The Odyssey becomes Christopher Nolan’s highest grossing film as it passes $1.1bn at box office

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The film-maker’s take on Homer’s epic has beaten his previous record holder The Dark Knight Rises The Odyssey has become the highest grossing film of Christopher Nolan’s career, having made more than US$1bn at the global box office less than a month after its release. The blockbuster, which was released on 17 July, is an adaptation of Homer’s ancient Greek epic and follows Matt Damon as Odysseus, the Greek king of Ithaca, on his perilous 10-year journey home after the Trojan war. Continue reading... from Film | The Guardian https://ift.tt/dWoDNrG via IFTTT
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My Fairy Troublemaker review – sweet-tooth animation will be gobbled up by young ’uns

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Story of a misbehaving sprite who gets access to the human world, and a fellow rebel, looks good but the story is a little flat

This German-Luxembourgian animation is a passable if unambitious hour and a half for under-10s, heavily in the orbit of Pixar both in terms of visuals and in its central conceit of the business of tooth-fairying as a Deliveroo-esque big-tech courier outfit. But unlike Inside Out and Soul’s pint-sized explainers of the psyche, there’s virtually no philosophical sprinkling on the cupcake here. Not that that will stop the young ’uns from gobbling it up anyway – but they might have enjoyed something more nutritious.

The exam to become a fully accredited tooth fairy seems easy enough. As the would-be disco earworm at the start of My Fairy Troublemaker has it, “Sneak inside, take the tooth, make the toy, and disappear!” Cookie-scoffing, misbehaving Violetta (voiced by Jella Haase) is the only apprentice who fails to make the grade, unlike her swotty mate Yolando (Julian Mau). Stuck in her belief that she’s really “the most special tooth fairy ever”, she steals a gem that allows her access to the human world. But in hijacking Yolando’s assignment to obtain an incisor from city kid Sami (John Chadwick), she finds an ally in his older stepsister Maxie (Lisa-Marie Koroll) when she is trapped in our reality.

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