2020-2029, Film Review

Anora (2024)

Posted on November 2, 2024February 17, 2025 by Martin: Through the Silver Screen

**© Neon, FilmNation Entertainment and Cre Film**

Anora – Film Review

Cast: Mikey Madison, Mark Eydelshteyn, Yura Borisov, Karren Karagulian, Vache Tovmasyan, Aleksei Serebryakov

Director: Sean Baker

Synopsis: A young sex worker from Brooklyn begins a whirlwind romance with an extremely wealthy client…

Review: The filmography of Sean Baker has provided audiences with a usually fascinating and insightful glimpse of the pursuit of the American dream from the perspectives of people on life’s periphery who are often looked down on by certain echelons of society. An LGBT sex worker, a working-class family struggling to make ends meet, and a washed-up porn star trying to recapture his former glory. While the latter may have left a lot to be desired in how its lead character went about his ambitions, there’s an enduring appeal in seeing people looking to make their dreams become a reality in a society which promises anyone and everyone has the potential to succeed irrespective of their background, even more so when these people are marginalised. For his latest film, Baker returns to the world of sex work, in a vibrant and hilarious ride.

Opening with a line of sex workers entertaining their clients, set to the backdrop of ‘Greatest Day’ by Take That (an absolutely perfect needle drop), we meet Anora (Madison), or Ani as she prefers to be known. Ani lives in Brighton Beach in Brooklyn and works in an exclusive strip club in Manhattan, frequented by some extremely wealthy clientele. One day, as Ani is the only employee at the club who can speak Russian, she is introduced to Ivan Zakharov (Eydelshteyn), the son of a Russian billionaire. It doesn’t take long for Ivan, or Vanya as he prefers to be known, to become infatuated with Ani and he soon pays for several private encounters with her, which eventually leads to the two of them beginning a relationship that culminates in a spur-of-the-moment wedding in Las Vegas. Ani, with a beautiful ring on her finger and all the money in the world, is living in the most idyllic fairytale she could imagine. This is until everything comes crashing back down to Earth when word of this impromptu marriage reaches the ears of Ivan’s parents, who set out to do everything in their power to have the marriage annulled.

No matter who you are, everyone needs to find a way to earn a living, and sometimes sex work is the form of employment people choose as their source of income. Yet, even in the modern era, there is a frankly ridiculous taboo that comes with sex work that some may see as objectification. Baker humanises these people as people just looking to get by, particularly as they are ostracised by society due to the sexual nature of their jobs. While he wildly misfired with his previous film due to the predatory nature of a washed-up porn star’s quest to recruit an underage girl into becoming a sex worker, he strikes gold with his lead character this time around.

Having had memorable supporting turns as a Manson family member in Once Upon a Time… In Hollywood and 2022’s Scream, this is Madison’s moment to shine, and it is an opportunity she seizes in spectacular style as she is in scintillating form with a tremendous leading performance. Due to her line of work, she is endlessly charming and self-assured when it comes to wooing the club’s clients. Yet when she is with Ivan, it allows her to be more open and relaxed with the man she believes she will be with for the rest of her life. The romance between them could easily feel forced, but the chemistry between both actors is powerful and genuine. until her romantic bubble emphatically bursts in the latter half of the film when her fairytale marriage is not quite the happy ever after she thought it was going to be. Madison is the unquestioned star of the show, every princess in their fairytale needs a Prince Charming, and Eydelshteyn excels in bringing Vanya’s party animal antics to the core. Here is a kid who is determined to do whatever he can to cling to the life of playing video games, making love to his wife, and not having any responsibilities. Who wouldn’t want that lifestyle when you have that sort of money?

However, all of the fairytale and briefly blissfully wedded romance is rudely interrupted after Vanya’s furious father orders some of his enforcers to travel to the U.S to get the marriage terminated, which is made all the more difficult by Vanya’s decision to literally do a runner and leave Ani in the hands of his father’s goons. It is absolute chaos as the henchmen are left with no choice but to drag Ani along on a wild goose chase in the Big Apple, to locate one person in a city filled with more than eight million people. The heavy drama of the situation, combined with the hilarity of international henchmen desperately wandering around the city, while trying to act imposing and tough with anyone they come across, is a difficult balance to strike. It is a fine line that is walked almost perfectly, although you can’t help but feel as entertaining and chaotic as this frenzied search is, the film’s fast-paced and frantic energy wears off in the third act.

As a result, the film begins to lose momentum in its final stages. However, despite this minor issue, Baker continues to highlight and give a voice to those who through no fault of their own, find themselves marginalized in society. The Palme d’Or victory at the Cannes Film Festival suggests that this could be, to paraphrase the lyrics Take That, the greatest film of Sean Baker’s career.

With a star-in-the-making leading performance from Madison, Anora is an uproarious and compassionate depiction of an outsider’s perspective of the American dream, while flipping the classic fairytale story on its head.

2020-2029, Film Review

The Wild Robot (2024)

Posted on October 20, 2024December 31, 2024 by Martin: Through the Silver Screen

**© DreamWorks Animation and Universal Pictures**

The Wild Robot– Film Review

Cast: Lupita Nyong’o, Pedro Pascal, Kit Connor, Bill Nighy, Stephanie Hsu, Mark Hamill, Catherine O’Hara, Matt Berry, Ving Rhames

Director: Chris Sanders

Synopsis: After being shipwrecked on a deserted island, a robot must learn to adapt to its new surroundings and is put to the test when it has to care for an orphaned baby chick…

Review: Our world is home to a diverse range of fascinating wildlife and plant life. This may sound like something you’d hear in a nature documentary narrated by Sir David Attenborough (try reading that first sentence in his voice), but as those series demonstrate, the wonders of nature can be discovered anywhere on this magnificent planet. Since the dawn of humanity, we have explored and uncovered the marvels that the natural world has to offer. Now, imagine yourself as an outsider who has never encountered these wondrous sights or experienced nature’s beauty for the first time. You are a robot programmed to assist humanity, only to find yourself surrounded by an assortment of wildlife. The challenge of assimilation and finding your place in the world is beautifully captured in one of the year’s most compelling films.

Set on an unnamed island, the Universal Dynamics ROZZUM Unit 7134 (Nyong’o) washes up on the beach after a storm. Upon booting up, Roz, as she quickly becomes known, attempts to adapt to her new surroundings and offers to assist the island’s inhabitants. Unfortunately, the locals are immediately hostile towards her arrival and reject her help. After Roz comes under attack from a frightening predator, she inadvertently destroys a goose’s nest, resulting in the death of the mother goose and leaving only a single egg remaining. Overcome with guilt, Roz decides to raise the surviving gosling, whom she names Brightbill until he is ready to join the rest of his kind for migration. Although she admits that this task is “not in her programming,” Roz becomes determined to work tirelessly until Brightbill can swim, eat, and fly, and gain the strength to take his place among his own kind.

As the relationship between humanity and machines, specifically artificial intelligence (AI), is increasingly scrutinized, The Wild Robot offers a fascinating perspective on how a robot might interact in a natural environment devoid of human presence. Adapted from the book series by Peter Brown, having beautifully brought to life the journey of one boy who learns how to train his dragon, Chris Sanders’ script delves deeper than just the exploration of nature’s struggle against AI. In this touching and heartfelt story, Roz often finds herself at odds with her programming as she works to protect Brightbill, a gosling vulnerable to other animals in their habitat. This conflict only strengthens Roz’s determination to help Brightbill gain acceptance in his community. Throughout their journey, Roz and Brightbill encounter various unique creatures, including Fink (Pascal), a sly and cunning fox with a peckish who sees Brightbill as his prey. However, Roz’s persistence and determination to raise Brightbill as her own leaves a lasting impression on Fink, and Pinktail (O’Hara) and her legion of adorable little babies.

Even if someone has never had children, anyone and everyone will be acutely aware of the difficulties and challenges that come with parenthood and raising children, because let’s be honest, we’ve all done things when we were young with the sole intention to annoy our parents. Therefore Roz’s battle to become a mother, something she has no prior experience of, will undoubtedly strike a chord with those undertaking the most difficult task any living creature could put themselves through. Though parenthood is an immensely difficult challenge, it has its own rewards and the film chooses to celebrate those as well as a pertinent reminder of the healing power that community and togetherness can bring, because as Roz herself puts it: “Sometimes, to survive, you must become more than you were programmed to be.”

Speaking of Roz, a robot is not usually the most expressive and emotional being, on account of it being a robot. It therefore takes an extremely talented actor to bring such warmth and emotion to a life form designed with one specific purpose in mind. In Academy Award winner Lupita Nyong’o, you have the perfect actor to bring those qualities and more. Nyong’o radiates warmth and compassion, even though it goes completely against what the nameless corporate bigwigs at Universal Dynamics clearly intended Roz to be. Nyong’o is the unquestioned star of the show, but she is given excellent support in a glittering voice cast from the likes of one the internet’s favourite personalities, Pedro Pascal who is equally charming and delightful as Fink. The bond between a parent and their child can be a loving one, but it is usually not without its fraught moments, and Kit Connor’s voice performance as Brightbill captures this balance of that very complex and loving relationship that develops between himself and his surrogate mother.

With the likes of Sony’s Spider-Verse films, and last year’s Puss In Boots: The Last Wish, the bar for high-quality animation has been considerably raised in recent years by breaking new ground in what audiences thought possible, as well as combining 2D and 3D styles. Sanders and the animation wizards at DreamWorks have outdone themselves here, with utterly breathtaking visuals that feel so lifelike and realistic, if you didn’t know any better, also feel like they could easily have been pulled straight from one of those nature documentaries. In an increasingly hostile and chaotic world, if an outsider like Roz can against all odds, go against her programming and find her place in the world and work with the community around her, a lesson for all of us to take heed to.

Beautifully animated, with a powerfully resonant and emotional message at its core, Roz and her array of furry friends will charm their way into your hearts and never let go.

2020-2029, Film Review

Joker: Folie à Deux (2024)

Posted on October 6, 2024October 6, 2024 by Martin: Through the Silver Screen

**© Warner Bros Pictures and DC Studios**

Joker: Folie à Deux – Film Review

Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Steve Coogan, Leigh Gill

Director: Todd Phillips

Synopsis: Two years after the events of the first film, as he prepares to go on trial for murder, Arthur Fleck meets fellow Arkham inmate Harleen ‘Lee’ Quinzel…

Review: In what was an incredible year for film, there were fewer films released in 2019 which caused a frenzied debate as Todd Phillips’s Joker. The winner of the Golden Lion at the Venice Film Festival, and yet, the controversy which surrounded the film in the run-up to its release was thunderous and widespread, amid fears that it would spark violence and unrest. Despite its very apparent nods to the filmography of Martin Scorsese, the film rode out those fears, taking over a billion dollars at the box office and becoming the highest-grossing R-rated film of all time (a record it held until only very recently) and bagging two Academy Awards. Amid the very divisive reactions, ultimately this version of the Clown Prince of Crime had the last laugh. At least he would have done, had the filmmakers resisted the urge to return to this dreary interpretation of Gotham and make a markedly inferior sequel.

It has been two years since failed comedian Arthur Fleck (Phoenix) violently killed several people, including three Wall Street businessmen, a co-worker, and a prominent talk show host, the latter taking place live on national television, all while adopting the mantle of the Joker. Now imprisoned at Arkham State Hospital, Arthur is awaiting to stand trial for his crimes and at the mercy of Arkham’s guards, who take great joy in taunting him. He soon meets Harleen “Lee” Quinzel (Gaga), and the two begin a bad romance, (rah-ah-ah-ah!) with Lee telling Arthur that they will build a great life for themselves once he is free. Meanwhile, in preparation for his trial, Arthur’s legal counsel Maryanne Stewart (Keener) is aiming to convince him that he has dissociative identity disorder and that it was this Joker character that committed these murders, all this is interwoven with musical numbers which attempt to explore Arthur’s mindset, because apparently a song and dance is a better outlet than talking about it?

How do you solve a problem like Joker? This is presumably the question on the minds of Phillips and Scott Silver when they set about writing this follow-up. The short answer is you leave it the hell alone as not every film needs a sequel, but clearly money (especially $1bn) talks. While at least this does away with the very overt references to a superior filmmaker’s work, the decision to go down the musical route for such serious discussions about mental health and the state of Arthur’s mind is unquestionably bold. However, boldness counts for nothing if you don’t fully commit to this and go for broke and commit to batshit musical numbers. Even with a singer as talented as Gaga, the musical numbers are flat and unremarkable, and offer nothing substantive as a means of dissecting Arthur’s supposed identity crisis and both his and Lee’s mental state. Folie à Deux (or shared delusion/madness) is an apt subtitle as these are two souls whose delusion knows no bounds, but it’s a shame that the substance of the script is about as shallow as it could possibly get, and its exploration of mental health is superficial if we’re being kind, and bordering on lazy if we’re not, which we absolutely should not.

For all of the script’s many faults, with another being a courtroom drama that should be gripping and intense as Arthur is held accountable for his actions, even if that is half-baked and farcical in its execution. At least Joaquin Phoenix delivers another compelling performance, even though the material he’s been given is far beneath an actor of his immense capabilities. Gaga has proven she has the acting chops to go toe to toe with some of the biggest names in the business, and she does so again here. Her take on this iconic character is much more softly spoken and warmer than some of her immediate predecessors. However, she doesn’t get enough screen time to truly excel and leave a lasting impression. To underutilise her musical talents, in particular, is an especially egregious sin, among the many many sins committed through a two-hour and twenty-minute run time, with severe drags in the pacing.

What is considerably less sinful is the sterling work of returning cinematographer and composer Lawrence Sher and Hildur Guðnadóttir, the latter of whom won an Oscar for the first film. The scenes in Arkham are aptly dim and grey, to reflect such a miserable place. They stand as a perfect contrast to the vibrantly lit musical moments, while Guðnadóttir again deploys a haunting string-heavy to capture the gloominess of Arthur’s predicament when he’s not having a musical interlude, which ultimately feels like a waste of Guðnadóttir’s talents. Phoenix’s phenomenal performance helped to elevate the first film from its obvious influences to provide audiences with a portrayal of one of cinema’s iconic villains that for better or for worse, got people talking. However, this hollow sequel offers absolutely nothing substantial and has absolutely nothing to say. No one is laughing anymore, and it is time for this clown to exit the stage once and for all.

Even with the incredible talents of the production design and technical team, their efforts and excellent performances from Phoenix and Gaga, are all in service of dull musical numbers and a script devoid of anything meaningful to say.

2020-2029, Film Review

Beetlejuice Beetlejuice (2024)

Posted on September 6, 2024 by Martin: Through the Silver Screen

**© Warner Bros and The Geffen Company**

Beetlejuice Beetlejuice – Film Review

Cast: Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, Willem Dafoe

Director: Tim Burton

Synopsis: Decades after the events of Beetlejuice, three generations of the Deetz family return to Winter River, where a family member discovers a portal to the afterlife. This enables the return of the ghost with the most, Betelgeuse himself…

Review: In the vastly idiosyncratic filmography of Tim Burton, words like freaky, wacky, quirky, eccentric, and macabre often come to mind. Though, perhaps none captures these qualities more than the 1988’s Beetlejuice. A story about death and the afterlife had no business being as charming, bizarre and witty as it was, with a glorious scene-stealing performance from Michael Keaton as the titular character, despite only 17 minutes of screentime. An impressive achievement for what was Burton’s second feature film and represented the start of a long and lasting collaboration between Burton and Winona Ryder, including a certain Caped Crusader in the case of the former. Years after being banished to the afterlife (Betelguese, not Batman), the Juice is let loose for a legacy sequel that earns its stripes and does not deserve to be banished to purgatory forevermore.

It has been over 30 years since Lydia Deetz (Ryder) was almost married to a sleazy bio-physicist. Despite him being out of her life, Lydia is haunted by visions of the ghost with the most. A family tragedy brings Lydia, her stepmother Delia (O’Hara), and her daughter Astrid (played by Ortega) back to Winter River. During this time, Lydia attempts to reconnect with Astrid, who initially shows little interest. However, Astrid’s curiosity is piqued when she discovers an old model of the town in the attic. Their efforts to build a relationship seem to be making progress until a family member says THAT name three times, Betelgeuse is let loose on the world of the living, and he has some unfinished business to take care of.

When a significant amount of time has passed between films in a franchise, there is always the risk that the sequel will become nothing more than nostalgia bait for fans of the original and will lean too heavily into that, and forget to tell a story worth telling. A dangerous game, which this sequel thankfully is not interested in playing. In the years since, Lydia is the face of a TV show as a psychic mediator, trying to juggle a relationship with her producer Rory (Theroux), while Astrid is struggling to come to terms with the loss of her father. Meanwhile, in the land of the ghouls, Betelgeuse is up to his usual tricks in an attempt to win Lydia back, all while Dolores (Belluci) is on an intensely personal mission to track Betelgeuse down and will stop at nothing until she finds him, but not before she has to (literally) put herself back together. Burton’s gothic style is fully turned up to the maximum and he is absolutely in his element.

Speaking of people in their element, Keaton in the titular role is once again an absolute joy of chaotic energy, he slips back into that stripy suit effortlessly like he never took it off. Ryder and Ortega, the latter of whom you get the spooky sense might just be on a long journey as another frequent Burton collaborator, are a very effective pairing. Even though Astrid feels unhappiness and resentment towards her mother, they work together as schemes perpetuated by those on the other side threaten to have dire consequences for them both. Dafoe is fun, if a little underutilized as a deceased actor who really enjoyed playing a cop when he was alive. However, no one is more underserved by this sequel than Belluci. She makes her presence known with what precious little screentime and lines she has, but it is a real squandered opportunity that her backstory wasn’t further fleshed out.

Alfred Gough’s and Miles Millar’s script, from a story they wrote with Seth Grahame-Smith, strives to differentiate itself from its predecessor by spending more time in the Land of the Dead, rather than the living. As undeniably cool and enjoyable as it is to see this bizarre and unique portrayal of what life is almost certainly nothing like once we leave this mortal coil, there are so many different strands to this story at play. They have all been thrown into one big gigantic melting pot and ultimately, too many plot lines spoil the slimy afterlife broth, as it doesn’t always fully cohere and the plot becomes a little bit messy and unfocused.

Nevertheless, the film boasts immaculate production design, a preference for practical effects for as many scenes as possible, and stellar work from the hair and make-up teams. All these elements, combined with, Danny Elfman’s memorable score, give this sequel enough juice to go wild and delight and horrify the audience in equal measure. Time will tell if Burton decides to venture back into the zany world of the undead to complete the trilogy, perhaps saying Beetlejuice’s name three times will do the trick, although please do so at your own risk.

It gets a little too bogged down by too many different plotlines. However, with Burton’s commitment to practical effects, and another committed and off-the-wall performance from Keaton as the ghost with the most, Beetlejuice Beetlejuice delivers a worthy follow-up to its predecessor.

2020-2029, Film Review

Borderlands (2024)

Posted on August 28, 2024September 2, 2024 by Martin: Through the Silver Screen

**© Lionsgate Films, Summit Entertainment, Media Capital Technologies, Arad Productions, Picturestart, Gearbox Studios and 2K**

Borderlands – Film Review

Cast: Cate Blanchett, Kevin Hart, Jack Black, Edgar Ramírez, Ariana Greenblatt, Florian Munteanu, Gina Gershon, Jamie Lee Curtis

Director: Eli Roth

Synopsis: A bounty hunter is tasked by a powerful businessman to find and rescue his daughter on an inhospitable planet…

Review: Film adaptations of video games offer filmmakers so much potential. There is no shortage of games that are developed with such scope in their world-building and their richly developed characters to represent ripe material for them to translate these incredible adventures to the big screen and introduce these stories to a wider audience. It is a fundamental aspect for anyone who sets about this task that they honour its source material and adapt it in a manner that delivers thrills for both fans of the games and wider audiences in general. Who knows, perhaps it could inspire some to pick up a controller and dive into the world on which it was inspired? While recent video games such as The Last of Us, Fallout and the two Sonic movies succeeded, Eli Roth’s adaptation of Gearbox Software’s Borderlands fails and fails miserably.

After a massive dump of exposition about the world of Pandora (sadly not that one) and why everyone in this world might be interested in this mysterious vault, we meet infamous bounty hunter Lilith (Blanchett) on some other planet whose name you almost certainly won’t remember once the credits have rolled. Lilith is approached by a powerful businessman named Atlas (Ramirez) who tasks her with finding and rescuing his daughter Tiny Tina (Greenblatt) as Tina may hold the key to unlocking whatever is being kept in this vault. Lilith reluctantly returns to Pandora to find Tina. Along the way, she encounters and joins forces with a mercenary named Roland (Hart) and the brutish Krieg (Munteau) with a rag-tag group of characters on a quest to find some MacGuffins on a quest so generic you have seen a million times before, and also done so much better. You will wish you were watching that movie and not this derivative pile of junk.

**“Somewhere down here is a better script than the one we used…”**

A rag-tag, oddball collection of personalities brought together by circumstances on a mission with significant consequences at stake. It cannot be denied that Roth is trying to channel the Guardians of the Galaxy vibe, with tonnes of mic-drops to boot. Unfortunately, unlike what James Gunn accomplished with his trilogy of the Galaxy’s most lovable collection of a-holes, the script, credited to Roth and Joe Crombie, does absolutely nothing to put a shred of development on any of these characters or why you should even remotely care about their mission and whether they succeed. The film, which initially went into production in 2021, later carried out reshoots in early 2023 overseen by Deadpool director Tim Miller. Craig Mazin – the showrunner of Chernobyl and co-showrunner of The Last of Us – later had his name removed from the project. One look at Mazin’s resume and he seems like the perfect writer to help adapt a video game franchise from the console to the screen. Yet he didn’t want his name anywhere near it. Go figure.

With a lazy and mind-numbingly boring script and painfully obvious green screen, things do not get much better when it comes to the performances. Even with ridiculously talented actors, the dialogue delivery is monotone, bland and tedious to sit through, with attempts at humour extremely juvenile and unfunny. Blanchett tries her best, but not even she can elevate this insipid material and neither can her fellow Oscar winner Jamie Lee Curtis. Kevin Hart as Roland the mercenary is completely ineffective and Florian Munteau’s Krieg comes across as an inferior, considerably less amusing version, of a certain Drax the Destroyer. Ariana Greenblatt can be thankful she has her great performances in projects like Barbie and Ahsoka to fall back on because, like just about everything else in the film, she comes across as obnoxious and annoying. Though, nothing is as nearly as annoying as Claptrap the robot, voiced by Jack Black. Clearly intended to be the comedic sidekick, he is excruciatingly unfunny and makes you wish someone would deactivate him and then blow him to smithereens several times over.

One can only speculate, but given Roth is known for his work in horror films, it could be reasonably assumed the film initally tried to go for a more R-rated tone in keeping with the source material only for the studio to stipulate that they stick to a PG-13 rating, hence the reshoots. An R-rating may have marginally improved matters, but when a film is this lazily written, shoddily edited and put together, it is beyond redeemable. With more than 77 million games sold (as of November 2022), the Borderlands games franchise is clearly doing something right. Fans of the games would be wise to stick to the world that exists on their consoles because this dull and uninspired mess deserves to be banished to the apocalyptic wasteland it came from and never heard from ever again.

Despite its talented cast, this substandard adaptation of the popular game franchise is devoid of a shred of personality and thoroughly deserves its place on the scrapheap of worst video game adaptations. A complete and total misfire.

2020-2029, Film Review

Deadpool & Wolverine (2024)

Posted on July 27, 2024August 8, 2024 by Martin: Through the Silver Screen

© Marvel Studios, Maximum Effort and 21 Laps Entertainment

Deadpool & Wolverine – Film Review

Cast: Ryan Reynolds, Hugh Jackman, Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Aaron Stanford, Matthew Macfadyen

Director: Shawn Levy

Synopsis: After retiring as the Merc with a Mouth, Wade Wilson is recruited by the Time Variance Authority (TVA) for an important mission with everything Wade holds dear at stake…

Review: Cast your mind back to Spring 2019, the opening night of Avengers: Endgame. Audiences around the world gasped, applauded and cheered as the culmination of more than ten years of cinematic universe-building came to one almighty and epic finale. It seemed an absolute certainty, at that moment in time, that the popularity of the comic book genre was infinite and would last for generations.

Fast forward five years later, and you can’t move for talk of superhero fatigue, particularly in recent years. While there have been some undoubted misfires (and some other issues offscreen) along the way in its post-Endgame era, the Marvel Cinematic Universe has been a far cry from the crisis point many would have had you believe. But now, following on from the merger between Fox and Disney, a portal of opportunity has been opened for the X-Men to enter the MCU. Enter the self-anointed “Marvel Jesus” AKA Wade Wilson.

Six years since his time travel shenanigans at the end of Deadpool 2, Wade Wilson has hung up the katanas and retired as the Merc with a Mouth. This is until the Time Variance Authority come knocking and informs Wade that the fate of his universe hangs in the balance and to save it, he must search for a particular individual who could hold the key to saving his world and everything he holds dear, who just so happens to be a certain claw-wielding mutant, albeit from a different timeline.

When it comes to X-Men characters to integrate into the MCU, the extremely hard R-rated, profanity-laden, fourth-wall-breaking Deadpool would seem on paper the most difficult as it sees the studio venturing into uncharted waters. Would the Disney/Fox merger silence Deadpool as he was in 2009’s X-Men Origins: Wolverine? Not a fucking chance. Reynolds is once again brilliant in a role he has emphatically made his own and it is hard to imagine seeing anyone else don the red spandex in the future. Talking of characters that actors have made their own, Hugh Jackman did this and more across a 17-year stint and got the perfect send-off with 2017’s Logan. So naturally, fears may have risen that Jackman’s emotional swansong in the role would be undone with his decision to don the claws once more. Fear not, because this multiverse phase of the MCU allows Jackman to return in a way which enables these two to go on an adventure together, without rendering his emotional sacrifice irrelevant. An adventure, the details of which shall not be divulged here, but suffice to say, with Deadpool’s wisecrack penchant for wisecracks and pop culture references, combined with Wolverine’s gruffness and zero tolerance for bullshit, it makes for a perfect comedy duo, though only one of them is having any sort of fun.

As great as it is to see these two share a screen together, the overall plot is a bit threadbare and the multiversal shenanigans in which they get involved get a bit messy. With five credited writers (Reynolds, Levy, Zeb Wells and returning writers Paul Wernick and Rhett Reese), it is a case of too many screenwriters convolute the page as multiversal shenanigans are nothing new, and this film does little to differentiate itself from that. A trend in recent MCU history has been to delve into the past to provide easter eggs in the form of cameos. Sometimes they can drive the plot forward, but on other occasions, they can be little more than nostalgia/ fan service. More the latter rather than the former in this case frustratingly as it means Cassandra Nova (Corrin), the sister to a certain Charles Xavier and the antagonist at the centre of this adventure, lacks the sufficient screentime to show what a menacing threat she could be. Corrin does their best with the material they are given, but ultimately Cassandra becomes the latest victim of the MCU villain curse.

With this being the third film he has worked on with Reynolds since 2021’s Free Guy and 2022’s The Adam Project, Levy slots right in seamlessly to the director’s chair. The action scenes are bloody and glorious to watch, with many needle drops that are sure to give these songs a resurgence in popularity. Prior to its release, the 34th film in the MCU was seen as a film to rejuvenate the universe to which audiences had seemingly grown tired and disinterested. It might not necessarily be the ultimate slam dunk many would have wanted it to be, but when the cast is clearly having this much of a hoot with the multiversal mayhem, sometimes you simply have to just suit up and enjoy the ride. Let’s. Fucking. Go.

Despite some narrative bumps along the way, Deadpool & Wolverine relies on the charisma, passion and energy with which its two leads have poured into their characters over the years, along with some glorious bloody violence which will leave you more than entertained. Maximum effort.

2020-2029, Film Review

Twisters (2024)

Posted on July 20, 2024August 25, 2024 by Martin: Through the Silver Screen

**© Warner Bros, Universal and Amblin Entertainment**

Twisters – Film Review

Cast: Daisy Edgar-Jones, Glen Powell, Anthony Ramos, Brandon Perea, Maura Tierney, Sasha Lane, Daryl McCormack, David Corenswet, Harry Hadden-Paton

Director: Lee Isaac Chung

Synopsis: Years after a personal tragedy, a meteorologist is drawn back into the world of storm-chasing by an old friend…

Review: Mother Nature can be a very beautiful thing, but she also be extremely frightening and deadly if she wants to be. There is no shortage of natural disasters to unleash on anything and anyone who finds themselves in the path of these deadly occurrences. Yet despite the threat these events pose, there is something that is inescapably compelling, and in some cases, inspiring about watching them unfold on the big screen. 1996’s Twister, despite being plagued by a troubled production of adverse weather conditions, is to this day, one of the best examples of a disaster movie, and led to a rise in the number of students who looked to study meteorology. The forecast at the time would surely have predicted a high probability of a sequel. It has taken nearly 30 years to arrive, but it is here, to blow your socks off.

Kate Carter (Edgar-Jones) is a meteorologist living in New York City. Five years earlier, while chasing a tornado with a team to carry out research on how to reduce the storm’s intensity in Oklahoma, tragedy strikes which leaves most of her friends and fellow storm chasers dead, with the only survivor being Javi (Ramos). Such a traumatic experience has taken its toll on Kate, she initially rebuffs an offer from Javi to get back into the world of storm-chasing. However, upon seeing the damaging impact the storms are having and the potential to save countless lives, Kate joins up with Javi and a new team in Oklahoma. When they arrive, they encounter Tyler “Tornado Wrangler” Owens (Powell) a fellow meteorologist, who also happens to vlog his storm-chasing adventures with his eclectic team.

It will not come as news to anyone that tornados can be immensely dangerous, with the most extreme storms capable of reaching wind speeds of more than 300 miles per hour and can stay on the ground for more than 100 kilometres. These perils are devastatingly realised in an extremely tense opening scene in which director Lee Isaac Chung really makes the audience feel the intensity of these storms and how one wrong move can be catastrophic. The script by Mark L. Smith, which serves as a stand-alone sequel to Jan De Bont’s classic, shares no mutual characters and no connective gusts of wind. However, in a world with the threat of extreme weather events becoming more and more common, the screenplay makes the wise choice to not tinker with what made the 1996 film so successful. It merely brings it into the 21st century, with all the technological advancements that have happened, to enable those who would be brave/crazy enough to venture into the heart of a storm all in the name of scientific research, or for just the sheer thrill of it because: “if you feel it, chase it!”.

As the meteorologist in the eye of these storms, Daisy Edgar-Jones is terrific as Kate. Her talent for storm-chasing is immediately evident and she brings an abundance of enthusiasm for it. You get the sense that after stepping away from it for several years, she is eager to make up for the lost time. In what has been a remarkable rise for him over the last few years, Powell is also on terrific form as Tyler. He very much exudes that charisma and bravado that was on display in Top Gun: Maverick, who is at first solely in the business of storm-chasing for internet fame and daredevil. Though initially on rival storm-chasing teams, the duo begin to work together when the very real threat of these storms stands to cause catastrophic damage across the region. Such is their palpable chemistry, that it blows the rest of the supporting cast to the sidelines, aside from Anthony Ramos’s Javi who finds himself torn between the friendship he has for Kate, and the investor of his company, who may or may not be involved with some rather shady business practices.

After directing the heart-warming and soulful Minari, Twisters is perhaps not the next film many would have forecast Chung to be as his follow-up feature. Combined with the immaculate direction of the storm-chasing sequences, as he showed with his tender debut feature about one immigrant family’s pursuit of the American Dream, Chung brings real humanity to the film as the relief efforts to help the people rebuild their lives, homes, and businesses are given the necessary attention. It’s all well and good chasing a tornado to get the blood pumping, but the film never loses sight of the devasting impact these storms have on the people whose livelihoods are in their path. Unless you are the daredevil sort, storm-chasing is an adventure you probably won’t want to be seeking out any time soon, but it will provide you with a blustery good time at the cinema and who knows, maybe inspire a whole new generation’s interest in meteorology? Lightning could most certainly strike twice.

Following in the path of one of the best disaster films might have been a daunting task, but with the charisma of its cast and thrilling and intense storm-chase sequences, Twisters is a thrilling blast of spectacle and struggle against the perils of Mother Nature.

2020-2029, Film Review

Inside Out 2 (2024)

Posted on June 14, 2024July 16, 2024 by Martin: Through the Silver Screen

Inside Out 2 – Film Review

Cast: Amy Poehler, Phyllis Smith, Lewis Black, Tony Hale, Liza Lapira, Maya Hawke, Ayo Edebiri, Adèle Exarchopoulos, Paul Walter Hauser, Kensington Tallman, Diane Lane, Kyle MacLachlan

Director: Kelsey Mann

Synopsis: As she celebrates her 13th birthday, the world inside Riley’s mind grows complicated when new emotions enter the fray…

Review: It is fitting for a studio which has a small group of creative leaders that form its Brain Trust, that over the course of its 30+ year history, Pixar has come up with some utterly ingenious and wonderfully creative concepts. Storytelling works masterfully on two levels to entertain younger audiences and massively pull on the heartstrings of older viewers with weighty and emotionally powerful themes. There’s no shortage of films in its collection to choose from which fulfil these criteria, but Inside Out is a strong contender for the studio at its brilliant best. A mixture of fear and apprehension may have risen when it was confirmed a sequel was in development. However, those fears can be put aside for Pixar has made a worthy companion to its predecessor.

One year has passed since the events of the first film, and Riley (now voiced by Kensington Tallman) has celebrated her 13^th birthday and is about to start high school. Her existing emotions, Joy (Poehler), Sadness (Smith), Anger (Black), Fear (Hale) and Disgust (Lapira) have worked collaboratively on a new core component of her mind which establishes memories and feelings which make up Riley’s personality. However, as Riley sets off on an exciting summer venture to win a place on her school’s ice hockey team, she begins to go through puberty. As a result, a range of new emotions arrives at headquarters: Anxiety (Hawke), Envy (Edibiri), Ennui (Exarchopoulos) and Embarrassment (Hauser). The new emotions immediately take over the console upon arrival and run amok, leaving her childhood emotions in a quandary as to how they can prevent the new emotions from causing complete and total chaos inside Riley’s mind.

The word ‘genius’ is thrown around quite a bit in modern discourse, but if ever there was an apt descriptor of the premise of Inside Out, it would be exactly that. An ingenious piece of storytelling to picture what goes on in the endless complexities that make up the human brain, and the emotions we feel as we grow up and experience exciting but also nerve-wracking new life events and experiences. Of all the big new experiences that life throws at us, there is perhaps none bigger than puberty. An exciting but also scary time where our emotions can run amok as our bodies change and returning writer Meg LeFauve and Dave Holstein’s screenplay builds on the wonderfully inventive world created by Pete Docter as how emotions develop and become increasingly complex as we get older and the perils of growing up, making this very much the spiritual sister to Turning Red, minus the red pandas, of course.

The screenplay, from a story by LeFauve and director Mann, cleverly utilises its predecessor’s ingenious train of thought and brilliant imagination to depict and visualise not only the mind and how it develops as we progress from childhood into adolescence. Picking up exactly where that train of thought left off, though instead of hilarious jokes about abstract thought, the film cleverly depicts concepts of the mind, only this time as brainstorms and one of the most effective weapons a teenager has at their disposal to navigate everything life has to throw at them, sarcasm. Because, well as anyone who has been a teenager and gone through puberty will know, it’s a tricky time when emotions are running rampant.

Speaking of those emotions, while all the returning emotions are once again delightful, the majority of them are relegated to bit-part roles. Though as she did in the first film, Poehler shines the brightest as Joy. With such endless positivity and happiness, it is impossible to not love her even in the face of trying circumstances, as the new emotions barge in and take control of Headquarters. Exarchopoulos is perfectly blasé and deadpan as Ennui while Edibiri is delightful as the small but very excitable Envy. However, the star of the show is unquestionably Maya Hawke as Anxiety. Those teenage years are a period in which anxiety can often go into overdrive, particularly in social situations. Hawke manifests this perfectly, as despite the best of intentions, she takes control of HQ and things quickly spiral out of control in Riley’s mind all while filling her with thoughts of apprehension that she may not have what it takes to fulfil her dreams of success when it comes to ice hockey. Anyone who has had self-doubt or anxiety about anything thing in their life can probably relate.

It may lack the emotional gut punch of its predecessor, with no moment that will leave audiences sobbing or put them through a mini existential crisis. Yet, it retains that wonderful inventiveness and humour which made the first film one of the studio’s most revered films in its distinguished filmography. Pixar might have had some wobbles in recent years, but its creative spark remains as strong as ever.

Retaining the ingenuity of its predecessor, Pixar has once again crafted another wonderfully imaginative sequel exploring the heightened emotions and perils of those turbulent teenage years.

2020-2029, Film Review

Furiosa: A Mad Max Saga (2024)

Posted on May 27, 2024May 31, 2024 by Martin: Through the Silver Screen

**© Warner Bros. Pictures, Kennedy Miller Mitchell and Village Roadshow Pictures**

Furiosa: A Mad Max Saga – Film Review

Cast: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, Lachy Hulme

Director: George Miller

Synopsis: Years before the events of Fury Road, a young Furiosa is taken from her home and family by the warlord Dementus…

Review: It was nothing short of a spectacular triumph when the Mad Max franchise finally came revving back onto our screens after a 30-year absence (including a significant period being stuck in the deepest depths of development hell). Even with all the frustration that would have surely brewed following its severely troubled production, Mad Max: Fury Road blew our collective socks off when it was finally unleashed. Aside from the mind-blowingly impressive, practical effects-driven action sequences and flamethrowing guitars, it also introduced us to a character who would outshine Max himself. Namely, Imperator Furiosa, played immaculately by Charlize Theron. With the character having such an impact, it is not remotely surprising that in those long years spent trying to get Fury Road up and running, the visionary behind this franchise George Miller came up with a story centred on this one-armed badass warrior. As the trailer so succinctly summarised: this is her odyssey.

Approximately 15 to 20 years before she encounters the Road Warrior, a young Furiosa (Browne) lives with her family in the Green Place of Many Mothers. In this bountiful utopia, all the inhabitants are skilled warriors and resources are plentiful. However, after Furiosa is kidnapped by the minions of the Warlord Dementus and his dangerous gang of bikers, she is taken prisoner by Dementus. With Furiosa in tow, he travels to the Citadel to challenge the tyrannical rule of Immortan Joe, leading to Furiosa spending many years in servitude to both men. Yet through all these years, she retains that ferocious spirit and is determined to fulfil her promise to her mother to find her way back home.

For all the praise richly and justifiably heaped upon Fury Road as a masterclass in crafting heavy metal, balls-to-the-wall action spectacle. It cannot be argued that it was a little bit light on plot and could be summarised as one big, long car chase set over the course of a few days. Therefore, Miller and returning screenwriter Nico Lathouris have crafted a different beast, but one that serves as the perfect companion piece. Split into episodic chapters charting Furiosa’s journey and how she learns to adapt in the harshest of environments where lawlessness is rampant. She must also learn to survive while in the servitude of these despots looking to either gain or maintain their grip on power in the remnants of a society where lawlessness is rampant, with only a few places left that have not fallen into ruin.

Such was the charisma and sheer force of nature in the performance that Charlize Theron gave in initially bringing this character to the screen, Anya Taylor-Joy had some enormous shoes to fill stepping into this role and doing her justice. Yet it’s a challenge she rises to phenomenally, though admittedly not for the first third of the film as it falls to young Alyla Browne to portray the Imperator in her childhood. As she grows up in this brutal environment, Browne imbues the character with steely hardiness and resilience into her adult years.

As an adult, Furiosa does not have a substantial amount of dialogue. Still, sometimes actions speak louder than words, and Taylor-Joy fits the part of Furiosa like a prosthetic arm. Though in the same vein as how Furiosa outshone Mad Max in his own film, Chris Hemsworth as Dementus threatens to drive away with the film, atop his insanely cool motorcycle chariot. Sporting scraggly hair and beard and decaying teeth, a far cry away from the princely and regal aura of the God of Thunder, imagine a cross between the Joker and a pirate, and you have the craziness that is Dementus. Hemsworth is delightfully batshit bonkers in this role and he owns every minute of screen time he has. Meanwhile, taking over the role from the late Hugh Keays-Byrne, Lachy Hulme is equally menacing as Immortan Joe.

With a lot more emphasis on character, Miller takes his foot off the pedal when it comes to the action sequences and it is not full-throttle from practically the opening credits. Such was the intensity of those adrenaline-fuelled action scenes of Fury Road that have set the standard for filmmakers when it comes to action scenes, surely Miller couldn’t surpass himself again? Like his fellow master filmmaker Martin Scorsese, Miller is proving age is just a number because he is not allowing himself to slow down. One scene in particular, involving the iconic War Rig, is truly mind-blowing, worth the price of a ticket alone, and demands to be witnessed on the biggest screen possible.

For all the action mastery that Miller has in his arsenal, by splitting the story into episodic chapters, the pacing stalls from time to time resulting in the two-and-a-half-hour run time dragging in a couple of places. However, it remains crystal clear Miller is in his element developing and enriching this mad sandbox of a world he first brought to life back in 1979. 45 years later, he’s absolutely still going strong. Should he continue to sit in the driving seat of this franchise, audiences will likely be more than eager to start those engines and come along for the ride.

Considerably more character-driven but with plenty of mind-blowing action and a scene-stealing turn from Chris Hemsworth. Under the vision of the mad magnificent genius of George Miller, audiences shall bear witness to 2024 being the year of desert power!

2020-2029, Film Review

Kingdom of the Planet of the Apes (2024)

Posted on May 9, 2024May 18, 2024 by Martin: Through the Silver Screen

**© 20th Century Studios, Jason T. Reed Productions and Oddball Entertainment**

Kingdom of the Planet of the Apes – Film Review

Cast: Owen Teague, Freya Allan, Kevin Durand, Peter Macon, William H. Macy, Travis Jeffery, Lydia Peckham, Neil Sandilands, Eka Darville,

Director: Wes Ball

Synopsis: Many generations after the events of War for the Planet of the Apes, a young ape goes on a journey of discovery after his clan comes under attack…

Review: When the Planet of the Apes franchise came roaring back to life after a near decade of absence in 2011, it was the foundation on which arguably the best trilogy of the 2010s was built. Centred on Caesar, a genetically advanced ape who in his lifetime, rose up and led the apes in a revolution, saw his authority challenged by a rogue ape, and later led the apes into a war against the humans before he succumbed to his injuries. Portrayed by the master of motion capture by Andy Serkis, this rebooted trilogy set an exceedingly high bar for any future films. It is a bar that this new instalment swings for but ultimately falls short of matching those lofty standards.

Set hundreds of years after Caesar’s passing, apes have become the planet’s most dominant species, with humans regressing into a more primitive and feral-like state. The apes are divided into clans, with one clan developing a strong bond with eagles, including young ape Noa (Teague) who’s being prepped by his father for an important ceremony and must complete a significant ritual beforehand. However, after his clan comes under attack from a military-minded clan, Noa must go on a journey to find any survivors and establish the motivations of this combative clan. Along the way, he encounters a human (Allen), who is being hunted by the clan as they believe she is smarter than all the other humans and has crucial knowledge to access something of great significance to the clan.

Such was the enormous cultural impact of Caesar during the previous films, a list of the best characters of the 2010s would be incomplete without his inclusion. Caesar’s shadow looms large over this new generation of apes, even several hundred years after his passing. With the passage of such a long time, Josh Friedman’s screenplay takes its time to introduce the new Eagle clan and their peaceful existence, which stands in unique contrast to the more warmongering apes. The latter have taken Caesar’s teachings and misinterpreted them as a means to perpetrate violence against both other ape clans and humans. By contrast, the likes of orangutang Raka (Macon), who is fighting hard to preserve Caesar’s teachings and their true meanings. This puts Noa in a tricky position as to what he should do with this human, and whether he should trust her, or leave her to the warmongering apes.

Teague brings a likeable presence to Noa and imbues him with a sense of honour and a determination to do what is right and to honour his family and his tribe. Unfortunately, though no one else at least in his tribe is as memorable or given nearly as much development as Noa. However, as far as the other ape characters go, Macon as Raka brings no shortage of wisdom and imparts valuable knowledge to Noa as he proceeds on his journey to rescue his family, who have fallen into the servitude of the militaristic tribe and its leader Proximus Caesar (played with a blend of charisma and arrogance by Kevin Durand). His name would suggest he is a descendant of Caesar, and while he certainly echoes Caesar’s prominent “Apes. Together. Strong” mantra, Proximus is a far cry from the legendary leader he idolises. He possesses a messiah complex and is driven by the belief that not only what he is doing is right, but precisely what Caesar would have wanted the apes to do, making the audience wish the great Caesar’s ghost would reincarnate and give him a sharp and thorough rebuking.

Having done the visual effects work for the previous instalments, the craftwork on display from the geniuses at Weta is once again nothing short of extraordinary with such photorealistic visuals, it completely makes you forget that these are human actors in some rather unusual-looking suits bringing these apes to life. Unfortunately, outside of the apes, the only human character who is given a substantial amount of development is Freya Allan’s mysterious character, whom Noa and Raka name Nova (in a callback to the character of the same name from War for the Planet of the Apes). There’s an element of mystery to her, but as the film progresses and we learn more about her, certain decisions she makes are extremely perplexing and ultimately leave the audience with more questions than answers as to her motivations. The script could have fleshed these out more.

At 145 minutes, Kingdom is also the longest movie in the series to date. While this runtime is sometimes necessary to establish this world generations after the events of the previous film, it can also be to its detriment, particularly in the latter half. With this being reported as the first journey in a brand new trilogy, it has laid solid but imperfect foundations for future films to build upon. Time will tell if this new group of apes prove to be as strong or as memorable as Caesar’s remarkable journey from genetically modified ape to messianic primate.