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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

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

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