Run time: 123 mins Certificate: 12A Director: David Ayer Cast: Will Smith, Jared Leto, Margot Robbie. Release Date: August 5, 2016.
Suicide Plod
Many were pinning their hopes on Suicide Squad to prove the DC cinematic universes worth after the less than stellar Batman V Superman, and it had a lot going for it. Tackling a group of lesser bad guys with both writing and directing credits meant that David Ayer could let loose and have fun with the concept, something the trailers seemed to be confirming with their devil may care vibe. The end result however is a confusingly edited slog; hints of what once may have been a far better film sometimes shine through but in its gutted state Suicide Squad is an astoundingly tepid affair. For all its touting of ‘worst heroes ever’ the Suicide Squad are in fact just like any other group of uninspiring heroes, and its a fact that works against the very concept of the film from the moment they’re forced together. Say what you want about BvS, but at least it had ambition.
Despite the overall result its clear David Ayer is a good match for the Squad. His grittier repertoire of films makes him right at home when dealing with the criminal elements of the film, in particular the handful of Joker scenes we’re treated to that play heavily on the characters hard to swallow yet provocative gangster angle. Its an area he’s clearly at home in as its as ‘real’ as the film gets, albeit with a maniacal clown at the forefront, and he manages to keep the realism raw without ever losing the comic book vibrancy of the characters. This storyline is only part of what makes up the film though, and is an element that is largely ignored in its second half in favour of a far duller supernatural crisis.
Smiths charisma keeps much of the film going.
Once the team is assembled proceedings should have shifted up a gear after its numerous introductory flashbacks (how these couldn’t be spaced out throughout the film is beyond me) but rather it slips into neutral, happily coasting on uninspired battles with mindless mobs and smatterings of forced character development in between. The worst act our supposed bad guys commit is some looting, beyond that they all get on relatively well and fall in line when the day needs saving for no reason other than they have little else to do. Some of the editing only exacerbates the by the books script, with one example in particular having a member of the squad decide to leave in one scene and magically reappear in the next with no reason for returning whatsoever. The final cut seems to be set on dropping the more interesting sub stories in favour of paving the way for the uninspired finale, a trend DC needs to grow out of if wants to present more accomplished stand alone films, let alone coherent ones.
Not all is lost however, as many of the individual elements that make up the disappointing whole are very well done. Kate Hawley’s costume design deserves special mention as each of the characters get ups are bespoke but fitting of the grittier universe they inhabit. Roman Vasyanov also brings his claustrophobic flare from End of Watch in his cinematography here, shooting the more intense scenes deftly whilst also managing to present wider shots fitting of some iconic comic panels when needed. The haphazard soundtrack is both hit and miss in its unashamed attempt to coin in on Guardians of the Galaxy mix tape approach, with some scenes working well and others like Harley Quinns elevator ride set to K7’s ‘Come Baby Come’ coming across as gratingly forced.
Love him or hate him, the Jokers role was disappointing.
The cast do impress across the board even if they often find themselves working against the script. Will Smith’s Deadshot is frankly what you’d expect from a Will Smith role as he brings his endearing charm and comedic delivery to each and every one of his scenes and hopefully cements himself for a future appearance in the DC line up. Margot Robbie’s Harley Quinn is every bit as dastardly yet appealing as hoped, even though the film often struggles to justify her role in the team. Viola Davis again nails the character of Amanda Waller despite the films numerous attempts to undermine her no no-nonsense appeal, her cold calculative demeanor often being questioned by some of her dumb founded decisions. The other stand out is easily Jay Hernandez’s Diablo who brings a tangible sensitivity to the repentant mass murderer throughout without ever losing the characters edge, his pivotal scene of back story being one of the few that genuinely hit their mark.
The rest of the ensemble cast all fill out their roles well, with Jai Courtney’s Boomerang being surprisingly likeable, its just a shame that they’re given too few a moments to make their own. Adewale Akinnuoye-Agbaje’s Killer Croc for instance barely says a word, and not in a good way à la Groot or Chewbacca either. Ben Affleck returns as the caped crusader for all too briefer time, but he again commands the role both in and out of the suit. Last but far from least in terms of anticipation had to be Jared Leto’s new take on the Joker, and frankly given his relatively small screen time its still hard to judge. As polarising as his appearance may be, it did seem as if he was trying something new in each of his scenes complete with costume changes, and for every eye rolling laugh through a tattoo there was a visually striking dive into Ace chemicals. Leto certainly won’t win anyone over with his performance, but he may certainly make an impression down the line given more of a chance.
Verdict
The Suicide Squad had it all; a fitting director, a stellar cast and a unique concept. While it may have been understandable if it failed to accomplish all it set out to do like its grander predecessor what’s even more disappointing is that it never even tries. Instead our group of bad guys save the world from a cookie cutter threat whilst not acting all that differently from an average bunch of super heroes, and even then the result is muddled after editing. In playing it safe Suicide Squad loses the very essence of what could have made it great, here’s hoping its individual achievements survive to see a better film.
Hits
+ Great all round cast, particularly Smith, Robbie and Davis + Ayers right at home in the Jokers gangster centric scenes
Misses
– Being bad guys they aren’t all that bad – Lacks momentum or any sense of urgency – Heavy handed editing is nonsensical in places – Bland villain and plot drags down the Squad – Not all of the cast are given time to impress
Run time: 122 mins Certificate: 12A Director: Justin Lin Cast: Chris Pine, Zachary Quinto, Karl Urban. Release Date: July 22, 2016.
Boldly going where many have gone before.
Its a relief that with the new Star Trek crews third outing they seem to have finally found their place in the universe. The light adventurous tone matches the charm of the original series while the characters, still as perfectly cast as ever, are given some of their best interplay yet. Unfortunately its taken until the third entry for the franchise to find this balance, and in many ways Beyond feels like the first entry in a series where the story takes a back seat in order to set up the characters and spirit of what’s to come in future installments. Nothing ground breaking then, but with it Star Trek is definitely in the right place for moving forward, especially after the divisive Into Darkness.
Those who were apprehensive about Justin Lin directing a Star Trek film will soon be won over in the opening moments alone. Kirk’s monologue on his doubts regarding their 5 year mission is frankly one of the better moments the reboot series has offered, just one of Simon Peggs and Doug Jungs’ scripts finer moments that stand out amongst the otherwise light affair. Accompanied by swooping views of the Enterprise Lin manages to capture a wonderfully sombre tone amidst the wonder without imbuing any unnecessary darkness or grit, an early indication that Lin and his team get what makes Star Trek special. What follows is a decidedly run of the mill affair that, after the jaw dropping destruction of the Enterprise, all too happily falls back on generic plot beats. While the story may offer little in the way of Star Treks trademark intellectual elements to engage with, its simplicity does pave the way for Lin to handle both the cast and the pace with impunity.
Bones and Spock almost steal the show.
From the moment the crew crash lands Lin takes every opportunity to play with their comfort zones through splitting them up. The most mismatched of these pairings has to be Bones and Spock and is all the more enjoyable for it, yet as effective as the approach is it does see some of the crew end up in far less engaging scenarios such as Sulu and Uhura’s relatively static prisoner scenes. Surprisingly for a director of Lin’s pedigree the action often comes up short, with some of the more physical encounters in particular falling victim to some choppy camera cuts. When its on a grander set though he shines as usual, with sequences from chaotic space battles to Kirk’s motorbike escapades touting an effortless sense of scale without ever breaking the flow of the scene. Some aspects, such as the love it or hate it Beastie Boys scene or the overly familiar finale may give audiences pause, but for the most part you’ll be enjoying the ride too much to notice. As expected all of this is bolstered by some exemplar effects, with the reliance on practical sets helping no end in selling the alien planet the bulk of the film inhabits.
The returning cast all slip back into their roles like a second skin, except for the strange omission of Into Darkness’ Alice Eve who’s disappearance is never explained, and are given ample chance to flesh out their respective roles. Chris Pine is an admirable Kirk once again, bringing the same bravado typical of his 60’s counterpart whilst also getting to grips with some of his characters personal troubles this time round. Zachary Quinto and Karl Urban have some great interplay as Spock and Bones respectively, offering one of the more entertaining through lines of the film as they predictably clash. Urban in particular is clearly having a good time here and offers some of the best laughs in the film. Pegg, Saldana, Cho all hit their mark once more, even though the latter two are given little to do this time round. Its also a shame that this will be the late Anton Yelchins last turn as Chekov as he brings his trademark enthusiasm and energy in his handful of entertaining scenes alongside Pine.
The practical effects and makeup sell the wonder.
The new faces are all welcome additions, even if they too struggle to make an impact in the fairly crowded screenplay. Sofia Boutella’s Jaylah is a delight to watch and excels in her action scenes though her character never develops beyond her cliché origin, unfortunate given she’s enjoys a lions share of the screen time alongside Pegg. Idris Elbas villainous Krall suffers a similar fate, as an interesting reveal comes far too late in the game for his character’s arch to be truly realised. He’s a formidable opponent for the crew as is, but its hard to shake the feeling that there was a far better villain waiting to be fleshed out before being cut short by the films roller coaster pace.
Verdict
Star Trek Beyond is a quintessential Star Trek experience, like an extended episode put to the big screen with a dream budget. It may come slightly too late, being the third film in the franchise, and at the cost of an interesting plot, but there’s no doubt Justin Lin had the right vision for getting the series back on track. An enjoyable ride that captures the spirit of the originals then, just don’t expect to think about it all that much after the fact.
Hits
+ Justin Lin captures the spirit of Star Trek + Chris Pine excels as Kirk, especially in his monologue + Jaw dropping destruction of the Enterprise + Perfectly cast crew…
Misses
– …though some are given little material – Passable but run of the mill plot – Elba’s reveal comes too late to play out
Run time: 144 mins Certificate: 12A Director: Bryan Singer Cast: James McAvoy, Michael Fassbender, Jennifer Lawrence. Release Date: May 27, 2016.
Days of Glory Passed
After Matthew Vaughn injected new life into the tired X-men franchise with First Class, Bryan Singer managed to follow up his groundwork with the well crafted Days of Future Past. Its disappointing then to see that after this turnaround for the series it slumps right back into Last Stand territory with its newest entry. Its predecessors haven’t been perfect, but they have committed to seeing through some of their more complex themes rather than chase the usual comic book action schtick. Apocalypse however is generic in the worst possible sense. Its story half baked, the characters barely see any development, and those that do have been through these motions before. Being generic isn’t necessarily a bad thing if the quality is there, but when each and every scene is run through to the next as if Singer has switched into auto pilot for super hero blockbusters the end result can’t be viewed as anything but lazy.
X-men: Apocalypse isn’t necessarily a write off, but it only achieves success on the most base of levels. It ticks many of the boxes for X-men film fans, but when its predecessors have done that and more you’re left asking yourself whether it was worth building to this point. There’s mass destruction as the title implies, some genuine heart behind Magneto’s out of character but well executed arch and some genuine fun to be had seeing Xavier’s school for gifted youngsters come along. Its just that much of this is what’s expected of the franchise at this point, a given if you will, and its all that there is to enjoy amidst the uninspired chaos the screenplay doles out.
New faces have little time to differentiate themselves before being forced into matching outfits.
An early discussion of Star Wars (the students viewing of Return of the Jedi being perhaps the only reference to it being the 80’s apart from the costume design) is oddly self referential, their agreement that “the third one was the worst” a shameless stab at Ratner’s much maligned Last Stand. But what they’re saying is worryingly true of this third installment as well. “There wouldn’t be any without the first” chimes Jean Grey as you begin to realise Days of Future Past owed far more to First Class than you initially thought. Now in Ratner’s shoes Singer desperately tries to recapture the past glories of the franchise, losing sight of creating something original along the way. One sequence involving nuclear warheads falls flat in its attempt to replicate the similar tensions found in First Class. Likewise a repeat trip to Stryker’s lab is seemingly random in terms of plot and once more fails to match the effectiveness the setting had in X-men 2. Oh and Quicksilver? He’s yet another one scene wonder, and that one scene harks heavily back to his brilliant Days of Future Past moment.
What’s new in Apocalypse is a fairly mixed bag. The big bad himself is both intimidating and comical in appearance, succeeding in conveying a genuinely ominous presence whilst at the same time remaining disappointingly vague in terms of motivation. He’s certainly on a mission, but you’ll never know why; a particularly confusing omission considering the claims of his powers of persuasion. The young batch of new but familiar mutants all serve their purpose but nothing more, and the four horseman (once horsemanified) do even less apart from Magneto.
Apocalypse can be an ominous villain.
Again this may not have been so bad if they delivered in terms of spectacle when it came to the action, but the battle royale it culminates in is oddly bland given the array powers there are to play with. The final confrontation is perhaps the greatest offender; putting forth a solid ten minutes of action seemingly devoid of any movement (quite literally). Its even finished with a lack luster flourish after teasing what could have been a far more clever twist to end the monotony. Haphazard CGI doesn’t help matters either when so much of the destruction relies upon it, with some shots such as Psylocke running across a rooftop (fully computer generated herself for no reason) frankly being hard to take seriously. With so much destruction happening off screen it all comes across as jarringly detached, with the staggeringly high death toll barely affecting those on screen let alone the viewer.
James McAvoy and Michael Fassbender once more slip into their roles effortlessly, but its a shame that all the material they’re given is the same they’ve tackled twice before with no new ground to tread. Oscar Isaac certainly shows range as Apocalypse despite being caked in prosthetics but his efforts rarely land given that the script offers zero depth for its titular character. Jennifer Lawrence’s Mystique is once again placed in the spotlight despite everything, an even more difficult choice to get behind given her fatigued delivery of each and every line. Evan Peters still has fun as the likeable Quicksilver, but is hampered by being utilised as a set piece early on only to be overlooked as a character. The newer faces are all serviceable, though some such as Jubilee and Angel offer nothing to the proceedings, but are mostly lost in the mix given the size of the cast. And last but not least, the trailer spoiled cameo of Wolverine is a delight to see, but is made harder to enjoy given the fact that the film goes out of its way to make it possible, pacing be damned.
Verdict
X-men: Apocalypse ticks all of the boxes for a summer blockbuster, and the Fassbender/McAvoy duo deliver once more. But apart from a handful of well executed moments and laughs it all seems hollow, trudging from scene to scene with little heart or care for the characters the series has built up. Unfortunately these characters are robbed of their individuality long before they’re suited back in the matching black leathers. Bryan Singer’s Last Stand then, an uninspired end to what could have been so much more.
Hits
+ McAvoy and Fassbender chemistry. + Brutal cameo delivers. + Goes big in terms of action and cast…
Misses
– …but fails to make either of these resonate. – Apocalypse undermined by his lack of motive. – Reliance on past material to carry the film. – Newcomers are given little chance to make an impression. – Jennifer Lawrence lacks charisma. – Poor effects hamper the grander action.
Run time: 147 mins Certificate: 12A Directors: Anthony and Joe Russo. Cast: Chris Evans, Robert Downey Jr., Sebastian Stan. Release Date: May 6, 2016.
Marvel at it all.
Civil War is a big film, one so big it could have fallen apart easily if it were in the wrong hands, but Joe and Anthony Russo pull it all off deftly. Its both a bombastic smack down of heroes and an emotionally driven thriller, both a culmination of the past 8 years of scene setting the previous Marvel entries have built and a deeply personal tale for the franchises two front men. This is a bar setting event of a film that, like its comic counterpart, will be discussed long into Marvel’s future. Flawless then? Pretty much.
The simple crux of the film is perhaps its main strength. Its a busy scene, with what is arguably the biggest roster of heroes on screen at once, but every character and plot thread is attended to. The heady political cause for the rift in our Avengers is never tip toed around, leading to some sharply written discussions that already deliver before anyone starts throwing punches. Catching War Machine label Captain America as ‘dangerously arrogant’ is just the beginning, and these handful of discussions will have audiences dreading what’s to come with their pinpoint delivery. No matter who’s disagreeing with who however, everything is anchored by the relationship between Cap and his brainwashed pal Bucky and the mission they share. Having this simple but rawly effective thread drive the narrative is a stroke of genius, giving the epic action and personal finale a through line for the audience to care about no matter what. Sometimes the cogs can be felt turning events into place and the film almost globe trots too much for its own good but it never holds the pace back given the urgency of what’s unfolding in front of you.
Black Panther is a brilliant new addition to the universe.
Having such well developed characters truly helps sell the divide as well, as series veterans and newcomers alike are given well defined motivations, and even those who aren’t given as much screen time generally benefit from having had their personas established prior to even appearing here. You don’t need to be a Marvel buff to understand each sides argument, but Christopher Markus and Stephen McFeely (writing for Captain America for the third time) don’t shy away from drawing from these characters histories either making these some of the most organic representations written. Tonally this comes across as Marvel’s most confident film yet as well, the Russo’s juggling the cerebral and darker elements along with the levity of the larger than life characters ably, never losing sight of the purpose of each scene to the action or laughs.
Its a wonder then that with so much to achieve in terms of plot and dialogue that Civil War is probably the most action packed Marvel outing to date. From its taut opening sequence to the battle royale on the runway touted in its trailers, Civil War weaves in jaw dropping sequence after jaw dropping sequence, each one so fresh and often introducing a new heroic combatant that fatigue is never in danger of setting in. The Raid-esque influences are intact in Captain America and Bucky’s sublimely shot stairwell escape, the grandiose scale of the Avengers films displayed and bettered in later hero on hero battles, and throughout every sequence the choreography remains truly impressive. All of this is elevated by Trent Opaloch’s defined cinematography, panning angles and still wide shots capturing the action no matter how frantic it gets. Henry Jackman’s subdued score once more delivers as well, his staple electronic beats complimenting the thriller elements well again. More importantly though he fully succeeds in providing gravitas for the grander scenes when needed, his rousing orchestral piece accompanying the airport clash in particular being a prime example.
Things get personal.
The moment the Civil War itself is realised on screen in all its glory is a work of beauty, as the two teams charge towards each other to battle in what will likely be called the greatest superhero battle put to screen. Incredible stunt work and seamless CGI is put together in a lengthy battle sequence that somehow manages to give everyone their share of the action and a hilarious quip or two without ever underselling the weight of what you’re witnessing on screen. As expected Spiderman is a joy to watch, almost on scene stealing form, as he swings into battle feeling right at home finally amongst his comic book fellows. Special mention has to be given to Antman as well, his antics and surprisingly ingenious tactics adding so much to the already dizzying battle. Its telling then that the Russo’s still manage to deliver a heart pounding third act even after all this spectacle, dialling down the scale for a far more intimate finale that culminates in what is surely Marvel’s most emotionally charged battle. What makes all of this action all the better however is the fact that the two sides are never clearly cut, and even come that heart wrenching finale you’ll still be unsure as to who you’re backing.
The newcomers on the scene here feel right at home amongst the other Avengers. Tom Holland’s much anticipated turn as Spiderman is just excellent, both in and out of the suit, and from the moment he starts playing off of Tony Stark you’ll have forgotten all about the characters previous incarnations. Chadwick Boseman’s Black Panther is the films biggest new asset though, providing a fresh outsiders perspective on the drama that unfolds whilst remaining compelling and intimidating both in and out of the suit. Daniel Brühl’s turn as the villainous Zemo is particularly chilling, and he manages to sell the mystery behind the man right up until all is revealed. He’s a refreshingly grounded villain that remains true his more flamboyant comic counterparts aspirations without ever detracting from the main conflict between our heroes.
Tom Holland steals the show as Spiderman.
The veterans of the Marvel universe all turn in their best performances here, particularly in Chris Evans and Robert Downey Jr.’s case as their given some of their finest material yet. Evans once again slips into the role Steve Rogers naturally, bringing the moral immovability of the character to the fore in a convincing way. Even when he finds himself on the other side of the law for Bucky’s sake Evans performs with such physicality and conviction you’re never in any doubt as to how far he’ll go for what he believes in. Playing opposite a more fractured Tony Stark, Downey Jr. bringing his all to the role in ways never seen before, highlights how these virtues could also be considered flaws. Downey Jr. is far more subdued as Stark, joking less given how far the character is pushed as the film transpires, but from his surprisingly effective opening scene this is the most human Stark has ever been. The chemistry between the two is tangibly raw, the knowing glances and vocal scuffles hit home the differences between the two that have been boiling under the surface up until now. Fans of the heroes won’t enjoy seeing the relationship unravel, but the acting chops behind the two undoubtedly sell it.
Between the two lies Sebastian Stan’s Bucky in another fittingly conflicted turn as the tortured assassin. Given that his character drives much of the plot whilst remaining mentally scarred Stan pulls it off well, and to see his character develop as his mind becomes his own leaves you wanting to see more of the man behind the assassin. The rest of the supporting cast fare well, Anthony Mackie’s Falcon and Scarlett Johanson’s Black Widow particularly coming into their own as the characters find their place both in the debate and the frenetic action. For such an ensemble piece even the smaller roles deliver in the time their allotted. Elizabeth Olsen and Paul Bettany sell their minor thread well; and Jeremy Renner, Don Cheadle and Emily VanCamp all deliver the goods they have before in their respective roles. The inclusion of William Hurt as General Ross is also a boast of the continuity of the universe that wasn’t vital but makes the premise all the more credible for its inclusion. Lastly it cannot be overstated how much Paul Rudd’s Antman adds to the team dynamic in his few scenes, his comedic delivery bringing the laughs reliably whenever he was tangling foes way above his weight class.
Verdict
Civil War is Marvels biggest and boldest film yet, but at the same time it delivers one of its most personally driven drama’s to date with its most uncompromising storytelling to boot. The way in which it gives its enormous roster of heroes all their due is impressive, but at the same time Evans and Downey Jr. remain the heart and soul of this superhero royal rumble to the very bitter end. The Russo’s have done it again then, and this time on an unprecedented scale. Avengers: Infinity War couldn’t be in safer hands.
Hits
+ Russo’s give the massive cast their time to shine… + …but this is a culmination of Captain America’s films at its core. + Chris Evans and Robert Downey Jr. bring their all. + Boseman, Holland and Rudd are particular stand outs. + Intelligently written, emotionally driven and tonally spot on. + Immensely choreographed action no matter how big. + Stirring orchestral themes from Jackman. + Act 2 and 3 bouts are new benchmarks for hero action.
Run time: 105 mins Certificate: PG Director: Jon Favreau Cast: Neel Sethi, Bill Murray, Ben Kingsley. Release Date: April 15, 2016.
A Bear Necessity.
To describe how refreshing Jon Favreau’s adaptation of The Jungle Book is would be almost impossible, in an age of countless needless remakes it could have been set to go down the same path, but instead he’s delivered a delight of a film that pays as much a homage to the Disney original as it does the Kipling source material. Placing itself deftly between the musicality of the cartoon and the more fable like qualities of the book it manages to create wonderfully balanced world all of its own, one with equal charm and drama that will appeal to any age. Simply put this is Disney back on classical form.
The beautifully crafted world and animals will strike you immediately, with an eye on realism at all the times the CGI is undoubtedly some of the best to have ever been put on screen. As with all effects laden films though, there can be some disparity in the quality. Seeing Mowgli ride down the river on Baloo’s stomach is brilliantly realised, whereas another moment that sees Mowgli being taken through the trees by an assortment of monkeys looks more than a little odd. Likewise it takes a moment to adjust to seeing such believable animals talk so casually, some characters mouth movements never quite looking credible, yet admittedly there came a point in the film when I forgot even noticing it. It all takes a little getting used to then, but once you’re invested in the world there’s no denying the beauty with which it has been crafted.
Ben Kinglsey’s Bagheera is a commanding figure.
Favreau shows a clear attention to detail throughout, building the mythos behind this animal kingdom subtly without ever endangering the plot or characters. Ben Kingsley’s Bagheera works as a pseudo narrator, establishing aspects of the world such as the much respected elephants (far from marching this time round) to add a level of depth to the proceedings. Children won’t be lost with any heavy messages, but its does take it beyond the simplistic man versus nature motifs it could have easily relied solely upon.
There is time for levity as well however, not only from Baloo either, with two songs from the original animation returning to great effect. John Debney’s soundtrack is well done, weaving the same classic tunes into its rousing orchestral themes to evoke a nostalgia in any Disney fan. All of this is then framed expertly by Bill Pope’s cinematography, using panning shots and close ups in equal measure to emphasize the breadth of scale in this fantastical world. One instance where the camera follows an enormous King Louie clambering around the sides of a courtyard as Baloo and Bagheera struggle below was a jaw dropping shot that sold the scene with a stunning intensity that’s rare in such effects heavy features.
Christopher Walken dominates the screen as King Louie.
What binds the dramatic tones with the whimsical fantasy of it all is without a doubt the spot on voice acting. Few of the famous characters are replicated from Disney’s previous iteration, rather they’re developed further or reinvented entirely. Bill Murray’s con artist Baloo lights up the film from the moment he appears, providing some much needed comic relief to the relatively sombre opening. His comic delivery is as spot on as ever, and he gives some genuine heart to the character. Likewise Kingsley’s regal tones imbue Bagheera with his trademark wisdom, whose chemistry with both Mowgli and Baloo arguably provides an anchor to the majority of the films more poignant scenes. Idris Elba revels in the villainy of Shere Khan, and in taking the big bad to some truly dark places gives the protagonists and audiences alike something to genuinely fear. Christopher Walken’s King Louie (an enormous gigantopithecus this time around) steals his scenes with his mafioso like turn as the character, his rendition of Swingdance managing to be both joyous and terrifying at the same time. Perhaps the only disappointment here is Scarlett Johanson’s Kaa who, despite being animated exquisitely in her mesmerising scene, turns in a performance absent of any of the hypnotic qualities of the character she’s portraying.
Considering this is Neel Sethi’s breakout role as Mowgli, and that he’s the only character physically on set, he performs admirably. Portraying the cock sure attitude of Mowgli whilst interacting with co-stars made up entirely of CGI animals inevitably leads to some stiffness and moments of over acting, but the enthusiasm with which he approaches every aspect of the role keeps the character from ever feeling detached from the world he’s inhabiting, which is no mean feat.
Verdict
Once the whimsical credits begin to roll to the timeless Disney songs there’s little doubt left that The Jungle Book was a remake that fully deserved to be made. Favreau’s cognizant approach marries the best of both worlds, weaving the depth of the book into the playfulness of the Disney original to form an iteration that’s entirely its own. Astounding computer effects, a believable lead and an esteemed voice cast all ensure this classic tale finds its place in modern cinema.
Hits
+ Balances dramatic beats with humour perfectly + Surprising depth and emotion + Cast impress across the board + Musical beats implemented into the soundtrack + Jaw dropping visual effects bring the world to life…
Run time: 151 mins Certificate: 12A Director: Zack Snyder Cast: Ben Affleck, Henry Cavill, Jesse Eisenberg. Release Date: March 25, 2016.
Zero Lex Appeal
With an enormous marketing campaign having dominated the internet for months before its release it was clear from the off set DC were firmly putting all their eggs in one basket in the form of Batman v Superman, and therein lies its greatest problem. BvS is a cumbersome film; one loaded with so much, often superfluous, material that it struggles to tell its basic story at every turn. Even without its shoehorned extras its hard not to envision the film as a decent Superman story and a damn near brilliant Batman outing both made worse by being forced together to form a messy ensemble piece.
Frankly the films greatest shortcoming is its plot. Despite setting the titular characters up with relatively understandable motivations the script constantly goes out of its way to derail this neat premise with needless flourishes that result in more than a few plot holes along the way. The film opens (after having rehashed Batman’s origin in case anyone forgot) with a stunning sequence that sees Bruce Wayne speeding through the streets of Metropolis to the aid of his staff trapped amidst the chaotic battle we saw at the climax of Man of Steel. Its tense, ties into Snyder’s previous entry seamlessly and establishes a reason for Batman’s distrust of Superman right off the bat. Moreover its enough to establish how humanity see Superman (through the eyes of Bruce). But Snyder then skips to Africa for yet another, albeit smaller in scale, case of Supermans actions being open to debate. Its just one of many instances of a scene that simply didn’t need to be, and it only further complicates the tangled plot. Jessie Eisenberg’s Alexander Luthor (son of Lex) factors into much of this confusion, his psychotic billionaires schemes tangling the plot to nonsensical levels without a hint of any solid motivation.
Not to mention the fact that the film throws dream sequence after dream sequence at the viewer to little effect. Some of these are amazing, Batman’s foray into a post apocalyptic future is likely to make any comic fan giddy, but being that these sequences have zero impact on the events at hand you can’t help but wonder why they weren’t cut let alone filmed in the first place. The greatest offender however lies in how we’re lazily treated to cameos of other future Justice League members in what is perhaps the worst case of desperate universe building that has ever been put to film.
There’s more than a few biblical undertones to proceedings.
There is a lot to appreciate about BvS however. The main event does impress when our heroes clash despite being only a part of what the overall film is concerned with. As if the Dark Knight Returns had been made real, Batman uses contraptions a plenty in a bout that plays out as if it had leapt from the pages of the comic. Refreshingly its conclusion is quite original to the film and lands its emotional punch, capping what is arguably DC’s most authentic live action work before the cookie cutter finale rears its head. The Doomsday rumble that follows (a moment regrettably given away in its trailers) is all good fun despite how rushed it feels, and once Gal Gadot’s Wonder Woman joins the fray it almost all feels worth it. Superman gets to finally be heroic, Batmans gruff banter feels right at home and Wonder Woman is a well choreographed fighting machine. Despite the troubling first two acts the film suddenly just works.
Visually each and every scene is arresting. While the dark colour scheme is perhaps too reminiscent of Watchmen at points there’s no argument as to how well crafted each frame is by cinematographer Larry Fong. Every other moment is a trailer shot oozing with wonderfully realised art direction and costume design worthy of praise. Despite his indulgences Snyder also brings a dramatic flare with his direction that makes sure the dialogue pops even when Terrio and Goyer’s script underwhelms. Even when our heroes act out of character and argue with little motivation Snyder makes sure the proceedings are at least engrossing. Hans Zimmer and Junkie XL’s score is perhaps the most surprising misstep, with some of its more dramatic themes and an introduction of an electric guitar in a later piece nearly drowning out the spectacle of the scenes themselves with their heavy handedness.
Batman’s dreams are incredible but never amount to anything.
Much like the rest of the film some of the cast struggle. Ben Affleck’s Batman is quite possibly the best committed to screen, bringing a suaveness to Bruce and a raw brutality to the Bat that makes you fear the bone breaking vigilante as much as the criminals do. Henry Cavill dons the cape effortlessly once more, and despite being given little emotional range to work with sells the world weary take on the character convincingly. Eisenberg’s Luthor however drags the villains side down, his Joker like quips and twitches serving to annoy rather than menace whilst undermining his characters apparent intelligence, a shame considering he’s given what feels like the most dialogue of all. Gal Gadot’s Wonder Woman entertains thoroughly, though she’s given little time to make an impression, and leaves the viewer wanting more.
Supporting players such as Laurence Fishburne’s blunt Perry White and Jeremy Irons’ wry Alfred elevate their scenes with spot on delivery of their lines, making even some of their cornier quips hit their mark. Amy Adam’s Lois however is woefully under served. Despite turning in a decent performance she’s never given a chance to be anything more than a plot device constantly in need of saving (multiple times) by Superman. Like Lex Luthor, her character is brought down by the scripts need for her to fill a role by any means necessary.
Verdict
BvS is a missed opportunity, an event that had so much potential brought down by uneven pacing and a script so intent on setting up throw downs that it throws its characters motivations aside. Despite itself though the heroes impress, with Affleck’s Batman grabbing the audiences attention every time there’s crime to be fought in Gotham or super humans to keep up with. For comic fans who’ve been waiting to see the likes of Miller’s Batman jump out of the pages then BvS is arguably a must see, otherwise it may be best to wait for all the spectacle to be framed in a coherent plot that pays attention to serving the characters as much as it does the action.
Hits
+ Affleck’s Batman. + Visually stunning + Snyder delivers some brutal and varied action + The trinity delivers
Misses
– Nonsensical plotting at points – Underwhelming script slows the pace – Character motivations thrown aside – Eisenberg’s Lex isn’t compelling – Intrusive cameos and foreshadowing. – Lois Lane relegated to a hopeless plot device
Run time: 124 mins Certificate: 12 Director: Colin Trevorrow Cast: Chris Pratt, Bryce Dallas Howard, Ty Simpkins. Release Date: June 12, 2015.
How to train your dinosaur
There’s no doubt that there was a great deal of pressure on Colin Trevorrow to deliver given that the previous outing for Jurassic Park without Spielberg at the helm was far from stellar, and indeed saw the franchise struggle to make it back to the big screen for 14 years until now. Its a great relief then that Jurassic World is a good film, great even. Its a familiar set up to the first, having the (this time fully operational) park go into disarray allowing the dinosaurs to wreak all kinds of havoc. Much like the new hybrid dinosaur on the block however, World may be the familiar T. Rex or Jurassic Park at first glance, but with each new scene comes an unexpected twist on the old formula. Throwing new spins on the well worn scenario inevitably leads to some elements going awry, but for the most part these flourishes hit their mark.
The plot takes its time to reach its stride but once the Indominus is loose Jurassic World never lets up. The final act here is exceptional as Trevorrow bombards the viewer with top notch action and surprises aplenty (the trailers give little away thankfully), ending it all with a finale that’s bound to have fans of the original applauding. The humans in danger this time round develop as the action ramps up, with the initially stiff Claire (Bryce Dallas Howard) improving particularly well amidst the chaos. It helps that she has Chris Pratt’s Owen Grady to play off of, with the underlying theme of corporate interest versus ethics playing out in their discussions. Unfortunately however this is about the only theme Jurassic World boasts, and without the intellectual debates of original present to lend a sense of intrigue to ongoings the human drama is often left feeling light on substance.
The crew are a likeable bunch.
Its never all that much of an issue though as Claire and Owen’s struggle darts from one great scenario to the next, but the pace does fall victim to the plodding Ingen sub plot at points. Vincent D’Onofrio’s Ingen bully butts in on numerous occasions to foreshadow what will surely be a plot thread that runs through the sequel, but he’s forced to sell such absurd motives that its a wonder he wasn’t aided by CGI himself. Its not a badly acted role per se, but its one that often sticks out as an obvious plot device for driving events forward and that threatens to take away the films otherwise admirable self contained approach. There is a lot to like about some of these overarching plots however, as well the numerous call backs that come with them. A debate between the returning Dr. Wu and the parks new funder that echoes a scene from the book which never made it into the original film is a particular highlight, and if anything seems even more aptly placed in this new story.
On the other hand the dinosaurs are handled more consistently, more characters themselves this time round than ever before. The Indominus Rex is a fantastic big bad, its vicious streak and genetic trickery making for some exhilarating sequences as it dispatches dinosaurs and humans alike. And for those afraid that the raptors have lost their teeth? Don’t be. Scenes that in the trailers appear to be jumping the shark, such as Pratt’s Velociraptor gang, are well and truly earned by the time they occur in the film. Across the board the attractions are given more of the spotlight than ever, and the attention to their characterisation as animals rather than mindless threats often elevates their human co-stars. For instance one scene that has Owen comforting a wounded Diplodocus strikes an emotional cord you frankly won’t be expecting amongst all the mayhem. As expected there is an over reliance on CGI to achieve this, with the staple animatronics only making one appearance of note. It can mute the tension in what could have been terrific scenes as the dinos are never actually there as animatronics would have been, even in close ups.
The Indominus doesn’t play well with others.
John Schwartzman’s cinematography captures the effects shots well, knowing when to close in on the panic and draw out for the grander scale; though certain human focused scenes such as those in the control room lack the same flair. Like Trevorrow, Giacchino’s soundtrack faces the same challenge of following John Williams’ iconic score, and while it shies away from delivering a new theme he does mix existing themes with some of his own dramatic tracks to create some truly rousing accompaniments to the action. It’s Colin Trevorrow and his love of Jurassic Park that brings it all together though, an impressive feat considering this is only his second feature film, and indeed he succeeds in crafting a Jurassic Park film fit for today’s newcomers and long time fans alike.
Chris Pratt once again heads up an impressive cast as the reliable man’s man who’s genuinely invested in the livelihood of the dinosaurs, selling some great emotional connection to his computer generated protégé’s. Its Bryce Dallas Howard’s Claire who’s the real driving force of the film though, with Howard portraying her character arch authentically considering it develops within a dinosaur infested park. Ty Simpkins and Nick Robinson give the adolescent duo some genuine heart, just as well considering they spend much of the film with only each other as company. The rest of the cast may be broadly painted but are well portrayed nonetheless. Irrfan Khan is the most likeable thing on screen as the billionaire successor to Hammond, his larger than life Mesrani beaming with child like wonder despite some of his awkwardly written comedy. The originals blundering Nedry may be a master spy in comparison to Hoskins when it comes to subtlety but D’Onofrio embraces the role nonetheless and helps sell what could have been a far worse off plot thread. Lastly the return of BD Wong as Dr. Henry Wu does add a great sense of continuity to the franchise and he clearly has a ball reprising his character who’s now free of Hammond’s close eye.
Verdict
Like its villainous Indominus Rex, Jurassic World leans on the familiar only to surprise us with twist after twist on the old formula that worked so well 22 years ago. Granted a few of the choice plot threads hold the film back when its trying to drive forwards, but once the actions in full swing little can get in the way of its momentum. Sparing no expense on the computer effects does harm the tension at points but at the same time it lends more character to the dinosaurs than ever before, making it arguably the best trip back to the land of dinosaurs the franchise has afforded us since the original.
Hits
+Great new twists on the old scenario +Howard and Pratt head up a great cast +Final act truly delivers +The Indomnius Rex makes for a great big bad +Dinosaurs are better than ever…
Misses
–…despite an over reliance on CGI –A few choice sub plots bog down the pace
Run time: 169mins Certificate: 12A Director: Christopher Nolan Cast: Matthew McConaughey, Anne Hathaway, Jessica Chastain. Release Date: November 7, 2014.
Cosmic praise.
Interstellar is one of the most ambitious science fiction films made in recent years, an emotional tale told in an intelligently crafted universe, its almost everything a science fiction tale could hope to be. Christopher and Jonathan Nolan have taken care to make sure the science that drives the mission always makes sense within the context of the film (you won’t be scratching your head every other second) and take great pleasure in emphasising both the beauty and harsh reality of this uncharted space. But despite the grand spectacle against which the mission to save mankind takes place, its the decision to focus on the much more personal relationship between a father and daughter that proves to be Interstellar’s defining strength. Every trial Matthew McConaughey’s Cooper faces, no matter how familiar some of them may seem, are made all the more distressful because you’ll be rooting for Cooper to make it home to his daughter.
Its the intimacy with which Interstellar approaches the central struggle Cooper faces, caught between being mankind’s last hope and being a good father, that elevates the experience as a whole. Its best not to divulge too much about the plot as its best to go in blind, but the simple astronauts on a mission structure opens up to some interesting twists and turns, especially in the final act. Some of the developments that drive events forward may evoke age old science fiction beats to anyone who’s even a little familiar with the genre but they’re all conveyed to such a standard here that you can forgive Interstellar the odd formulaic indulgence. After all seeing these genre staples unfold with Cooper at their heart makes them all the more emotionally intense, each one a memorable sequence that will remain with you long after the credits have rolled.
Alone in a foreign galaxy.
Even when Interstellar drives its human and science themes together, Amelia’s (Anne Hathaway) speech on love being a prime albeit weaker example, it succeeds in making them relevant to the grand scheme of things without ever becoming overly cheesy. Dialogue is littered with quotable lines that never come across as too unnaturally heady, the script keeping you as alert during the difficult talks as you are during its intense action. There’s even a few laughs that often reference its influences (predominantly 2001: A Space Odyssey) with a knowing wink that buffs and newcomers alike will appreciate. The epilogue is perhaps the only point where Interstellar doesn’t quite resonate on an emotional level as it has before, ending with a whimper that comes across as uncharacteristic of the resolve with which its endpoint is reached. Its far from unsatisfying however as the plot threads are for the most part all neatly tied up and the mission comes to a wonderfully ingenious conclusion; Interstellar may not leave the audience with many burning questions but it certainly leaves them touched by the events that have unfolded with an understanding of why they came to pass. Its an unexpected and ultimately gratifying takeaway from a film of this ilk.
What’s most impressive however is just how accessible the whole affair is; the human element certainly draws the viewer in before they’ve even left Earth, but its the way in which the science is integrated throughout the plot that’s even more impressive. Nolan has taken care to make sure the science holds true to many existing theories, heavily relying on elements of string theory and the like. If that sounds off putting however it shouldn’t, there’s very little in the way of exposition for its science as its only explained when the script demands it, generally preferring to remain a purely visual affair. It becomes a natural part of the narrative, just as organic as the lore of Lord of the Rings in its fantasy setting without ever compromising its real life inspirations. That’s not to say you won’t have to suspend disbelief when it toys with the facts a bit, but when its all presented so well you’ll just as easily be swept up in its wonder. And when it does lean more on the fiction side of the coin the proceedings come across as an exploration of what could be, rather than flights of fancy, remaining logical in the narrative Nolan has created.
The set design is sublime.
Its mix of practical effects and convincing computer generated imagery go a long way to convincing us of this universe, the uncharted worlds each a marvel to behold no matter how desolate they may be. The robots that assist the crew, TARS and CASE, truly stand out in every scene they have. Blocks of chrome that fold and rearrange themselves to handle any task with elegant efficiency, they’re truly a sight to behold when in action. Hoyte Van Hoytema’s cinematography frames every scene perfectly, the interior of the ship is close and claustrophobic but the vistas of the worlds are shot distantly to emphasise the beauty of the stark environments (and just how small humans are in this universe). All of this is encompassed in Hanz Zimmer’s hauntingly beautiful soundtrack that evokes classic Sci-Fi whilst remaining its own unique beast.
Matthew McConaughey is the real stand out performance here as Cooper, his down earth manner keeping his performance believable whether he’s caring for his children or charting distant planets. One scene that has him catching up on a backlog of video messages is particularly hard hitting, without uttering a single word McConaughey will have you sympathising with Cooper’s plight on a profound level. Jessica Chastain (playing an older Murphy) is excellent throughout, shouldered with a character who has just as much emotional conflict to convey as McConaughey she more than convinces and keeps the events on Earth interesting to the end. Her childhood counterpart (Mackenzie Foy) deserves special mention as well, as she solidifies the relationship she has with her father in the first act with emotion so raw you’ll feel the connection she established long after Chastain has taken her place. The rest of the cast is well rounded, but never quite hit it out of the park like these three. Anne Hathaway and Michael Caine convince as the father-daughter scientists but never have the draw of Cooper despite their interesting subplot and the other crew (David Gyasi remains very appealing throughout) remain serviceable but aren’t given nearly enough material. Lastly however a surprise addition intensifies proceedings late in the game and Bill Irwin deserves special credit for bringing the humorous TARS to life.
Verdict
Interstellar is a remarkable film, a science fiction epic that captivates with its admirable quasi-science without ever needing to confuse or lecture its viewers. Its a film with brains for sure, one that’s wise enough to know that its heart is what’s most deserving of its attention, and Cooper’s human story is one that will hit harder than any spectacle space can offer. It may not be perfect, but its a monumental effort that comes damn close; a complete story that will keep you invested from start to finish. This is pure cinema that demands being seen on the big screen, an example of science fiction that will go down with the greats and who’s influence will likely be seen in the crafting of future features long into the future.
Hits
+The science is so naturally woven in that its rarely an issue +McConaughey dominates as the endearing Cooper +Jaw dropping visuals aided by practical effects +Some truly intense sequences +Hanz Zimmer’s hauntingly beautiful soundtrack
Run time: 123mins Certificate: 12A Director: Gareth Edwards Cast: Aaron Taylor-Johnson, Bryan Cranston, Ken Watanabe. Release Date: October 27, 2014 (DVD)
Please let them fight.
Godzilla is back and arguably better than ever, but under Gareth Edwards direction he’s both a towering beast looming in the backdrop and an incredible spectacle that’s craving more of the spotlight. It doesn’t help that the human side of the story (the spotlight hog) doesn’t measure up either, offering some mild intrigue but ultimately failing to sell its characters plights. Gareth Edwards does however approach the film intelligently, effectively evoking the atmosphere of the original Japanese Godzilla films whilst throwing a fresh Western twist on it. Its all presented brilliantly as well, with some awe inspiring effects and jaw dropping designs that really add tangible scale to each and every monster scene. It may not be a triumphant return to Western cinema for Godzilla, but the strength of the titular monster and the world he’s introduced in make this iteration one worth checking out for fans of the big guy.
The plot is effectively simple, introducing the main cast of humans and monsters as they’re needed without inundating the viewer with excessive back stories or origins. There’s a lot at play here so its good to see Gareth Edwards focusing on the present action to ensure the viewers are never at a loss as to where things are headed. The origins of these beasts are explained (or potentially kept vague in Godzilla’s case) enough for us to understand them and their motivations in the first half of the film, and with Bryan Cranston and Ken Watanabe’s science types there to add weight to these revelations the intrigue is kept genuinely engaging. Its when the plot shifts its focus from those trying to deal with the monsters to Aaron Taylor-Johnson’s soldier trying to reach his wife and child that things begin to fall apart. Its a mission we’ve seen played out countless times before, and the lack of energy behind the performances and its set pieces put a stop to all the momentum the film had built in its opening act. The fact that this run of the mill human drama often steals the spotlight from Godzilla and his adversaries much of the time only emphasises the fact that its the weakest aspect of the film.
Cranston proves to be a far more engaging character.
The titular monster may be criminally shunned, but when Godzilla is given the stage he’s a sight to behold. Bigger and louder than ever he always impresses, and the stellar effects afford the beast a colossal presence. One scene that sees Godzilla crashing through the Golden Gate Bridge is particularly impressive; when Gareth Edwards does decide to show us the destruction first hand he certainly delivers. His direction ensures some jaw dropping visuals, whether you’re watching Godzilla swim alongside warships or crash through buildings, each and every shot has an ominous sense of scale to it. The fact that the monsters seem unconcerned with humanity, simply causing destruction by walking through cities, is a novel approach that also spares viewers many of the usual ‘army fruitlessly shooting monsters’ shots that seem to plague blockbusters of this scale. His MUTO adversaries, the new monsters on the block, aren’t as impressive however. While they’re given plenty of great moments both just aren’t awfully memorable, looking as if they could wander into any generic sci-fi film and be right at home.
Its odd then that the MUTO’s receive even more screen time than Godzilla himself, but all three are at odds with the human players when the camera’s focus is concerned. The most damming example of this is when Godzilla is first revealed in full and challenges one of these MUTO’s, a moment that is built up to painstakingly, but is then cut away from in order to focus on a hospital scene where we see the tail end of the fight on a TV screen in the backdrop. Cutting the battle with the hospital scene could have been effective, but omitting it completely seems unnecessary and detrimental to the build up for the final battle given that this first battle is pushed aside. Its not so much a case of the monsters not getting enough screen time however, but more an issue of their not getting the attention they deserve when they are there. When the big brawl does finally arrive however it more than delivers with some fan pleasing moments and striking visuals against the night sky of San Francisco, its just a shame the pacing stumbles so often getting there.
The scale of the action is epic.
Bryan Cranston’s conspiracy theorist Joe Brody is arguably the strongest character in the film, selling some genuine paranoia about the covered up events that have plagued his life. Like Ken Watanabe’s Dr. Ishiro Serizawa, there’s enough energy behind the performance to sell the grand spectacles they’re tackling. Its a shame they’re set aside for much of the film in favour of Aaron Taylor-Johnson’s Ford who lacks that energy to sell his personal plight, his sombre protagonist failing to engage on a personal level as intended. His performance isn’t all to blame however, as his unoriginal mission and uninspiring dialogue present him with little to make his own. The same drawbacks prevent Elizabeth Olsen’s Elle from ever impressing as well, again letting the human element of the film down in its second half. Lastly the soundtrack both impresses and deters, electrifying the action whilst also becoming almost overbearing in some of the subtler scenes. But the sound effects are however incredible across the board, and Godzilla’s roar will stay with you for quite some time.
Verdict
Godzilla is back and better than ever in a world that’s as equally well crafted. After an opening act that’s made by the likes of Bryan Cranston and Ken Watanabe the focus is unfortunately misplaced on a far less interesting human struggle, but under Edwards’ direction the looming presence of these beasts is always felt without the need for constant action. Astounding effects and design bring the towering monsters roaring to life, lets just hope that Godzilla is given the love he deserves the next time we need to let him fight.
Hits
+Godzilla is brilliantly realised in every sense +Effective camera work emphasises scale +Great scene setting sold by Cranston and Watanabe +Finale does deliver
Misses
–Underdeveloped human element –Reluctance to showcase Godzilla betrays the tension –Aaron Taylor-Johnson fails to drive the films second half
Platforms: Xbox One Developer: Access Games Publisher: Microsoft Studios Players: 1 Release Date: September 19, 2014
Revel in the details.
D4 is a bizarre game full of odd characters, but best of all its something new. A point and click adventure that sees you hoping back and forth through time to solve the murder of your wife, D4 is a refreshing experience that surprises at every turn with its oddball humour and interesting collectibles. You’ll only explore 3 rather small areas, but each one is crammed with so many things to see and do that it’ll make many full retail games look sparse with content. D4 is a truly unique experience, and therefore may not be for everyone, but for those looking for something completely different it’ll definitely impress.
D4 is built to be an episodic experience, giving us a prologue and the first two episodes in this package. David Young, our time travelling detective, wakes up in a bath tub and explains that this is where he ends up every time he travels back to the present. From here on you’re free to explore David’s apartment at you leisure or continue on with the next clue; this being the type of open scenario you’ll find yourself in throughout the episodes. The whole experience could probably be run through in 3 hours or so, but in doing so you’d be neglecting all the extra distractions D4 boasts that can easily double that playtime. For instance I found myself rooting through the apartment for various collectibles (these range from simple medals to more detailed scrapbook entries and old letters) for 20 minutes before I even got round to approaching the objective; if you’re a sucker for exploring every nook and cranny then you’re going to sink a lot of time into D4.
Conversations are an enjoyable time sink.
Hit that objective and you’ll be attacked by a woman who seems to believe she’s a cat in one of a handful of action scenarios that entertain as much as they do thrill. Its a crazy encounter that’s telling of what you should expect from there on in, there’s a sombre story of loss and mystery at its heart but D4 isn’t one to hold back when it comes to the bizarre. Merely being the opening few episodes of a season unfortunately prevents the story from doing anything but build some vague intrigue for a conspiracy you get the feeling you’re only scraping the surface of, tauntingly ending just as it gets to the good stuff. The conspiracy is brilliantly fleshed out however, with many of the scrapbook extras and old case files that at first seem to be purely auxiliary falling into place as parts of a bigger puzzle later on.
Most of the characters you’ll encounter however are anything but subtle. Whether its a panicked passenger on a doomed flight or your old time partner from the force, each and every character is brimming with personality. The ‘extra cases’ these characters can give you generally offer some tantalizing rewards and further dialogue options, many of which again can touch on the mystery you’re trying to solve in new ways. Just being given the option to interact with these quirky characters at length is rewarding enough; for instance I could laugh at the otherwise mild mannered Forrest Kaysen devouring his comedy sized portions all day. David Young himself is a compelling protagonist, his sarcastic wit and single minded approach to the case at hand clashing well with colourful host of players he’ll have to investigate. The voice cast do a great job of bringing the larger than life characters to life as well, the level enthusiasm thrown behind each line of dialogue ensuring there’s never any disparity between the straight talkers and the more eccentric personalities. The comically thick Boston accent Ben Pronsky gives our protagonist merges well where it could have been atrocious, giving us a refreshingly not-so-gruff hero that brings levity no matter how dark things get.
Kick ass and chew bubble gum.
Gameplay brings the usual point and click fare to the table, but there’s variety enough in terms of what actions you’ll need perform to ensure that looking at everything in a room never gets repetitive. D4 can be played entirely with Kinect or a controller, or a bit of both should you prefer to switch things up mid episode. While I personally prefer to have a controller in my hands, those who opt for Kinect will be pleased to know it works brilliantly besides the odd misreading. D4 always demands you’re attention as well, throwing inspection options in during its cut scenes and tasking you with managing three different resources; you’ll rarely be running short on these resources or failing its action scenarios but they all serve to keep you more involved with what’s going on. D4 can however be reluctant to let you flex your brain, with many of the cases boiling down to you collecting a series of clues and having David Young piece them together himself in a cut scene. Some activities will demand more of you, such as a memorable series of quizzes on aviation you’ll be faced with, but regardless D4 could do more to involve you in the actual detective work.
All of this is presented in a visually striking cell-shaded style that makes each scene look as if its jumped off of the page of a comic. Areas are as detailed as the unique characters which makes jumping in time from one colourful scene to another, along with a nifty transition animation, an aesthetically awesome thing to do. If you have sufficient credits you can even change the outfits of the major characters or the music in your apartment, and again the options here range from subdued to bizarre and everything in between. Lastly there’s a great selection excellent music here, from its catchy intro music to the Irish rock track that plays during what’s arguably its best fight scene in a turbulent plane cabin.
Verdict
D4 is hard game to describe, it may sound ridiculous in writing but when experienced it arguably works, and it works very well. There may be little detective work involved in these first episodes, but the eccentric characters and intriguing premise will more than likely captivate you as you engage its lavishly crafted scenarios. There are few games that’ll see you batting a baseball with a mannequins leg as a plane enters chaotic turbulence, but even fewer that would have you enjoy these moments as much as a meal between two old friends discussing old cases. If you’re looking for something that stands out amongst the games on offer this fall then D4 is worth diving into, and it’ll only be a matter of time before its outlandish characters hook you in.
Hits
+Great cast of eccentric and hilarious characters +Stupendous amount of collectibles +Fun and rewarding distractions +Striking visuals +Excellent and diverse soundtrack
Destiny seemed like a sure bet, an esteemed developer with a ton of money behind it doing what they do best but on a grander scale than ever before. What could go wrong? It turns out a lot could. The story is barely there, its mission structure is repetitive, the RPG elements are too light and its online innovations often hinder the experience just as much as they enhance it. But despite all of this the core gameplay still wins out with Bungie’s gunplay at its most satisfying against the lavishly painted galactic backdrop. Destiny unfortunately, now at the beginning of its ’10 year’ life, is not all it could have been. However it is a top class shooter set within one of the most beautiful galaxies ever crafted, hardly the worst starting place for a franchise that’s set to see numerous expansions in the coming years.
Its perhaps best to start with what’s best about Destiny. The shooting is top notch, each action you take is responsive and has a visible impact on the enemy. Whether you’re peppering a towering Cabal from afar or introducing a Fallen dreg to your fist, the enemy will feel every hit, visibly reacting to attacks wherever they may land. On top of this each class has its own specific skills that add an extra layer of individuality to proceedings. A Hunter may double jump with blinding speed to avoid enemy fire where a Titan could instead opt to toss a stun grenade to blind his foes instead. Furthermore supers allow each class to throw down some instant devastation in tight situations. These options along with their their equal reactions are endlessly satisfying and ensure that the flow of combat never leans too heavily on statistics alone. The impressive shooting can however mask the Destiny’s shortcomings in the RPG department. Its skill trees are narrow to say the least, rarely giving you any input in your characters development besides selecting skills as they’re made available one by one. Subclasses are unlocked at level 15 and do offer satisfying variations on the characters skill sets, but arguably offer too little too late.
Each gun you’ll use is a delight to wield and can be upgraded in useful ways (albeit with a similar lack of options) but with only 9 base weapon types the room for variation is once more limited. The selection of vehicles available, though all fun to use, is also slim which further narrows the possibilities in combat. Couple these with your limited skill set and you’ll soon find yourself disappointed whenever another guardian of the same class as you joins your team as you’ll find yourselves fulfilling the same role via the same methods. Ultimately the sheer lack of options available mean that your guardian won’t play awfully differently whether he’s level 5 or 20, which is disappointing for an RPG no matter which way you cut it.
It may come up short when applying RPG elements to its gameplay, however Destiny does succeed in designing a world (or worlds) within which the grandest of RPG’s could take place. Even though each is wildly different in appearance they’re all a pleasure to look at and combine actual playable areas with impressive artistic backdrops flawlessly. There is an underlying problem however in that Destiny offers little reason for you to explore these planets besides the odd treasure chest and collectibles. Perhaps if there was more freedom in regards to how we explored and went about pursuing objectives within these areas the open world approach would be warranted, but once Destiny has dropped you off at the same starting point for the fifth time to travel to some other corner of the map its reuse of areas becomes repetitive rather than exploratory no matter how nice they look.
The Cabal are a force to be reckoned with.
Across these four worlds you’ll be shooting four different enemy races, each of which is a joy to encounter. Few of the enemies skill sets are truly original but all are combined well to create factions that act very much as coherent units that are unique when sized up against each other. Bosses however, while generally enjoyable and challenging, are almost always super powered versions of normal enemies that you’ve fought numerous times before. A mere glimpse at each race also gives the player an idea of their history, with the excellent art direction doing wonders for fleshing out these otherwise underdeveloped antagonists. The Cabal are a particular highlight, their imposing outline, brute force tactics and superb theme providing a fantastic challenge in the games final act. Martin O’Donnell’s soundtrack in fact contributes as much to the creation of the galaxy as the visuals do, its uplifting tracks throwing a more fantastical twist on the post apocalyptic sci-fi scene. From the oppressing tones that accompany the Vex to the Cabal’s imperialistic beats, this is some of O’Donnell’s best work to date.
Its a shame then, that given Destiny’s impressive galaxy, that every aspect of its story is lacklustre. Its central campaign barely attempts to give us a compelling reason to be rushing to our next objectives, our guiding ghost telling us to kill certain targets for no discernible reason at all. It does pick up in the second half of the campaign as the cast of characters, enemies and vistas are all expanded in different ways; but proceedings soon degrade back into vagueness before ending prematurely.
There’s been much criticism of the voice acting here, particularly in the case of Peter Dinklage’s Ghost, but its perhaps the writing that’s to blame as a performance can only be so good when you’ve clearly no idea what you’re talking about. No matter how epic the galaxy may be made out to be, you’ll only need to ask the question ‘why?’ after every sentence uttered and the illusion of depth soon falls apart. The reluctance to form any reason to press on in the campaign does unfortunately bleed into gameplay which often falls back on escorting your ghost companion from A to B and then defending him in wave based battles. Luckily the steady stream of new enemies and planets keeps this structure from ever becoming too much of a problem, but when you encounter a more memorable mission such as ‘Scourge of Winter’ it makes you wish the rest of the campaign could have that much energy behind it all the time.
There’s plenty to do outside of the campaign however. Patrol mode allows you to freely explore each of the four planets in pursuit of randomly generated missions and The Crucible is Destiny’s answer to competitive multiplayer, pitting guardians against each other on a surprisingly level playing field. Strikes challenge your fireteam of three to battle through some truly tough encounters that always end with great boss fights that demand team coordination. While they don’t escape the routine wave based scenarios, they do provide some of the best of what Destiny has to offer as the game is at its best when your overcoming the odds with friends. *I’ll be updating this review once I’ve fully completed the Raid mission.
It is true that Destiny is best when played with friends, but when it comes to doing anything but enabling people to play together its online features seem half finished. Matchmaking facilities set up games quickly and generally hold steady throughout your session, but weaker internet connections can really suffer when Destiny forces players into another ones world. The Tower is always loaded with other players despite there being no reason for it to be; you’ll have limited means of communication but you’ll still have to wait for its lengthy loading times every time you pay it a visit as a result. Its important to emphasise that these features will only be problematic for some players, but its hard to shake the feeling that Destiny does little to innovate with its much touted and sometimes invasive online components.
Venus sure is nice to look at.
Likewise the loot and customisation system seems to be content in doing enough and no more. Rarely did I find myself having to decide between two pieces of equipment as one was always better than the other. Vehicles and ships come off even worse, with your personal Sparrow vehicles boasting few noticeable upgrades and ships amounting to nothing but customisable loading screens. Destiny’s endgame just disappoints further as all your activities post campaign will involve replaying missions several times with hopes of unlocking rare level cap enhancing equipment. It turns what should have been Destiny’s main appeal over other shooters into an exercise in repetition which will either hook players in or turn them off completely. There’s a solid 20 hours of fun to be had without the need to replay any content already, but Destiny squeezes this content for all its worth in the worst possible way. Some element of randomness could have helped Destiny greatly here as even the best encounters can grow stale when you’ve run into them for the umpteenth time with no hint of change or meaningful reward.
Verdict
Taken for what it is, Destiny is an excellent shooter backed by solid new features that can be a blast with friends. But digging a little deeper into its features more often than not yields disappointment as it becomes apparent that Bungie is content with doing enough and no more. It offers a good roster of game modes in one cohesive package that all entertain, but its difficult to commend its gameplay for having overcome any rocky waters given that the boat is never pushed out in the first place. Destiny is very much a mediocre story told by a brilliant story teller, you’ll be drawn in by the wonderful galaxy and satisfying gameplay but its average features prevent it from ever fulfilling its potential. It may not be a perfect start, but if it can learn from these initial shortcomings Destiny could very well be destined for greatness down the line.
Hits
+Excellent core shooting experience +Beautiful galaxy full of jaw dropping vistas +Engaging and challenging enemy factions +Strikes offer some of the best co-op action this year
Misses
–RPG elements are too shallow across the board –Non-existent story lets down the galaxy and its inhabitants –Limited array of weapons and vehicles –Offers little reason to explore its open areas –Underdeveloped online components
Platforms: Playstation 3/4 & Xbox 360/One Developer: Bungie Publisher: Activision Players: 1, 1-6 Online Release Date: September 9, 2014
Shoot first, ask questions never.
Destiny seemed like a sure bet, an esteemed developer with a ton of money behind it doing what they do best but on a grander scale than ever before. What could go wrong? It turns out a lot could. The story is barely there, its mission structure is repetitive, the RPG elements are too light and its online innovations often hinder the experience just as much as they enhance it. But despite all of this the core gameplay still wins out with Bungie’s gunplay at its most satisfying against the lavishly painted galactic backdrop. Destiny unfortunately, now at the beginning of its ’10 year’ life, is not all it could have been. However it is a top class shooter set within one of the most beautiful galaxies ever crafted, hardly the worst starting place for a franchise that’s set to see numerous expansions in the coming years.
Its perhaps best to start with what’s best about Destiny. The shooting is top notch, each action you take is responsive and has a visible impact on the enemy. Whether you’re peppering a towering Cabal from afar or introducing a Fallen dreg to your fist, the enemy will feel every hit, visibly reacting to attacks wherever they may land. On top of this each class has its own specific skills that add an extra layer of individuality to proceedings. A Hunter may double jump with blinding speed to avoid enemy fire where a Titan could instead opt to toss a stun grenade to blind his foes instead. Furthermore supers allow each class to throw down some instant devastation in tight situations. These options along with their their equal reactions are endlessly satisfying and ensure that the flow of combat never leans too heavily on statistics alone.
Destiny is best enjoyed with others.
The impressive shooting can however mask the Destiny’s shortcomings in the RPG department. Its skill trees are narrow to say the least, rarely giving you any input in your characters development besides selecting skills as they’re made available one by one. Subclasses are unlocked at level 15 and do offer satisfying variations on the characters skill sets, but considering the level cap stands at 20 and the fact that you’ll be done with much of the games content by this point its arguably offering too little too late. The skills themselves each play a useful role in gunfights but often only offer different ways of achieving the same things. For instance across the 18 different grenade types available to all the classes, only a handful stand out as being anything but a different means of dealing the same damage. As a result skills are either too similar or used too infrequently to meaningfully change the way you play, which brings us to the similarly troubled weapon selection.
Each gun you’ll use is a delight to wield and can be upgraded in useful ways (albeit with a similar lack of options) but with only 9 base weapon types the room for variation is once more limited. Admittedly each weapon type can come in a multitude of varieties, but the differences between them are so subtle that you’ll rarely feel a tangible difference between one shotgun and another besides the obvious like magazine size. The selection of vehicles available, though all fun to use, is also slim which further narrows the possibilities in combat. Couple these with your limited skill set and you’ll soon find yourself disappointed whenever another guardian of the same class as you joins your team as you’ll find yourselves fulfilling the same role via the same methods. Ultimately as a first person shooter Destiny is a resounding success in terms of mechanics, but the sheer lack of options available means that your guardian won’t play awfully differently whether he’s level 5 or 20, which is disappointing for an RPG no matter which way you cut it.
It may come up short when applying RPG elements to its gameplay, however Destiny does succeed in designing a world (or worlds) within which the grandest of RPG’s could take place. Even though each is wildly different in appearance they’re all a pleasure to look at and combine actual playable areas with impressive artistic backdrops flawlessly. Terrain also plays its part in differentiating the four playable worlds, with Earth’s larger debris filled planes contrasting well with the likes of Venus’ more vertically orientated ruin filled canyons. There is an underlying problem however in that Destiny offers little reason for you to explore these planets besides the odd treasure chest and collectibles; furthermore few of the areas feel truly alive as there’s little sign of any of the locales having actually been lived in despite every area being rife with enemy forces. Its difficult however to truly criticise Destiny on this point as the areas serve their purpose as a backdrop for its action perfectly, its just that the open world nature of the game feels unneeded much of the time. Perhaps if there was more freedom in regards to how we explored and went about pursuing objectives within these areas the open world approach would be warranted, but once Destiny has dropped you off at the same starting point for the fifth time to travel to some other corner of the map its reuse of areas becomes repetitive rather than exploratory no matter how nice they look.
The Cabal are a force to be reckoned with.
Across these four worlds you’ll be shooting four different enemy races, each of which is a joy to encounter. Each faction behaves differently in combat and have interesting hierarchies that shift your priorities in battle. Fallen vandals may cloak and rush you forcing you out of your comfort zone if you’re sniping whereas shield wielding Cabal can create an impassable wall that can make a shotgun assault difficult to achieve. Few of the enemies skill sets are truly original but all are combined well to create factions that act very much as coherent units that are unique when sized up against each other. Bosses however, while generally enjoyable and challenging, are almost always super powered versions of normal enemies that you’ve fought numerous times before. Furthermore almost every boss boasts an aggravating ground pound attack that discourages getting up close; bosses that force you to change tactics are always appreciated but to have every boss exercise the same counter measure can grow tiring.
A mere glimpse at each race also gives the player an idea of their history, with the excellent art direction doing wonders for fleshing out these otherwise underdeveloped antagonists. The Cabal are a particular highlight, their imposing outline, brute force tactics and superb theme providing a fantastic challenge in the games final act. Martin O’Donnell’s soundtrack in fact contributes as much to the creation of the galaxy as the visuals do, its uplifting tracks throwing a more fantastical twist on the post apocalyptic sci-fi scene. From the oppressing tones that accompany the Vex to the Cabal’s imperialistic beats, this is some of O’Donnell’s best work to date.
Its a shame then, that given Destiny’s impressive galaxy, that every aspect of its story is lacklustre. Its central campaign barely attempts to give us a compelling reason to be rushing to our next objectives, our guiding ghost telling us to kill certain targets for no discernible reason at all. It does pick up in the second half of the campaign as the cast of characters, enemies and vistas are all expanded in different ways; but proceedings soon degrade back into vagueness before ending prematurely. Games don’t necessarily need brilliant stories to drive them if the core gameplay is strong enough, but Destiny makes out as if it is telling a grand tale whilst throwing out terms you’ll never learn the meaning of. The two driving forces of its galaxy, the heroic ‘Traveler’ and its opposite ‘Darkness’ are constantly referred to but are never explained in the least, not even to the extent where they could be enticing mysteries. You’ll be gunning down four races with little reason as to why you must, and its never clear whether they’re acting on behalf of the Darkness as they’re clearly not acting as one. The Cabal wage war against the Vex on Mars, but rather than even entertain the idea of an alliance (or explaining why one wouldn’t be possible) with one to defeat the other you’re simply instructed once more to kill everything that moves.
There’s some real character behind enemy design.
There’s been much criticism of the voice acting here, particularly in the case of Peter Dinklage’s Ghost, but its perhaps the writing that’s to blame as a performance can only be so good when you’ve clearly no idea what you’re talking about. The Queen of the Reef stops you from attacking her Fallen bodyguards (a usual victim of your guns) declaring that “It does understand these ones are mine” – we’ll never learn why, and its hard to shake the feeling that Destiny often doesn’t know why either. Grimoire cards can be unlocked (oddly these aren’t visible within the actual game) to flesh out the lore of the universe, but they generally fail to shed any light on any of the more important questions raised throughout Destiny’s campaign. No matter how epic the galaxy may be made out to be, you’ll only need to ask the question ‘why?’ after every sentence uttered and the illusion of depth soon falls apart. The reluctance to form any reason to press on in the campaign does unfortunately bleed into gameplay which often falls back on escorting your ghost companion from A to B and then defending him in wave based battles. Luckily the steady stream of new enemies and planets keeps this structure from ever becoming too much of a problem, but when you encounter a more memorable mission such as ‘Scourge of Winter’ it makes you wish the rest of the campaign could have that much energy behind it all the time.
There’s plenty to do outside of the campaign however. Patrol mode allows you to freely explore each of the four planets in pursuit of randomly generated missions, but the repetitive objectives and aforementioned lack of motivation for exploration will likely make this the mission mode you’ll spend the least time in by far. The Crucible is Destiny’s answer to competitive multiplayer, pitting guardians against each other on a surprisingly level playing field. The objective based modes place just as much emphasis on defending as they do killing which ensures any build of guardian can find an important place in their team, and playing long enough will make you appreciate your skills just as much as other classes.
Strikes challenge your fireteam of three to battle through some truly tough encounters that always end with great boss fights that demand team coordination. While they don’t escape the routine wave based scenarios, they do provide some of the best of what Destiny has to offer as the game is at its best when your overcoming the odds with friends. The boss battles, though still disappointingly just powered up versions of certain enemies, are far better than any you’ll encounter in the campaign due to some smart arena design. The bosses themselves still do little to change things up, but steady streams of reinforcements that force you to move and tightly designed arenas with plenty of cover make these lengthy encounters exciting where they could have easily become grating wars of attrition. *I’ll be updating this review once I’ve fully completed the Raid mission.
It is true that Destiny is best when played with friends, but when it comes to doing anything but enabling people to play together its online features seem half finished. Matchmaking facilities set up games quickly and generally hold steady throughout your session, but weaker internet connections can really suffer when Destiny forces players into another ones world. Slow down rarely occurs but you can expect to be booted when numerous players join to complete a public event, and the fact that Destiny will opt to break your existing team apart to allow you to play with strangers seems backwards. The Tower is always loaded with other players despite there being no reason for it to be; you’ll have limited means of communication and no facilities to organise groups within this hub but you’ll still have to wait for its lengthy loading times every time you pay it a visit as a result. Its important to emphasise that these features will only be problematic for some players and that communicating with other players can be fun despite it having little substance, but its hard to shake the feeling that Destiny does little to innovate with its much touted and sometimes invasive online components.
Venus sure is nice to look at.
Likewise the loot and customisation system seems to be content in doing enough and no more. You’ll be treated to a slow trickle of loot throughout the game that rarely excites no matter how powerful it is. Rarely did I find myself having to decide between two pieces of equipment as one was always better than the other, and I couldn’t even make use of good weapons I didn’t use since trading between players isn’t possible. Vehicles and ships come off even worse, with your personal Sparrow vehicles boasting few noticeable upgrades and ships amounting to nothing but customisable loading screens. Character customisation even feels unneeded, with its small selection of faces and hairstyles doing little to inspire creativity.
Destiny’s endgame just disappoints further beginning with its reward of a single mote of light, an item you’ll need plenty more of before you can purchase anything of worth. Its a sign of things to come, as all your activities post campaign will involve replaying missions several times with hopes of unlocking rare level cap enhancing equipment. It turns what should have been Destiny’s main appeal over other shooters into an exercise in repetition which will either hook players in or turn them off completely. There’s a solid 20 hours of fun to be had without the need to replay any content already, but Destiny squeezes this content for all its worth in the worst possible way. Some element of randomness could have helped Destiny greatly here as even the best encounters can grow stale when you’ve run into them for the umpteenth time with no hint of change or meaningful reward.
Verdict
Taken for what it is, Destiny is an excellent shooter backed by solid new features that can be a blast with friends. But digging a little deeper into its features more often than not yields disappointment as it becomes apparent that Bungie is content with doing enough and no more. It offers a good roster of game modes in one cohesive package that all entertain, but its difficult to commend its gameplay for having overcome any rocky waters given that the boat is never pushed out in the first place. Destiny is very much a mediocre story told by a brilliant story teller, you’ll be drawn in by the wonderful galaxy and satisfying gameplay but its average features prevent it from ever fulfilling its potential. It may not be a perfect start, but if it can learn from these initial shortcomings Destiny could very well be destined for greatness down the line.
Hits
+Excellent core shooting experience +Beautiful galaxy full of jaw dropping vistas +Engaging and challenging enemy factions +Strikes offer some of the best co-op action this year
Misses
-RPG elements are too shallow across the board –Non-existent story lets down the galaxy and its inhabitants –Limited array of weapons and vehicles –Offers little reason to explore its open areas –Underdeveloped online components
Run time: 126mins Certificate: 12A Director: Patrick Hughes Cast: Sylvester Stallone, Jason Statham, Antonio Banderas. Release Date: August 14, 2014.
They’ll be back, and in greater number.
The Expendables are back for a third and ‘last’ ride (casting rumours for the fourth make this hard to believe however) that’s bumpy but offers enough to make it one worth going on. Striking a nice balance between the serious tone of the first and self aware humour of the second its a step in the right direction as the dramatics are handled well and the laughs are genuine. Its far from plain sailing however, the films pacing is haphazard and the plot throws up contradictions that seem to be in place purely to give us less of the original cast and more of the far less appealing newcomers. Its a shame to see proceedings hampered by a bloated roster and tame rating at every turn, but come the final act it certainly delivers enough to please fans of the franchise.
The plot that gives our grizzled heroes a reason to shoot things is the best of the franchise yet but also clunky at the same time. Audiences obviously won’t be picking apart its finer points, but the inconsistency with which it handles Stallone’s Barney Ross is distracting to a fault. The crux of the film sees him abandon his previous team reasoning that “they need to live their lives”, an admirable act befitting of the softy at heart Ross, but he then proceeds to recruit a team of far younger members to embark on a suicide mission. This might have been an interesting turn for the character to see him driven to hiring literal expendables, but its never handled in that way as he still ends up fathering his new team despite having hired them for a one way trip. This nonsensical turn from Ross leads to a slow second act bogged down by the least interesting recruitment montage in recent history. Luckily both the beginning and end fair much better thanks to the films newest additions; Wesley Snipes, Antonio Banderas and Mel Gibson.
The core cast still hit it off.
Snipes fits into the team well as Doc, adding a new dynamic with his oddball musings. He steals almost every scene he’s in without hogging the spotlight, rather elevating the banter of the others. Its just a shame he’s underutilised (though to a lesser degree than others), being recruited in the opening scene only to be left behind until the action packed finale. Antonio Banderas soon establishes himself as the best thing in this film as he strolls into the later scenes, providing many genuine laughs with his unexpected turn as the enthusiastic Galgo who shares just as much passion for chatting as he does murdering. Gibson excels as the villainous Stonebanks, chewing up each scene with just enough crazy to make him formidable without being campy (his goading monologue in the back of a van is a particular highlight). Kelsey Grammer and Harrison Ford are wisely played to their strengths in what little screen time they’re given, Grammer doing his best to sell some old friends chemistry with Stallone in the aforementioned montage whilst Ford is relegated to escape pilot. The new expendables on the block (Powell, Ortiz, Rousey and Lutz) are all passable but fail to measure up against even the weaker Expendables veterans and lack the charisma to drive the films midsection even though they’re given a generous slice of the action.
While the new faces are given ample opportunity to shine, and many do, the established cast are unfortunately cast aside as a result. Stallone still convinces as the father figure of the expendables despite his unaddressed double standards but has few memorable moments or development despite very much maintaining his role as leading man. The same can be said of Statham’s Christmas as well, he gets a some action and a nice rivalry with Snipes’ fellow knife man, but is ignored far too much in favour of the new blood. Things are far worse for the rest of the roster however. Schwarzenegger is present far more this time round but is barely given anything to do, literally being left guarding the plane during one extended sequence and uttering a very telling “I’m so bored”. Crews, Lundgren and Couture all have fun during their brief moments but are so absent you’ll almost forget they were there during some of the overcrowded fire fights. What’s hardest to fathom however is Jet Li’s return as Yin Yang, turning up just before the finale simply to be the butt of a few bad jokes. Something has definitely gone wrong when you’re directing an action film and Jet Li doesn’t get to punch a single man.
Never too old for this shit.
Therein lies the main issue of The Expendables 3, its action. The banter can be stilted but there’s plenty of laughs to be found, but for an action film containing some of the greatest action stars you can’t help but feel they’re all being wasted. Most sequences, especially the finale, boil down to being montages of our numerous heroes shooting off screen. Only two scuffles remain memorable, Statham’s tussle with a stocky stock henchmen and Stallone and Gibson’s much looked forward to beat down. Even the latter disappoints, having had an apt build up and starting off strong it unfortunately ends all too soon.
Hampering all of these efforts are the special effects. Harrison Ford’s helicopter piloting looks laughable thanks to the dated CGI, he may as well have been in the Millennium Falcon. Likewise a quick jumping from one truck to another during an early car chase is cut all too close, turning what could have been a thrilling stunt into a blink and you’ll miss it cop out. Much of the action suffers from this quick and needlessly close cutting, turning some of the impressive physical fighter’s scenes into guessing games of whose throwing who. Last but not least is the questionable choice of making the film a 12A, something that clearly rips away the rawness of the action for the sake of catering for younger fans; a confusing agenda considering the film would largely appeal to original fans of the classic action stars.
Verdict
The Expendables 3 may be a step down for the series but there’s still enough for fans of the series to enjoy. The new faces both make and break the film; Snipes, Banderas and Gibson are all worth the price of admission but you’ll wish you could see more of them instead of the dull young guns. The problem with Sly’s latest is made painfully apparent as the cast all comically load into a chopper like clowns into a car, there’s too many players here, and the best suffer for the worst because of it. For the time being it entertains enough to warrant a fourth, but the cast needs to be whittled down and the action tightened if there’s any chance of this being the call back to their action classics the Expendables deserve.
Hits
+Banderas and Snipes make some of the best Expendables yet +Gibson has a blast as the maniacal villain +Plot drives the set pieces well despite nonsensical basing
Misses
–Fails to juggle huge cast, criminally shunning its best players –The young recruits fail to measure up to the established stars –Effects and camera work let down the action
Run time: 136mins Certificate: 12A Director: Anthony & Joe Russo Cast: Chris Evans, Samuel L. Jackson, Scarlett Johansson. Release Date: August 18, 2014 (DVD)
Cap gets the cold soldier.
Captain America’s first outing was a unique romp in comparison to the other Avengers to be, its nostalgia laden adventure hitting the right notes for the most part, but his second outing stands out even more so amongst the growing super hero troop. Its a bold change of tone for our star spangled hero, swapping out its light hearted adventure for some old school conspiracy thriller, and it works on almost every level. Its reassuring to see a Marvel film take itself so seriously when needed, because of this its grounded action and intrigue carry more weight than previous antics like aliens descending on New York. After being somewhat underutilised in his last two appearances, Chris Evans’ Cap is finally given a chance to shine thanks to the Russo brothers directing.
Plot wise The Winter Soldier feels far more important than even the Avengers, without spoiling too much the events that take place will dramatically shift the cinematic universe in interesting ways. It helps that the comic book storyline ported here is very relevant, playing on many of the concerns of modern life such as online privacy and global security to bring home the threats posed. Cap’s dismissal of the state of the art surveillance he’s being shown with “You hold a gun to everyone on Earth and call it protection.” is a telling moment that brings recent controversies such as the NSA to mind in a poignant way. Its just the kind of heavy material Cap’s no nonsense attitude is perfect for, and the Russo brothers nail the essence of the character. This is Captain America as he should be.
Redford certainly adds class to proceedings.
Whether its handling Cap covertly taking down terrorists or Nick Fury debating with his senior official Alexander Pierce about the grand scheme of things, the film oozes with style but maintains the best realism of a Marvel entry yet. The script hits dramatic beats that feel genuine and the action is so raw the antagonists actually feel like a threat for the first time; the heroes are pushed to their limits and you’re right there with them. Taking a few notes from The Raid’s fights the action here throws some of the best choreography seen from Hollywood at the screen, with the highway attack being a stand out in this years top set pieces. When Cap clashes with the unrelenting Winter Soldier it truly feels like two super soldiers going up against each other, and you won’t miss a punch, kick or stab of the scene thanks to the well focused camera. These scenes top the generic smack downs present in the likes of Thor, the clash of super powers actually being realised in these engrossing bouts as opposed to it being lost in the wanton destruction of their surroundings; feeling like actual fights no matter how fantastical. Unfortunately the film veers towards the formulaic destruction on a large scale for its finale, but you’ll be so invested in the characters and its outcome, not to mention the tense intellectual stand off that’s played out in parallel, that its a small concession in the much grander picture.
Henry Jackman’s soundtrack complements the action well, a suspenseful track breaking into an eerie silence as each grenade is launched to a tension ramping piece escalating the hand to hand combat between the super soldiers. The epilogue set to Marvin Gaye’s ‘Trouble Man’ was a particularly great nod to its classic film inspirations. Though proceedings are more serious viewers needn’t worry, there’s still a light side to the heavy events, with many of the one liners hitting their mark without detracting from the flow of the film. Overall it comes together under the helming of the Russo brothers without a hitch, feeling like wholly new and darker territory though not without the Marvel charm. To think this new direction came from the Russo brothers, who were chosen on the merits of their Community episodes is incredible; they’re certainly ones to watch in the future (fortunately returning for Cap 3).
The action raises the bar for superhero films.
The core cast benefit from having been established in the previous films, and its clear they’re all comfortable in their parts, but there’s little doubt Winter Soldier gives them all the best material they’ve had yet. Chris Evans’ Rodgers is as determined as ever, and is given plenty of opportunity to flex his muscles, both physically and in some great insightful dialogue. This is definitely the film he and the character deserves, and he excels at serving as the heart and leader of the team, something I hope to see more of when he’s leading the Avengers next. Likewise Samuel L. Jackson is given a lot more to do as Nick Fury, and relishes in the chance to live up to his characters reputation. Scarlett Johansson is perhaps the only dull note, filling the role of Black Widow just fine but doing little to define her as a unique persona considering the large amount of screen time she’s given here.
The new members impress across the board, with Robert Redford’s Alexander Pierce stealing every scene he’s in. He brings every bit of gravitas his acting backlog has earned him to the screen, chewing up the scenery even in casual conversation and more than convincing as a man in a position to give Nick Fury orders. Anthony Mackie brings some levity to proceedings as Falcon, and his chemistry with Chris Evans in particular makes you forget the days when he wasn’t a part of the team. Lastly the Winter Soldier is realised brilliantly (I’ll refrain from spoiling his identity), his efficiency and coldness when in action sending the same shivers down your spine that the Terminator did all those years ago.
Verdict
Captain America: The Winter Soldier takes the usual formula and bravely throws it out the window, taking itself more seriously without ever losing the usual charm. The Russo brothers don’t chase every punchline or explosion they can, instead opting to give the story and characters time to develop in a far more grounded story. The result is more engrossing than the usual popcorn fare, serving as The Empire Strikes Back of Marvel’s current cinematic line-up with its engaging villains who more than push our heroes to their limits.
Hits
+Excellent story that draws from classic thrillers +Great ensemble cast, especially Robert Redford +Character development takes centre stage +The best action Marvel has showcased +Villains to match Loki and Stane in presence
Run time: 90mins Certificate: 15 Director: Anthony C. Ferrante Cast: Ian Ziering, Tara Reid, Vivica A. Fox. Release Date: 30 July, 2014 (TV)
It blows.
Its terrible. That much is sure. But is it of the ‘so bad its good’ variety? To a degree the answer is yes, but Sharknado 2 is a confused film. Many of its gags scream of self awareness and can even be chuckle worthy, but at the same time other characters seem to be taking events all too seriously. On the light hearted side, films made bad purposefully have been done far better before (see Black Dynamite) and even when viewing it as a serious endeavour its B-movie predecessors (film giants such as Spiders 1 and 2, Octopus and Snakes on a Train) out do it in the aforementioned ‘so bad its good’ area. Its hardly a compliment, but after watching Spiders I would be quoting its laughable dialogue and describing its awful effects for days to come, whereas I’ll probably forget what happened in Sharknado 2 in no time (except for the memorable faces). Its a rare case of a film not being bad enough to be good, just stopping short of going full circle. Despite it coming up short, the tongue in cheek side of it will no doubt provide entertainment for fans of the genre. You won’t be forcing your friends to endure it afterwards but there’s sure to be something for everyone to enjoy in the first viewing.
The usual B-movie offenders are all here. Unsurprisingly the budget effects don’t impress, but its the laziness with which they are executed that really brings the action down. Apart from a handful of deaths most are nabbed by the flash of a shark flying across the screen accompanied by some comical blood splatter. For a film about a tornado made of sharks, a sequel no less, you’d imagine they would have ran with the idea a little more. Instead the sharks seem to act merely as glorified debris, in fact much of the film would transpire in the same way if the sharks were replaced by park benches. The ‘natural’ side of this disaster is just as well utilised, the tornado failing to create enough wind to blow our heroes hair around and its flood waters rising with hilarious inconsistency. I could go on but you get the picture.
Chainsaw vs shark, naturally.
Fin (our unlucky Sharknado survivor) and his extended family, the bland group who crash at every turn in driving the film, represent Sharknado’s more serious angle. There’s always room for a serious group adventuring alongside some comic relief, but when Fin and his family are on screen alongside a cast member who appears to appreciate what type of film they’re in the result is muddled in tone. As a result you’ll often find yourself becoming bored of the bland protagonists (Ian Ziering et al) and wishing for more of the self aware players who are clearly having more fun (generally a famous face). One thing our main players can rest easy in however is the fact that Tara Reid has taken it upon herself to make everyone else appear excellent in comparison. Somehow failing to register the correct expression for every line of dialogue she utters she throws in a performance less believable than the Sharknado itself.
Judd Hirsch has his tongue firmly in cheek.
Amidst all the bad however are the aforementioned cameos who are clearly having fun with the material. The likes of Andy Dick, Kelly Osbourne and Wil Wheaton attempt to wow viewers with their faces alone and fail miserably, but elsewhere the more elaborate cameos hit the mark. Judah Friedlander, Judd Hirsch and Richard Kind are all clearly having fun and had me wishing they were leading the whole ordeal despite the limited material their given to work with. Elsewhere Sharknado even displays some meta-intelligence with its subtle nods to its lesser known actors, though whether these are intentional or not is hard to discern. For instance I got a kick out of seeing D.C. Douglas, the famed voice behind Resident Evil’s Wesker, attacked by an alligator in the sewers à la Resident Evil 2. Topping all of these however is Robert Hays’ (Airplane!) turn as yet another unfortunate pilot, his “I’ve had worse (flights)” quip sure to bring a smile to any fans face.
Verdict
Sharknado is an unashamedly bad film. Whether its due to the unusual amount of fame thats gone to its head or just bad writing, the serious core cast and self aware cameos never come together in all the absurdity. But at the end of the day who expected anything more? After all its meant to be bad. Watch it with a group of friends and you’ll enjoy laughing at it, just try not to blink or you’ll miss yourself laughing with it.
Platforms: Playstation 3/4, Xbox 360/One. Developer: Bungie Publisher: Activision Players: 1-3 Online Release Date: September 9, 2014
Halo, is it me you’re looking for?
Let’s get this out of the way, Destiny’s Beta was good, damn good in fact. It played like a completed game, its responsive controls and glitch free areas would have satisfied even those ready to nitpick its flaws. In other words you can tell that the $500 million this game cost has gone to good use, just imagining that this level of polish will run throughout the rest of this epic game is reassuring. Destiny has a lot in common with Mass Effect and Borderlands, but its the fact that it feels so like Halo that’s the best thing about it. If you’re going to build and epic first person shooter, Halo’s perfect super powered gunplay is one of the best places to start.
You’ll start off by creating your guardian, choosing their race and class. The customisation options were quite limited, but what was there certainly looked pretty. It was also quite satisfying to see how quickly your guardian differed from others with the acquisition of more class specific armour. Classes also felt notably different without any of them coming across as overpowered or less interesting when compared to another. Playing as the Titan I was pleased to see I brought a very different set of skills to the table compared to the Hunter I teamed with throughout the beta, even in the early stages. For instance my grenade made short work of the shields of Fallen captains, which opened them up to easy headshots from my co-op partner. It was simple team work, but it nonetheless emphasised the advantages of each class in a rewarding way. Finally the super abilities were awesome, feeling more akin to Final Fantasy’s limit breaks than Borderlands’ action skills with their lengthy recharge times but devastating power. There’s also the promise of a second (and potentially third judging by the empty space) skill tree for each class which is something that will even further differentiate the classes.
Thats one sleek menu.
You we’re given a fair chunk to play with, with most of what was on offer taking place in a single (albeit massive) area of Earth-Old Russia. The story missions gave what felt like the smallest peak into the story, unfortunately shedding next to no light on what was happening or where things were going but establishing the universe well enough to make me curious enough to want to play on. Gameplay wise the story faired far better, giving us a taste of fighting two alien factions and some enjoyable set pieces. Fighting each faction felt satisfyingly different, the tactical minded Fallen offering a different type of threat to the more aggressive Hive. The bigger battles offered some pretty challenging difficulty as well, something I was pleased to see on just the ‘Normal’ difficulty. You won’t be breezing through this game by any means, but you’ll most definitely feel like a bonafied badass when you come out on top. The short story missions however soon blended into one apart from the odd spectacular battle, the ‘go there and defend Peter Dinklage’ mission structure growing tiresome by the end of the beta.
Speaking of challenge, the strike mission that was available was the best on offer. A gauntlet that was far longer than any of the story missions, it threw dozens of enemies at you, including two formidable bosses. It was damn fun, and felt like far more of a fully fledged mission than the bite sized story exploits. The battle with the Devil Walker (a huge spider like tank) felt like a monumental task, with a bunch of varied attacks and a ton of health, it truly gave the impression of a group of footsoldiers going up against a tank (without the one shot kill solutions so many other shooters give to these situations). Calling the Devil Walker a bullet sponge however would be an understatement, as it took anywhere up to ten minutes to kill even when my fire team was nailing its critical spots and revealing its weak spot often. I personally like my bosses to be able to take a beating, but its important that the boss battle is fun in the first place. The Devil Walker wasn’t boring per se, but it had exhausted its handful of attacks early in the battle which made the rest of it feel slightly like an exercise in repetition. Furthermore for something with ‘Walker’ in its title and a cool looking set of spider legs it remained awfully stationary, only ever turning to shoot in different directions, which again emphasised repetition as you rarely had to move from a good section of cover once you’d found it.
The Hive like to get in your face.
The exploration mission gave you the opportunity to explore the Old Russia area in its entirety (though some areas were still blocked off) whilst picking up various missions along the way. Offering the whole area as an open world was appreciated but the missions soon dragged on (why can’t they just be assigned automatically rather than forcing us to traverse back and forth across the map to pick up their beacons) as they only offered pretty basic objectives, though the exploring alone made the mode a fun addition.
The Tower that serves as the games hub area was good fun to explore, but it didn’t have a great deal on offer besides its vendors and beautiful vistas. Something that struck me as odd was the fact that quality voice actors (I think I recognised Keith David) were present but only acted as glorified shop keepers and mission givers, I just hope that they’re given more to do in the final game. Peter Dinklage however, despite all his voice over controversy, was solid as the friendly AI Ghost and I can see him growing on me as we spend more time together in the final game.
Its one pretty game.
The Crucible was a blast. There I said it. A fair few have been expressing their dislike for it on the internet but I found it to be well balanced considering it was having to put wildly different character builds on an even playing field. Its also important to point out that its labelled as PvP rather than competitive multi-player, so going into it expecting an evenly matched experience through and through like Halo would be a mistake. I felt powerful as my Titan, but I also learned to appreciate how deadly the other classes could be. I could take out a whole team with my Fist of Havoc ability, and feel a rush of achievement for it, but I’d also get annihilated by the Hunters or Warlocks abilities just as often. It deserves praise for making you’re class feel empowering in certain situations whilst also making you appreciate the power of the others the next second as well.
To sum up the Destiny Beta, it was one of the best looking and well polished games I’ve experienced in a while. There was also a great variety of modes on offer, each of which was fun in its own way. In a wise move Bungie also ensures that you’ll level up and find gear no matter what mode you’re playing, so no matter what you’re fire team fancies you’ll never begrudge it as you’re Guardians going to gain from it. As I’ll detail in the next section of this post, there’s a lot Destiny can still do to improve what it already has, but even if it ships just as it is it’ll be one hell of a game.
Now on to my hopes for the full release of the game…
1-More interaction options
He just wants to dance.
The taunts available were great, initiating a group dance off being particularly hilarious, but they were limited. Having the option to buy more taunt options would be appreciated and would further the players capacity to make their character unique. Furthermore the sooner they add the option to trade items with players the better. First off it’d remove the disappointment of finding items you just aren’t interested in, and second it would just add another means to be friendly with other players (something Bungie is admirably pushing).
2-Greater customisation options
Which face to choose…
The number of options you could choose from in character creation were pretty limited, and seemed to range from mundane to insane with no middle ground. Here’s hoping they add more options come the full release, as knowing there’s only a handful of faces amongst the millions playing this game would remove the magic just a bit.
3-Better bosses
Devil Walker not Squatter.
Don’t get me wrong, I enjoyed the bosses on offer here, but they could be better. I reckon little changes like giving the Devil Walker more mobility could increase the intensity of a boss fight, forcing you to move and change up your tactics, and would make the ten minute battles far less of a slog. Then again we’ve only seen a few bosses, so the rest of them could already be an improvement over these.
4-More meaningful vehicles
The Sparrow’s a blast.
The sparrows were awesome once I realised they were basically the horses of this game (though summoning them could be awkward), serving as a more enjoyable and convenient way of getting from A to B. But I hope we get more variation on these than the simple palette swaps available in the beta. The ships also seemed to suffer from this, for the time being appearing to be nothing more than an aesthetic choice. The Pike’s that turned up on the moon were fun to use, but compared to the likes of Halo vehicle’s seemed to be awfully sparse. I still yearn for massive battles such as those against the Scarabs in Halo 3, and seeing set pieces like this turn up in Destiny would be amazing.
5–Improved Campaign
Things did improve on the Moon.
This applies to both the narrative and the mission structure. While I was interested by the hyperbole thrown around by some of the characters in the first few missions, Destiny could do with more substance to help tide you over until you do encounter this ‘Darkness’. Likewise the missions could do with more variety and scope, as progressing to a destination and then having to protect your Ghost whilst he does something or other will only remain engaging for so long. As with the bosses, who knows whether the quality of the story will improve past the beta’s missions, but I certainly hope it will. As an aside, its a shame to see that the cut scenes only include your Guardian. Since you’ve reached that point with a team, it would be nice to see that team standing next to you during a conversation.
6-Expanded Tower
The Tower’s got potential.
The Tower was fine as it was, but there are a few additions that could improve it. Simple things like a shooting range for comparing your guns or even a public area dedicated to forming fire teams or just goofing around could inject more usefulness and life into the hub.
So what were your thoughts on the beta? Have any improvements in mind? Let me know in the comments! Finally here’s an infographic that Bungie has released revealing the impressive statistics of the beta. Destiny is released on September 9th on Xbox 360/One and PS3/4.
Run time: 121mins Certificate: 12A Director: James Gunn Cast: Chris Pratt, Zoe Saldana, Dave Bautista.
Release Date: July 31, 2014 (UK)
Footloose in space.
On paper Guardians of the Galaxy seemed like quite a risk for Marvel to pull off so early in their grand plans, and even after the first slew of trailers not everyone was sold. But after having seen it, its hard to believe it could have ever been considered anything but a sure fire hit. Canny casting, top notch effects and Marvel’s funniest script yet all come together to have a hell of a time. By the time the credits roll (and yes, of course you’ve waited till the end) the Guardians themselves will be among you’re favourites in the growing roster and James Gunn will have put the Universe in Marvel Universe.
First off its important to mention what is perhaps the one thing that differentiates Guardians the most from the rest of its superhero family; cursing. Why Rocket Raccoon can cough out “Batshit crazy” when previous 12A entries have shied away from it (even Shane Black struggled in Iron Man 3) is curious, even more so when it clearly improves the dialogue here. While swearing generally isn’t necessary for comedy, here it serves the characters persona’s. Just like Tony Stark, I’d never expect Rocket or Starlord to bite their tongue, and luckily they don’t have to. The less restrained approach also allows Gunn to dip into some crass humour every so often, and every joke hits its mark. I never thought I wanted to hear John C. Reilly retort he’d never consider someone to be “100% a dick” in a Marvel film, but now that I have I wouldn’t want it any other way. You’ll hardly be counting the F-bombs, but this isn’t what would be described as child friendly either. Its an area I hope future instalments remain lax on, after all as the tales get more dramatic, there’s only so child friendly every feature can remain.
Drax prepares for battle.
Despite taking full advantage of its 12A liberties Guardians will likely make audiences feel nostalgic with child like wonder as they’re plunged into its well crafted galaxy. Drawing up comparisons to the likes of Star Wars is easy, but this is very much its own beast, so much so that it will be interesting to see whether comparisons are drawn between Star Wars VII and this in turn. Even with the responsibility of having to tie into the overarching plot of the extended universe, the central plot is kept remarkably simple and its backdrop even more so, a wise move given that the film has much to accomplish for a first outing.
To counter this every setting is full of detail that breathes life and realism into even the wackiest of locations, with actual sets having just as much a place as CGI. This extends into the action, with many of the set pieces evoking some space caper staples albeit with a unique Guardians twist. Each Guardian’s character also bleeds into the action, which makes watching them battle it out alongside each other a blast. Lastly it would be a disservice not to mention the myriad assortment of great 70’s rock plugged into the soundtrack. It accentuates the happy-go-lucky outlook of Quill throughout proceedings no matter how grandiose things get.
Its one pretty galaxy.
Setting up a superhero team without a five film build up is quite the achievement, but having each one be as unique and likeable as the next is damned impressive. Chris Pratt is a perfect fit for the rebel come leader with a heart Peter Quill, his comedic chops adding levity to any scene without ever feeling forced. Zoe Saldana as Gamora offers some seriousness to the team but remains just as compelling as the rest as she warms to rolling with the punches. Rocket Raccoon (Bradley Cooper) and Groot (Vin Diesel) are perfectly captured and voiced here. Bradley Cooper jumps from cracking one liners to cracking up emotionally effortlessly whilst Vin Diesel’s Groot is just a joy to watch no matter what he’s doing. Perhaps the films true star however is Dave Bautista’s Drax, his inability to understand metaphors leading to some hilarious misunderstandings. He’s not without a sense of humour or camaraderie though, and is surprisingly appealing for a man who bears the title of ‘The Destroyer’.
The other side of the moral compass is more of a mixed bag however. Michael Rooker’s Yondu and Karen Gillan’s Nebula are the best of the bunch, fulfilling their purpose as minor villains well. Minor they may be, but they’re well served with some nice action sequences and character beats. Djimmon Hounsou’s Korath however is hardly present in comparison, underwhelming even in his (sole) capacity as a physical threat. Lee Pace provides some presence as the antagonist Ronan, but beyond that he feels flat compared to our colourful heroes. The streamlined plot may help the films pace, but its clear that Ronan suffers from a lack of explanation for his motives. Even in action he comes across as an aloof, untouchable punch bag rather than a formidable conqueror. Encounters with an all powerful villain shouldn’t be this mundane (That hammer is woefully underutilised). Speaking of all powerful, in what is sure to be a fan pleasing moment we are treated to our first proper encounter with Thanos, and he sure looks good. The effects may not be perfect, but for a cameo the design and voice (Josh Brolin) certainly left me anticipating his next appearance.
Verdict
For a first attempt Guardians of the Galaxy ticks almost all of the boxes, standing up there as one of the best Marvel films to date. For a film full of crass humour, oddball characters and classic sci-fi references its a testament to its quality that no matter what you’re preferences are you’re bound to have a hell of a lot of fun. You’ll root for the Guardians just as much as you did the Avengers even though you’ve just met them, its just a shame that the villains lost out along the way.
Hits
+Each and every Guardian is bound to be a favourite. +Universe and its inhabitants are beautiful. +Hilarious writing without boundaries. +Old school set pieces impress. +Great selected soundtrack.
Run time: 150mins Certificate: 18 Director: Gareth Evans Cast: Iko Uwais, Arifin Putra, Yayan Ruhian. DVD Release Date: August 11, 2014 (UK)
Gareth Evans raises the bar once more. Then hits it with a baseball bat.
The Raid’s first entry in 2011 took audiences by surprise with its intensely choreographed fights and rip roaring pace that made the roller coaster look like midnight mass in comparison. Perhaps the only criticism that could be levelled at it was its basic story that though solid felt like little more than a means to set up its terrific scenario. From the offset its clear that The Raid 2, with its hefty 150 minute run time, is intent on improving upon this and without a doubt it succeeds.
Picking up right after the events of the first film, our hero Rama (Iko Uwais) finds himself forced into the criminal underworld of Jakarta as an undercover agent. In a clever move we see Rama take a back seat to the criminal dealings that lie at the centre of the story, this not only makes his undercover role all the more believable (after all he’s hired muscle) but it also makes the moments where he does take decisive action in the second half of the film all the more gratifying. The plot no longer serves as a reason for people to punch each other, its now the driving force of the film. The handful of intriguing plot threads echo gangster classics such as Infernal affairs and The Godfather, but all of these are handled deftly so that when it comes to the films last non-stop sequence of spectacular fight scenes you won’t be wondering why he just hit that guy with a car, allowing the action to take centre stage.
Action on an epic scale.
Viewers who came to see action needn’t worry, there’s more on offer here than the first and its all just as good if not better. From prison brawls between dozens of inmates and guards to a heart pumping car chase, The Raid 2 throws a hell of a variety of action at you. No matter how big the fights get, they’re always intimately realistic and brutal thanks to the excellent choreography of Iko Uwais and Yayan Ruhian. Needless to say the final fight is a tense showcase for the Silat martial art used predominantly in this franchise, and quite possibly the greatest fight scene to have ever been committed to screen.
Gareth Evans is the man for the job here, his attention to detail and ability to choose the perfect perspective allowing every aspect of the film to be shown in the best possible light. Hollywood effects are mostly put aside (there’s only a handful of slow motion shots) in favour of more practical techniques that are all the more impressive. A continuous shot that swoops from the action inside of one car through to the interior of another pursuing it will leave you in awe whilst the minimal cuts elsewhere will allow you to fully appreciate the action that’s happening in front of you in all its gory glory. This kind of budget might have been squandered on CGI on wires were it in someone else’s hands, but here its clear every dime has been utilised to enhance and perfect everything the first set out to achieve. Credit must also be given to Joseph Trapanese’s energetic soundtrack that perfectly compliments what’s happening on screen without reverting to needlessly bombastic tunes that could otherwise stifle the gripping build up of the encounters.
The best fight scene ever?
The new cast of characters all help round out the epic tale, with Arifin Putra standing out as the troubled Uco whose inner conflict acts as the catalyst for much of what occurs throughout. Very Tri Yulisman, Julie Estelle and Cecep Arif Rahman also deserve mention for bringing the films villainous heavy hitters to life, excelling in an unforgettable introductory sequence. Though once again our protagonist, Iko Uwais’s Rama, is the films greatest star. His performance is surprisingly subdued for an action film, and you’ll find yourself rooting for him even as he dispatches goons by the dozen because one can’t help but sympathise with him.
Perhaps in one of the films only missteps though we are treated to another appearance from Yayan Ruhian as the hard up Prakoso. His sub plot of sorts is introduced and played out in its entirety in the first half of the film but is arguably unnecessary as its impact on the films plot is minimal. Its hard to criticise it as it treats us to two fantastic fights and some solid character development for Uco, but for what is already a lengthy film it comes across as an excellent deleted scene rather than a necessary distraction.
Verdict
Not only has Gareth Evans solidified his place as the best director of action films with The Raid 2, but he has done so whilst proving they needn’t be popcorn films with little less than a premise for a plot. The Raid was revered by many as the best action film ever, and its gone unchallenged until now with The Raid 2, so we’ve no choice but to wait for The Raid 3.
Hits
+Unbeatable action +Painstakingly shot +Great and varied cast of characters +That last fight +Perfect soundtrack
CRITICAL HIT REVIEWS 