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Film

Captain America: Civil War Review

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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.
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.
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.
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.

Misses

– None.

Overall Rating5starsCritical Hit

Film

The Jungle Book Review

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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.
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 Louis.
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…

Misses

– …but some disparities still hamper the CGI.

Overall Rating4starsCritical Hit

Film

Into the Woods Review

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Run time: 125 mins       Certificate: PG
Director: Rob Marshall
Cast: Meryl Streep, Emily Blunt, James Corden.
Release Date: January 9, 2015.

Happily Ever After?

Into the Woods opens strongly, simultaneously throwing together a menagerie of fairy tales whilst placing its own knowing spin on them, all in the space of its brilliant opening number. It continues on in this fashion, criss crossing between the likes of its original bakers and well known characters such as Red Riding Hood and Cinderella whilst maintaining an effortless sense of cohesion. Knowing winks and parodies will keep adults entertained (the likes of Chris Pine’s Prince Charming in particular) while the spectacle of seeing these childhood favourites sing circles around each other is sure to enthrall children, though all ages are sure to take delight in the final result. Its a shame then that it falters in the delivery of its more ambitious second act, its restraint from getting ‘too dark’ shrouding its moral messages in vagueness when they could have been far more poignant.

As a musical Into the Woods mostly impresses. While memorable songs such as the opening Prologue may be a little on the sparse side, James Lapine does deserve praise for using the songs to tell the story rather than rely on dialogue to pad out the silence between a bombardment of big show stoppers. Yet despite capturing the flow of a story book, Rob Marshall doesn’t forget its stage origins. Most scenes take place on a single set as if being filmed on an ever changing stage, with grand effects being used liberally and the spotlight firmly placed on the woods and colourful characters.

into the woods 3
Tales new and old come together in novel ways.

Despite the first act being set up and balanced well, its when its ambitions to be more than just a fairy tale are dialed up that things begin to derail. The fantastical is grounded as issues such as death and infidelity are thrown into this land of princesses and giants. This dark departure clashes well with the yarn that has been told up to this point but is never seen all the way through. Arguing for more clarity may seem odd given the films message of ambiguity, in that no situation can ever be reduced to what is good and evil, but in its effort to appeal to all ages the delivery inevitably becomes all too vague. The important questions are posed, but the answers (and actions) rarely offer any satisfying answers. If the final act were a conversation between a parent and a child about these issues the child would undoubtedly pose the question of “Why?” throughout. Into the Woods may spare the audience these interruptions but in turn provides a less justified account of events.

Meryl Streep poised to steal another scene as the Witch.
Meryl Streep poised to steal another scene as the Witch.

Meryl Streeps Witch is the star of the show, relishing every devilish line of her telling numbers (“You’re not good, you’re not bad, you’re just nice.”) whilst remaining disturbingly skittish in conversation. Chris Pine clearly has a ball as the Prince, his and Bill Magnussen’s rendition of ‘Agony’ being one of the aforementioned tongue in cheek stand outs. Lilla Crawford and Daniel Huttlestone also impress as Little Red Riding Hood and Jack, the energy behind their performances granting them just as much a presence on screen as the likes of Depp and Streep. James Corden is perhaps the only weak link; though he manages to keep his intentionally mundane part of The Baker believable against the star studded cast he never quite convinces us of his characters plight and subtler virtues. However when alongside a compelling Emily Blunt the two make a sympathetic couple, and his narration provides the warm but apprehensive tone perfect for the audiences journey into the woods.

Verdict

Into the Woods almost nails its fantastic concept. Across the board, from cameos to big players, the cast exude energy and fully devote themselves to the fantasy. But for a stage play as original as this, the songs are rarely memorable despite their telling the tale well. Its second act struggles between telling hard truths whilst maintaining a family appeal, the two approaches never coming together as well as they could have. It might not end on a high, but the energy and originality behind this musical are sure to entertain.

Hits

+The cast, particularly Streep, impress across the board.
+Keeps a great sense of theatricality despite the high end effects and sets.
+Every musical number tells the story well…

Misses

–…But few stand out from the rest.
–Difficult second act struggles to sell its unconventional message.

Overall Rating

3starsHit