When Pete (Mark Wahlberg) and Ellie (Rose Byrne) decide to start a family, they stumble into the world of adoption. When they meet the trio of siblings, including a rebellious 15-year-old girl (Isabela Moner), they find themselves unexpectedly speeding from zero to three kids overnight. Now, Pete and Ellie must hilariously try to learn the ropes of instant parenthood in the hopes of becoming a family.

Directed by Sean Anders, a director with a gift for the comedic who has helped shape Wahlberg from an action superstar into a comedic god with works such as Daddy’s Home and Daddy’s Home 2, we get a piece of cinema that will really make your heart shine. In Instant Family, not only does Anders again capture the presence of Wahlberg perfectly, but he also lucks out with Rose Byrne, herself a gifted comedic actress and right off the bat these two performers have a wicked sense of timing and chemistry. As affluent yuppie couple, Pete and Ellie Wagner they seem to have everything…except that is for a loving family. Suddenly smitten with the idea they decide to pursue the adoption route….and that’s when the laughs really kick in.

As an audience member, you really buy into Wahlberg and Byrne’s chemistry up on screen and the trials and tribulations that await them as they set out to become parents. Both Pete and Ellie have a steep learning curve when it comes to parenthood, and this is especially true when it comes to rebellious 15-year-old Lizzie (Isabela Moner), who has no desire to be a part of their family and at every opportunity seeks to find new ways to test them. But ultimately they win…even if it does take them a while. Wahlberg’s recent comedic work in films such as Daddy’s Home and Daddy’s Home 2 really give him an edge here with his dialled in comedic timing, and Byrne’s attempt to become a den mother has plenty of funny moments to it. It might be hard work, but eventually, they realise that family is truly worth everything, even if it’s an uphill battle.

As a director, Anders has a flair for the comedic and it really expresses itself here. His direction is spot on and the film’s script has a lot of comedic gold. One of the recurring gags that he sends our way is in the form of Pete and Ellie’s adoptive son Juan (Gustavo Quiroz), who continually finds himself falling into trouble. The funniest of these involves a nail gun and his clumsiness, and without giving anything away you can probably guess what comes next. But while the film’s hilarity will have you in fits of laughter Anders uses it to push the narrative forward and showcase the journey that Pete, Ellie, Lizzie, Juan and Lita have to take in order to become a family.

While I went into Instant Family expecting nothing but a slick comedy, what I actually got was a thoroughly moving and heartfelt film concerning the idea of family and just what it means to us. Instant Family is an incredibly genuine film and Anders and his cast and crew really instil in the film a sense of the idea of family and just what it means to be one in this modern age. The film’s adoption plot will leave your heart melting and it makes the point that it doesn’t matter what you look like or who you’re related to, but that family ultimately comes from a sense of the love that we give to each other and the unbreakable bond that forms from it.

Packed out with laughs and love, Instant Family is a wonderful little gem of a movie that will have you giggling one minute and on the verge of tears at the other. Start your New Year right and see it as soon as you can because this one will really move your heart.

Image: Paramount Pictures

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Rome, 1973. Wild child, trust fund teenager John Paul Getty III (Charlie Plummer) is kidnapped in Rome and held for ransom for $17 million dollars. But when the demand is given to his grandfather, billionaire oil tycoon J. Paul Getty (Sir Christopher Plummer), the old man scoffs at the idea and refuses to pay the kidnappers a cent. Seemingly valuing his money and influence far more than his grandson’s life. John Paul’s mother Gail Harris (Michelle Williams) teams up with Getty’s chief of security and former CIA officer Fletcher Chase (Mark Wahlberg) in a desperate race to find the money and bring back John Paul….before it’s too late.

All the Money in the World is operatic filmmaking on an opulent and lavish big-screen canvas. Scott and his team chart the story of a doomed family who seemingly has everything, except for any notions of love, honesty or family values. LIke a Greek tragedy unfolding before you, All the Money in the World is a thumping story of crime and passion and focuses on the one man who stood in the way of it all. It was the true-crime story that took the world’s attention by storm, and you sincerely wait with baited breath as to every action that unfolds before you.

Headlining the cast in a phenomenally brave performance is Michelle Williams as Gail Harris, the ex-wife of Getty’s only son, who has lost himself to drugs and the lifestyle afforded to him by his father, and who upon learning of her son’s kidnapping goes to her father-in-law begging for help. Famously her father-in-law refused to pay the ransom because of its exuberant cost, and rather was only willing to pay it….after it had been negotiated to a point where it’s cost was tax deductible! With such forces against her Williams’ Harris is often overwhelmed and at her wits end with how she can get her son back, but her standing as a mother never lets her falter or fail. Williams performance is an exceedingly brave one, and she goes toe-to-toe with both Mark Wahlberg’s brash Fletcher Chase, the many lawyers and the vast layers of the Getty Oil Company and the old man himself. Williams performance is an exceedingly strong one and her presence in the film elevates to a very special height.

Standing next to her is Mark Wahlberg as J. Paul Getty’s head of security and former CIA operative Fletcher Chase. Exceedingly smart and completely business-like in his attention to detail and efforts, Chase is a master negotiator who has plenty of contacts in low places, but who is all in all a company man. This initially puts him at odds with Williams’ Harris, but as he sees the mounting stresses that Gail falls under and becomes disgusted with his employers lack of empathy he eventually becomes a strong ally to Harris and the two of them work to undermine Getty and get John Paul back. The character of Fletcher Chase is a completely different tune for Wahlberg, and it’s fun to see him playing against the type of his normal macho man image, as someone who is far more intellectual and cunning.

While All the Money in the World had considerable controversy attached to it in form of former star Kevin Spacey, Sir Ridley Scott was having none of it, and stepping into the picture is the exceptionally talented Sir Christopher Plummer who makes an especially compelling and sinister figure as the legendary oil man J. Paul Getty. Regarded as a master businessman, a ruthless negotiator and a miserable miser, Getty is adamant that he will not pay a cent for the release of his grandson and is far more content to let his family suffer through the painful ordeal that they find themselves in than to actually part with any of his fortune.

Plummer’s portrayal creates the picture of a man who could seemingly be King Mydus, the mythical king with the golden touch…but whose power and ability brought misery to everyone around him. Plummer’s arrogance and sense of self as Getty are completely in keeping with this legendary oil man’s persona and the hubris that comes to claim him at the end of the film is a fitting turn of events for the character. Plummer’s performance is utterly brilliant in every way and I have my fingers crossed that his talents will be rewarded in due course during Awards Season.

Along with its three talented leads, All the Money in the World has a terrifically tight paced-story and Scott and his all-star production team get the details right. They effortlessly recreate the carefree era of the early 1970s, along with hinting at its darker underbelly. Through a unique use of production design, costuming, colour, props and music, Scott visualises several different worlds within his film. There’s the carefree existence of John Paul as the wayward youth who is living off his trust fund in the middle of Italy with its earthy tones and long nights. Then there’s the cold, corporate old money palace of his grandfather J. Paul Getty. Here there is a sense of exuberant wealth, but that it is preserved and not shown, and is in keeping with Getty’s miserly nature.

Scott also goes to great lengths to show off great details that were a part of Getty’s life, including the infamous ‘Coin-box telephone’, which consisted of a phone booth where his guests were allowed to make phone calls from within his home…at their own expense. It’s a sad sight seeing Gail fighting for change and time within the box but is a quintessential part of who Getty was, and after seeing this, the audience is under no illusions as to the character of this wealthy, but despicable man.

Scott doesn’t let up in showcasing the ill-treatment of John Paul and this leads audiences into the notorious ‘ear-cutting scene’ where John Paul’s right ear was cut off and sent to Getty with a warning: “This is Paul’s ear. If we don’t get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits.” It’s a pretty gruesome scene and will make the most squeamish of audiences jump, but it’s also a clear representation of Ridley Scott’s observance to capturing every facet of this fascinatingly complex story.

All the Money in the World is pure operatic cinema at its best and showcases the event that would define one family for generations to come. With its layered themes of money, wealth and survival, All the Money in the World is a complex and thought-provoking ride and combined with its beautiful visuals, audiences will just lap it all up. It’s a must watch on the big screen, and after you leave it you’ll no doubt want to question your own dependence on money…and just what it means to you.

Image: Roadshow Films

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If you’re looking for a bit of laugh-out-loud comedy then you’ve come to the right place with Daddy’s Home 2. I was a huge fan of the original film and was more than excited for the sequel. Returning director Sean Anders certainly knows how to push the buttons of Wahlberg and Ferrell, and he’s taken both of them in a terrific direction with the film’s sequel. Part of what makes a sequel great in my opinion is that characters grow, and this is especially true of Dusty and Brad. Wahlberg’s Dusty is a lot more laid-back this time around, and Brad is ever-so-slightly more masculine (but only a little).

But all of this changes when their own Dad’s arrive.

While Wahlberg might have been in peak alpha male form in Daddy’s Home, he’s got nothing on Mel Gibson’s Kurt Mayron. This former astronaut and all-around womaniser is a grad-A prick and really socks it to his adult son for plenty of laughs. Old Mel doesn’t take to fondly to his son’s ‘co-Dad; lifestyle and throws plenty of shade at Wahlberg.

Then there’s John Lithgow as Brad’s dad Don Whittaker. If you’re looking for a snowflake, well you’ve found it with Don. This big’ol softee is a bit of a nincompoop, and well he brings out Brad’s more pathetic attributes as a result. Lithgow really lets loose with Don and his cringe-worthy behaviour, which includes full-lip kissing with his adult son, and you’ll find yourself crying with laughter.

Did I mention that Daddy’s Home 2 is packed out with comedy? Yep. There’s plenty of it, and without giving anything away I have to mention that Ferrell and Lithgow lead the way. Some of my favourite moments include Lithgow’s ‘wolf experience’ and Ferrell’s Christmas tree shopping. Trust me, you’ll howl with laughter. And while inevitable jealousies arise, it’s not just the daddy’s who are taking part this time. That’s right Linda Cardellini and Alessandra Ambrosio wage their own step-parent war, and their constant bickering it pretty hilarious to watch.

I also have to mention John Cena, who is Dusty’s mortal enemy Roger, and who continues to showcase his wild comedy talent. Again not giving too much away let’s just say Cena has real range and he can definitely carry a note.

Sometimes with a film, you just need something simple and completely over-the-top. Well, that’s exactly what Daddy’s Home 2 does and the holiday season will be a whole lot funnier for it.

Image: Paramount Pictures 

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Set after the events of Transformers: Age of Extinction, The Last Knight follows an impending battle between Earth and the alien world of Cybertron. When the alien planet is set to strike and fuse itself with our own, it’s up to intrepid inventor and Transformers ally Cade Yeager (Mark Wahlberg), and a ragtag team of Autobots, including the Bumblebee, to save the day.

Like I said before, Transformers: The Last Knight is peak Michael Bay. Evocative music, twilight hour wide shots, rousing ‘do or die’ speeches, loads of high-tech Special Forces soldiers, big guns, fast cars, Mark Wahlberg’s abs, and a fiercely intelligent, yet highly sexualised female character appear heavily.

I went into The Last Knight expecting all of this, and Bay absolutely delivered on my expectations. And hell, sometimes you just want to see the mindless fun that occurs when you blow up an entire city, or when Optimus Prime and Bumblebee go head-to-head in full robotic combat.

But if we’re talking standouts, then Sir Anthony Hopkins and cinematographer Jonathan Sela went above and beyond.

As an audience member, I’ve never seen Hopkins so lively as cantankerous old historian Sir Edmund Burton, a special guardian of the lineage of Transformers. Plot points and characterisation aside, Hopkins appears to be having a blast as his character, who acts out for no apparent reason and comes up with an ingenious plan to save the day.

The work of cinematographer Jonathan Sela deserves to be praised in particular thanks to his extensive use of IMAX cameras. The word slick comes to mind here, as Sela creates a hyperreal environment that really shows off the speed and agility of the film’s awesome vehicular line-up, and its bombastic action scenes.

Transformers: The Last Knight is not a good movie. It’s a Michael Bay movie. So just prime your brain for mindless action and you’ll get through it.

Image: Paramount Pictures

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Taking centre stage is star Mark Wahlberg in his third collaboration with Berg. Wahlberg takes on the character of Detective Sergeant Tommy Saunders, a down on his luck Boston Police Officer who is facing the end of a suspension, and working the finish line of the 2013 Boston Marathon. Saunders is an amalgam of several police officers who were there on the day, and like his work in Deepwater Horizon, Wahlberg does not play him as some hardcore action hero, but rather an everyman who’s trying to get his life back on track. But once everything goes to hell, he steps up quickly as the most senior officer on the bombing site, and moves quickly to bring together the investigation.

It’s undeniable that Patriots Day was a very personal film for Wahlberg, a Boston native who has championed the city and its spirit throughout his entire career. His performance vulnerable and moving, especially in the tense moments where Saunders get completely overwhelmed by the carnage.

With a cast this big one would normally think that there would invariably be a fumble. But that’s not the case here, every supporting player gets their moment in the film, and all the performances are spot on. Special praise should be given to John Goodman as Boston Police Commissioner Ed Davis, Kevin Bacon as FBI Special Agent Richard DesLauriers who leads the investigation into the terror suspects, J. K. Simmons as Watertown Police Sergeant Jeffrey Pugliese, and Jimmy O. Lang as Dun Meng, a witness who was taken hostage by the Tsarnaev Brothers.

Before going into Patriots Day be warned that an emotional rollercoaster awaits. Berg and his production team get every detail spot on, and perfectly capture the tragedy that shocked so many. One minute it’s a beautiful day full of fun and joy, the next everything goes to hell and the streets are left filled with blood and shrapnel. Berg and his team put you in the immediacy of the action with a documentary style of filmmaking that is in-your-raw and extremely raw.

But while the film does focus a considerable amount of its attention on the manhunt that completely shut down the city of Boston, there are bigger themes at play. These themes of love, unity, justice and courage are best summed up by the words Boston Strong, a spirit that followed in the wake of the bombings. This film honours that spirit along with the survivors, the first responders and the law enforcement officers who came together to make Boston a safe place again.

Image: Roadshow Films

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Patriots Day chronicles the events leading up to and following the onslaught of the Boston Marathon bombing that would leave six people dead, and 280 people injured in this shocking true life event. 

Mark Wahlberg leads the film as police officer Sergeant Tommy Saunders, a composite character of several police officers who were present on the day, and took part in the hunt for justice. As a Boston native, there’s no doubt that this is a very personal film for Wahlberg, and his commitment will undoubtedly be heartfelt in its sincerity. Patriots Day is also the third time that Wahlberg has collaborated with Berg, following 2013’s Lone Survivor and 2016’s Deepwater Horizon. These two have a terrific working relationship and we can’t see them slowing down anytime soon.

Check out the trailer below:

Joining Wahlberg in the film is a diverse and eclectic supporting cast that includes John Goodman as Boston Police Commissioner Ed Davis, Michelle Monaghan as Carol Saunders, Tommy’s wife, and a nurse who gets caught up in the bombing’s aftermath, J. K. Simmons as Sergeant Jeffrey Pugliese, and Kevin Bacon as FBI Agent Richard DesLauriers.

Patriots Day will receive a limited release on December 21, 2016, before being released to wider audiences on January 13, 2017.

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From the very first frame, Berg throws his audience into this ticking time bomb of a movie. The audience’s dread builds with every passing scene, until the inevitable explosion that literally rips the rig in half. And what an explosion it is!  This combination of voluminous fire, burning metal, razor-edged shrapnel, and black smoke is enough to send shivers down your spine. Berg does all of this to keep his audience on the edge of their seats, and in doing so crafts his best film to date. This is a director who just gets better and better with each new film.

Berg also devotes considerable time to each character, which made me that much more committed as an audience member. Taking the lead is Mark Wahlberg who gives his most human performance to date as electrical engineer Mike Williams. Wahlberg sheds his macho Hollywood image here, and really settles into the role of an ordinary, blue-collar guy.

As Williams, Wahlberg has no superpowers, just an extraordinary will and unflinching courage in the face of the mounting disaster in front of him. Wahlberg gives everything to the role, both in his emotional quest to be reunited with his family, and the physical dangers of the film’s mammoth set. His attention is on honouring the real-life heroics of Williams, who actively put his life in danger to save others. Though our screens have been packed with superheroes this year, it’s great to finally see a real life hero up there.

Supporting Wahlberg in his authenticity is Kurt Russell as the rig’s captain Jimmy ‘Mr. Jimmy’ Harrell, who has the world on his shoulders when times get tough. Russell’s performance is so spot on that you don’t see him as the Hollywood legend that he is. In a world where it’s sometimes hard to distinguish between actor and character, Russell’s commitment to portraying Harrell is incredibly refreshing. You completely buy into this man’s concern for his crew, and the unease that he gets from decisions that are being made without his consent.

John Malkovich also brings plenty of corporate menace to BP company man Donald Vidrine, whose actions directly lead to the disaster that unfolds. From heavy-handed manager to a timid and disbelieving survivor, Vidrine’s character arch offers a bit more depth than most corporate villain types.

As Mike’s wife Felicia, Kate Hudson offers a performance that’s crucial to the film. Watching Wahlberg and Hudson on screen, you really buy into their relationship as a married couple, which becomes important as the film’s harrowing events unfold. All of this leads to a tumultuous reunion scene that’ll leave your heart beating particularly fast.

With a film as raw as Deepwater Horizon, your emotions are sure to run high thanks to a cinematic experience that is both devastating, yet tremendously inspiring.

Image: Roadshow Films

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Based on true events, Deepwater Horizon follows everyman engineer Mike Williams (Mark Wahlberg), who is caught up in an intense disaster when the Deepwater Horizon oil rig catches fire after an oil gasket blows open. What follows is an epic fight for survival as Williams and his crew members attempt to escape from the burning rig.

With it’s themes of do or die heroic sacrifice, Deepwater Horizon appears to be perfect project for Hollywood heavyweights Berg and Wahlberg. The new trailer puts the emphasis on a fiery, suspenseful situation where every second counts, and also brings Wahlberg into the position of an everyman character, something which we haven’t seen him play yet.

Deepwater Horizon will have audiences gripping their seats when it arrives in cinemas on September 30 in the US and UK, and on October 6 in New Zealand and Australia.

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