How to Train Your Dragon 2 (2014)

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In 2010 no one saw the astonishing success of How to Train Your Dragon coming. Animators Dreamworks had long faced a perennial struggle to match rivals Pixar in creating family entertainment mixed with emotional heft that even the considerable might of the Shrek franchise couldn’t overcome. And yet a fantastical story about a Viking teen who befriends a fearsome dragon did just that and bagged almost $500 million worldwide in the process. Now, with a sequel that is again loosely based on Cressida Cowell’s books, Dreamworks are once again defying expectations by delivering a fulfilling follow-up that enthrals and gives closure whilst also establishing potential arcs for 2016’s big finale.

The sequel picks up five years after the events of the first film where much has changed on the tiny Viking island of Berk. Vikings and dragons now live in easy harmony and a thrilling opening sequence finds the islanders in the middle of a new sport that’s sort of like Quidditch only the competitors ride dragons and slam-dunk grumpy sheep instead of straddling broomsticks and getting brained by a bludgeon.

Hiccup (Baruchel), too, has undergone a dramatic makeover as director Dean DeBlois breaks the cardinal rule of animation by actually having his characters age. Now 20, Hiccup has flowing hair, a peach-fuzz jaw and a modified suit with wings that pop-out for free-flying. Like a leather-clad Pteromyini.

He has also come-along as an inventor, re-modelling Berk as a dragon-loving paradise – key features include well-stocked feeding stations and much needed fire-fighting mechanisms – and fashioned himself the Swiss army knife of prosthetic legs with three spring-loaded attachments.

One of the advantages of letting the characters grow up is that it allows them to enter a new phase of life where there are new issues and stories to explore, significantly reducing the risk of simply regurgitating the first plot over again. The crux of HTTYD2 is Hiccup’s search to find his true calling as he balances the weight of his father’s (Butler) expectations with his own dream of seeking-out new lands with Toothless. It’s a well-tested arc that’s sweetly handled by DeBlois and its easy relatability is part of what makes the series such an absorbing watch for all ages.

Much a Hiccup’s story revolves around his meeting Valka (Blanchett), a mysterious dragon rider who rescues dragons from other Viking tribes and has a strong link to Hiccup’s past. Valka struggles with a similar conundrum to Hiccup, having abandoned her family in order to protect them, and her shared empathy for fire-breathing lizards makes her feel like Hiccup’s kindred spirit. She’s vital in helping him understand who is really is as he is forced into action to save his tribe from vicious dragon tamer Bludvist (Hounsou), the Viking Blackbeard who controls his army by fear and a weird Neanderthal grunt and has his greedy little eyes on Berk’s budding dragon population.

What sets HTTYD2 apart from Dreamworks’ other animated fare is that every character is given a carefully considered backstory and motivation. Even a remorseless villain like Bludvist has an understandable, though in no way justifiable, reason for his actions. Such detailed characterisation is further helped in this movie by the adoption of the new Premo animation system. The human characters are so finely nuanced – you can see the muscles moving beneath their skin and the jowls wobble beneath the chins of stouter Vikings (sorry, Gobber) – that it is almost doing half the work for the excellent vocal cast in portraying emotion and desperation.

Visually the film is even more stunning than the first with legendary cinematographer Roger Deakins serving as visual consultant to help make the vivid Nordic landscapes so beautiful. The flying scenes are some of the film’s most breath-taking; the shots of Hiccup and Toothless skimming the tops of clouds and swooping across the open seas are made all the more majestic by John Powell’s sweeping score.

It’s all part of DeBlois plan to up the scale considerably from the first film with Berk’s dragons meeting Bludvist’s army in an epic coastal battle that may seem predictable but features plenty of surprises and emotional gut-punches to be inextricably absorbing. He achieves this by centring the action on the human story and maintaining the first film’s a tilt-a-whirl of emotions, placating us with the adorable humour of domesticated dragons goofing-around in the background before diving into wrenching moments of heartbreak and despair as the two opposite sides of Hiccup’s life collide in tragic circumstances.

Unlike many sequels, which seem only interested in selling tickets for the next franchise instalment, How to Train Your Dragon 2 manages to whet viewers’ appetites for further adventures whilst also delivering on its main purpose of telling a fulfilling story. By turns this will make you laugh and cry, and feel breathless and elated. In short, everything a movie should be.

Runtime: 102 Minutes   Genre: Animation/Adventure   Released: 11 July 2014

Director: Dean DeBlois   Writer: Dean DeBlois

Cast: Jay Baruchel, Cate Blanchett, Gerard Butler, Djimon Hounsou

Click here to watch the trailer for How to Train Your Dragon 2

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Have You Been Watching… Almost Human?

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In Almost Human’s (Tuesday, 9pm, Watch) shimmering, tech-loaded vision of 2048, crime rates have spiralled beyond control due to an optimistically rapid advancement in science and technology. To combat this, every human detective must be paired with an rigidly logical android: half PDA, half annoying companion; they’re basically iPhones with faces.

In keeping with this Blade Runner vibe, the sci-fi crime series centres on a misanthropic cop with a taste for takeaway noodles. Future cop John Kennex (Karl Urban) returns to the police force two years after having a limb blown off and his partner killed in a botched raid. Now with a synthetic leg, Detective Grumpy-Pants is partnered with Dorian (Michael Ealy), an older model android previously decommissioned for having emotion-control issues. They sound perfect for each other, no?

Incompatible cops who gradually form an unexpected friendship and sentient robots questioning what is means to be human are both well-worn clichés in need of an upgrade. Almost Human’s twist is that Dorian is actually the more emotionally mature of the two, archly dishing out life lessons to a touchy Kennex, who is so desperate to be alone he literally throws his first partner under a bus.

Their forced alliance is the show’s key asset, Dorian possessing a wry placidity that wonderfully dove-tails with Kennex’s constant griping. The scenes where they patrol the streets in their police cruiser (which, incidentally, looks like a baby Bat-Tumbler) are punctuated by a sharp wit that pierces through the more po-faced aspects of a sci-fi show that seeks to hold a mirror to modern day issues.

Aside from the obvious Blade Runner and I-Robot influences, Almost Human also throws more than a touch of Luther into the mix, particularly where future crime is concerned. Like the Idris Elba-starring British series, this has a nightmarish, almost comic book style to its plots that makes it fundamentally dark and scary.

The series so far has featured a cyber-criminal who straps bombs to his victims and films their demise for online viewers, an organ-donation extortion racket based around a mechanical heart with a built-in kill switch, and a terrorist organization that uses face-projection technology to conduct million dollar heists with the promise of even more disturbing storylines to come.

Combine these inventive, clever crime plots with the higher tolerance for violence that sci-fi shows somehow get away with, and it’s no surprise Almost Human is more exciting than your average cop show.

It’s far from perfect, the glitzy future-scape can’t help but look tawdry on a TV budget when a toned-down vision would’ve lent more credence to the near-future setting, and the typical procedural aspect of a criminal investigation – gathering evidence, pursuing false leads – are treated as more of an annoying obligation than a meaningful addition to the plot. The writer’s, however, seem to be keenly aware of the show’s failings and keep these elements to a minimum.

The only real disappointment is that Almost Human has not been renewed for a second season. The upshot is that, on current form, the show looks destined to join the canon of one-season wonders, which includes FireflyFreaks and Geeks and The Fades. Moreover, lasting only one season means it cannot betray your investment in it, a fate that befell The Following, which had similar ratings to Almost Human yet was still renewed, as it struggled to replicate its earlier form in season two.

There are still five episodes of this brightly coloured, inventive and surprisingly scary show left to go before it comes to a premature end. Make sure you catch it while you still can.

Click here to watch the trailer for Almost Human

Hannibal: The Best Show That No-one is Watching.

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A wide expanse of field somewhere on the outskirts of Minnesota. A single, lonely tree stands belligerently against the breeze, its pale leaves shinning bright in the crisp morning sun. It’s only upon closer inspection that this striking image reveals its true, dark nature. Woven into the thin trunk is a man, crucified between the spindly branches. His vital organs have been removed and replaced with a colourful array of poisonous exotic plants.

This is just one of the morbidly beautiful ‘works of art’ in a second season of Hannibal (Tuesday, 10pm, Sky Living) that has seen a blind man with a headful of bees, a mosaic of the human eye composed of corpses and a woman sewn into the uterus of a horse. Not your average police procedural, then, but then a show that boasts a culinary cannibal consultant among its crew was never going to be ordinary.

Based on the characters and elements appearing in Red Dragon, NBC’s psychological thriller-horror follows Will Graham (Hugh Dancy), a gifted criminal profiler who uses his remarkable empathy to solve a series of grotesque murders by visualizing the crimes from the killers’ perspective. It’s a neat party trick, though the gaudy strobe lighting could be given a miss, but to make sure imagining bodies being hacked to bits everyday doesn’t way heavily on Will’s psyche he is assigned a psychiatrists named Hannibal Lecter (Mads Mikkelsen) who promptly sets about turning him insane. As a result, Will spends most of season two on trial as the Chesapeake Ripper and questioning his own sanity, while Hannibal the Cannibal swoops in to pinch his job and his girlfriend. Some friend, eh?

What’s most impressive about Hannibal is that writer Bryan Fuller has somehow managed to create a take on the iconic character that is wholly his own, one capable of rivalling, and, in the case of Hannibal Rising, bettering, its cinematic brothers. Utilizing Hitchcock’s principal of suspense, Fuller works the fact that his lead is well-known to his advantage. We know Hannibal is a monster and that he will one day explode, and this information has the audience on tenterhooks from the very start, creating an appropriately disconcerting mood that permeates the action.

The only dull moments come when Jack Crawford’s FBI team crowd into a sterile lab to regurgitate exposition over that week’s symbolic corpse. Yet, it always rises above becoming a rote forensic procedural largely because we already know who the culprit is and we share Will’s frustration in trying to convince others of Hannibal’s guilt before another victim can become a scene in his live theatre of beautiful murder.

And yet, no one is watching. Hannibal may be something of a critics’ pet considering the high praise and award recognition its has received, and it can boast as aggressive an online following as any cult show around, but the show still teeters on the brink of cancellation each year.

Quite why the show hasn’t captured the viewers’ attention is frankly a mystery. Is its portrayal of Hannibal Lecter is too depraved and remorseless to be a sympathetic villain? Is the dialogue too quick-fire and full of psychological mumbo-jumbo to serve as a satisfying dose of late-night escapism? Or are audiences simply bored of a character they’ve seen and read umpteen times before?

Whatever the reason, Fuller must find a way to pull in the viewers if NBC are to allow him to see out his six season plan for the series. Season three was only recently confirmed after much dithering, suggesting the powers that be are already losing faith in the shows potential.

It would be a tragic waste if the show was not to continue. Yes, it can be hard to follow and it is unflinchingly dark throughout, but it is also finely acted, deliciously subversive and it demands your attention with its surprisingly deep story about the human mind and the nature of friendship. Not to mention it made Eddie Izzard’s thigh look absolutely delicious. Yum.

Click here to watch the trailer for Hannibal – Season Two

TV Review: Friday Night Dinner

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It’s Friday night. The dreary working-week is finally over, and now it’s time to cut loose, go wild and get a little crazy. Unless, that is, you’re anything like the Goodmans, the fictional Jewish family in Friday Night Dinner, which began its third series on Channel 4 last night, in which case you’ll be sitting down for yet another family meal punctuated by sibling rivalry, revolting jokes and embarrassing parents. Party!

For anyone new to the show, Friday Night Dinner follows Tamsin Greig as a highly-strung and fiercely protective mum Jackie and Paul Ritter as her husband Martin, a man with absolutely no social awareness and a questionable attitude to personal hygiene, as they try to cajole their two twenty-something sons, Adam (a classically nebbish Simon Bird) and giddy prankster Johnny (Tom Rosenthal), to gather each Friday evening for a Sabbath meal free of religious tradition.

Such enforced gatherings rarely improve familial harmony, but they are good for a fair few laughs and FND combines elements of the traditional family sitcom with the dark farce and grotesque schoolboy humour of modern comedy hits – a sort of My Family meets The Inbetweeners – to great comic effect.

There’s a touch of the familiar about the show, with creator Robert Popper repeating situations from previous series, such as the door that cannot be opened because it hides one of Johnny’s disgusting jokes. These moments never feel like tired running gags because Popper endeavours to infuse them with new, unexpected twists.

Last night’s episode, for example, featured the classic domestic sitcom trope of Adam brining his girlfriend home to meet the family, but rather than draw the comedy from the new couple’s desperate attempts to impress, the calamity actually derives from Adam trying to conceal the flirty texts he received from Emma’s sister and from an eight-year-old girl who blackmails Adam into being her boyfriend.

Most of the show’s joy lies in this escalation of social embarrassment and desperation for self-preservation. The Goodmans’ attempts to appear like a normal family are always scuppered by a tangled web of white lies, misconception and blackmail; the payoff coming when they’re inevitably found out by an unsuspecting visitor who stumbles across the family at their worst moments, like when Martin, in nothing but his pants and with ketchup smeared across his chest, is caught with his foot in the toilet washing-off dog faeces.

These situations are, of course, completely ridiculous, but the show still manages to maintain the perception of a convincing family unit thanks to the believable dynamics and performances from its central cast. Bird and Rosenthal come across as real brothers, engaged in a never ending prank war but often banding together to rile against their parents, while Greig’s mum speaks in the permanently-exasperated tone that tells of years spent dealing with petty sibling squabbles.

Even if a calamitous dinner with your odd parents and annoying brother doesn’t sound like your ideal Friday night, Friday Night Dinner, with its dark twist on the family sitcom and brilliant performances, is still worth staying in for.

Click here to watch the trailer for Friday Night Dinner

22 Jump Street Review

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“Things are always worse the second time around,” scolds Deputy Chief Hardy (Nick Offerman) as he warns of the diminishing returns that come with sequels that simply offer more of the same, directors Phil Lord and Christopher Miller once again having a blast going full meta in this successful, if uneven, follow-up to 2012’s unexpected hit 21 Jump Street.

This time around our favourite pair of knucklehead cops, Schmidt (Hill) and Jenko (Tatum), have been given swish new digs befitting of a pumped-up action sequel, moving in to a Vietnamese church across the street that has been kitted-out to resemble MI6’s secret HQ in Skyfall and includes a swanky office for Ice Cube’s character that looks like an actual ice cube. Get it?

But before the duo can shoot-off in some new imaginative direction, their pencil-pushing superior is on hand to set them straight. Instead of joining the Secret Service and protecting the White House as Tatum’s character suggests, Schmidt and Jenko are going back to school, this time as college freshman, to uncover the source of a dangerous new drug on campus in a plot that mirrors that of its predecessor beat for beat.

It’s a risky move to frequently emphasize the potential pratfalls of repetitive sequels, but for the most part Lord and Miller, the creative geniuses behind The Lego Moive, have the smarts to pepper the familiar ground with fresh gags. Of course, it helps that they are capable of covering a broad range of comedic styles from pure slapstick (Schmidt and Jenko try to pursue a dealer while tangled in a fishing net) to subtle sight gags (watch out for the “23 Jump Street coming soon” construction sign) to the just plain odd (Jonah Hill fighting an octopus).

While the main plot is given little attention, the over-riding theme of things losing their shine the second time around paves the way for a new twist on the buddy cop genre as Schmidt and Jenko’s parternship hits a rocky patch when Jenko strikes up a yang and yang friendship with fellow meathead and football star Zook (Wyatt Russell). This leaves Schmidt to take a stab at being the lonely artistic-type, improvising beat poetry with enough élan to impress perky art major Maya (Stevens).

Their romance takes an unexpected turn in the form of a hilariously disastrous lunch with Maya’s parents, but the real love story here is between the central pairing of Schmidt and Jenko. 22 Jump Street cranks up the homoeroticism to all new levels with a brief Segway into romantic comedy territory as the boys decide they want to investigate other people. Que a clever split screen montage that shows the separated couple moping through their new lives before they realise they actually miss the very things they thought they hated about one another.

As with most improvisation comedies there are a fair few flabby patches as the jokes misfire, and the constant warnings about diminishing returns threatens to become a self-fulfilling prophecy as the endless repetition starts to grate by the end of the second act. There are at least three car chases, apparently Lord and Miller’s go to action sequence, none of which offer a new take on the familiar trope, while the ‘college days’ scenes of spring break, frat house initiations and awkward sexual encounters have been done before and better elsewhere.

Yet 22 Jump Street must ultimately be judged on the quality of jokes it serves up, and Lord and Miller throw gags at the screen with such a fervid frequency that, even though many fail to land, more than enough hit their mark to make it easy to forget about the clunkers and uninspiring plot. The result is a sequel that does exactly what it sets out to do, offering-up another silly delight that provides ample room for its greatest asset, Hill and Tatum’s surprising double act, to shine.

Runtime: 112 Minutes   Genre: Action/Comedy   Released: 6 June 2014

Directors: Phil Lord and Christopher Miller   Writers: Michael Bacall, Oren Uziel

Cast: Jonah Hill, Channing Tatum, Amber Stevens, Ice Cube

Click here to watch the trailer for 22 Jump Street

Five Reasons Why BBC Three’s In The Flesh Should Be Renewed

Warning: This article contains mild spoilers for series two in In The Flesh

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Series two of BBC Three’s offbeat zombie-drama In The Flesh may be over, Roarton’s melting pot of prejudice finally boiling over in a heartfelt, bittersweet and often sickeningly tense finale last Sunday, but is this the last we will see of Kieran Walker and his PDS-sufferer pals?

It’s hard to believe that such an intelligent, inventive and relentlessly gripping show could have its future cast into doubt, and yet the announcement that BBC Three is to close has done just that.

There are currently rumours that the drama could switch channels or even resurface online – which, given Amazon Prime’s purchase of Ripper Street and Netflix’s near-continuous stellar output, is fast becoming the home of great drama.

Whatever the solution In The Flesh deserves a third series because, as its second series so decisively proved, its still one of the best dramas – zombie or otherwise – on TV right now.

Here are five reasons to renew In The Flesh for a third series.

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1) It’s more than just zombie horror.

In fact, it’s not really about zombies at all. Part of ITF’s genius is the way it juxtaposes its supernatural premise with the grim realities of a kitchen sink drama to explore deeper themes in a way that is frighteningly real and personal.

Creator Dominic Mitchell originally intended to write a show about a teenager with a mental illness who returns home after violently attacking a neighbour before he landed on the idea of using PDS sufferers as a conduit to make discussing such dark ideas more palatable to a mainstream audience.

Few other shows, if any, are brave enough to tackle mental illness, discrimination and fundamentalism each week, and that’s exactly what makes ITF so vital to the BBC’s schedules.

2) Mitchell hasn’t just created a scenario; he’s created a world.

As wonderful as the first series of ITF was, its relative intimacy and brevity now feels more like a taster compared to the wide-ranging epic served up in series two.

An extended run of six episodes allowed Mitchell and co to dig deeper into the impact the Rising had on the lives of people outside the Walker family circle, resulting in the heart-breaking highlight of Freddie and Hayley’s doomed marriage.

It was superbly acted all around and the romance was so deftly handled that the obviously-signposted climax was unexpectedly nerve-wrecking for an episode that acted as a refreshing break from the main plot.

If more series means more episodes like this, then In The Flesh should be re-commissioned until the end of time.

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3) In The Flesh knows how to tug on our heartstrings.

While horror scares and visceral thrills are in no short supply – the first episode of series two opens with a cinematically taut rabid attack on a tram – where ITF truly excels is in the wrenching moments of human emotion.

Scenes such as when Kieran has to cover the bathroom mirror with a towel before he can remove his contacts or when a PTSD-suffering Jem finally breaks down and all Kieran can do is promise to get her the help she needs show how adroit Mitchell is at hitting his audience where it hurts.

At these times watching In The Flesh can be emotionally draining but that’s precisely what makes it so worthwhile.

4) There’s something beautiful about its northern moors setting.

It may not be the most flattering depiction of northern life on telly, but there is something hauntingly beautiful about the wet and windy surroundings of a post-Rising Roarton, it’s grim peaks looming in the distance like the ever-present sense of death – a constant reminder that its trapped denizens can never escape.

Much like the show itself, Roarton possesses a beguiling blend of mystery and realism. A town that looks like every other town in the country and yet feels completely isolated all the same. This mysterious atmosphere is as transfixing as it is unsettling and leaves an indelible mark that inexplicably has you wanting to come back for more.

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5) Mitchell isn’t even close to running out of ideas.

Series two as a whole was superbly written by Dominic Mitchell; his scripts littered with so many brilliant ideas (using sheep’s brains as the undead’s form of ecstasy) and neat touches (displaying Amy’s two lifespans on her coffin) that sometimes he didn’t know what to do with them.

The writing is bravely allegorical and it’s the sheer scale of the storytelling that is so impressive, touching on right-wing politics, sexuality, race, family and violence among many other topics.

Such is the scope of the writing that, far from running out of steam, ITF feels like it is only just getting started with vast swathes of questions still to be answered. Is Amy really dead? Was Kieran the first to rise? Who is the undead prophet? And why were those creepy scientists so keen to get their hands on Amy’s body?

With so much left undiscovered all we can do is hope that BBC Three has learned from its mistake with The Fades, another high concept sci-fi that was cruelly axed after just one series, and finds a home for our BDFFs (best dead friends forever) so that In The Flesh can rise again for a well-deserved third series.

Click here to watch the trailer for series two of In The Flesh

Maleficent (2014)

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Maleficent is Disney’s latest attempt to mine its revered cartoon canon for tales that can be adapted into live-action gold. It’s not the most successful of business models – for every Tim Burton-directed Alice in Wonderland, which banked over $1billion worldwide, there’s a chaotic and awkwardly performed Snow White and The Huntsman or a wacky and garish Mirror, MirrorMaleficent, unfortunately, falls into the latter category, its rushed plot and unrefined characterization squandering a spellbinding lead performance by Angelina Jolie.

Linda Woolverton’s clumsy re-imagining of Sleeping Beauty’s iconic villainess sees a young, button-nosed Maleficent presented as an earthy Mother Theresa figure who sleeps among the trees and uses her powers to heal a snapped twig. She soon falls in love with a for-some-reason-Irish farm boy named Stefan who suddenly disappears only to return years later and slice off her wings to curry favour with his dying king.

This clunky love story is poorly handled as first-time director Robert Stromberg skips over the key emotional beats of their relationship. We therefore struggle to understand the full depths of Maleficent’s sense of betrayal and as a consequence her transformation from benevolent queen to a wicked sorcerer who famously sentences Stefan’s innocent baby daughter Aurora to a sleep-like death feels sudden and not fully justified.

Yet it appears that Stromberg and Woolverton were aware of this problem as they try to compensate for the lack of storytelling by stuffing the first act with exposition-loaded dialogue (“So, he betrayed me to be king.”) and awful fairy-tale narration to explain what we really should be able to see.

Things fails to improve as we zip into the future where a now 15-year-old Aurora is safely ensconced in a rundown cottage with her triumvirate of irritatingly quarrelsome pixies while Maleficent watches from the shadows.

This middle third is caught between two tones as Woolverton tries to remain faithful to the classic 1959 cartoon whilst imbuing the story with a modern darker edge. An attempt at slapstick comedy where Maleficent tricks the pixies into bickering – though why she thought they needed prompting is beyond me – jars distastefully with the moody ambiance of Maleficent sulking in her kingdom and King Stefan’s Shakespearian descent into madness.

For someone who started out as an art director on big-budgeted blockbusters such as Avatar and Alice in Wonderland, Stromberg has a poor handle on the special effects. In particular, early scenes of Maleficent swooping from the heavens and soaring across the luscious moors are so shonky it feels like watching a rough cut rather than the fully rendered finished product.

It is a shame because it detracts from the impressive fairy-dust sprinkled moors and its populace of cute and imaginative day-glow beasties.

With her seething eyes and angular cheekbones, Angelina Jolie certainly looks the part as the titular anti-hero and her performance strikes the perfect balance between menace and bravura as she does her best to create an engaging character out of the limited material.

The rest of the cast don’t fair quite so well, however, with Elle Fanning’s endless positivity and woodland wanderings resembling Mr Burns after longevity treatment and Sharlto Copley given nothing more to do than rant at a pair of truncated fairy wings in a wandering accent.

Why more isn’t done with their characters is a mystery because there is potential for an interesting family dynamic to be etched out of the way King Stefan, consumed by paranoia, rejects his daughter’s love in favour of obtaining vengeance.

But rather than explore these characters further, Stromberg opts for a rote military battle as any attempt to tell a fulfilling story is forgotten. The movie’s tendency to skim over the details results in an ending that feels rushed and a final resolution that, for a film that aims to subvert our expectations, feels decisively ordinary. 

Runtime: 97 Minutes   Genre: Fantasy/Adventure   Released: 28 May 2014

Director: Robert Stromberg   Writer: Helen Woolverton

Cast: Angelina Jolie, Sharlto Copley, Elle Fanning, Sam Riley

Click here to watch the trailer for Maleficent