Avengers: Infinity War (12A)
Directed by Anthony Russo and Joe Russo
★★★★

THE NINETEEN films in the Avengers franchise have grossed over $13 billion at the box office globally and that record-breaking run looks set to continue with Infinity War.

Fast and furious, this visually arresting, non-stop action-packed epic showdown of all showdowns proves once again that Marvel Studios are masters of the superhero ensemble game.

In this latest, the Avengers — disbanded in Captain America: Civil War —  team up with the Guardians of the Galaxy and other key superheroes from the Marvel cinematic universe to stop the ultimate villain Thanos (Josh Brolin, phenomenal) acquiring all six infinity stones which will enable him to destroy half the universe with a click of his finger.

To reveal any more would defy the #Thanos Demands Your Silence warning on the badge we were all given after seeing the film.
Under the skilful direction of Anthony Russo and his brother Joe, Infinity War strikes the right balance between darkness and humour, with its bleakest moments offset by hilariously irreverent and killer one-liners. And it's not afraid to deliver shocks and surprises, Game of Thrones-style.

It also scores in showing how more than 20 superheroes can seamlessly stand their own ground on screen without seeming to be jockeying for position and bring a long-game story arc, spanning numerous Marvel films, to its effortless and logical conclusion.

The only problem is that there is too much to assimilate and process at any given time, so that by the end you feel exhilarated yet totally exhausted by this emotional roller-coaster ride and visual assault on the senses.

The final instalment, already in the can, follows next year. In the meantime, the obligatory extra scene at the very end of the final credits will have fans orgasming with excitement.

Maria Duarte

Beast (15)
Directed by Michael Pearce
★★★★★

SUDDENLY, the Channel Islands are the location of choice for film-makers.

Last week occupying Germans made life hell for residents in The Guernsey Literary and Potato Peel Pie Society, this week a serial killer stalks luckless Jersey islanders in Beats, a terrifying thriller that grabs you early on and never relaxes its sadistic grip.

Moll, persuasively played by Jessie Buckley, is 27. Still living at home, she's bullied by her dominating mother (Geraldine James) but too family-centred to leave — until, quitting her increasingly irksome birthday party, she unexpectedly meets the nonchalant misfit Pascal.

He's cleverly portrayed by Johnny Flynn, who manages to create an essentially irritating character you still want to watch.

Finally finding freedom, Moll moves in with Pascal, only to face mounting terror when he is suspected of being a brutal serial killer.

Director Michael Pearce, armed with a throat-constricting screenplay and ideal casting, delivers a memorably chilling and convincingly characterised thriller that marks an impressive directorial debut.

Alan Frank

Lean on Pete (15)
Directed by Andrew Haigh
★★★★

BONDING between humans and animals is a classic cinema staple ranging from dogs (Lassie et al), horses (Black Beauty, My Friend Flicka), a tiger (The Life of Pi) and, if you count an alien entity, the saccharine-sodden E.T.

Here, writer-director Andrew Haigh throws his hat into the ring with this story of human-equine love. At its centre is 15-year-old Charley — who claims to be 16 when necessary — superbly played by Charlie Plummer.

After tough times, he's living with his alcoholic father (Travis Fimmel) in a rundown house in Portland. When he starts working at a rundown racetrack he befriends weary trainer Del (Steve Buscemi, scene-stealing as usual), burned-out jockey Bonnie (Chloe Sevigny) and their eponymous horse Lean on Pete. Learning the horse is for sale, he steals him and embarks on a character-building road trip to find a long-lost aunt.

Stunning cinematography (Magnus Jonck) adds vivid depth to the powerful character driven-drama that deservedly won Plummer the best young actor award at the Venice Film Festival.

It's a film that triumphantly proves that Haigh — working from his adaptation of the novel by Willy Vlautin — can make a convincing mainstream film as well as art-house products.

AF

Mary and the Witch’s Flower (U)
Directed by Hiromasa Yonebayashi
★★★★

Celebrated Japanese animated film producers Studio Ghibli closed in 2015. Thankfully, two of its veterans founded Studio Ponoc and in this, their first production, stunning animation maintains the eye-popping visual invention and exciting storytelling that made Ghibli a worldwide success.

Riko Sakaguch and director Hiromasa Yonebayashi have transformed Mary Stewart’s popular novel The Little Broomstick into a hugely exciting film, whose young English heroine Mary lives with her great-aunt in the country. There she discovers a magical flower that endows her with magical powers – but only for one night.

She certainly needs them when, after escaping a young witches and warlocks school, she flies on a convenient broomstick to a local college to rescue the young Peter who has fallen victim to mad scientist Dr Dee and evil headmistress Madame Mumblechook. There, he's faced with a deadly experiment.

There’s enough plot to go around, and then some, lashings of stunning animation which brings the wild world of witches and warlocks to dazzling life and perfectly-chosen British players — Ruby Barnhill as Mary, Kate Winslet as Madame Mumblechook and Jim Broadbent speaking for crazy scientist Dr Dee.

A treat for kids and parents alike.
 
AF