Despicable Me 3 suffers both from a lack of new ideas – there are no memorable gags or action set-pieces, just a lot of flying about and yelling – and from an assumption that the audience is already invested enough to care about what happens.
As a portrait of power gained and lost, of unchecked self-absorption and what drives people like Assange to do what they do, it’s absolutely fascinating. Watching it feels like history unfolding in close-up.
The filmmaking is solid, the performances strong and the tunes are pretty terrific. But this is too wary of controversy – and too ‘respectful’ of the fans – to treat its subject to the hard-headed analysis Tupac’s legacy deserves.
Kooler is a very likeable lead, and Michal’s battles – with loneliness, ageing, family, religious doubt and her own indecision – are smartly, sympathetically sketched by writer-director Rama Burshtein.
This low-rent ‘Bourne’ clone has been sitting on the shelf for two years now, which explains why there’s a photo of Barack Obama still hanging above the CIA director’s desk. It might also explain why Unlocked feels so choppy and uneven, like it needed a lot of knocking about in the editing room.
The characters are still fun to be around, the one-liners are still sharp...and the soundtrack is, of course, terrific. But there are only so many times you can slap on a Fleetwood Mac toe-tapper and expect it to paper over the cracks.
City of Tiny Lights is always entertaining, and proves a great excuse for Ahmed to confirm his newly minted matinee-idol status. If only it had the confidence to shrug off its influences and do its own thing.
Overall, there’s a sense that ‘Fast and Furious 8’ knows exactly where it wants to go and won’t bust a gasket getting there: you might ask for a little more character work here, a few more plot surprises there, but on the whole this rattles along just fine.