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“Heller” (Rami Malek) is the geeky “Jack Ryan” type, stuck in an office five floors below sunlight working on intelligence gathering and decrypting for the CIA. Intrigued by his latest set of dossiers from a deep throat somewhere on the internet, he suspects he has stumbled upon something nefarious. Before he has time to investigate, though, he hears that his wife has been the victim of a terrorist attack in London and so now he’s seeing red. Using the information he has recently obtained as leverage, he gets himself trained and equipped for an operational mission to get some revenge. Thing is, “Heller” isn’t a natural born killer, and despite the best efforts of his handler “Henderson” (Laurence Fishburne) he isn’t considered likely to be much more effective than a wet lettuce when it comes to killing anyone. What we now see is that there are more ways than one to skin a cat and brain can sometimes overcome brawn if applied with plenty of explosives, sticky tape and even the odd rogue missile. That’s perhaps the problem with this film: we’ve seen it all before - and more compellingly, too. Malek does enough but the rest of the cast really underwhelm and the set-piece action scenes come all too few and far between before an ending that really just fizzles out. James Hawes has presented us with a great looking film, packed with gadgets and gizmos, and the story also does make you realise just how big brotherly society has become with cameras apparently everywhere manipulating imagery from your shadow cast on a water-filled dustbin lid - but after a while, that all becomes a little repetitive and the plot settles into an implausible predictability. It has it’s moments, but sadly that’s all they are and this is a film that you’ll soon forget all about.

Jonathan Ashmore does quite a sterling job here tugging at the heart-strings with this upbeat, feel-good drama about the young “Joe” who just wants to be kind. He’s a young lad growing up in a sort of Portobello Road environment in a post war London that is still recovering. He lives with his mum (Celia Johnson) in small flat above a tailor’s shop run by “Kandinsky” (David Kossoff) who fills his head with imaginative stories and fantasies. It’s this that leads the lad to an idea. He uses every farthing to his name so he can buy a young kid that has yet to develop it’s horns properly. Why? Well, he thinks it will turn into an unicorn and be able to bestow gifts of good luck on those in his tightly knit community who care for him and whom he loves. What now ensues takes a rather good-humoured but still quite poignant look at human nature, nurture and spirit. His are not always rose-tinted experiences and at times his little goat finds itself in quite a pickle, but somehow we just know that good will prevail. It’s easy to be cynical about the naivety and simplicity of this story, but there’s a delightful chemistry on display between an on-form Kossoff and Ashmore partnered with the ever reliable Brenda de Banzie and aspiring the glamour-puss “Sonia” (Diana Dors) that all engagingly taps into the prevailing sentiment at the time that we won the war because we were supposed to and we must all muck in to rebuild - physically and societally. It’s the sheer innocence of the thing that cannot fail to bring a smile to your face, and there’s even a charming “Hercules” on hand in the guise of Primo Carnera’s aptly named “Python” to keep any trouble at bay. Don’t watch this with 2020s eyes, it won’t work - but if you can imagine yourself in a cinema in 1955, the new reign just started and a feeling of optimism abroad in the land, then I think you will enjoy this story of hope and friendship that Carol Reed keeps right ride of sentimentality.

Local television weatherman “Sean” (Matt Bomer) has a bit of brain freeze whilst on air and is sent home for a few weeks of gardening leave. It’s then that we discover he has recently split from his boyfriend and all that’s left of the relationship is a mark on their patio where a plant once stood. He tries to see to it himself, but decides it’s best to get a little man in - and so drives down to the corner where the immigrants gather and recruits “Ernesto” (Alejandro Patiño). He doesn’t speak much English and gets on with his work but inexplicably “Sean” starts to find himself drawn to this older, straight and slightly bamboozled gent who is happy to take the cash for a day’s work but in no way sees his new benefactor in any sort of a sexual, or emotional, fashion. It only takes so long to cover a spot on the patio, so soon “Sean” is finding other excuses to spend time with “Ernesto” - much to the confusion of that man’s wife, but gradually the pair begin to understand and respect each other. It’s a film about friendship, pure and simple, and though Bomer is the star it’s really Patiño who steals the plaudits as his bemused character has to navigate this new world of his gay friend. Some of his facial expressions are hilarious as the story sort of meanders along without any obvious place to go, nor need to go either. At times it’s quite a potently amiable look at breaking down barriers, assumptions and stereotypes without their being an agenda - and is worth a look.