Riccardo Scamarcio

Keanu Reeves picks up his supremely efficient hitman immediately where the 2015 original left him: regrouping with his new, as-yet-unnamed dog after taking down the New York mob that he used to work for. Director Chad Stahelski and writer Derek Kolstad have created another unusually satisfying action thriller, with sharply developed characters and a plot that holds more water than most of these kinds of movies. Obviously, it can't be as fresh as the first film, but it's thoroughly entertaining.

Reeves' John still just wants to be left alone, but after taking care of one loose end, he is contacted by Italian mafioso Santino (Riccardo Scamarcio), who calls in a blood oath. Unable to refuse, John heads to Rome to carry out a hit he knows will make his life exponentially more precarious, especially as it puts him into conflict with his old friend Cassian (Common). Sure enough, he now has an army of goons chasing him, led by mute thug Ares (Ruby Rose). So he returns to New York and gets in contact with an underground guru (Laurence Fishburne) who might be able to offer some respite from the hordes trying to kill him. And manager Winston (Ian McShane) is also willing to help John, as long as he abides by the rules of the criminal underworld.

The film is another superb mix of cool imagery and coherent action that moves briskly from one brutal encounter to the next. Vicious gunfights and car chases abound in this movie, and all are staged with bracing energy and a heightened sense of realism. Through all of this, Reeves maintains a sense of weary dignity in finely tailored suits that are refreshed after each messy encounter. How he keeps walking and fighting after each bruising fight is another question.

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Strong characters help hold the attention as this overcooked drama develops, but in the end it feels so concocted that it's difficult to believe. While there's plenty of potential in the premise, the film becomes distracted by irrelevant subplots that try to stir up some tension but never quite manage it. And for a movie about food, the cuisine is simply too abstract to be mouthwatering.

At the centre is Adam (Bradley Cooper), a bad boy chef whose partying ways ended his high-flying career in Paris. After a period of penance in New Orleans, he moves to London to start again, with the goal of finally getting his elusive third Michelin star. Since he has alienated his friends, he turns to Tony (Daniel Bruhl), a guy who always had a soft spot for him and happens to be running a posh restaurant, which Adam quickly takes over. He rustles up some old colleagues (Omar Sy and Riccardo Scamarcio) and hires hot-shot Helene (Sienna Miller) as his sous chef. But his demanding perfectionism is keeping things from running very smoothly.

This set-up is ripe for both black comedy and soul-searching drama, and yet writer Steven Knight throws in irrelevant sideroads including a mandated therapist (the wonderful Emma Thompson), a bitter rival (a jagged Matthew Rhys), a couple of randomly violent loan sharks and a precocious little girl. Even though the actors do what they can to make every scene intriguing, none of these story elements add anything to the overall film. Still, Cooper holds the movie together with sheer charisma, even if his sudden transition from absolute tyrant to cuddly sweetheart isn't terribly convincing. At least he adds some surprising textures to his scenes, and indulges in sparky banter with those around him. And while Miller is solid in her thankless role, even she can't breathe life into such a thinly developed romance.

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Based on a notorious true story, this film takes a muted approach that matches the Victorian period and attitudes, which somewhat undermines the vivid emotions of the characters. It's a fascinating story about a woman caught in her society's harshly restrictive rules about women, and the script by Emma Thompson captures some strong observations, interaction and personal feelings, but the film is so dark and repressed that it ultimately feels a bit dull.

In the mid 19th century, Effie Gray (Dakota Fanning) has been courted by noted art critic John Ruskin (Greg Wise) since she was only 12 years old, and he has waited for her to come of age to marry her. But as she moves in with his suffocating parents (Julie Walters and David Suchet) in London, Effie soon realises that she's trapped in a hopeless situation. While he's loving, John simply refuses to touch her, which makes her doubt her own intellect and femininity. She's befriended by Lady Eastlake (Thompson), who knows a thing or two about cold marriages and helps her make a plan. Then Effie and John travel to Scotland with John's protege, the painter Everett Millais (Tom Sturridge), and Effie begins to understand that there might be other possibilities out there.

Since the film is made in Victorian style, it leaves all of the heaving passion far beneath the surface. It's obvious that Effie (and the audience) are craving a bit of lusty bodice-ripping, but any action remains behind closed doors, only hinted at in the clever dialogue. This makes the film realistic and intriguing, but difficult to get a grip on. And instead of the scandalous love triangle of historical record, the film plays out more as a drama about a young woman working out a complex escape from male-dominated society. Even so, it's a compelling journey, with some remarkable twists and turns along the way, and the complex characters add plenty of detail.

Continue reading: Effie Gray Review

The officers working to protect children in Paris form a close-knit team that deals with huge pressures every day. To survive requires a cynical sense of humour, a fiery dose of righteous rage and an ability to hold your drink on stress-releasing nights out. This kind of police work demands full attention and a lot of passion, but it also takes a personal toll: Nadine (Viard) has left her husband for her colleague Iris (Fois), and Fred (Starr) is both infuriated by and attracted to team photographer Melissa (Maiwenn).

Continue reading: Polisse Review