Joan’s warmth and intellect both complements and is a counterfoil to Turing’s personality. While his sexuality did cause him problems in his native England, this is not a tale of tragedy but rather, one of triumph. And as Turing was told as a child: “Sometimes, it is the people whom no one imagines anything of who do the things that no one can imagine.” An affecting tale of an extraordinary human being.

Adams’ Margaret is yielding at first but gradually, her righteous indignation takes over. Waltz plays the consummate scoundrel, a wolf in sheep’s clothing, with ease. The film is largely compelling and touches upon many aspects about the dynamics of a couple’s love, along with the lengths and limits of tolerance one can have for the other.

What works greatly to the movie’s credit is the pacing (never a dull moment here!) and that sense of ‘What’s going to happen next?’
All in all, a suitable swansong for the franchise.

…apart from an engaging screenplay (Coen Brothers), cinematographer Roger Deakins’s frames are vivid and powerful and Alexandre Desplat’s score augments at optimal moments but thankfully, never overwhelms. O’Connell and Ishihara bring a stunning sense of realism to their roles, which is a great reason why you’ll want to watch this movie.

The stylishness and eerie visual sophistication creates an often unsettling, almost surreal vibe that emphasizes how disconnected they all are from the rest of the world. And the very grin-and-bear-it style Brit stiff upper lip that they try to maintain (Eve and Jean even have time for a spot of tea in the kitchen as they try to figure out what’s going on) adds to the sense of surrealism. Overall, the movie doesn’t rewrite the book of shock (despite the jump scares), but what you get is a fast-paced scare flick with an ending that could have been creepier.

This fairly entertaining kiddie comedy is full of funny little asides and exchanges that keep the pace going. And of special note is Robin Williams’ heartwarming performance, tinged with the kind of jocularity and poignancy that only he could pull off. Fun viewing for the holidays.

In short, almost everything that can go wonky with a family goes wonky and the seams that hold them together are severely tested. Given the talented star cast, the film could have tapped more of an emotional vein, which is the essence of the story – the interplay of complex emotions in a family awkwardly lumped together for seven days. Sometimes sappy and sometimes over-the-top, it is mostly enjoyable.

Exodus: Gods and Kings is ‘spectacle’ with a capital ‘S’ and in more ways than one, definitely epic.

The pace is brisk – frenzied, even – the animation top-notch and the script is full of witticisms, puns (“Drew, Barry – more power!” Or “Nicolas, Cage – the penguins!”) and there are jokes aplenty for the kiddies as well as belly-busters for the grown-ups. And of course, the penguins are simply adorable.

The jokes in the film are largely hit-or-miss. The humour is definitely of the polarising (racial jokes, etc.) variety – you’ll either find it highly amusing or in bad taste. Aniston seems like an unlikely choice for the role of a determinedly oversexed dentist dealing with sex addiction, but she adds her own brand of charm to it. All in all, a decent collection of laughs.