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(A version of this article originally appeared on kernelnow.com / mynewslike.com) Though the idea of a Star Wars sequel trilogy seemed far-fetched before Disney’s 2012 takeover of Lucasfilm, the release of The Mandalorian to Disney+ finally brings to a fruition an idea that did seem altogether more likely in the years before Disney’s rapid expansion: a live-action Star Wars TV show. It was an idea long developed by ‘The Maker’ George Lucas himself, mostly in the form of the infamous Star Wars Underworld series that proved too expensive to bring to life. However, with the arrival of the House of Mouse and their seemingly-unlimited backing, “the most expensive show ever made” is finally here. The man with no name, perhaps – but there is no absence of budget here (source: starwars.com) Following the exploits of an as-yet-unnamed bounty hunter – the titular ‘Mandalorian’ – this premiere episode explores his quest to bring in a particularly difficult bounty. In an opening scene tha

(A version of this article originally appeared on kernelnow.com / mynewslike.com) Like cellular devices or DVDs before it, video streaming is now a part of life. Ever since services evolved into the arena of original content, film-makers have argued that they threaten the existence of big screen cinema – and they may have a point . It’s interesting, then, that Martin Scorsese – famed film lover , historian and beloved director – would lend his work to streaming giants Netflix. Perhaps it was their supporting this long-gestating passion project , or maybe it’s just that he and his films, even in the 52nd year of his career, continue to stare down the cinematic status quo . Whatever the case, through the studio’s $159 million backing Scorsese has finally been able to put together The Irishman . This latest crime epic follows Robert De Niro in the title role as Frank Sheeran, who rises to become mob hitman AND confidant/guard for famed but forgotten Teamster, Jimmy Hoffa (Al Pacin

(A version of this article originally appeared on kernelnow.com / mynewslike.com) Somehow, it’s been ten whole years since Zombieland hit cinema screens. That means it’s been a decade since we were introduced to the neurotic Columbus (Jesse Eisenberg), the hyper-redneck Tallahassee (Woody Harrelson), survivalist supreme Wichita (Emma Stone) and her younger sister, Little Rock (Abigail Breslin). It’s very unusual for modern cinema to wait so long for a sequel; perhaps, terrifyingly, we’re only getting one now because ‘The Noughties’ have become as retro as Ghostbusters or Evil Dead . Regardless of the existential crises behind the delay, Zombieland: Double Tap is a follow-up which is happily unafraid to embrace the time passed since its original outing, both within the plot and through Columbus’s returning voiceover. To either contentedness or chagrin (depending on which character you look at), not much is new for the foursome and the wasteland that humanity now lives in:

 (A version of this article originally appeared on kernelnow.com / mynewslike.com) 2001: A Space Odyssey had Jupiter. Interstellar gave us Saturn. Now, director James Gray brings us arguably the most spectacular big-screen treatment of Neptune to date (and since you’re already thinking it, insert your own joke here about when Uranus is coming to the big screen). Ad Astra sees astronaut Roy McBride (Brad Pitt) attempt to contact, locate and dissuade his long-lost father Clifford (Tommy Lee Jones) from continuing his extra-terrestrial experiments on the far side of the blue gas giant, which are causing power surges that endanger humanity’s homes on Earth and across the Solar System. Roy McBride (Brad Pitt) has some searching to do of the soul, and the solar system (source: 20th Century Fox) The easy comparison, as is the case with any new space-fiction film, is to Stanley Kubrick’s star-hopping epic – as you may have noticed at the start of this very review. Surprisingly, how

(A version of this article originally appeared on kernelnow.com / mynewslike.com) There are few directors in modern cinema that can sell tickets to a movie on the value of their name alone, and at the head of that list sits one name: Quentin Tarantino. A man whose mystique precedes him – this being his ninth and, apparently, penultimate film – his unique appeal extends to casual cinema-heads and discerning film essayists alike. After two straight Westerns, Tarantino returns to the world of pure storytelling in  Once Upon A Time… In Hollywood , a genre-free film that does warp through as many different styles in 165 minutes as its creator has in 27 years. Through the guise of the dwindling career of Rick Dalton (Leonardo DiCaprio) and his stunt double/driver/closest friend Cliff Booth (Brad Pitt), the film weaves through a Polaroid of 1960s Hollywood populated by the likes of Sharon Tate (Margot Robbie) as Rick tries to maintain his standing in a rapidly changing movie busi

(A version of this article originally appeared on kernelnow.com / mynewslike.com) It was around the summer solstice last year that director Ari Aster announced himself onto the cinematic stage with  Hereditary , arguably the greatest horror film of the year and in the conversation for the genre’s most impressive modern entries. It’s thus somewhat fitting that his follow-up be a deeply-unnerving exploration of mid-summer’s most earthen celebrations. Midsommar  follows a group of American students (Jack Reynor, William Jackson Harper, Will Poulter and Florence Pugh) as they travel to Sweden under the invitation of their classmate Pelle (Vilhelm Blomgren) to experience a “crazy, nine-day festival” under the guise of retreat and study. Their idyllic and vice-laden getaway gradually becomes a gala of doom as their hosts unveil their less-than orthodox rituals. Triangle block in a circle hole: Dani (Florence Pugh), Pelle (Vilhelm Blomgren) and Christian (Jack Reynore) (l-r) (sourc

 (A version of this article originally appeared on kernelnow.com / mynewslike.com) On July 20th 1969, astronauts Neil Armstrong and Edwin “Buzz” Aldrin became the first humans to land on another celestial body – The Moon. Watched over by their orbiting pilot Michael Collins, they made both human and televisual history as they exited ‘The Eagle’ out onto the surface, but what often gets lost in the majesty of the “one small step” that was first taken by Armstrong is the entirety of the eight-day mission that was Apollo 11. In the past few years, there have been more conceited efforts to highlight the effort required to reach our nearest neighbor. Documentaries such as Mission Control: The Unsung Heroes of Apollo and feature films like Hidden Figures have done well to offer a glimpse behind that particular curtain; however, as it pertains to the mission itself, there has never been a more ambitious retelling of that famous summer week as Apollo 11 .   Armstrong, Aldrin and C

 (A version of this article originally appeared on kernelnow.com / mynewslike.com) There's always rooms for more toys.. (source: MICHAEL [flickr]) It’s been just over a week since  Toy Story 4  made its worldwide cinematic debut, long enough for most audiences to have taken in the film – maybe even see it twice – and, ultimately, decide on the place it will take in their hearts. When it comes to a franchise like  Toy Story , any new entry into the story is sure to be judged against its previous installments; with that in mind, join us as we take a trip down memory lane and rank all four of the  Toy Story  films. 4. Toy Story 4 (2019) RV sitting comfortably? (source: Disney/Pixar) If you haven’t yet seen the latest entry into the  Toy Story  canon, there are two things you should do immediately, firstly stop reading at the end of this sentence, and secondly –  GO AND SEE IT . Have you watched it now? Good – let’s continue. Ranking the latest film as the lowest is surely a r

(A version of this article originally appeared on kernelnow.com / mynewslike.com) It’s been nine years since Woody, Buzz and friends were carried off into the sunset at the end of  Toy Story 3 , a film which offered a satisfying finale for characters that both audiences and owner Andy had already loved for two decades. So, with the release of this new  Toy Story 4 , the big question is –does Pixar do justice to its plastic (and ceramic, and plush..) heroes? In a word, yes. Despite what many have said as they branched out more into sequels and less into new stories, the Pixar magic never really went away – especially when it comes to the film series that made them an instant animation powerhouse. Make no mistake, though: this is Woody’s story. It makes a lot of sense to foreground the stuffed sheriff as the hero of this film, as just like in the original  Toy Story  this is very much Woody’s quest to find his new place in the world. But as the franchise has shown in the 14 years

 (A version of this review originally appeared on kernelnow.com / mynewslike.com) Like Jonah Hill ( mid90s ) and Bo Burnham ( Eighth Grade ) before her, Olivia Wilde is the latest in a growing line of actors to make their directorial debut in 2019 in the coming-of-age genre. The purest comedy of the three, Wilde’s  Booksmart  may also be the pick of the bunch. It questions the age-old adage of “All work and no play..” as Molly and Amy (Beanie Feldstein and Kaitlyn Dever) seek to reverse their boring reputations on the last day of high school – particularly when they discover their party-hard peers have been accepted into big-league colleges just like them. If you think that sounds a bit like  Superbad , then as is well-publicised - you’re not alone.  Booksmart  has been plagued and/or boosted by that comparison since its preview showings, though if anything this is a re-imagining more than a reproduction of that somehow-now-thirteen-year-old film. Like  Superbad , the st

 (A version of this article originally appeared on kernelnow.com / mynewslike.com) Guns blazin' (source: Lionsgate) HEAVY SPOILERS FOR ALL THREE JOHN WICK FILMS FOLLOW BELOW If you missed Part 1 then please check this out first ! On February 10, 2017, assassin supreme John Wick (Keanu Reeves) returned for John Wick: Chapter 2 , displaying the same creative, unstoppable efficiency that was his trademark. Moreover, the whole bloody affair was presented in the same measured and polished manner as the original 2014 hit. Acclaim for this consistent design lies with the film-makers and their continuous presence behind the lens. Early in the production of John Wick , Reeves contacted Chad Stahelski and David Leitch, stunt performers/choreographers with whom he had worked with at various points in The Matrix trilogy. His reason for bringing them in was to bring the balletic action sequences to life, although he later told The Hollywood Reporter he was “secretly hoping that they’