Author: Charlotte_Sometimes

Wish

Posted on by Charlotte_Sometimes

‘Introverts deserve sanctuary!’

It’s been 100 years since Walt Disney and his brother, Roy, signed an agreement to produce an animated series called Alice Comedies. In 1928, Steamboat Willie came along – introducing the world to both Mickey Mouse and animation being screened in a cinema with synchronised sound. In 1937 they released their first feature film, Snow White and the Seven Dwarves. And the rest, as they say is history. To mark their centenary they’ve made a film, their 62nd feature film, celebrating their history with a very literal look at what happens when dreams & wishes do or don’t come true. Suffice to say, Disney have a lot riding on this one.

Life in the Kingdom of Rosas is a pretty sweet deal. Founded by King Magnifico (Chris Pine) and his wife Amaya (Angelique Cabral), he uses his sorcery to protect his citizens from harm. All he asks for in return is that, on their 18th birthday, each person must hand over their wish – their heart’s truest desire. He protects these wishes in his tower, each month granting a different wish as a sign of his great leadership and benevolence. Asha (Ariana DeBose) is 17 years old and is desperate to be the King’s newest apprentice, but during her training she quickly realises all is not well and will do all she can to stop it.

The biggest problem that Wish has is that it is fine. It’s neither amazingly good, nor is it bad by any stretch of the imagination. It’s a pass. Nice. All-right. A-Okay. It does relatively well with balancing nods to the past with some lovely little Easter Eggs along the way. There’s a couple of good gags for all ages. It’s heroine is very likeable, endearing, funny and kind. The ensemble cast is great and the supporting characters memorable. The songs vary between solid to ear-worm potential. The animation style is unique, maybe slightly-off if we’re being honest, but there’s beauty within it.

It’s just. That’s it. It does the job, no more and no less. There’s nothing superlative about it, which feels a bit sad for something that is being pitched as so monumental. But perhaps that’s where the problem lies, the weight of expectation, purpose and meaning weighs every moment down. It’s been robbed from being a film in it’s own right, instead it is a self-appointed monument to the studio’s legacy. This feels more content than movie. They’ve simultaneously followed the formula whilst having also metaphorically plastered ‘This is significant!’ across the screen in bright, flashing lights. Never is this more felt than during at least two of the musical numbers, which both have a subsequent pause that seems almost expectant, if not even demanding of applause – a la a live theatrical performance. I mean, the songs are good. But they’re not *that* good…

Wish doesn’t necessarily shine incandescently, but there’s enough of a glow that it’s worth giving a go. [3/5 stars]

Wish is in UK cinemas from Friday 24th November.

Stream On: The Resurrection #3

Posted on by Charlotte_Sometimes

5 things you need to watch. Now. Right now. After you’ve read this list, obviously. Here’s the previous edition if you’re in need of more recommendations: #1, #2.

For All Mankind (Apple TV+ – 40 x 60 mins)

We’re now on season 4 of one of the greatest science fiction shows of the 21st Century, so it’s about time you get on board. With each episode of the new season dropping weekly on a Friday, you’ve got a bit of time to catch up. The premise of an alternate history is not necessarily a new one, but the one this show picks really is – What if, in 1969, the Soviet Union beat the United States to the moon? The result is a blend of science fiction, drama and thriller on a big budget, with amazing performances and beautiful cinematography.

The Greatest Show Never Made (Prime – 3 x 60 mins)

We’re in a fascinating time at the moment of reassessing the noughties, both the high and the contradictory lows – this docuseries is a great addition to that analysis. In 2002, six young people seeking fame & fortune applied for a new, top secret, reality show. Twenty years after those dreams were shattered, we revisit them and find out how a show that didn’t ever exist, changed their lives forever.

Studio 666 (Netflix – 106 mins)

The Foo Fighters are one of those bands that we universally agree are pretty great, right? Even in the unlikelihood you don’t like any of their music, you probably agree that Dave Grohl seems to be one of the nicest men in music. That view will be cemented by this ramshackle yet enjoyable horror-ish film, as The Foos face off with demonic forces in a fight for their lives. A fun and immensely likeable romp.

A Murder At The End Of The World (Disney+ – 7 x 65 mins)

Zal Batmanglij and Brit Marling‘s latest creation (the geniuses behind Netflix’s The OA, gone but never forgotten) follows Darby Hart (Emma Corrin), a Gen Z amateur sleuth, attempts to solve a murder at a secluded retreat. Also starring Marling, Harris Dickinson, Raúl Esparza and Clive Owen to name but a few – what starts of as feeling rather Knives Out becomes something far stranger and unsettling. Airing weekly, every Tuesday, the first two episodes are already up.

Scott Pilgrim Takes Off (Netflix- 8 x 60 mins)

Nearly 20 years since comic book writer-illustrator Bryan O’Malley brought Scott Pilgrim to the world, and13 years on from Edgar Wright’s film adaption, we return to his universe – in Netflix’s new animated series. This isn’t a remake, it’s a revitalisation with a touch of reimagining about our beloved dweeby Canadian bassist who meet-cutes his mysterious American dream girl, Ramona Flowers, only to discover that in order to date Ramona, he must first defeat her “seven evil exes” in a series of boss fights across the mean streets and concert halls of Toronto. With all of the live action cast returning as voice artists, to call this a treat would be an understatement.

Stream On: The Resurrection (Vol 2)

Posted on by Charlotte_Sometimes

5 things you need to watch. Now. Right now. After you’ve read this list, obviously. Here’s last week’s edition if you’re in need of more recommendations: #1.

The Newsreader (BBC iPlayer – 12 x 60 mins)

With season two having been uploaded in one go, it’s the perfect time to point everyone in the direction of this classy and criminally underseen drama about two journalists (Anna Torv and Sam Reid) in a newsroom in 1980s Australia.

Interview With A Vampire (BBC- 6 x 60 mins)

The BBC has had an impressive run of acquisitions this year, epitomised with the arrival of season one of this long-awaited adaptation of Anne Rice’s novels. (So long a wait that the US is already airing season two…). Jacob Anderson is Louis de Pointe du Lac, a vampire who has decided to tell the story of his long life to a journalist. Sam Reid (yep, him again!) is Lestat de Lioncourt, the great love/hate of his life.

Culprits (Disney+ – 8 x 6 mins)

The heist genre has to be one of the most universally enjoyed genres, right? Even when badly done, it still makes for an entertaining watch. Luckily this is one that is both entertaining and actually really good. After a heist, the crew have gone their separate ways, but now, they are being targeted by a killer one-by-one. Not only is it big budget looking, it’s got a cracking cast – Nathan Stewart-Jarrett, Gemma Arterton and Eddie Izzard are our frenemies reunited.

The Buccaneers (AppleTV+ – 8 x 50 mins)

An adaptation of Edith Wharton’s last novel, which was finished & published posthumously after her death, in the 1870s a bunch of rich American girls are trying to find a posh English husband during the London debutante season. Whilst not as good as Bridgeton, it will go some way to filling the void until season 3 (which still doesn’t have a release date, but expect it next rather than this year).

Dark Winds (SKY/NOW – 6 x 60 mins)

Credit for this recommendation has to go to my dad, who had it on his radar for months. Coincidentally arriving in UK around the same time as Killers of the Flower Moon, we’re finally – yet still slowly – seeing more Native American voices on the big & small screen. A crime drama thriller, we follows Leaphorn (Zahn McClarnon) and Chee (Kiowa Gordon), two Navajo police officers in the 1970s Southwest that are forced to challenge their own spiritual beliefs when they search for clues in a double murder case.

Saltburn

Posted on by Charlotte_Sometimes

‘This place, you know, it’s not for you.’

In the vein of Talented Mr Ripley, The Secret History and The Go-Between, writer-director Emerald Fennell‘s sophomore feature is a captivating satire as we follow an outcast student, Oliver (Barry Keoghan), become drawn into the world of his charming aristocratic classmate Felix (Jacob Elordi).

2006. Oliver arrives at Oxford on his own, knowing no-one there and with next-to-no support networks out of his new university. Felix is his exact opposite, a beloved friend to all, whose attention is electrifying that Oliver craves it. When Oliver helps Felix in a moment of need, a deep friendship forms between the pair. So much so that, that summer, Oliver joins Felix at his sprawling family estate. At Saltburn he will meet Felix’s mother, Elspeth (Rosamund Pike), father Sir James (Richard E. Grant), sister Venetia (Alison Oliver) and cousin Farleigh (Archie Madekwe) – experiencing a summer he will never forget.

At 127 minutes long, Saltburn is able to take it’s time in building the anticipation, imitating Oliver and Felix infiltrating each other’s lives. Oliver is our entry point, and Keoghan’s performance is eerie and bewitching. Although we pity his circumstances, we also understand the wariness with which his classmates view him, dubious about his nature and uncertain of his motivations. To cast Elordi as his parallel is an act of casting genius, he is a Golden Adonis – a role we’ve not seen as magnetically depicted since Jude Law in Ripley. Linus Sandgren‘s extraordinary cinematography emphasises his massiveness and delights in his beauty.

He is everything that is considered ideal – tall, broad, breathtakingly handsome and so entrenched in his privilege he is seemingly oblivious to it. Everyone vies for his attention, to be perceived and wanted by him. The exact opposite of Jacob, which is like a drug for him – he is someone people chose to not see, he craves Felix’s affections within their quasi-platonic dynamic and desires nothing else to be perceived by him. To no longer be invisible.

Watching their dynamic play out, languidly and with unclear intent, is delicious and given all the more flavour by the excellent supporting performances. Every single line uttered by Pike is nothing sort of captivating and beholden of such depths, a blend of scathing & boredom with an undisclosed level of obliviousness – to what extent is she creation or curator.

The film stumbles in it’s final act, it’s deliberate and knowing pace becomes something more rushed and hurried. Development with some plot points would have made for greater impact. Instead of further teasing out and exploring both class conflict & psychosexuality, there’s a frustration at what could have been. Perhaps apt considering the focus of the film…

All in all, though, Saltburn is a wickedly mischievous good time.

[4/5 stars]

Saltburn is in UK cinemas from November 17th.

May December

Posted on by Charlotte_Sometimes

‘My love, I think about you all the time.‘

The premise behind May December is one that feels so obvious and yet is rarely ever depicted, what happens after the headlines? When you’ve been exposed, your life laid bare in the media, your personal life and choices reduced to scandal other people consume over their breakfast – what comes next?

Loosely inspired by a true story, that of Mary Kay Letourneau, we meet Gracie (Julianne Moore) twenty years after she was imprisoned for her love affair to her now-husband Joe (Charles Melton). That’s how she views it. In actuality, she was then a married woman in her 30s and he was 13 years old. An actress, Elizabeth (Natalie Portman), has come to visit them as she’s going to play Gracie in an adaptation of her life and she wants to research them. Forced to revisit their past, uncomfortable and potentially catastrophic tensions form between the trio.

This is a Todd Haynes joint through-and-through. It’s scandalous, precise and oft-uncomfortable – with Samy Burch‘s script is packed full of biting one liners and social critique that the characters seem blithely unaware of.

Timely in its arrival – as we continue, on a societal level, to do some much needed scrutiny of relationship dynamics of our recent and not-so-recent past. Gracie is oblivious to her role, both then and now, as predator; adamant that she was the seduced and not the seducer, she refuses to accept any blame or acknowledge any harm she caused. This is reinforced by a small but impactful supporting turn by Cory Michael Smith, who plays her son from her first marriage, who is the exact same age of her husband in her second marriage. He is now an agent of chaos, traumatised by his mother’s actions, almost frozen-in-time in behaviour and lifestyle choices. A sequence in the film, in a restaurant where both of Gracie’s family collide it wincingly delicious to watch.

That’s also the perfect way to describe Moore’s incredible performance here. Her Gracie is, quite rightly, irredeemable and Moore fully embraces this. She’s self-obsessed, unable to care about others and unaccepting of any other narratives but her own. Her frenemy dynamic with Portman’s invading actress is such a joy to watch play out, both actress at their height of their respective powers. It’s like something out of a nature documentary, they eye each other warily, uncertain of the threat that awaits and ready to fight when the first blow lands.

Melton is an unexpected wonder as Joe. It’s a difficult role which he plays with careful aplomb. His Joe was forced to grow up far too long, manipulated by someone older – yet, decades on, still viewing it as love instead of abuse – he is incredibly lost. His interactions with his children, all three now-older than he was when he first met their mother, are as subtle as they are achingly profound.

May December is lightly told yet packed full of punch; intimately profound, bitterly funny and bitingly sad. An essential watch. [4.5/5 stars]

May December will be in UK cinemas on 17 November and Sky Cinema from 8 December 26.

Stream On: The Resurrection #1

Posted on by Charlotte_Sometimes

Right. If you’ve been following this blog for a few years, you know the drill. Here’s 5 top tips of things you can watch on streaming services this week.

The Fall of the House of Usher (Netflix – 8 x 60 mins)

Mike Flanagan does it again, with another spooktastic Gothic adaptation. This time around it’s a take on Edgar Allan Poe’s short story from 1839, updated to the present day with Roderick Marsh now a pharmaceutical patriarch confessing to his past sins upon the deaths of his six children. If you’ve ever seen a Flanagan-Netflix production, you know exactly what you’re getting – well-crafted and well-acted melodrama with just the right amount of scares and spooks.

Fellow Travellers (Paramount+ – 8 x 60 mins)

Matt Bomer and Jonathan Bailey lead this drama that follows the lives and volatile romance of two very different men. Starting in the 1950s, up until the AIDS crisis in the 1980s, we follow them through purges, wars, protests, and plagues, overcoming obstacles and trying to find their space in a world that refuses to accept their love. Period drama perfection.

Belle Gibson: The Search For Instagram’s Worst Con Artist (ITV+ – 2 x 60 mins)

Since the first Lockdown, I have been obsessed with books, shows and podcasts about con-people. The story of Belle Gibson definitely falls into one of the most unbelievable, a wellness influencer – one of the very first – who advocated a healthy lifestyle as a means of battling her terminal cancer diagnoses. Except she was never actually diagnosed with cancer… No trailer available for this one, but the BBC mini doc below gives you a flavour of what’s to come.

Three Little Birds (ITV+ – 6 x 60 mins)

Inspired by his own mother’s experiences, Sir Lenny Henry is the writer-creator at the helm of this moving mini series. In the 1950s, two women and their friend, leave Jamaica to start a new life in England and fulfil their respective dreams. They quickly realise what they have been promised is far from the reality they face. An essential and personal drama.

Desperately Seeking Soulmate: Escaping Twin Flames Universe (Prime Video – 3 x 60 mins)

Another one for my fellow con-noisseurs, this time about a cult of a different kind. Run by Jeff and Shaleia Ayan, they insist that everyone in the world has a Twin Flame – a perfect match they are meant to be with, no matter what. They invite people to join them, to put in the work to be ready for and find their own twin flames. The dark truth behind their empire makes for important watching.

All Of Us Strangers

Posted on by Charlotte_Sometimes

‘It doesn’t take much to make you feel the way you felt back there again.’

When moving to a city as a young person, you semi-unknowingly sign some sort of social contract. A new start, a new chance to be you with the seemingly endless array choices and a smorgasbord of new people. For those who arrive from a smaller town and/or fall into any number of categories of other, this is an enticing opportunity. A chance to craft an image, a home and a life away from the meerkat-like gaze of smaller town living.

And yet, that anonymity comes at a cost. What if you don’t find your people? What if you do find your people, but they move away to have gardens and babies? What if you remain alone? The result can be feeling adrift, removed from your surroundings, as if you will disappear if any further moments pass if you remain unperceived and unknown.

Never has a film captured that profound feeling, the bittersweet blankness, as well as this film. All Of Us Stranger shows the deep, entrenching and evasive ache of loneliness that can arrive when living in a city – when it’s so pervasive it feels like it’s entered your bones and will never come out.

That’s what life is like for Adam (Andrew Scott), a screenwriter who barely leaves the flat in which he lives alone that belongs to a skyscraper with barely any residents. His parents (Claire Foy and Jamie Bell) died when he was young and his friends became his family – until they moved away when they started their own families. His life has shrunken to a cycle of writing and procrastinating and watching repeats of Top Of The Pops – although a fledging relationship with Harry (Paul Mescal) brings change to routine. Having decided to write about his parents death, he decides to visit his childhood home – only to be greeted by his parents who appear to be living exactly as they were on the day they died, 30 years ago.

I’ve not cried as much at a film as I did with this one. It’s such a tender and carefully told tale of loneliness, of love and loss and longing. Moving at a carefully considered pace, it peels back Adam’s layers in the same way he is opening up to Harry – allowing himself, and in turn us, to become vulnerable after years of stoicism. The dialogue is effortlessly profound, potent and moving – often through what is not said rather than what is. The performances from all four of the central cast are exquisite, but this really is Scott’s film. Rarely, if at all, off the screen his face is a wonder as it expresses such depth of meaning – every single micro expression is utilised with purpose. The aches within him reverb through him and off the screen, to the extent that the three songs it features will forever be synonymous with his performance. The joy of Alison Moyet’s ‘Is This Love?’, the yearning of Pet Shop Boy’s cover of ‘Always On My Mind’ and the recurring motif of Frankie Goes To Hollywood’s ‘Power of Love’. A Holy Trinity of 80s melancholy.

[5/5 stars]

All Of Us Strangers is in UK cinemas from January 26th 2024.

Chasing Chasing Amy

Posted on by Charlotte_Sometimes

‘Life’s not about finding your heroes, it’s about finding yourself.’

Nearly everyone has a film that they consider their lifeboat film. They saw it at a crucial time in their lives and it made an inedible impression, it could have been life-saving in one way or another. Sometimes, however, with time, that film may not have aged as well as the person who loves it so much. That film may have become increasingly problematic, maybe having already been so from the outset, and that adoration face challenges from a complex legacy.

That’s the situation the writer-director-star of Chasing Chasing Amy faces. Sav Rodgers credits Kevin Smith’s 1997 film Chasing Amy with saving his life. It’s not hyperbole, as he explains in his 2018 TED Talk. Growing up in Kansas, as a queer person, Sav struggled with representation and limited positive LGBTQ+ role models. Having struggled with feeling isolated, facing abuse from his peers and fearing that these bleak feelings would be ever-permanent, a chance encounter with Chasing Amy changed his life and gave him hope.

Now, depending on how well you know that movie will impact your reaction to this declaration. For the story of Chasing Amy is a semi-biographical tale of Holden (played by Ben Affleck) who falls Alyssa (Joey Lauren Adams) but finds his hopes for romance crushed when he finds out she’s a lesbian. The film was reasonably well received on release, with Roger Ebert praising the film for being ‘moving and yet written with the skill of a screwball comedy’. And yet, in the 27 years since it’s release, it feels increasingly icky as a film concept and, as demonstrated by some of the talking heads in this documentary, feels like an unlikely film to warrant as much adoration and esteem as Rodgers holds it in. So, now older, wiser and happily partnered up, he’s finally ready to look into the legacy of Kevin Smith’s indie hit.

What follows is a documentary of discovery, of how cinema can be entwined with sense of self and identity. It’s also a story of two halves, with Rodgers getting to fanboy over both the film and getting to the confidences of Kevin Smith. But, after an interview with a member of the film’s cast (to name them would be a spoiler) goes off the wheels, Rodgers is forced to confront their purpose for the film and revaluate what loving it so unconditionally really means.

There’s a lot to like here, as the making of Chasing Amy and it’s aftermath – both at point of release and over time – get explored. Rodgers is a wonderful person to follow – open, honest, warm and endearingly earnest in every emotion they experience throughout this journey. At times, however, it does get frustrating at how superficial and unquestioning some of the peeling back of layers really is. Huge points of contention are identified but never fully investigated, with Rodger’s awe and hesitancy – a state most of the voices within the documentary seem to reside in – resulting in a lack of nuance in confronting the very issues they are there to discuss.

The final product is a personal essay on how important one film can be to someone. What it may lack in a critical voice, it makes up for in abundance with the passion and joy it feels over its subject matter.

[3.5/5 stars]

Chasing Chasing Amy had it’s UK premiere at London Film Festival on October 14th.

Haunted Mansion (2023)

Posted on by Charlotte_Sometimes

‘I know this place isn’t as warm as I hoped. But I’m gonna light a vanilla candle, and it’s gonna be a game-changer.’

I’ve written before about what happens when bad films happen to good actors, but I feel like Haunted Mansion warrants a new sub-genre – what happens when a film has the best ingredients and manages to fumble them completely. As harsh as it may sound, that is the prevailing thought when watching this latest fare from the House of Mouse because, really, the most impressive thing about it is how unimpressive it is. Which is fascinating when you consider it’s parts.

The Haunted Mansion ride first opened in Disneyland in the 1960s, with four cousins appearing at it’s kinderlands over the decades. A film adaptation appeared in 2003, with Eddie Murphy in the lead role. 10 year-old me loved it, but I’d dare not watch it now. In 2010 we were teased and tantalised by the prospect of a Guillermo del Toro production. Oh, what might have been.

Instead, in 2023, we are gifted a flat and overlong attempt at a family friendly spooky comedy movie that is too convoluted for kids and without enough jokes for the adults. It’s so overly dependent on both formula and nostalgia that it just ends up being a dull cash grab.

New Orleans-based scientist turned tour guide Ben (LaKeith Stanfield) is in such a state of grief that he’s drifting through life, until a surprise visit from a priest (Owen Wilson) offers a chance at putting his unique skills to the test, or at least making a wad of cash. The job? Visit the new home of single mother Gabbie (Rosario Dawson) and her son Travis (Chase Dillon) to help them exorcise the ghosts that are haunting them. The scale of the job is so big that they need to rope in a medium (Tiffany Haddish), a historian (Danny DeVito) and a spirit entrapped in a crystal ball (Jamie Lee Curtis). But, with their lives in increasing danger, can they stop the mysterious malicious force that may doom them all?

Look at the cast involved. The talent. The charisma. The screen presence. Now, imagine they are given an overly plotted, poorly dialogued script and occupy a screen full of some dodgy-looking special effects. There, now you’ve pretty much seen the film and I’ve saved you 123 minutes of your lives. And you’ve not had to endure Jared Leto. You’re welcome.

The really frustrating factor here is that it feels like such an own-goal that should have worked, but really doesn’t. It wants to be a Ghostbusters or Coraline, and it has the potential to do so with it’s grief-leaning storyline, but instead it gets weighted down by attempts at jokes that fail to raise anybody’s spirits.

[2/5 stars]

Haunted Mansion is in UK cinemas from Friday 11th August.

Red, White and Royal Blue

Posted on by Charlotte_Sometimes

‘It’s like there’s a rope attached to my chest, and it keeps pulling me towards you.’

Any regular readers of my reviews knew there’d be a strong chance that I’d like this movie, right? A based-on-a-book romantic comedy with the enemies to lovers trope? Sign me up! Based on Casey Mcquiston’s 2019 viral book sensation – arguably one of founding pillars of BookTok – it was inevitable that a film adaptation would follow. What would be less certain, however, is how good it would be. And the verdict? A rather charming adaptation that follows the heart (if, perhaps advisably, not the full plot) of the original novel.

Alex Claremont-Diaz (Taylor Zakhar Perez) is the son of the president of the USA, Ellen Claremont (Uma Thurman). The world’s eyes are constantly upon him, and they like what they see – he’s warm, witty and personable. The only person who is seemingly immune to his charms is Henry (Nicholas Galitzine) who happens to be a British Prince. The pair become a source of gossip at the wedding of Henry’s older brother, the heir to the throne, when a cake-tastrophe occurs. Their respective advisors decide the only thing to fix things would be to stage a friendship between the pair. False platitudes quickly become real, and something far deeper than either of them ever expected forms. But can their love really be possible?

Mcquiston developed the book during the 2016 US Presidential elections, and it’s not hard to see why. There’s a hopefulness in the story being told and the world in which it resides. This is not our world currently, but maybe it could be. One day. And, for the film’s two hours runtime, we get to immerse ourselves in a world that is supportive, optimistic and LGBTQ+ friendly.

The film’s central romance between Henry and Alex is so joyful to follow, believable how it grows from texts and emails (surely some of the most realistic representation of young people using phones we’ve had in a long time!) to a deep and supportive intimacy that both surprises and scares them. In an age where romantic comedies feel increasingly PG (this scene from 2019’s Isn’t It Romantic sums it up beautifully) there’s a wonderful tactile quality to proceedings here. The use of touch between them, form the quieter moments to some surprisingly tender and sexy sex scenes. The rapport between Zakhar Perez and Galiztine is key to making their relationship so believable, there’s a palpable want and desire between their characters which writer-director Matthew López‘s dialogue expresses so swooningly. It ‘s also fiercly funny as well as romantic, packed full of laughs and funny moments. MVP has to go to Sarah Shahi as the Chief of Staff, who steals every scene she is in.

All-in-all, this is a sugary cinematic treat and an excellent addition to the (much-needed) growing number of gay romcoms.

[3.5/5 stars]

Red, White and Royal Blue is available on Prime Video from Friday 11th August.