Posted in 2010-2019, Film Review

Once Upon a Time in Hollywood (2019)

Image is property of Sony and Columbia Pictures

Once Upon a Time in Hollywood – Film Review

Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Kurt Russell, Margaret Qualley, Timothy Olyphant, Austin Butler, Dakota Fanning, Al Pacino

Director: Quentin Tarantino

Synopsis: Set in 1960s Hollywood, amid fears that the industry is leaving him behind, actor Rick Dalton (DiCaprio) and his stunt double Clith Booth (Pitt), try to reignite Dalton’s career, all the while new actors like Sharon Tate (Robbie) are becoming the new faces of the industry…

Review: There are certain directors who, whenever they come out with a new film, it becomes subject of much anticipation and hype in the build up to the film’s release, and Quentin Tarantino’s films definitely fall under that bracket. As he so often does, Tarantino fuses his passion for the craft of film-making, and blends that with his passion for a bygone era of Hollywood, as for his ninth and seemingly penultimate film, takes the viewers on a journey to 1960s Tinseltown.

It’s 1969 and after starring in a hugely popular TV show, actor Rick Dalton’s career has hit the rocks. He has a moment where reality bites hard, and he realises that his days as a leading man are seemingly drawing to a close, as the industry is leaving him by the wayside with other actors on their way to becoming the star that Rick used to be. Determined to stay relevant, alongside his stunt double and great friend Cliff Booth, Rick strives to pick himself up and reinvent his career.

Tarantino scripts of the past have thrived on the dialogue to drive the film forward, and in many cases given that it is superbly written dialogue, it serves the story extremely well. Through the sharp dialogue, it makes the lives of the charismatic characters that Tarantino so often brings to the screen absolutely worth investing in. Leo DiCaprio and Brad Pitt are both on excellent form as Rick and Cliff. Though they might be as A list as you can get in present day Hollywood, both have excellent charisma and they form a solid friendship with one another. It’s not quite a Vincent Vega and Jules Winfield level of camaraderie, but it comes mighty close.

As well as the sharply written dialogue, a QT movie is known for being a touch on the violent side. However, in this instance the violence is dialled back significantly as Tarantino gives us a much more dialogue driven film. One that takes a nuanced, in-depth, fascinating look at the Golden Age of Hollywood, that has the careers of Rick and Cliff front and centre, with this era as the backdrop in all of its glory. Though these men are both fictionalised characters, there’s something about both their performances that makes them feel like they were cut from the same cloth as the stars that dominated the industry at this time. In a cast that is well stacked with considerable talent, the standouts besides DiCaprio and Pitt, are Margaret Qualley’s Manson family member, and a scene stealing performance from a young actor who gives Rick a damn good run for his money.

Though she was a perfect choice to play Sharon Tate, Margot Robbie, frustratingly, does not get nearly enough screen-time as her male lead co-stars. What’s more, in the scarce screen-time she is given, she has frustratingly few lines which feels like a scandalous waste of her talent. Nevertheless, Robbie works wonders with the little material she was given that honours the tragic actress. Given that a Tarantino Picture is usually in the realm of three hours, the first act of the film is a bit of a slow burn that, narratively speaking, is a tad uneven. It takes its time to find its footing and truly hit its stride. The excellent production design and costumes ensures that 1960s Hollywood is captured with a real sense of authenticity. Yet even with that, the near 2 hour 40 minute run time does feel somewhat excessive.

Meshing fact with fiction has produced some uproariously entertaining moments in previous Tarantino flicks, and OUATIH‘s best use of this blend of truth and fantasy, is in the film’s enthralling and nail-biting third act. You may know of the tragic fate that befell Sharon Tate on that fateful August night, but to see how those events would play out in Tarantino’s wacky, but brilliant mind is what you pay to see when you come to watch a flick by Quentin Tarantino. It may not be his strongest film that he has made in a glittering career, but like Tarantino reminiscing/pining for the Golden Age of Hollywood, present day Hollywood may find itself reminiscing if, after his tenth picture, Tarantino does decide to hang up the director’s chair for good.

A passionate love letter to the Hollywood of yesteryear, fused with the typical well written QT dialogue and a superb pair of leading performances from two of the most charismatic actors in the business.

Posted in 2010-2019, Film Review

Frozen (2013)

Image is property of Disney Animation Studios

Frozen – Film Review

Cast:  Idina Menzel, Kristen Bell, Josh Gad, Jonathan Groff, Santino Fontana, Alan Tudyk

Directors:  Chris Buck and Jennifer Lee

Synopsis: When Elsa, the Queen of Arendelle, flees in panic after the people discover her magical icy powers, her fearless sister Anna ventures after her in a bid to prevent the Kingdom from being trapped in an eternal winter…

Review: No one really does fairytale stories quite like Walt Disney Animation Studios, they certainly are the Queens (and Kings) of this particular genre of animated movies. Every time they sprinkle some of that Disney magic, especially when it’s a story focusing on a Disney Princess, or in this case a pair of Disney princesses, it’s usually a surefire winning formula and one that will resonate with audiences the world over, and maybe melt their hearts along the way.

This icy tale from the Mouse House is inspired by inspired by Hans Christian Andersen’s fairy tale “The Snow Queen.” Focusing on sisters Anna and Elsa, the latter of whom has magical icy powers. When they were growing up, a childhood accident forces the girls’ parents to erase Anna’s memory of her sister’s powers, causing the two of them to spend much of their lives growing up apart. As Elsa is about to be crowned Queen, an incident at her coronation triggers Elsa’s powers and turns their home of Arendelle into an unforeseen winter, causing Elsa to flee in panic. Needing Elsa to ensure Arendelle doesn’t get trapped in this eternal winter, it falls to Anna to go after her sister to save their homeland.

So often with these princess stories, there is usually a man involved. Therefore to see that cliche be flipped on its head, is extremely refreshing to see. Though it certainly wasn’t the first time that Disney has created a strong female protagonist, Elsa is nevertheless a very strong willed woman. She is firmly in charge of her own destiny, with her magical powers to help her along the way. Anna might not be as strong willed as her sister, but she is a good hearted soul determined to do whatever she can to help Elsa, and both ladies are voiced tremendously well by Idina Menzel and Kristen Bell respectively.

In terms of the supporting cast, Josh Gad gives a very memorable performance as the extremely sentient snowman Olaf. A character that could have been very hit or miss, he’s thankfully the former, as he gives the film the bulk of its laughter. The film has plenty of positive and celebratory themes, most notably about its empowerment of women, which are definitely worth celebrating. However, even when the film has really hit its stride, it cannot help but venture into some formulaic plot points. Nevertheless, as one would would expect from the Mouse House, the animation is of a very high standard. The sheer level of detail on certain items of clothing, most notably Elsa’s icy dress are extremely well detailed, not to mention Elsa’s very impressive icy powers.

Even if you had somehow never seen this film, chances are good that you would have heard the monster hit that was”Let it Go.” With its undeniably catchy tune and powerful lyrics, sung superbly by Menzel, it’s little wonder that the song scooped the Oscar for Best Original Song. Though “Let it Go” is the most popular song from the film’s soundtrack, it is just one of the many catchy songs sprinkled throughout this film that one would expect from a Disney fairytale. People the world over were struck by Frozen Fever, as it swept all before it on its way to becoming one of the highest grossing animated films of all time and it ensured that the Mouse House added another ice-solid entry to its fairytale collection.

Splendid animation but even with a strong collection of strong characters, a solid but formulaic plot prevents Frozen from melting your heart completely.

Posted in 2010-2019, Film Review

The Lion King (2019)

Image is property of Disney

The Lion King (2019) – Film Review

Cast: Donald Glover, Beyoncé Knowles-Carter, Seth Rogen, Chiwetel Ejiofor, Alfre Woodard, Billy Eichner, John Kani, John Oliver, James Earl Jones, Florence Kasumba, Eric Andre, Keegan-Michael Key

Director: Jon Favreau

Synopsis: A live action retelling of the story of the king of a pride of lions, who prepares his son to become the future king, while the King’s brother plots to usurp the throne for himself.

Review: It is unquestionably, one of the most iconic openings to a film ever. The sun rises, and the unmistakable intro to The Circle of Life starts playing. The 1994 version of The Lion King remains to this day, one of the finest animated films ever made. Hence with Disney seemingly intent on remaking its entire animated back catalogue, Jon Favreau, after going into one Jungle with his live action reinterpretation of The Jungle Book, this time goes into the mighty jungle, where the lions sleep tonight.

After working wonders with Jungle Book, Favreau once again produces some visual magic with the recreation of these animals and the habitats in which they dwell. It all looks and feels as though the film was shot somewhere on the blessed plains of Africa. There’s not much deviation in terms of the story, as it sticks closely to its animated predecessor, as young Simba (JD McCrary) is being prepared by his father Mufasa (voiced by the one and only James Earl Jones) to rule the Pride Lands one day. However, in the shadows, the King’s dastardly brother Scar (Ejiofor) is secretly scheming, with his hyena chums, to depose Mufasa and seize the throne for himself.

Given that the animated film ran at just shy of 90 minutes, Favreau and screenwriter Jeff Nathanson, have tweaked certain elements of the story to make it a couple of hours. There are some alterations to some of the dialogue, and some extra scenes have been added. However, it is by and large, the story you know and love. Much of the original’s music and songs have been recreated, but the results are decidedly mixed. Most regrettably though is the fact that there’s a serious dearth of emotion with the film’s more emotional, heart-breaking moments (if you have seen the original, you know the ones). It just goes to show that while something may well work in animation, it doesn’t always translate perfectly to “live action.”

Apart from James Earl Jones, no one else from the animated film reprise their roles, which does help the film stand on its own four paws, to a certain extent. The standouts of the new additions are Seth Rogen’s Pumba and Billy Eichner’s Timon who, as they did in the animated film, give the film an injection of much needed humour. Though they have strong support in that department from John Oliver’s Zazu, who gives his own snarky, hilarious interpretation of the little Hornbill. Donald Glover and Beyoncé give solid leading performances as Simba and Nala, but disappointingly, no one really outshines anyone from the animated film. Though Chiwetel Ejiofor comes close with his very intimidating interpretation of the villainous Scar.

The trouble with these films is that no matter what they do, they are always going to be compared with their animated counterparts. This can be a problem for this film when its animated counterpart is cinematic perfection. Yet, even if one has (somehow) never seen the 1994 flick, there’s still enjoyment to be had, even if it all feels a bit hollow. For those who were born in the 1990s and grew up loving the animated film, they probably won’t feel the love for this re-telling. In that case, Hakuna Matata, because the original animated film, is and always will be, a classic.

Visually stunning, but even with a super talented voice cast, a lack of emotional connection to these photo-realistic characters prevents this re-imagining from roaring to those great heights set by its predecessor.

Posted in 2010-2019, Film Review

Spider-Man: Far from Home (2019)

Image is property of Marvel Studios, Columbia Pictures and Sony Pictures

Spider-Man: Far from Home – Film Review

Cast: Tom Holland, Zendaya, Samuel L Jackson, Cobie Smoulders, Jake Gyllenhaal, Marisa Tomei, Jon Favreau, Jacob Batalon

Director: Jon Watts

Synopsis: Following on from the events of Avengers: Endgame, Peter Parker is preparing to go on a school trip with his friends around Europe. However, in a world that will never be the same again, a new threat is lurking in the form of the mysterious Elementals…

Review: After twenty-two films and an utterly incredible journey, the Marvel Cinematic Universe culminated in Avengers: Endgame, a film that has changed the MCU forever more. However, even after all that drama and heartbreak, the MCU is not slowing down. Previously, after their flagship Avengers ensemble showdowns, Marvel turned to the smallest hero in their roster, namely Ant-Man. Now though,  it’s up to everyone’s favourite friendly neighbourhood Spider-Man to pick up the pieces in the wake of the earth-shattering events of that climatic battle with the Mad Titan Thanos.

In the months since that intense battle, Peter is in an extremely tough spot, having lost his friend and mentor Tony Stark. On top of that he is trying to balance school life with his superhero web-slinging duties. With an upcoming school trip to Europe, Peter hopes that will take his mind off things and allow him to live a normal life. However, whilst he is off seeing the sights of Europe and trying to tell his crush MJ (Zendaya) how he really feels about her, a terrifying new threat emerges in the form of the Elementals. Whilst simultaneously, a mysterious new force in the form of Quentin Beck (AKA Mysterio) emerges, who claims to be from an alternate dimension.

“Karen, activate stealth mode….”

This is his fifth outing as everyone’s friendly neighbourhood Spider-Man, and Tom Holland proves once again that this is the perfect role for him, as he turns in another excellent performance . He’s got the bravado that a hero should have, but he’s still a lovable, if slightly awkward, dork. Though she had a relatively minor role in Homecoming, Zendaya’s MJ has a lot more screen time, given that she is now the subject of Peter’s affections, and the duo have solid chemistry. Similarly, the bromance between Peter and Ned is as strong as ever. Indeed, all of the class from Angourie Rice’s Betty to Tony Revelori’s Flash Thompson, have a lot more to do, likewise for the ever-reliable Happy Hogan.

Given how many Spider-Man films that have graced the big screen, it’s clear that director Jon Watts is aiming to broaden the horizons of Spider-Man. We have almost never seen him venture outside of the Big Apple, so to see him spin his webs around the globe is an extremely refreshing change. As these ominous Elementals threaten to wreak havoc on our world, which is where Jake Gyllenhaal’s Mysterio comes into the picture. Mysterio by name, mysterious by nature as on first glance he seems like the kind of hero to fill the void that was left by Tony Stark, but that is just scratching the surface. When you get an actor of Gyllenhaal’s talents, it can only be a positive, and Gyllenhaal excels in this very intriguing role.

The screenplay by Chris McKenna and Erik Sommers, carries over the John Hughes esque high school comedy vibe from Homecoming, and the jokes remain witty and hilarious. With each movie that Marvel has made since they were able to incorporate him into the MCU, they have taken the character in directions that haven’t been attempted before, especially with a truly mind-bending, and awesome, third act. In a post Iron Man/Captain America MCU, Marvel will need heroes to step to fill that void as we move into Phase 4, and in everyone’s favourite friendly neighbourhood Spider-Man, you have a hero who is more than capable of taking on that mantle.

Closing out Phase Three of the MCU, Far From Home is another fast paced, entertaining, globe trotting adventure that cements Tom Holland’s status as the best live action Spider-Man we’ve had to date.

 

Posted in 2010-2019, Film Review

Midsommar (2019)

Image is property of A24

Midsommar  – Film Review

Cast: Florence Pugh, Jack Reynor, William Jackson Harper, Vilhelm Blomgren, Archie Madekwe, Ellora Torchia, Will Poulter

Director: Ari Aster

Synopsis: After personal tragedy strikes, troubled student Dani travels to Sweden with her boyfriend Christian, and a group of their friends. What starts out as a pleasant trip, quickly descends into a nightmare as they become involved with a sinister pagan cult…

Review: Quite often, when you picture the setting of horror films, the scene of a house, set in the pitch black night-time may come to mind. However, this doesn’t have to always be the case. Case in point, in his follow up feature to Hereditary, Ari Aster proves that you don’t necessarily need the dead of night darkness to make something seem scary, as something just as horrifying or unnerving can occur when the sun is shining in the bright summer sky.

Dani (Pugh) is going through an extremely difficult time in her life in the wake of an unimaginable personal tragedy, and it’s having an adverse effect on her relationship with her boyfriend Christian (Reynor). When she finds out he’s heading off to Sweden with a few of their friends for a festival that only happens once every 90 years, she decides to join them hoping to take her mind off things. Upon arrival, while things start off nice and peaceful, it doesn’t take long for things to go sour as the festival quickly descends into a hellish nightmare, basking in the hot Swedish Summer sun.

There is no sense of urgency in which Aster chooses to tell his story. His screenplay deliberately bides its time so this enables each act of the film to serve a purpose to the story, though this slow pace could be problematic to some viewers. The first act is solely concentrated on Dani’s testing relationship with Christian that is on the brink of collapse, fuelling a sense of dread for Dani that lingers throughout the film.  Through all of the ensuing horror that the festival’s activities bring later on in the film, the relationship of these two people is at the centre of this sun-soaked nightmare.

Once we get to Sweden however, and the festivities have begun that things start to get deeply disturbing for Dani, Christian and their friends. To say that this film is not for the faint of heart would be an extreme understatement, due to quite the large amount of disturbing imagery. Though it would be easy to be shocking for the sake of being shocking, the imagery is thought provoking, with the themes of grief, loneliness and rejection are all present. With just about every frame, there’s a lot of symbolism to be extracted from the unnerving festivities, so much so that one could write pages upon pages of analysis of what is being depicted on-screen.

There is not a single false note in any of the performances, but without doubt Dani is the heart and soul of the film, and Florence Pugh gives a wounded, layered, awards worthy performance. Among, Christian and the rest of their gang, it’s Will Poulter’s Mark who comes closest to stealing the spotlight as a man who’s less than impressed with the festival’s activities. This is something that the locals don’t take kindly to, and they consequently give off  sinister vibes to send a shiver (or two) down your spine.

Aster has crafted something that will be analysed for many years to come. The direction, combined with extremely beautiful cinematography and immaculate production design are all beautiful to look at. These juxtapose perfectly with the trauma of the events playing out in front of us, it manages to be simultaneously haunting and mesmerising to look at, with an unsettling score from The Haxan Cloak. Nightmares definitely can happen in broad daylight, hence, we should all just stay in doors.

Thematically thought-provoking, and visually immaculate, with a haunting but powerful lead performance from Florence Pugh. Ari Aster’s second foray into horror film-making is a beautiful nightmare come to life. 

Posted in 2010-2019, Film Review

Yesterday (2019)

Image is property of Working Title Films and Universal Pictures

Yesterday – Film Review

Cast:  Himesh Patel, Lily James, Kate McKinnon, Joel Fry

Director: Danny Boyle

Synopsis: Struggling musician Jack Malik (Patel)  finds that he’s the only person on Earth who remembers the Beatles. Sensing an opportunity, he makes an attempt to pass their songs in a bid to achieve worldwide stardom…

Review: It’s almost inconceivable to imagine a world in which one of the greatest bands of all time had never existed, indeed the thought of such a world alone is a horrifying one. Given that two musical related biopics about two hugely influential British musical icons have recently graced the big screen, you could be forgiven for thinking that this is a Beatles biopic. Though that wouldn’t be the worst thing in the world, this film is unique in that it’s not that, though the iconic music that Messrs McCartney, Lennon, Harrison and Starr created is front and centre.

Jack Malik is a talented musician doing little gigs here and there, desperately looking for his big break. He’s on the brink of giving his music career up but after a freak accident on his way home, he soon discovers that he’s the only one in the world who remembers the Beatles and their wonderful music. With this knowledge, he tries his best to reconstruct the iconic songs of The Beatles discography, and passes them off as his own work. As the whole world discovers this great music, seemingly for the first time ever, his popularity goes through the roof and he becomes an overnight superstar.

Of course the music of a great band alone, does not make a great film. With that in mind, screenwriter Richard Curtis crafts a very sweet story around this clever concept. Like any great song or piece of art, it all comes together (pun definitely not intended…) rather sweetly thanks to a very warm leading performance from Himesh Patel. He comes across as a very sincere, genuine hard working bloke just looking for that big break that he craves. However, as his career turns from pub singer to huge international superstar, it begins to test his relationship with his best friend/manager Ellie (James), who also gives a very sincere performance. Whilst at the same time, doubts begin to form in Jack’s mind as to whether he should admit the truth about the songs.

The screenplay blends the music of the Beatles with an insightful look at the music industry and what constitutes a successful career in that industry, with one current pop star in there for good measure. Danny Boyle on first glance might not seem the most obvious choice to direct a film like this, but he keeps everything moving along in a very light-hearted manner. Though the concept behind the film is extremely clever, it falls short in that certain things could could have explored in much more detail. In addition, it can’t help but be somewhat formulaic in terms of the ensuing drama and how everything plays out. It can come across as a bit saccharine, but if you are a fan of one of the Beatles, just let it be because Boyle and Curtis will sweep you along for a joyous ride.

No matter who we are, or what we do, music is an integral part of our lives, and our culture, and this film celebrates that in abundance. It just so happens to celebrate the music of one of the best bands to have ever graced our eardrums to tell its story, and you will find it difficult to not sing along and be smiling from ear to ear when the credits start to roll.

Taking some of the best songs ever recorded, and combining them with a sweet story about the music industry, and the end result is a charming, delightful ode to the Fab Four from Liverpool.

Posted in 2010-2019, Film Review

Toy Story 4 (2019)

Image is property of Disney and Pixar

Toy Story 4 – Film Review

Cast: Tom Hanks, Tim Allen, Annie Potts, Joan Cusack, Blake Clark, Don Rickles, Jim Varney, Jordan Peele, Keegan Michael Key, Wallace Shawn, John Ratzenberger, Keanu Reeves, Christina Hendricks

Director: Josh Cooley

Synopsis: When Bonnie brings a new toy named Forky home, the new toy is unsure of himself and when he gets lost in an amusement park, Woody and the gang set out to save their friend.

Review: “So long, partner” as those words were uttered by everyone’s favourite rootin’ tootin’ cowboy Woody at the end of Toy Story 3, it was the perfect ending to a near perfect trilogy, or so we thought. Amid the waterworks that many audiences likely experienced at the time, we were led to believe it was the final bow for Woody and the gang. Yet those folks at Pixar clearly had other ideas, and while the news of a fourth film was greeted with initial scepticism, Pixar once again proved that they still have that magic touch.

In the years since Toy Story 3, Woody has very much fallen down the pecking order among the gang, with new owner Bonnie preferring to fill her playtime with the other toys. This is until Bonnie makes a new toy out of a fork, and appropriately dubs him “Forky.” It doesn’t take long for this little utensil becomes Bonnie’s most valued possession and so Woody takes it upon himself to look after him and teach Forky what it means to be a toy. Though matters are complicated when Forky gets lost in an amusement park, and Woody decides to go after him in an attempt to bring him back to Bonnie.

With each of the previous three films, they all developed the narrative in a significant manner. New, and memorable toys were introduced, and the toys themselves were put in emotionally investing predicaments, situations where the audience could relate to the dilemmas these toys were going through. This time around, though it is a it’s a story that does merit being told, it’s doesn’t quite feel as well developed as its predecessors, nor as emotionally charged as the three films that came before it. Though once again, Woody is very much at the centre of this new adventure, as is a very different Bo Peep, who makes a welcome return to the franchise.

Though Bo’s return is a welcome one, Woody’s old gang of toys such as Buzz, Jessie, Ham, Slinky and the Potato Heads are given very little to do and so they are frustratingly sidelined. However, this gives Woody and Bo a chance to rekindle an old friendship, whilst letting a new crop of toys to take centre stage. Keegan Michael-Key and Jordan Peele, bring the hilarity you would expect from them as a fluffy duck and bunny respectively. Meanwhile, Keanu Reeves lends his charm and talents to the super cool Duke Caboom, a toy who’s clearly not shy of charisma or confidence, and who loves to strike a pose. It’s these three new additions that give the film bulk of the laughs, with Key and Peele’s comedy background definitely coming to the fore.

To follow in the wake of what Pixar achieved all those years ago, was always going to be a tall order. Though the themes that have been at the heart of this franchise from the very first time we met Woody and the gang all those years ago remain very much present in this new adventure. There are elements of this story that feel a little underdeveloped, and consequently they don’t quite recapture those glorious highs of the first trilogy. Going back to this franchise could have backfired, but as they so often do, Pixar reached for the sky to give those who grew up with these toys another worthwhile, immaculately animated film that earns its place in the Toy Story toy-box.

It doesn’t pack the emotional punch of its predecessors, but with a story worth telling and a delightful mix of old and new characters alike, you’ll be glad to go to Infinity and Beyond with these guys all over again.

Posted in 2010-2019, Film Review

Spider-Man: Into the Spider-Verse (2018)

Image is property of Columbia Pictures, Sony Pictures Animation and Marvel Entertainment

Spider-Man: Into the Spider-Verse – Film Review

Cast: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna Lauren Velez, John Mulaney, Kimiko Glenn
Nicolas Cage, Liev Schreiber

Directors: Bob Persichetti, Peter Ramsey and Rodney Rothman

Synopsis: When teenager Miles Morales gets bitten by a radioactive spider and becomes the hero known as Spider-Man, he begins to discover he isn’t the only individual with these abilities out in the world…

Review: When you think of the hero Spider-Man, and his alter ego, there is usually one name that comes to mind, Peter Parker. After all, his story is one that has been told once or twice in Hollywood in the last decade or so. Yet he is not the only one to have these powers, and the responsibility that comes with it, as there have been numerous other instances of other people like Peter donning the mask and becoming the web-crawling hero. Now,  these other heroes have finally been given their moment in the spotlight.

Though Peter does show up here, the MVP in this tale of Spider-Man is Miles Morales (Moore), a teenager who is not entirely happy with his life after being transferred to a brand new, school. Though while out and about in New York City,  he gets bitten by a radioactive spider and starts to experience things he can’t explain. However, while all this is happening, a nefarious plan by the dastardly Kingpin that involves the opening up of other dimensions, brings several other web-crawlers into play, all from different dimensions. Together these Spider-people must work together to prevent Kingpin from unleash irreparable damage to this dimension and all the dimensions beyond.

Multiple spider senses be tingling…

In terms of the visuals, it’s so unique in comparison to any of the adventures of Peter Parker that we have seen prior. The animation is astonishing in its terms of the colour palette and how vivid it is. It feels like someone took the pages of the comic book itself and translated it onto the big screen, and the results are marvellous. Though the animation is so high paced and stylistic it can be a little jarring upon first glance, once you get used to it, it’s extremely innovative and fits perfectly with the fast paced, high energy style of the film.

Moore leads the way in what is a ridiculously stacked and super super talented voice cast. He injects Miles with that vibrant youthful energy, whilst at the same time still acting like a teenager who’s very unsure of himself. The camaraderie between Miles and all of his fellow Spider-People especially Peter (Johnson) and Gwen (Steinfeld) is especially wonderful. Though without question, the biggest scene stealer of them all is Nicholas Cage as the witty and hilarious Spider-Noir, an absolute genius piece of casting. With so many spidery people in play, the film runs the risk of losing its focus but it strikes that balance superbly well.  Brian Tyree Henry and Mahershala Ali lend their talents to Miles’s father and uncle respectively, and Liev Schrieber gives Kingpin a suitably intimidating presence.

Given that the superhero genre has arguably never been more popular than what it is right now, it is hard to make a film that stands out from the crowd, but Into the Spider-Verse is exactly that. Familiar in terms of Spider-Man films that came before it though it may be, it is undoubtedly a wonderful breath of fresh air. A film that the genre has has been crying out for a film like this to reinvigorate itself. The world of superheroes on the big screen has been introduced to Miles Morales at long last, and with this innovative style of animation, there’s an endless web of possibilities to swing towards.

Meticulously animated combined with a wonderful story and a superb array of colourful and amusing characters, an invigorating breath of fresh air for the superhero genre.

Posted in 2010-2019, Film Review

Men in Black International (2019)

Image is property of Sony, Columbia Pictures and Amblin Entertainment

Men in Black International – Film Review

Cast: Chris Hemsworth, Tessa Thompson, Kumail Nanjiani, Emma Thompson, Liam Neeson, Rebecca Ferguson,

Director: F. Gary Gray

Synopsis: When Earth comes under attack from an unknown hostile alien force, rookie agent M (Thompson) gets partnered up with the brash Agent H (Hemsworth) and together they must stop the impending attack…

Review: There comes a point in a franchise’s life when after a very successful first entry, the studio then decides to seize on that success and make one or two sequels. Though since it has been seven years since the last film in this franchise, it begs the question, was anyone asking for another Men in Black film? If a decision is going to be made to reboot or spin-off a franchise, give the audience a story worth telling. Because, once again, we have another film in a franchise that barely has a reason for justifying its existence.

As this is a spin-off, Will Smith’s and Tommy Lee Jones’s Agents J and K are now consigned to legend, and in their places come Chris Hemsworth Agent H (for hothead) and Tessa Thompson’s M (for marvellous). These two are recruited by the MiB London division to investigate some mysterious extraterrestrial occurrings, and the usual shenanigans involving aliens and men (and this time) women suiting up to take down these extraterrestrial nefarious evil doers.

By far and away, the best thing about this film is Tessa Thompson’s performance as Agent M, she is the most fleshed out person in the film and she adds some much needed charisma, something that is severely lacking in many of the other characters. Hemsworth is enjoyable as H, though this is far from his best work. These two have  proven themselves to have good chemistry due to their work in the Marvel Cinematic Universe, and the camaraderie and banter between the two is one of the few delightful elements of the film. In addition, Kumail Nanjiani has a small but brilliant part that gives the movie the majority of its laughter.

For such an exciting cast, there’s barely an ounce of charisma on anyone else, save for Emma Thompson’s Head of the New York division of the MiB, who is not given enough screen time. On a similar note, in what could have been a very intriguing role, Rebecca Ferguson, who is sporting a very interesting wig, is reduced to a glorified cameo. The script from Iron Man duo Art Marcum and Matt Holloway gives them such inadequate material to work with, it’s a frustrating waste of the talents of these two fantastic actresses. It definitely doesn’t help that for the first act or so, the film is completely bereft of a discernible plot or a sense of direction that its moving in.

Though once things start to gather some pace, there are some exciting moments but these are really few and far between, and the addition of F Gary Gray as director adds nothing new. Don’t be surprised if after coming out of the film, you feel as though you yourself have been neuralised because there is nothing in this film that remotely stands out as memorable or exciting. The attachment of some new blood and a new director offered an opportunity for this franchise to start afresh and blast off in exciting new directions, but it’s an opportunity missed. No need to get suited and booted for this one, as those suits should have been left in the wardrobe, and hopefully the sunglasses and the neuralisers will be put into the drawer and never be seen again.

Hemsworth and Thompson’s are welcome additions to the cast, but an uninspired plot, bland storytelling and completely forgettable action scenes render this a complete damp (alien) squib.

Posted in 2010-2019, Film Review

Dark Phoenix (2019)

Image is property of 20th Century Fox, Marvel and TSG Entertainment

Dark Phoenix – Film Review

Cast: James McAvoy, Michael Fassbender, Sophie Turner, Nicholas Hoult, Jennifer Lawrence, Jessica Chastain, Tye Sheridan, Alexandra Shipp

Director: Simon Kinberg

Synopsis: After a mission in space goes awry, a deadly cosmic force connects with the powerful Jean Grey creating an unstoppable force that threatens to have deadly consequences for mutants and humanity alike…

Review: Fox’s X Men franchise was for a time, the pinnacle of superhero films in the 2000s, at least before the genesis of the Marvel Cinematic Universe. Yet even as the MCU grew, Fox remained undeterred and, even with a few misfires, produced some outstanding superhero showdowns. However, with the deal to bring Fox under the Disney/Marvel umbrella now officially complete, this franchise is now coming to its conclusion. Though there is one more entry to come before the passing of the torch, this represents one final opportunity for the franchise to go out with a bang, but unfortunately it fizzles out into nothing.

Eight years after the events of the Apocalypse, the X-Men are summoned to a space mission that has gone badly wrong, leaving the lives of the astronauts in serious peril. During the rescue mission, a cosmic force of unknown power latches itself onto Jean Grey, creating the very powerful Dark Phoenix. Upon touching back down on Earth, though everything seems to initially be fine, trouble begins to brew and the X-Men must try and contain Jean’s power before she becomes too powerful for any of them to stop.

For every high that this franchise has experienced, there has always been a crushing disappointment, and sadly Dark Phoenix falls into the latter category, which given its troubled production, shouldn’t be that much of a surprise. Things started off brightly when we first met these characters, though in the wake of the underwhelming Apocalypse, this continues that downward trajectory. For a story that is very popular in the comics, and one that has already been attempted before in The Last Stand, writer/director Simon Kinberg efforts to translate it for the big screen fall completely flat. It has a promising start, but once the Phoenix is born, the plot meanders along, only occasionally perking up every now and again to deliver an action scene, which while exciting, is not nearly enough given what we know this series is capable of.

One thing these films absolutely got right was the casting of the younger versions of these characters. James McAvoy is once again excellent as Xavier, being that father figure presence. Though he doesn’t get nearly enough material to work with, Michael Fassbender is solid once again as Magneto. Though, Jennifer Lawrence has definitely had better moments in the blue of Mystique. The key player here is Sophie Turner’s Jean Grey, she does a sterling job conveying the pain and anguish that her character is experiencing at that moment in time, but her arc definitely had room for improvement.  Jessica Chastain’s presence  as a villain adds nothing substantial to the plot. Her motivations are threadbare and she’s just not intimidating enough to be taken seriously, a scandalous waste of her immense acting talents.

With the future of this franchise now in the hands of the folks running the Marvel Cinematic Universe, fans were probably hoping for the franchise to sign off in spectacular flaming glory. The potential was there, but even with the talents of all these actors, and another excellent score from Hans Zimmer, it’s just not realised. The great journey that we have been on these characters started off well, but they didn’t get the send off that they would have wanted. It’s a real shame that the penultimate entry in this iteration of the X-Men franchise flickers briefly before being extinguished with a whimper.

Another attempt at this iconic story is regretfully another misfire, thanks to some lacklustre performances, stilted dialogue and a very tedious plot. This is one phoenix that won’t be rising from the ashes any time soon.