Russell Crowe and Ryan Gosling play a couple of dicks – detectives, that is – who bumble their way through the 1970s LA porn scene to uncover a possible murder. Critics have been lavishing praise on this offbeat buddy caper that reteams writer-turned-director Shane Black with Lethal Weapon producer Joel Silver. Kiss kiss, bang bang and indeed: boom.
The firebrand British film-maker who recently won the Palme d’Or at Cannes for I, Daniel Blake (despite claiming to have retired) becomes the subject thrown into sharp focus here. He’s not mellowed a bit since turning 80, and uses this documentary as a platform to name and shame the industry moneymen who passed on projects that were deemed “too political”. In your face.
Al Pacino and Anthony Hopkins are the marquee names in a good old-fashioned potboiler about a corrupt titan of the pharmaceuticals industry and the fresh-faced litigator (Josh Duhamel) who tries to bring him down. The convoluted plot may be hard to swallow, but if you follow the example set by Pacino and Hopkins and do a bit of chewing, it’ll slip down a treat.
Hankies at the ready for a tearjerker where shop girl Emilia Clarke (her from Game of Thrones) goes to work for London city boy Sam Claflin – who is confined to a wheelchair. What might have been a lot of pillow fluffing is elevated by their combined charisma. Now that’s really breaking a leg.
Best known as Russell Crowe’s son in The Water Diviner, Ryan Corr plays one half of a gay couple (Craig Stott, the other) in this real-life coming of age story set in ‘80s Australia, as the AIDs epidemic peaks. Not as mawkish as you might expect, it’s been winning people over on the festival circuit.