It is the summer of 1957. Behind the spectacle of Formula 1, ex-racer Enzo Ferrari (Adam Driver) is in crisis. Bankruptcy threatens the factory he and his wife, Laura (Penélope Cruz) built from nothing ten years earlier. Their volatile marriage has been battered by the loss of their son, Dino a year earlier. Ferrari struggles to acknowledge his son Piero with Lina Lardi (Shailene Woodley). Meanwhile, his drivers’ passion to win pushes them to the edge as they launch into the treacherous 1,000-mile race across Italy, the Mille Miglia.

Passion has long been a driving force in delivering Mann’s output, and he applies a direct measure of focus to realizing Ferrari, a project dedicated to the life and ambitions of Enzo Ferrari, which has been gestating for more than twenty years. Mann’s cumulative experience as a filmmaker is invested in this grand, operatic picture of the life and times of the great and controversial Ferrari, and the result is a dissection of man’s will to win at all costs. Mann’s Ferrari is a film set against the grand canvas of the 1957 Mille Miglia and Ferrari’s last chance to ensure greatness for his name. Ferrari’s narrative unfolds amidst a deeply personal dramatic battle of the failed relationship between Ferrari and his wife, Laura (Penélope Cruz).

Cast in the lead role of the great Enzo Ferrari is Adam Driver, an actor who has quickly become one of the most sought-after talents working in the business today. And his on-screen intensity makes for a perfect match for Mann’s directorial wizardry in Ferrari. We find Driver’s Ferrari with his back against the wall and ready to make one final big bet to save his racing team and legacy, all while battling the demons of a failing marriage and a tragic loss. Within Driver’s Ferrari, you get the presence of a man who is brutal and to the point, a man who is always on the lookout to push the envelope further and faster and who will not settle for second place. But you also sense the immense guilt and anger inside him that only loss can bring to the surface, and all of it makes for a dominant presence on screen.

Playing opposite Driver is Penélope Cruz as Laura Ferrari, the now estranged wife to the celebrated racing emperor, and Cruz delivers a powerhouse performance that centres the entire production. Bitter, bereft and burnt out, Laura is stuck with the tragic loss of her son and her husband’s love, and their’s is an aggrieved and fraught relationship. She’s a woman of immense power and control but who, through tragic circumstances, is barely holding it together. Backed into a corner by her husband’s latest gamble, Laura is on the hook for Enzo’s last-ditch effort to save their fledgling company, and all of it makes for the most operatic of interpersonal dramas. Cruz completely disappears inside the character of Laura Ferrari and shares a dynamic chemistry of equal measures of love and hate with Driver’s Enzo, and it makes for a compelling watch.

The experience of Ferrari on the big screen thunders to life with the roar of a V12 engine. With his meticulous attention to detail, Mann places his audience right in the path of the exhilaration and danger of the Golden Age of motor racing, and it will leave your heart palpitating with adrenaline. Special applause must be directed towards Academy Award-winning cinematographer Erik Messerschmidt, who brings his trained eye to capture the thumping pulse of Ferrari, and he puts audiences right into the heart of the action, along with giving the film a unique Italian Neo-realism look of the classic Fellini vintage. Praise must also be heaped on sound mixer Angelo Bonanni, who brings to life vintage models such as the Ferrari 355 Ss, the 315 Ss, and the 801 F1s, all of which make an impact on screen. But the film’s thunderous third act and the violence, exhilaration and destruction of the Mille Miglia will throw you back in your seat with a euphoric rush.

To gaze upon Ferrari is to witness a piece of art in motion. Mann has spent much of the past decade basing himself in the historic city of Modena, and his love for the Italian way of life shines through in the finished picture. His Ferrari is not a standardized piece of Hollywood mass production but is instead a beautiful and lavish piece of art-house cinema, complete with a beating and furious pulse. Ferrari has all the trappings of a Renaissance artwork delivered by Mann at full speed, and it is an experience that will leave the audience in awe.

Michael Mann’s Ferrari is the culmination of a twenty-year obsession to present man’s obsession with speed and the pursuit of glory in pure artistic projection. Audiences will be drawn into its opulent narrative and leave feeling they’ve witnessed a grand work of art.

Image: Roadshow Films

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In 14th-century France, knight Jean de Carrouges (Matt Damon) and his squire Jacques Le Gris (Adam Driver) are ordered to fight to the death after Carrouges accuses Le Gris of raping his wife.

Based on the shocking true historical event that rocked the French nobility of the 14th century to its core and which was documented in-depth in Eric Jager’s best selling book, The Last Duel is an epic medieval tale of power, perspective and the truth, and offers director Ridley Scott an incredible new world to bring to life on the canvas of the big screen. Here he resurrects to the exact detail of what the 14th century was like. From the cold and open woodlands of Normandy to the highly ornate castles of Paris to the open battlefield of the 100 Years War, Scott resurrects the Middle Ages up on screen and audiences will be spellbound with the visuals that he crafts. Equal parts beautifully ornate and stunningly raw, Scott is able to craft a fully fleshed out feudal system for audiences and every detail, from costuming to housing, vehicles and weaponry, is handled with exquisite care.

In this world, he introduces audiences to three incredible characters who include Matt Damon as Sir Jean de Carrouges, Adam Driver as Jacques Le Gris and Jodie Comer as Lady Marguerite de Carrouges. And all three are stunning in their roles. Adapting a screenplay written by Nicole Holofcener, Ben Affleck and Matt Damon, Scott utilizes a unique three-person perspective to reveal the story of this shocking and powerful narrative. Reminiscent of Kurosawa’s Rashomon, The Last Duel reveals the detail of its story in three chapters which showcase the brutal assault of Marguerite de Carrouges and the summary trial that leads to the famed duel. A duel that would be fought to the death and whose results would change the medical world forever. This structure and setting allow Scott to go to work and together with this terrific calibre of performers he crafts an engaging and thoroughly intense story that doesn’t let up for a moment.

Scott is truly at the top of his game with his work on The Last Duel and chapter by chapter, layer by layer, the complicated story of The Last Duel is revealed and you never know what’s going to happen next. The use of the characters three unique perspectives allows audiences to experience the story from different points of view and gives the performers a wonderful range in which to play and interpret the actions of the story. This narrative device of showcasing the plot from three different perspectives is incredibly clever on Scott’s behalf and allows him to draw out the tension of the film’s heated story.

Standing front and centre in The Last Duel is Hollywood superstar Matt Damon, and this is a performance and character, unlike anything we’ve ever seen him portray before. As French knight Sir Jean de Carrouges, Damon cuts a dark and intimidating figure. Best described as a warrior through and through, Carrouges is a brute of a man who is prone to a stern sense of self-righteousness and self-aggrandising behaviour. Obsessed with his standing as a knight and demanding of the respect that his title bestows upon him, he is a man who is quick to temper and who does not dwell on ideas of compassion. Damon’s performance and actions are incredibly blunt within the film and he portrays Carrouges as a man who shares a very direct relationship with his wife and whose actions are not those of a lover, but rather those of a scarred and battle-tested warrior.

On the other side of Damon as the villain of the piece is Adam Driver as Jacques Le Gris, a one time friend to Carrouges who finds himself in service and favour to their liege lord ahead of his friend, and who quickly becomes a thorn in his side. An ardent womanizer and cad, Le Gris has a taste for the finer things in life and his ‘man of the world’ vitality mark him out as a man apart in these times. Like Carrouges he’s a battle-tested warrior and soon his sights turn to his former friend’s pretty young wife, whom he desires to covet above all else. Driver gives an incredibly complex performance as Le Gris and his status as a monster is revealed gradually and he certainly presents a sinister and scary figure.

Providing a key level of support within The Last Duel and hastening the actions of the lead characters is Ben Affleck as Count Pierre d’Alençon, the liege lord to whom Carrouges and Le Gris must swear their allegiance to and he’s a deviantly despicable character. Possessing absolute power in the province of Normandy, Affleck’s Count Pierre is a wholly debauched narcissist who only exists to serve his basest desires and his playboy existence of women and wine make him a wholly scandalous character. As Count Pierre, Affleck steals every scene in which he appears and there’s a good dose of bawdy comedy thanks to his extremely over-the-top performance which gives The Last Duel a sense of levity and produces some unintentional laughs from the audience.

Bringing everything together in The Last Duel is the film’s primary female protagonist and heroine of the story Lady Marguerite de Carrouge who is portrayed in an incredible performance by the immensely talented Jodie Comer. Let it be heard that Comer is just flawless in her role in The Last Duel and her commitment to the character and her actions pay a grand sense of tribute to the true historical character of Marguerite and the courage she faced in the horrific ordeal that she had to overcome. Comer gives an incredibly complex and shifting performance as Marguerite due to the film’s unique sense of perspective storytelling and it isn’t until the final act where we see her come into her own within the story and it’s here that Comer excels in the part and completely takes control of the film.

Comer gives an incredibly layered performance as Marguerite and we get to see many different sides to her character. A dutiful wife who wants to become a doting mother, Comer is an exquisitely beautiful creature and perfectly compliments the gorgeous costumes that she is clothed in by Academy Award-winning costume designer Janty Yates. Comer is true to the historical character of Marguerite and portrays her as an educated, well-read and thoughtful woman who is dutiful and clever in the running of her estates and she makes a profound mark on the audience with her performance. The Last Duel is truly Jodie Comer’s movie and she is nothing short of exceptional, presenting the true story of a woman who survived a terrorifying event and who fought tooth and nail to claim back her respect and see justice done.

The Last Duel is a film that does not sugarcoat its raw story and Scott produces a picture that is not some fantasy of the Middle Ages but is instead a true representation of the gritty and dangerous reality of what life would have been like in the period. While modern audiences may have their own ideas of the concept of chivalry here it is merely an idea that is spoken, but certainly not practised and the reality of life is far harsher and colder. This is a time when power was exerted by the blade of a sword and Scott builds out a complex and interesting narrative shaped by political intrigue and an archaic legal process. Themes of justice and the truth do prevail within the story, but they are not delivered until The Last Duel’s shocking third act and are very much in keeping with the time period.

Alongside its rousing sense of historical drama, The Last Duel also brings to the screen the sheer brutality of medieval warfare. And Scott holds nothing back as the carnage reaches the silver screen. There is nothing pretty or stylized about the combat of The Last Duel, instead, there is just the hard-hitting ferocity of bladed combat in full force. Think of two rugby scrums smashing into one another with each man holding a five-foot razor blade in their hands while they savagely have at one another. This is The Last Duel in action and the final fight between Damon and Driver as Carrouge and Le Gris is of two animals going at each other with the choke chains pulled off. It’s bloody and dirty as they slam into each other and the idea of knightly honour is completely left off this battlefield. It’s a raw spectacle to watch and your heart will be in your throat the whole time as you clamber to see who comes out on top and what fate awaits for Marguerite de Carrouge.

The Last Duel is an exceptional piece of cinema built by a master craftsman at the top of his game. Colossal in scope, this is a film that honours the true history of its narrative and presents the truth of an incredibly courageous woman who shook a country to its knees in her quest for absolute justice. The Last Duel is a cinematic feat of pure amazement and should be seen on the big screen for maximum impact.

Image: 20th Century Studios

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Watch the brand new trailer for House of Gucci NOW:

Here’s the official synopsis:

House of Gucci is inspired by the shocking true story of the family empire behind the Italian fashion house of Gucci. Spanning three decades of love, betrayal, decadence, revenge, and ultimately murder, we see what a name means, what it’s worth, and how far a family will go for control.

Noted visual genius Sir Ridley Scott brings his talented eye to the infamous story of Patrizia Reggiani and her involvement with the Gucci family in a sordid tale of wealth, opulence, excess and murder in House of Gucci and this film looks like an absolute whirlwind cinematic experience.

Set to the burning funk of Eurythmics’ ‘Sweet Dreams Are Made Of This’, Scott focuses his camera in on Academy Award winner Lady Gaga who steps into the role of Patrizia Reggiani, an eccentric and calculating young woman who married into the Gucci empire via her husband Maurizio Gucci (Adam Driver), and would do whatever was necessary to reach the top! Gaga gives Reggiani a cat-like elegance and cunning, and she completely owns the screen and thoroughly enchants the audience’s attention with her performance.

Driver also provides a key supporting role in the film as Patrizia’s husband, Maurizio Gucci, the heir to the Gucci fortune who finds a lavish new sense of power with his wife by his side. But also comes to see that there can only be one emperor sitting atop the Gucci empire and this brings him into direct contact with Gucci patriarch Aldo Gucci, who is played by Academy Award winner Al Pacino.

Scott has crafted a beautiful, elegant and lavish picture that pulls together the glamour and fashion of the 1970s and 1990s with effortless style. And fashionistas are going to be in awe and in love with the visuals that Scott brings to the screen with this picture.

Get ready to experience this glamourous and infamous story when House of Gucci arrives in cinemas on December 26.

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Check out the brand new behind-the-scenes featurette below:

Taking audiences inside the making of The Last Duel, this featurette contains never before seen behind the scenes footage, numerous b-roll, on-set photography and Scott’s on personal hand-drawn storyboards and you truly get a taste of the scale and scope that awaits audiences in The Last Duel.

Of his process as a filmmaker, Scott commented saying, “for me every scene has to have a stake. Large or small. The message is simple, what do I want the audience to walk away knowing.”

This insight into Scott’s process as a filmmaker and the attention to detail that he brings to the craft is sure to intrigue fans, and it’s incredible to see such a wealth of footage play out before us.

Here’s the official synopsis:

In 14th-century France, knight Jean de Carrouges (Matt Damon) and his squire Jacques Le Gris (Adam Driver) are ordered to fight to the death after Carrouges accuses Le Gris of raping his wife.

The Last Duel will arrive in cinemas on October 21.

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Watch the brand new trailer for House of Gucci below:

Here’s the official synopsis:

House of Gucci is inspired by the shocking true story of the family empire behind the Italian fashion house of Gucci. Spanning three decades of love, betrayal, decadence, revenge, and ultimately murder, we see what a name means, what it’s worth, and how far a family will go for control.

Based on the best selling book by The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sara Gay Forden, the all-new trailer for House fo Gucci presents a beautifully luxurious tale of operatic elegance and brutal betrayal as it chronicles the life and fortunes of Patrizia Reggiani (Lady Gaga) and her whirlwind romance to businessman and heir to the Gucci fashion empire Maurizio Gucci (Adam Driver) which ultimately led to disaster and death.

Shot with Scott’s masterful eye for detail, the production design and costume design are absolutely beautiful to look upon and present a world of utter glamour and elegance and every fashionista is going to want to watch this amazing film. Telling his story over three decades, Scott draws upon the similar ideas that were present in his 2017 film All The Money in the World, and House of Gucci has themes of rampant excess and complicated human relationships at its centre, and with the focused performances from Gaga and Driver, I’m certain that audiences are going to be in for plenty of surprises with this new film.

As my favourite filmmaker of all time, I’m very intrigued to see what comes next with Scott’s House of Gucci and was in awe of this first look footage. Set to Blondie’s ‘Heart of Glass’, the trailer paints a picture of opulence at its most excessive and Academy Award Winner Lady Gaga completely owns the screen with her performance as Reggiani.

Brace yourself for a monumental tale of family, fashion, power, betrayal and murder with a superb cast and some very impressive visuals when House of Gucci arrives IN CINEMAS on November 25.

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Watch the full trailer for The Last Duel below:

Here’s the official synopsis:

In 14th-century France, knight Jean de Carrouges (Matt Damon) and his squire Jacques Le Gris (Adam Driver) are ordered to fight to the death after Carrouges accuses Le Gris of raping his wife.

Based on the true historical combat that occurred in Paris, France on 29 December 1386, The Last Duel, which is adapted from the gripping true story by Eric Jager, and which was adapted to the big screen by Matt Damon, Ben Affleck and Nicole Holofcener makes for a compelling and epic story, and audiences are sure to thrilled and ensnared by this ultimate tale of medieval combat.

Scott, who is revered as a master cinematic world builder, and who has entertained with fantastical films that include Alien, Gladiator, Kingdom of Heaven and All The Money In The World has crafted something utterly superb in The Last Duel, and the scale, scope and detail of this project is sure to entrance audiences.

Matt Damon and Jodie Comer star as Jean de Carrouges and his wife Marguerite in the film and the pair absolutely stun with their performances in this first trailer, and their chemistry together is sure to keep audiences enthralled and enchanted. Added to that is the dark energy of Adam Driver as Jacques Le Gris, Carrouges’ squire and court favourite, who commits a terrible crime and who almost gets away with it until Carrouges demanded a battle to the death to ensure God’s true justice. Finally, Ben Affleck brings the story together as Count Pierre d’Alençon, Carrouges and Le Gris overlord who adjudicates the first arguments between these two knights and sets in motion the events for a bloody showdown.

The Last Duel is a film of ultimate cinematic quality that needs to be seen on the big screen and is also a full-circle moment for Scott as it brings him back to his very first film with The Duellists which was released in 1977. It’s an utterly epic work and I cannot wait to see this arrive on the big screen.

The Last Duel is a film that I can barely contain my excitement for and I cannot wait to see the action of this new project unfold when it arrives on the big screen on October 14. Prepare thyself for the ultimate tale of love, honour and revenge with this one.

Images: 20th Century Fox

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A year after the events of The Last Jedi, the remnants of the Resistance face the First Order once again—while reckoning with the past and their own inner turmoil. Meanwhile, the ancient conflict between the Jedi and the Sith reaches its climax, altogether bringing the Skywalker saga to a definitive end.

As the first port of call, THIS REVIEW WILL BE ENTIRELY SPOILER FREE. Now, let me say that J.J. Abrams has returned to the coveted role of director, following his work on Star Wars: The Force Awakens and his loud and extravaganza filmmaking style is on full display here. And it makes for one hell of a rush! When it comes to directors who know how to crank up the volume and deliver the spectacle, they don’t come much bigger than Abrams, and the director has that rare talent, like James Cameron before him, to use action as narrative and here he propels this story forward at lightning speed. It’s clear from watching the epicness of this film that Abrams understands the monumental scope of the task at hand, and he once again delivers everything of himself as a filmmaker and really sticks the landing. In my opinion, he crafts a work that truly articulates love and respect for this mythology and audiences will have a wild time watching it.

Star Wars: The Force Awakens made her a star, and now Daisy Ridley steps up with her performance here as the scavenger turned Jedi Rey. In Star Wars: The Rise Of Skywalker, Rey must contend with the dark side and must journey towards what she fears most, to face it and overcome it, and there are surprises that no audience member will see coming here. Ridley delivers considerable dramatic depth in The Rise Of Skywalker, and she gives a committed and extremely natural performance as she has to contend with the pull of both the force and the dark side, and which power will ultimately hold sway over her.

Contending with Ridley’s Rey for mastery of the force and the galaxy is Adam Driver who returns as Kylo Ren, and the Supreme Commander of the First Order is now an even hungrier animal and is ready to go to extremes to get what he wants. Abrams returns Kylo Ren to the badass dark side warrior that we were first introduced to back in The Force Awakens, and here his malice and anger are turned up to a whole new level. Driver’s commitment is considerably engaged with his performance, and this gives his power over the character considerable depth as his actions lead him ever closer to his ultimate destiny.

For those wanting a movie-going experience that floors the throttle, well, you’ll be very happy with what Abrams and his team bring to the screen in The Rise Of Skywalker. The action in The Rise Of Skywalker doesn’t stop for a second, and whether it’s the rush of an explosive space battle or the crackling strikes of lightsabers in full combat as Rey and Kylo Ren duel it out, there’s plenty to get excited about. While I won’t go into too much detail, I will say that if there was a moment that struck me with it’s epicness then it most definitely was the dynamic lightsaber battles that we got to see this time. While in The Force Awakens we were only beginning to see these characters begin to harness their powers, here they are fully open to them and the resulting fight scene between both light and dark absolutely grips your attention.

Alongside the film’s gripping action sequences, and the magnificent level of practical detail that Abrams and his team bring to its production design and art direction, the film’s focus on tying together all of the Star Wars mythology is a grand achievement on Abrams behalf. As the greatest ever modern myth, Star Wars holds a very special place in the hearts of people the world over, and Abrams uses this love and reference for this bold saga to help bring it to a conclusion here. Both nostalgia and the new permeate this final chapter of the Skywalker story and there’s considerable multi-layered theming taking place here that many will be excited to decipher and decode.

As a way to end the decade, it doesn’t get much bigger or bolder than the grandness and scope of Star Wars: The Rise of Skywalker! This is a phenomenal cinematic experience from beginning to end, and with its focus on narrative, character and some amazing action sequences you will truly leave the cinema with that magical Star Wars feeling fluttering in your heart. This one truly is an event for the ages and Star Wars fans, both young and old, will be very pleased with what is offered here.

Image: Walt Disney Pictures

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Ron Stallworth (John David Washington), a rookie African American detective in Colorado Springs, Colorado, infiltrates the local chapter of the Ku Klux Klan and eventually becomes the head of the chapter in a story that shocked the nation and the world!

Spike Lee. The man is a legend, and after a long absence from the silver screen the noted director is now returning to it with all kinds of bravado with this true tale that doesn’t get any crazier or any realer in BlackKkKlansman. Get ready for one hell of a time warp as Lee takes you back to 1972. We’re talking about the time of superfly cool, hi-fi records on repeat and plenty of freaky soul power. And into it walks determined and ambitious young police officer Ron Stallworth (John David Washington), who is ready to uphold the law and finds himself on the case of a lifetime when he becomes embroiled with the local chapter of the Klu Klux Klan….and then decides to take them for a ride. From there things only get crazier, and all of it actually happened!

BlacKkKlansman is so compelling because it really actually happened, and Lee wastes no time in showing how it all unfolded. While the film is essentially a detective story with a good helping of comedy, its true crime setting really adds to the experience and this of course happens as you watch Stallworth systematically lampoon David Duke, the self-styled Grand Wizard of the KKK and who views himself as a legitimate businessman with wild dreams of public office and their interactions are hysterical.

Major applause has to be given to bold new talent John David Washington who takes on the role of Stallworth and absolutely delivers. Washington’s performance is an interesting one and he works really hard to display the conflict that rest at the core of who Stallworth is. While he wants to serve and protect above all else he continually runs into a tonne of racial bigotry within his own police force and while addressing it, he is never forceful about it. Instead his way of fighting it is to simply put in the work and win from the inside. Washington also revels in the film’s comedy and his interactions with Topher Grace as Duke are particularly funny. He also shares great chemistry with his partner Philip ‘Flip’ Zimmerman (Adam Driver), who is less than enthused with Stallworth’s plan, but who eventually buys into it as his partner and goes undercover as the other ‘Ron Stallworth’ to set up the local KKK members in a sting operation.

But if this film has a scene stealer then it’s most definitely Topher Grace as David Duke, yes that David Duke, the former Grand Wizard of the KKK who had ambitions of changing the racist organization into a more legitimate political group, but who fails miserably in the process and who is really taken for a ride by Stallworth. Grace really commits with his performance and goes to a pretty loony place as Duke. One thing that I liked about his performance was that his racism didn’t really have a filter, like while he was an out and out racist, he was also incredibly racist to his own KKK members, not wanting to associate with the lower level dregs who could possibly ruin his chances of legitimate office. It’ a great return to form for Grace and he does a terrific job as this crazy character and I’m excited to see what he does next.

While he does offer up a very entertaining and comical film there are some serious issues at the heart of BlaKkKlansman and Spike Lee definitely drives home the serious issues that lie at the heart of the film. Not to get into spoiler territory, but Lee definitely makes a bold statement with this film and examines the events of our recent past, including the shocking violence and divide that erupted in Charlottesville in 2017. These statements are pretty intense to behold, but it’s important that artists and directors like Lee use the medium of film to actually express an opinion and he does that right here.

BlaKkKlansman is a thoroughly entertaining watch and it carries a serious message with it as well. It’ll definitely make you want to fight the power with plenty of soul energy and is one of this year’s most important releases…and it’s also a solid slam dunk for Lee proving that he’s one director you have to listen to.

Image: Universal Pictures

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After losing his job, and finding himself with no prospects Jimmy Logan (Channing Tatum) decides that the only way he can get ahead is with a daring robbery of Charlotte Motor Speedway. But what starts off as a simple smash and grab plan soon turns into a far more crazier heist than he could have imagined, complete with a cast of eccentric characters.

While Channing Tatum may be Hollywood’s go to heartthrob when they want ripped abs and a good dose of sex appeal, here the actor does away with all of that and instead embraces the crazy world of Jimmy Logan. Tatum makes for a damn fine backwoods country boy with his pudgy looks and spot on Southern drawl. But it’s his gift for plotting that really sets him apart. Along with his brother Clyde (Adam Driver) the two plot a daring heist to improve their fortunes and banish the so-called ‘Logan family curse’.

Both Tatum and Driver are incredibly convincing as brothers and the two have a great back and forth exchange with one another. Both are protective of the other and this crazy plan of Jimmy’s certainly leads Clyde into some compromising positions. And did I mention that Clyde only has one arm? Yep, there’s all kind of eccentric ideas going on in this movie, and as the brothers put their plan into action you can’t help but think whether it’s Jimmy’s shrewd scheming or just plain old dumb luck that see’s them through.

However, it’s far and away Daniel Craig who steals the show as the thoroughly bizarre bank robber and explosives expert Joe Bang. Craig swaps out his cool confidence and debonair charm in favour of prison tattoos and a solid Hicksville accent as Bang. And it is glorious to watch. With Bang, you never know what he’s going to do next, and more often than not he drags the Logan brothers into even deeper trouble. But Bang’s not stupid, no far from it, and these unexpected moments of pure genius are guaranteed to have you in stitches. The stupidity instead comes in the form of his own idiot brothers, Sam (Brian Gleeson) and Fish (Jack Quaid), who are two of the most memorably moronic characters you’ll ever witness up on screen. I thought stupidity had a limit until I saw these two idiots, and the gags that result are hysterical.

Logan Lucky is not the typical film Hollywood puts out. And director Steven Soderbergh wanted it that way. Instead its the crazy, country cousin of the director’s most famous film Ocean’s 11 that we get here, and although it might be out there, it’s brilliant. I was engaged the entire time that I was watching this film. Equal parts drama, comedy, romance and caper film, Logan Lucky does things you don’t expect it to and with its shifting narrative points and twisting turns is so much fun to watch.

If you like films that are clever, original and completely off the beaten path then Logan Lucky is a film you should definitely invest your time in. You’ll find yourself laughing at the most inappropriate moments and when the screen fades to its credits you’ll go ‘damn that was fun’.

Image: Roadshow Films

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