frequent and well-paying customers is Jack (Peter Vack), a lonely and sad gambler in New York who plays blackjack for a living and has hardly any friends, so he turns to cam girls for conversation as well as to fulfil his sexual desires, which include being verbally abused as he jerks off. He becomes obsessed with Scarlet, particularly once he stumbles across her in a Chinatown bodega and realises she doesn’t live in California at all.

The film begins with Jack’s perspective, with us only seeing Scarlet on the screen of his laptop, and then about halfway through, it flips and gives us an insight into Scarlet’s life; who she is off the camera and outside of her dominatrix persona. This perspective switch was a great technique and I liked that we, as the audience, only saw Scarlet as her cam girl self – the same way Jack only gets to see her – in the beginning, before being shown this whole other side of her. Camming is just what she does to make money and she uses Jack’s obsession to her advantage in that regard.

I was excited about this premise because it felt like a recipe for a deliciously dark and gritty third act so I was ultimately disappointed. I had an idea of where it was going to go – or where I wanted it to go – and it didn’t go there, although I should probably give it praise for not going down the obvious path and taking the audience by surprise. The direction the story took towards the end was unexpected but also less impactful; I felt really meh about it and didn’t really understand what the ending meant. If you can call ‘just stopping’ an ending, that is. I really hate ambiguous endings and this is a prime example of one.

Even though I knew this was an erotic drama and would probably have a lot of sexual content, this was way more explicit than I was prepared for! There’s a lot of penis shots and some on-camera full-frontal male masturbation, which I naively thought – based on my outdated BBFC ratings knowledge – wasn’t allowed in 18 films. Clearly, I was wrong! Kudos to Vack for having the bravery to do that on film! He does well as this desperate, sad, loner type who is into some weird s**t, while Fox, who was a dominatrix for six months while she was in high school in real life, brings her sex appeal as on-camera Scarlet and more vulnerability and humanity as off-camera Scarlet.

PVT Chat – I really hate the title – is a scuzzy and dirty low-budget erotic drama with two strong lead performances. I will happily watch more films that explore the relationship between a cam girl and her clientele but this particular movie didn’t work for me story-wise.

Released on digital platforms from Friday 12th February

Rating: 2.5 out of 5.

Dead Pigs: Film Review

Dead Pigs

Cathy Yan‘s debut feature Dead Pigs received critical acclaim and caught the attention of Margot Robbie when it debuted at the Sundance Film Festival in 2018 and landed her a blockbuster directing gig in the form of 2020’s Birds of Prey – but then it never got released. Finally, after three years, Dead Pigs is coming out.

The film follows the trials and tribulations of an odd mix of people, as thousands of dead pigs mysteriously float down the river towards Shanghai, something which actually happened in 2013. There’s Xia Xia (Meng Li), who crashes her car after a night out at a restaurant and ends up in hospital; Wang Zhen (Mason Lee), who finds her phone and helps her out while she’s hospitalised and also likes to get into accidents to make money; his father Old Wang (Haoyu Yang), who is up to his neck in debts and his pigs have all mysteriously died; and his sister Candy Wang (Vivian Wu), a prized pigeon-keeping beautician who is refusing to sell her house to a redevelopment company and stays in her property as an act of protest when its the only house still standing in the proposed new site.

Dead Pigs is a darkly funny and quirky social satire which deals with themes such as social change, globalisation, capitalism and the increasing inequality of wealth and employs a random assortment of characters, who are all developed well, thanks to Yan’s impressive screenplay. She makes bizarre choices in places though, for example, a random musical number that comes out of nowhere with singalong lyrics onscreen. What the hell? I was so baffled by this decision.

The most interesting storyline was Candy Wang, a beauty parlour owner who refuses to leave her home in case it gets knocked down, like the rest of her old neighbourhood. The Golden Happiness company are confident she will sell at the right price, considering she is now surrounded by rubble, but she cannot be bought – she was born and raised in that house and it has sentimental value, whereas her brother is a sad pathetic drunk who begs her to sell to help him out of his hole. Zazie Beetz also has a small and inconsequential appearance, so don’t be mislead into thinking she “stars” in this, because she really doesn’t.

Dead Pigs is a real mixed bag and a bit too long, so it didn’t completely gel for me, but it’s a strong debut feature from Yan – I’m not surprised she got hired for a big-budget movie (one on a whole other level in terms of scale) off the back of it.

Released globally (except China) on MUBI on Friday 12th February

Rating: 3 out of 5.

News of the World: Netflix Film Review

News of the World

I love Tom Hanks – who doesn’t?! – so I happily tuned into News of the World, even though Westerns aren’t my favourite genre, and was rewarded by a heartwarming central relationship and an emotionally affecting ending.

Reuniting with his Captain Phillips director Paul Greengrass, Hanks plays Captain Jefferson Kyle Kidd, who has been travelling from town to town reading the news to locals following the end of the Civil War five years before. The year is 1870 and Captain Kidd is setting off from Wichita Falls in Texas following a reading and comes across a hanged man, an overturned wagon and a young blonde-haired girl dressed in Native American clothing who is unable to speak English. He discovers official papers that reveal Johanna (Helena Zengel) is a German orphan who has been living with the Kiowa tribe for the past six years after they killed her family and kidnapped her. She was in the process of being taken back to her aunt and uncle in Castroville, some 400 miles away. After the authorities aren’t much help, Kidd eventually decides to return her himself.

News of the World is basically a story of two people getting from point A to point B and moves along at a slow and leisurely pace. But it’s never boring because I liked watching the Captain and Johanna slowly form a connection and something like a father-daughter bond, despite the language and cultural barriers. Their relationship is the key here and the movie’s greatest strength, but the journey would still be quite dull if there weren’t any hurdles along the way, so thankfully, there are some tense encounters with antagonists to up the thrill factor. The stakes during these moments didn’t feel too high though because, you know, it’s Hanks! He’s got to succeed and save the day! He’s the hero and he really goes above and beyond to protect a child he barely knows, even when his life is in danger and he’d have less stress if he just cut her loose.

Hanks is reliably excellent as the good-natured captain and warm-hearted paternal figure, but the revelation here is Zengel. The 12-year-old German star – who gained notice with her lead performance in 2019 German movie System Crasher – recently earned Golden Globe, Critics Choice and SAG nominations for her supporting role and it’s easy to see why. She’s a marvel as the fiery Johanna and doesn’t let the side down when paired with a seasoned Hollywood veteran like Hanks. Johanna tends to speak Kiowa first, so Zengel had to grapple with a new language in addition to everything else. She’s a quiet, insular person who keeps speech to a minimum but you know exactly what she’s thinking as her face says it all and her acting in the latter stretch is terrific.

News of the World, written by Greengrass and Luke Davies, has stunning cinematography depicting the dusty Texas plains and a strong central relationship that I cared about. Yes, it’s possibly a bit too slow but your patience will be rewarded with an extremely satisfying emotional payoff at the end. I’ve seen it twice and it’s even better the second time around.

Streaming on Netflix from Wednesday 10th February

Rating: 4 out of 5.

Rams: Film Review


As a massive Jurassic Park fan, I will watch Sam Neill in anything, hence why I ended up checking out Rams. I genuinely thought I was signing up for an oddball comedy about sheep farmers but it turned out to have far more heart than I was expecting.

Neill plays Colin, who runs a sheep farm literally next door to his estranged brother Les (Michael Caton). Despite their physical closeness, the neighbouring brothers couldn’t be more distant – they haven’t spoken in years following a rift. When Les’ prized ram is diagnosed with a rare and lethal illness, all farmers in the remote Mount Barker region of Western Australia are ordered to kill their flocks to prevent the spread and their livelihoods are put at risk, but Colin opts to secretly outwit the Department of Agriculture officials and Les goes for angry defiance of the rules. Can the warring brothers set aside their differences to save the family’s prized flock?

I was expecting a simple-minded raucous comedy about sheep, but Rams, a remake of the 2015 Icelandic film of the same name, is far more warm and charming than I was prepared for. It has quite a few funny moments and some great animal acting scenes – particularly with the top-secret sheep cover-up plan – but they sit within the context of a much more down-to-earth rural drama which focuses on the themes of family, communication, and community. It becomes even more tender and heartfelt nearer the end when a bushfire looms on the horizon, threatening livelihoods already decimated by the sheep disease even further.

Neill is well cast as the affable brother, who is well-liked in town, friendly with the other local farmers and likes to tell his sheep they’re beautiful, while Caton plays his polar opposite as Les. He’s gruff, rough, and a loner who often likes to drink too much and fall into a stupor in the scorching Australia sun. They’re surrounded by a great support cast too, from Miranda Richardson as British vet Kat and Asher Keddie as fellow farmer Angela.

There’s a lot more to Rams, directed by Jeremy Sims, than I was expecting. There’s a great mix of comedy and drama, uplifting moments and sad ones, and I cared about the story and characters more than I thought I would when I first saw the marketing materials. Don’t let them deceive you!

Available on digital platforms from Friday 5th February

Rating: 3.5 out of 5.

Malcolm & Marie: Netflix Film Review

Malcolm & Marie

I love Zendaya and her work with Sam Levinson on Euphoria so I had high hopes for their lockdown project Malcolm & Marie and went in really wanting to love it. But I had a lot of problems with it.

The film opens with Malcolm (John David Washington) and Marie (Zendaya) coming home from the premiere of his new movie. It has been a great success and looks to be the defining film of his career, so naturally, Malcolm is on cloud nine, but Marie is clearly unhappy about something. Their argument begins because he failed to thank her in his speech, even though she was the inspiration for his film, and escalates from there throughout the night.

Because this film is so simplistic (it’s literally just two people arguing in a house), there is nowhere to hide – you have to bring your A-game or the whole thing falls apart, and thankfully, both leads do. Washington plays this passionate hot-headed man who says hurtful things just for the sake of being mean, but Zendaya is far more effective as her rage is simmering below the surface and she generally keeps her voice quiet and controlled. She is sensational; she shows off her impressive range and is the emotional centre of the story. Washington doesn’t let the side down and serves as a great sparring partner, but his character could have done with more nuance and texture as he was like a bulldozer in comparison to Zendaya’s Marie.

I also loved the concept, how the entirety of the house is used throughout the movie, the music by Labrinth, plus their entrance and initial conversation about the reception to his movie. I enjoyed how their argument evolved and how the power dynamics shifted over the course of the film and I thought Marie was written very well.

However, Levinson’s screenplay loses its way when it goes off on a tangent from the central focus of their relationship. He’s clearly got a lot to say about film critics and there is a section in Malcolm & Marie in which Washington lets rip and goes off on this long stream of consciousness rant about a review and I couldn’t help but feel Levinson was using Malcolm as a stand-in to unleash his personal agenda on a critic in real life. This rant went on far too long and felt unnecessary. This is where I started to lose my patience with the film.

Malcolm & Marie is a trying and exhausting film because you are simply watching a couple arguing, yelling, and verbally abusing each other for almost two hours. There are moments of peace here and there but otherwise, it’s pretty relentless, so the whole thing should have been much shorter. It’s A LOT. I wouldn’t call it an enjoyable watch but I can appreciate many elements about it, most notably Zendaya’s performance. This was clearly designed as a showcase for her talents and what an impressive showcase it is!

Streaming on Netflix from Friday 5th February

Rating: 3.5 out of 5.

The Capote Tapes: Film Review

The Capote Tapes

Considering he’s one of America’s most iconic writers, I knew the name Truman Capote and his most famous novels – Breakfast at Tiffany’s and In Cold Blood – but shamefully little else, so The Capote Tapes was a fascinating and enlightening experience.

With unprecedented access to journalist George Plimpton’s taped interviews for his 1997 biography, Truman Capote: In Which Various Friends, Enemies, Acquaintances and Detractors Recall His Turbulent Career, director Ebs Burnough crafts a documentary which tells the story of Capote’s childhood and his career achievements, shows how he was unapologetically gay and camp before it was accepted by society, how he became the darling of the New York literary scene and popular member of the cafe society crowd, and how he used these connections to write a shocking tell-all book that ultimately became his downfall (and was never published in full).

In addition to audio clips from his old society friends like Babe Paley and Lee Radziwill and fellow novelist Norman Mailer, the documentary features loads of archival footage of Capote as well as new interviews with novelists Dotson Rader and Colm Toibin and former Vogue editor-at-large Andre Leon Talley. They might be the famous contributors but the most interesting interviewee by far was Kate Harrington, the daughter of one of Capote’s lovers, John O’Shea. Harrington, who sees the author as an adoptive father figure, speaks in detail for the first time about life with Capote and offers up fascinating gems. She appears throughout the documentary to add personal insight to the events of his life and give us an idea of what his reaction was in private at the time.

I knew very little about Capote – I didn’t even know he spoke like that! – so I found The Capote Tapes illuminating, informative, and compelling. Even if you were more clued up – after all, this isn’t the first documentary about him or the first time he’s been played onscreen (most notably by Philip Seymour Hoffman) – it’s still worth a watch as it offers a fresh and deeply interesting insight into his life thanks to the tapes and access to Harrington.

Available at and on all digital platforms across the UK and Ireland from 29 January

Rating: 4 out of 5.

The Dig: Netflix Film Review

The Dig

Admittedly there’s another Carey Mulligan film that I’d rather be watching, but The Dig is a decent consolation prize.

The Dig is based on John Preston‘s novel, which reimagines the events surrounding the real-life excavation of the Sutton Hoo burial site in Suffolk, England in 1939. Mulligan stars as Edith Pretty, a widower who hires self-taught excavator Basil Brown (Ralph Fiennes) to dig up the mysterious mounds in her fields. Once they uncover an Anglo-Saxon ship, the discovery becomes big news and archaeologists descend upon the site, hoping to claim it for either the British Museum or the Ipswich Museum. These include married couple Stuart and Peggy Piggott (Ben Chaplin and Lily James), while Edith calls up her cousin Rory (Johnny Flynn) to help.

Watching people dig up dirt and meticulously move soil around to find long-buried artefacts is painfully dull and slow so Simon Stone has brought some excitement with the characters, from Edith’s secret illness, Stuart and Peggy’s troubled marriage, to Basil’s fight to lead the dig when the academic archaeologists want to take over, not to mention the threat of World War II looming in the background.

Even still, The Dig is still just a simple, gentle and pleasant affair. It looks gorgeous, with some stunning cinematography depicting the English countryside and the dig site, which is amazing to look at when it’s finished, but there’s not enough substance to grab onto, hook us in, and make us really care about the story. Not every film needs high-stakes drama to work, but this needed a little more oomph.

Mulligan is no stranger to period dramas and she is a strong lead as the refined and outwardly stoic Edith, who tries to keep up appearances despite her illness, while Fiennes was an interesting choice for the unorthodox local man. I wasn’t totally convinced by his accent but Brown, despite his seemingly grouchy nature at first, becomes the most likeable towards the end. I liked how his friendship developed with Edith and how he provided a father-type figure for her son Robert (Archie Barnes). James and Flynn’s storyline was too obvious to really work but they did a fine enough job.

The Dig is an easy Sunday afternoon type of film. It’s harmless, inoffensive and pleasant, but it’s just missing a bit of excitement.

On Netflix from Friday 29th January

Rating: 3 out of 5.