Bobby Cannavale

This animated comedy adventure is based on the beloved children's book, which was published in 1936 and first adapted for the big screen by Walt Disney in an Oscar-winning 1938 short. Thankfully, that warm, funny story is preserved in the middle of this animated feature, stretched out with lots of the usual slapstick and action mayhem. So while the silly, pointless mayhem will keep children giggling, it's the story's big heart that makes it worth seeing.

Ferdinand (voiced by John Cena) is a young calf growing up on a ranch in Spain, being trained to become a fighter in the bull ring. But he's far more interested in smelling the flowers. So he escapes and is adopted by Nina (Lily Day) on her quiet farm, growing up to be a gentle-giant bull. The problem is that the local villagers are terrified of his behemoth size, and he's captured by animal control and taken back to the ranch. Now he's competing with his childhood cohorts (Bobby Cannavale, Anthony Anderson and Peyton Manning, plus David Tennant as a Scottish Highland bull) for a spot in a big upcoming Madrid bullfight. But Ferdinand just wants to get back to the flowers, so he enlists the help of goofy goat Lupe (Kate McKinnon) to escape again.

The central point about being true to your nature is important and moving, played with just the right balance of humour and sentimentality, especially as it makes a strong comment on choosing love over violence. But this message is somewhat watered down by the rather corny zaniness that fills the screen, including several massive action set-pieces that not only make very little sense but feel like scenes we've seen before. The characters are colourful enough to keep us smiling, but while the animation is technically adept it's not hugely original (see also director Carlos Saldanha's Ice Age movies), and it makes virtually no use of the 3D.

Continue reading: Ferdinand Review

The increasingly stale Marvel formula gets a blast of fresh air in this rollocking adventure movie, which combines a steady stream of character-based comedy with action sequences that are integrated seamlessly into the plot. Like last summer's Guardians of the Galaxy, the film departs from the usual tired structure to joyously tell a story that's more than pure escapism.

Released from prison after a stint for burglary, Scott (Paul Rudd) is struggling to restart his life when he has an unexpected encounter with Hank Pym (Michael Douglas), an inventor who needs his help. Hank's technology company is being steered away from his original vision to help mankind by his daughter Hope (Evangeline Lilly) and his protege Darren (Corey Stoll), who see a chance to make a lot of money by selling Hank's ideas to the highest bidder. Hank's biggest breakthrough is a suit that shrinks the wearer down to ant-size, allowing for all kinds of unexpected possibilities. Pushed into a corner, Scott starts learning how to master the suit. But his ex-wife (Judy Greer) is now engaged to a cop (Bobby Cannavale) who's keeping his eye on Scott.

One of director Peyton Reed's main challenges was to sell the whole idea of an insect-sized warrior, and he does that fairly effortlessly, revealing an increasingly cool series of possibilities in each action sequence. These set-pieces emerge organically from the story, combining comedy and exhilaratingly coherent action to push the narrative forward. One of the best moments is an encounter with one of the Avengers (Anthony Mackie's Falcon), which offers a strong hint about how Ant-Man can liven up the franchise as a whole. And the climactic sequence is an inspired collision of mind-bending effects and inventive humorous touches (Thomas the Tank Engine nearly steals the whole film). Plus two post-credit stings for the fanboys.

Continue reading: Ant-Man Review

The ace partnership between filmmaker Paul Feig and actress Melissa McCarthy evolves into something formidable with this raucous action comedy, which simultaneously spoofs the espionage genre and provides some genuine thrills. From ensemble player (Bridesmaids) to costar (The Heat) and now to the star of the show, McCarthy finds a role worthy of her talents, subverting rather than exploiting her distinct physicality.

She plays Susan Cooper, a desk-jockey at the CIA who works with the field agents, guiding them by radio link through their dangerous paces. When star spy Bradley Fine (Jude Law) is taken out of service and all other top agents have their covers blown, the boss (Allison Janney) has little choice but to send the well-trained Susan into the field to take down the villainous arms dealer Rayna (Rose Byrne). With her best pal Nancy (Miranda Hart) as her office-bound helper, Susan gets into a series of disguises and travels to Paris, Rome and then Budapest. And despite the constant attempts of rogue agent Rick Ford (Jason Statham) to "help" her, Susan gets ever closer to Rayna and her gangster buyer Sergio (Bobby Cannavale).

The relatively simple plot is overcrowded with characters and subplots that add absurd layers of humour to the film, almost all of which are genuinely hilarious. Best of all, none of the laughs come at the expense of Susan, a capable, smart, witty woman who's the perfect alter ego for McCarthy (and certainly much more engaging than her obnoxious-slob persona in The Heat or Tammy). She has terrific chemistry with all of her costars, flirting shamelessly with the Bond-like Law, an amusingly swaggering Statham and especially the purringly hysterical Byrne. As always, the great Janney steals every one of her few scenes. Less effective is an extended goofy cameo by Curtis Jackson, aka 50 Cent, who at least shows willing to dive into some ridiculous comedy. There's also another terrific foil in Susan's local contact Aldo, played with leering, opportunistic relish by Peter Sarafinowicz.

Continue reading: Spy Review