The Wave (15)
Directed by Roar Uthaug
4/5
Nowadays, state-of-the-art movie magic and, too often, stars rather than actors, propel disaster movies towards cliche.
Armed with a strong screenplay, excellent players, stunning locations and potent special effects Norwegian director Roar Uthaug deserves praise for this revitalised genre thriller.
After working at the early-warning centre in the small mountain-surrounded community of Geiranger, geologist Kristian Eikjord (Kristoffer Joner) is about to move his family to Stavanger where he has a new executive job.
At the last moment, however, abnormal geological readings cause him to turn back from the Stavanger ferry. Which is fortunate since his suspicions prove true when a horrifying mountain slide triggers a giant tsunami that engulfs the community.
While Eikjord’s last-minute rescue of his wife and son from a flooded hotel basement may be predictable it is still eminently scary and fine portrayals from unfamiliar actors and escalating suspenseful direction add to the plentiful nerve-scraping tension and thrills.
Review by Alan Frank

The Idol (PG)
Directed by Hany Abu-Assad
4/5

After his thrillers Omar and Paradise Now won awards, Palestinian director Hany Abu-Assad switches genres with this charming biopic of underdog Gaza-born singer Mohammed Assaf who, in finest feel-good tradition, went on to win the Middle Eastern television singing competition Arab Idol.
The narrative arc is simple and direct.
A 10-year-old Assaf (Qais Atallah) has a beautiful singing voice.
Motivated by his tomboy 12-year-old sister Nour (Hiba Atallah), Assaf and two young friends form an aspirant band with homemade musical instruments, acquire genuine musical instruments through dubious dealings and local fame follows — until Nour dies.
In 2012 teenager Assaf (Tawfeek Barhom) decides to enter the televised talent show Arab Idol — and makes it to Cairo with a fake passport and a stranger’s audition ticket and underdog-to-star fame follows.
Assad endows the sequences of the plucky youngsters’ rise to local fame among the chaos of Gaza with unexpectedly endearing Ealing Films-style charm.
Mohammed’s subsequent against-the-odds stardom is pleasingly charted if essentially in predictable Hollywood style — but definitely audience pleasing.
We’re told it’s “based on a true story” — usually meaning facts have been altered for a better storyline — here the caveat “certain scenes have been fictionalised” is added. Interesting — and honest too.
Review by Alan Frank