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X-Men: Apocalypse Review

May 24, 2016 James Attwood Leave a comment

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.

The new cast have little time to differentiate themselves before being forced into matching outfits. — 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.

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.

Overall Rating

Film

Captain America: Civil War Review

May 1, 2016 James Attwood Leave a comment

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.

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.

Misses

– None.

Overall Rating

Film

Batman v Superman: Dawn of Justice Review

April 16, 2016 James Attwood Leave a comment

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’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

Overall Rating

Film

TOP 25 JURASSIC PARK SCENES

July 6, 2015 James Attwood 5 Comments

Welcome to Jurassic Park.

Considering its pioneering use of CGI its a wonder one can call Jurassic Park a timeless franchise, but thanks to a healthy mix of computer effects and Stan Winston’s incredible animatronics it really has stood the test of time. Witnessing Alan Grant and company see a live Brachiosaurus is as awe inspiring now as it was 23 years ago thanks to its unparalleled effects under some incredible direction from Spielberg. Jurassic Park was an event of a film, and the franchise its spawned has continued to give us some incredibly memorable scenes. So with the release of Jurassic World here’s a list of what I consider to be the 25 best scenes Isla Nublar and Sorna have given us.

SPOILER ALERT: Major spoilers for all Jurassic Park films ahead, including Jurassic World!

Honourable Mention – Spinosaurus Vs T. Rex (Jurassic Park 3)

Before we enter the top 25 this just had to be mentioned. Love or hate the outcome, this scene was a phenomenal opener to the dinosaur action in Jurassic Park 3. What began as a terrifying enough experience for Alan Grant and co having had their planes wings thoroughly clipped by the Spinosaurus soon developed into a monumental bout as a T.Rex entered the fray. Why didn’t it make the top 25? Well considering what was happening on screen there just wasn’t enough weight behind the action and having just met both of these titans it was hard to root for either of them. Regardless it was a big scene that introduced the Spinosaurus with a bang, and one that was talked about by fans long after, so it had to be mentioned.

You can watch the scene below.

25 – Close Encounters with a Brachiosaurus (Jurassic Park)

This playful scene occurs after the parks been plunged into chaos making it a much appreciated respite for the isolated group. Seeing Lex and Tim regain their confidence around the Brachiosaurus after their harrowing experience with the T. Rex is great, and there’s some great bonding between them and Alan Grant as well. The animatronic goes a long way to making this scene as special as it is, as you can believe Grant’s feeding an actual Brachiosaurus when the immense model chomps down on the branch. Tim shouting “God bless you!” after the Brachiosaurus has sneezed all over Lex is just the icing on this wonderful scene.

You can watch the scene below.

24 – Stuck in a Hamster Ball (Jurassic World)

This is a great example of a classic Jurassic Park scenario done with a twist in Jurassic World. Zach and Gray are thrust into the middle of a deadly fight after having gone off road as the Indominus Rex dispatches a defensive Ankylosaurus and turns his attention to the Gyrosphere they’re in. There’s the quiet build up as Gray counts one more dinosaur than his brother, spotting the reflection of the Indominus behind them, to the all out chaos as the Gyrosphere’s integrity is tested by the panicking Ankylosaurus herd. After a grim end for one Ankylosaurus the Indominus locks his jaw right around the sphere and begins smashing, an eerie callback to the T. Rex’s glass smashing attack on the jeep roof from the first. Its a tense sequence with the kids going from terrified to ingenious as they narrowly escape (props to Ty Simpkins and Nick Robinson for really selling the terror here), with the whole endeavour capping off with a now or never waterfall jump.

You can catch a clip of the scene below.

23 – Fire, Water and a Spinosaurus (Jurassic Park 3)

Jurassic Park 3 may not have been of the same calibre as its predecessors, but its continued use of practical effects alongside CGI made for some great action. The last ditch attack from the Spinosaurus is where it all comes together to work in harmony, with its closely framed shots emphasising the size of the beast (again an impressive animatronic) against the towering crane. Its an excellent set piece that dials up the desperation to 11, forcing William H. Macy’s Paul Kirby to climb the crane to distract the Spinosaurus from his trapped ex-wife. Its all looking hopeless until Alan Grant once again makes use of a flare, firing it at the Spinosaurus and into the leaking oil that has bathed the scene of the action. The river goes up in flame and drives the Spinosaurus away (his last appearance, a full body shot behind the fire using CGI casting an imposing image) leaving the gang to escape with their lives. The night time attack on the river lit up by the fire makes this a thrilling and apt farewell to the deadly Spinosaurus.

You can watch the scene below.

22 – Indominus Rex Escape (Jurassic World)

The Indominus Rex was introduced as a true threat in this scene, tricking Owen Grady and company into entering its paddock and biding its time before making its move. Luckily for Grady there’s a slightly slower runner than him to take the first hit, and a well placed car for him to slide under once he’s free of the gates. Perhaps the best moment of this scene though? Watching the paddock supervisor (Eric Edelstein) teach Grady a valuable lesson as he sits still once his cover is thrown aside, thinking back to the T. Rex’s vision based movement, only to be gobbled up in one bite. Grady catches on immediately, covering himself in fuel to disguise his scent so as to avoid discovery. Its all highly intense stuff that shows off the Indominus Rex’s brains as well as brawn, and Colin Trevorrow deserves commendation for showing so much of the big bad in its first (ish) scene to deliver one very memorable introduction.

You can catch a clip of the scene below.

21 – Nedry’s Unfortunate End (Jurassic Park)

Starting with a comedy sound clip for his slipping down the muddy bank and the Dilophosaurus playing hide and seek from behind the tree, this scene starts off almost comedic, but its not long before things get dark. Spielberg nails the back and forth approach, having Nedry slowly make his way to the tree to secure his car tow and back up the slope, albeit with a curious dinosaur in tow. Its simple, but the heavy rain and deep mud make this quintessential Jurassic Park, with Nedry’s struggle becoming more and more evident as the scene progresses. Sure he’s the bad guy but you can’t help but feel for him here. Of course the dinosaur isn’t just curious as it appears behind him, spits her blinding goo, and ends up devouring Nedry in his car. The slow panning camera from the rocking car accompanied by Nedry’s screams make this a top notch horror scene. Then again Wayne Knights wry delivery of his line “No wonder you’re extinct. I’m going to run you over on my way back down.” almost make this a victory for the Dilophosaurus, especially considering its the last we see of the embryo Nedry stole. (Another minor honorary mention here. Dieter’s death at the claws of the Compies in The Lost World was going to make the top 25, but both scenes achieved a similar goal, and Nedry’s did it so much better.)

You can watch the scene below.

20 – You Asked For More Teeth (Jurassic World)

Jurassic World surprised me by not only only including a tweaked scene from the original book that didn’t make into the first film, but by making it seem even better in this entirely new story. The heated discussion between Henry Wu and Mesrani mirrors a talk Wu has with Hammond in Crichton’s novel, with great lines from Wu such as “…if the genetic code was pure, many of them would look quite different. But you didn’t ask for reality, you asked for more teeth.” echoing the book wonderfully. Mesrani doesn’t have the tact Hammond did however, and his last accusation directed at Wu for having created a ‘monster’ is shot down with Wu’s killer closer “Monster is a relative term. To a canary, a cat is a monster. We’re just used to being the cat.”. It acts as a knowing rebuttal to some palaeontologists’ comments regarding the lack of feathers on the dinosaurs, after all these aren’t real dinosaurs, and one that sets BD Wong’s Wu as one to watch as the series continues.

There are no clips yet, but here’s a similar discussion between Claire and Owen.

19 – They’re Flocking This Way (Jurassic Park)

This scene deserves special mention for being a rare instance of Jurassic Park showing the dinosaurs doing what they do without any human interference as Grant and the kids find themselves spectators to a herd of Gallimimus. Of course things take a turn for the worse as Tim realises they’re in fact “flocking this way” and they’re forced to take cover behind a handy log, lucky too as the T. Rex is soon revealed to be the cause of the Gallimimus’ panic. Its a brilliant effects shot as the CGI holds up in the broad daylight without any rain or shadows to hide it, the wobbling log and natural lighting selling the snapshot of life as it would be 65 million years ago. Its an effective shot of the T. Rex too as its the only time she’s ever seen without our heroes being in peril, and one that aids her portrayal as just a natural predator rather than full blown antagonist.

You can watch the scene below.

18 – Stuck Up a Tree (Jurassic Park)

Having just escaped the T. Rex, Tim finds himself stuck in a tree, still inside the car. Its another example of the there and back approach, having Grant slowly climb the tree to get Tim out only to be forced to descend it again post haste. John Williams’ score queues the moment the car begins to fall down the tree, amping up the tension for what is a brief but thrilling scene. The moment the car lands on top of the two at the base is filmed so seamlessly you question whether they made it or not, only to be reassured by the classic lines from the two – “Well we’re back in the car again.”, “At least you’re out of the tree.”. Its top notch suspense followed by some light hearted relief, all without a single dinosaur in sight.

You can watch the scene below.

17 – Lethal Vs Non-Lethal (Jurassic World)

As if the Indominus Rex hadn’t proven dangerous enough after his initial escape, this Predatoresque massacre solidified him as a force to be reckoned with. First revealing himself to have been camouflaged the whole time to a crew of Muldoons, all foolishly armed with non-lethal weapons, he sets about ripping them all apart in one of the franchises most graphic scenes. Blood is spilled and backs are broken as the heart rate monitors of the crew stop one by one. Its an effectively shot scene that gives the audience the idea of grisly deaths without having to show the whole ordeal. The final victim decides to forget their initial approach, pulling out a shotgun to blast away at the beast before falling straight into its crooked jaws. Killer stuff.

There are no clips of this scene yet, but you can catch some Indominus action in the TV spot below.

16– Must Go Faster (Jurassic Park)

Another short scene but one that’s remained in viewers memory ever since. Beginning with Goldblum’s Ian Malcolm laid in the back of the car, we hear the ominous footsteps and see the iconic ripples in the water, and are all of a sudden in as much of a panic as he is when calls to Sattler and Muldoon. Before you know it you’re whisked into the T. Rex chasing the Jeep, ripping through trees as it keeps up with worrying ease. Goldblum’s panicked yet calm delivery of the now unforgettable “Must go faster.” sells the scene. Spielberg’s attention to detail, this time round framing the approaching T. Rex in the wing mirror complete with the warning “Objects in mirror are closer than they appear.”, once more enhances what’s already a terrific scene.

You can watch the scene below.

Continue to page 2 for the top 15th to 6th scenes!

Pages: 1 2 3

Film

Captain America: The Winter Soldier Review

August 16, 2014 James Attwood 4 Comments

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

Misses

–Finale retreads the formulaic showdown

Overall Rating

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