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Film

Suicide Squad Review

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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.
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.
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

Overall Rating 2starsMiss

Film

X-Men: Apocalypse Review

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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.

Apocalypse can be an ominous villain.
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.

Overall Rating2starsMiss

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

Batman v Superman: Dawn of Justice Review

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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

3starsMiss

Film

TOP 25 JURASSIC PARK SCENES

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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!

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Film

Jurassic World Review

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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.
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.
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

Overall Rating4stars

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Film

Birdman Review

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Run time: 119 mins       Certificate: 15
Director: Alejandro G. Iñárritu
Cast: Michael Keaton, Edward Norton, Emma Stone.
Release Date: January 1, 2015.

Keaton Returns

Birdman hooks you in from the beginning. A meditating Michael Keaton levitates above the ground as the ominous voice of Birdman reflects on his failures. From this moment onwards you’ll be glued to the screen, caught inside Riggan’s (Keaton) struggle between launching his own Broadway show and maintaining both his family and his own sanity. All whilst his past blockbuster role of the superhero Birdman entices him back to the easy pay check and global fame it once gave him. Its an excellent character study that grabs hold and never lets go until the end, an unrelenting ride through Riggan’s personal life and inner psyche. Exceptional performances and cerebrally tuned direction lend this surreal trip a numbing sense of reality; in other words you’ve never seen anything quite like Birdman.

The whole affair is best watched in one go without interruption, and even if you’re bursting for an intermission you’ll likely endeavour to stay seated to the end. Emmanuel Lubezki presents the entire film as a singular absorbing experience where the camera weaves naturally towards the next scene without a cut as if the entire film were one long take. One particular take that see’s Keaton awkwardly stride half naked through crowded streets is a definite highlight. Tricks are naturally employed to give this effect between scenes, but even having each individual scene progress with minimal cutting emphasises the ‘day in the life of’ perspective put forth here even with the focus on time and characters shifting throughout. The result lends a tangible intimacy that comes with every shot, a backstage argument proving just as involved as a defining speech on stage before an audience.

Keaton and Stone as the dysfunctional father and daughter duo.
Keaton and Stone as the dysfunctional father and daughter duo.

Likewise Antonio Sanchez’s minimal soundtrack bolsters this seamless approach, slow burning drum solos between scenes building the momentum before fading out as a characters dialogue carries its rhythm onwards. Every moment devotes itself to exploring these flawed characters and you’re right there with them; a long shot of silence that stares down an empty hall for 20 seconds or so will have you holding your breath for what dramatic beat will storm into that empty space next. Its at this moment that you’ll realise Birdman doesn’t only deserve your attention, but demands it.

It may sound like an awfully serious affair, but Birdman greatest appeal lies in just how funny it can be. Keaton and Norton’s chemistry on screen leads to some hilarious confrontations, their tenuous relationship that flips from admiration to rivalry entertaining all the more because of its sincerity. Likewise the arguments between Riggan and his Birdman persona, complete with a growling superhero voice, are moments so darkly funny because of the genuine chords they strike away at.

Iñárritu’s direction leaves no stone unturned. Superhero blockbusters are disassembled to their base components, both ridiculed and praised for being what they are. An enraged Keaton onslaughts Lindsay Duncan’s reviewer for misusing her position when at the same time he unknowingly evaluates his self same issues. Its in its raw exploration of these aspects of show business that the comedy is found; without an agenda Birdman simply presents these standpoints for what they are, knowingly laughing at itself just as much as it does its targets. The ending above all encapsulates what Birdman analyses, the desire to be talked about, and once the credits begin to roll you’ll most certainly talk about it.

Norton's Mike is the perfect foil for Riggan.
Norton’s Mike is the perfect foil for Riggan.

Keaton is at the top of his game as Riggan, dominating the screen with his gratifyingly delivered rants and proving depressively fragile when confiding in co-stars Emma Stone and Amy Ryan. A film such as this could easily come off as aloof, especially with a lead like Riggan, but its Keaton’s unfettered magnetism that keeps the sentiments behind the madhouse genuine. There is another star of this show in Edward Norton however, playing a role seemingly written for him effortlessly. His smug stage actor drives much of the backstage tension whilst remaining comically charming; a perfect opposite for Keatons weathered star. Emma Stone mirrors her father’s solitude well as the recovering addict, playing a well worn role with enough substance as to never be in danger of becoming a cliché.

Smaller roles all have their moments as well. The aforementioned Lindsay Duncan’s subdued bitterness plays off of Keaton and Norton perfectly in her few scenes. Zach Galifianakis and Amy Ryan are brilliant anchors in Riggan’s life, again leaving a lasting impression without the need for lengthy appearances. Andrea Riseborough and Naomi Watts are cast well, their respective romantic sub plots rounding out the circus that is the backstage drama in what limited time their given. With a prolific cast that play off of each other so flawlessly the one issue with Birdman is all the more glaring, as its disappointing to see that the majority of their threads are left hanging come the conclusion of Riggan’s.

Verdict

An altogether original descent into one man’s endeavour to do something with his life, Birdman is as every bit euphoric as it is darkly telling. Keaton turns in the performance of a lifetime, both mentally and physically, while a supporting cast headed by an on form Norton ice the cake and then some. All this wrapped in a hypnotic long take style and intertwining drum solos synonymous with the beats of the characters it plays in. A rare example of the medium that is as much an experience as it is a film, its time you sat down and found out what it means to be Birdman.

Hits

+Keaton’s Birdman is sublime
+Norton heads up a fantastic supporting cast
+Iñárritu’s subtle dissection of the film industry
+Lubezki’s long take cinematography is like nothing else
+Laughs are as organic as the rest of the experience

Misses

–Character threads are left hanging

Overall Rating

5starsCritical 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.

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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

Film

Interstellar Review

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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.
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.
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

Misses

–Epilogue and a few supporting cast fall short

Overall Rating

5starsCritical Hit

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Godzilla Review

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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 far more engaging character.
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.
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

Overall Rating

3starsHit

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The Expendables 3 Review

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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.
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.
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

Overall Rating 3stars

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Captain America: The Winter Soldier Review

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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.
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 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 Rating4stars

Critical Hit

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Sharknado 2: The Second One Review

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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.

Hits

+Plenty of cameos hit the mark.

Misses

–Everything else.

Overall Rating1stars

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Guardians of the Galaxy Review

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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.
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.
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.

Misses

–Poorly executed villains.

Overall Rating 4stars

Critical Hit

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The Raid 2 Review

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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.

TheRaid2Image2
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 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

Misses

–Prakoso sub plot feels like extended material

Overall Rating5stars