Aquaman – Film Review

“This is going to be fun,” Jason Momoa’s titular swashbuckling superhero grins at one point in Aquaman. It’s a cheeky aside that could just as well serve as a mission statement for director James Wan’s recklessly inventive film. We’re talking about a movie where the big bad rides into battle astride an armoured war-shark. Where pterodactyls flap around a deserted island hidden beneath the Earth. And where blood sports begin with an octopus-led drum solo. And that’s only the tip of the weirdness iceberg.

Our hero is Arthur Curry/Aquaman, the illegitimate son of a lighthouse keeper (Temuera Morrison) and an Atlantean queen (Nicole Kidman). Because of his hybrid upbringing, Arthur is a (literal) fish out of water everywhere he goes – except for the seaside tavern where he’s a minor celebrity among the lumbering locals – and, like a nautical Thor, he has little interest in returning to his underwater home to rule. Meanwhile, his avaricious half-brother Orm plots to control the land as well as the seas, orchestrating a false-flag submarine attack to unite the underwater clans in a war agains the human world. 

Not that the plot really matters. Wan plays fast and loose with his story, flitting between strands with little in the way of a solid structure. The aforementioned submarine skirmish is barely mentioned again. Neither is a retaliatory tsunami that kills thousands of humans, not to mention wiping out the naval might of the world’s biggest military powers. Instead, Curry is despatched on a messy, overlong quest to find a place to decipher a thing that will help him find another thing he needs to save the world. It’s no wonder he has trouble remembering what he’s supposed to be doing.

Momoa at least makes the most of every second he is on screen, exuding a roguish surfer charm that feels at odds with the grim world view of his more perturbed Justice Leaguers. At times it feels like Momoa has rolled onto the set straight from an all-night beach party – and the movie is all the better for it. Sadly, his supporting cast don’t fare quite so well. Amber Heard’s Mera seems to exist solely to deliver helpful exposition. Patrick Wilson’s Orm has a distantly rational plan, but his characterisation is so stilted he lacks the menacing gravitas of Black Panther’s Killmonger or Infinity War’s Thanos. And Yahya Abdul-Mateen II’s Black Manta is an underserved, frankly needless addition to an already bulging plot.

Yet Aquaman is undoubtedly wildly entertaining and completely bonkers fun, largely because Wan takes every harebrained idea that pops into his head and throws it up on screen to see if it sticks. The result is a bizarre mash-up of Avatar, Tron and Clash of the Titans as Curry scraps with robotic sea ninjas, enters into a battle of wits with a sentient tentacle and, in one evocatively shot sequence, dives headfirst into the depths of the ocean pursued by a horde of zombie seahorses. 

Even then, by the time Curry arrives on the back of a giant, shelled goat thing to break-up a Star Wars-alike battle between Brian Blessed’s crab men and a legion of sharks, even the outrageously over-the-top action has lost its charm. Aquaman offers something unexpectedly peculiar and refreshingly different to the gloomy, fate-of-the-world nonsense that the DC Universe has served up thus far – it’s just a shame that its breezy, larger than life charm gets cast adrift in a maelstrom of bombastic CGI.

Runtime: 143 min (approx.)

Director: James Wan

Screenwriters: David Leslie Johnson-McGoldrick, Will Beall

Stars: Jason Momoa, Amber Heard, Patrick Wilson, Nicole Kidman

Ant-Man and the Wasp – Film Review

You can see why Marvel scheduled Ant-Man and the Wasp as their first release post-Infinity War. After the gut-wrenching earthquake caused by Thanos’ mighty finger snap, a return to the breezy, low-stakes world of Marvel’s tiniest superhero feels like a delightful distraction. But while the rest of the MCU has significantly raised its game of late, delivering more ambitious, thematically muscular stories that stretch the boundaries of the genre, Ant-Man continues to offer the same-old small scale thrills that – though giddying and playfully entertaining – feel like lesser work in this new era of ground-breaking achievements.

At least Peyton Reed’s team of writers are kind enough to suggest a reason for why Scott Lang (Paul Rudd) might’ve been left of the Avengers’ guest list. Having breached the Sokovia Accords with his role in Civil War’s airport rumble, Scott has spent the past two years under house arrest. While that provides plenty of time to build elaborate cardboard playhouses and perfect his close-up magic tricks, it proves more of a challenge when trying to raise a child and kick-start a security business (brilliantly named X-Con).

Meanwhile, Hope Van Dyne (Evangeline Lilly) and Hank Pym (Michael Douglas) have gone off the grid, forming a renegade father-daughter team dedicated to rescuing Janet Van Dyne (Michelle Pfeiffer) from the trippy Quantum Realm using a complicated thingumyjig called a Quantum Tunnel. But when their attempts to steal a crucial piece of tech from Walton Goggins’ low-level arms dealer throws them into the path of dangerously elusive new villain the Ghost (Hannah John-Kamen), the duo reluctantly turn to their old friend for help.

While the plot effectively sets the stage for a light, bright comedy caper, it barely moves events on from the first film… and in some cases takes a backwards step. Scott continues to struggle to be a responsible parent and earn an honest living after a stint in prison. Hope and Hank are still consumed by the loss of their mother/wife decades earlier, while their relationship with Scott is effectively back to square one after the latter’s brush with the law forced them to go on the run. Even the villain is barely distinguishable from Corey Stoll’s one-note Yellowjacket – another baddie-with-a-grudge who wants to steal a piece of Hank’s tech for her own nefarious schemes.

The Ghost particularly feels like a wasted opportunity. A former SHEILD assassin whose ability to phase through objects is slowly killing her, she’s a rich, intriguing presence, beautifully played by John-Kamen. Yet Reed and co only skim the surface of her story, diluting the emotional force of her actions. It’s indicative of a film that all too often swerves the more complex, surprising avenues in favour of continuing down a road it’s already travelled.

That being said, there’s still plenty of fun to be had when the story gets going. The banter between the central trio fizzes with tension, with Scott’s impish charm grating against Hank’s surly attitude and Hope’s single-mindedness, while the action offers inventive use of growing and shrinking, from getaway cars the size of Hotwheels to skyscraper suitcases and colossal pez dispensers. And this time it’s Hope who gets to do most of the butt-kicking, snappily taking down a bunch of goons in a restaurant kitchen and zipping in and out of cars during a tautly executed chase over the hills of San Francisco.

Make no mistake, Ant-Man and the Wasp is a light-hearted, easy-going diversion. But with the MCU growing ever larger and expanding its horizons further, the miniature thrills on offer here feel comparatively trivial and inconsequential… like ants on your ceiling or a wasp buzzing around your head.

Runtime: 118 mins (approx.)
Director: Peyton Reed
Screenwriters: Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, Gabriel Ferrari
Cast: Paul Rudd, Evangeline Lilly, Michael Douglas, Michelle Pfeiffer

Incredibles 2 – Film Review

The world has waited the best part of 14 years for a sequel to 2004’s Incredibles, but for the Parr family – Pixar’s delightful superhero clan – hardly any time has passed at all. Picking up a few short months after they defeated Syndrome, the Incredibles are hot on the tail of the Underminer as he continues to wreak havoc throughout Metroville. This instant continuation proves to be a mixed blessing. While it’s an undoubted joy to revisit this super-human, yet charmingly relatable crime-fighting family, the world has changed a lot since they last graced our screens. Incredibles 2 struggles to meet the challenge of setting itself a part in a modern landscape saturated with spandex-clad vigilantes, delivering a gloriously fun adventure, but one that holds very few surprises.

One area where the movie is ahead of the curve is in pushing mom-of-three Elastigirl/Helen to the front of the super-heroic action as she becomes the figurehead for a campaign to reinstate the legal status of supers. That dynamic shift is a savvy piece of PR spin from the Incredibles’ new billionaire benefactors, Winston and Evelyn Deavor, who have their own mysterious motivations for helping our heroes win over the public. With his wife out thwarting villainous ne’er-do-wells, Mr Incredible/Bob is left behind to tackle the far greater challenge of being a stay-at-home-dad to a moody teenager, a rebellious youngster and a newborn baby with unpredictable superpowers.

The crime fighting action is thunderously entertaining, with a wildly kinetic train chase that perfectly showcases writer/director Brad Bird’s knack for character-driven set-pieces. But Incredibles movies always shine brightest when marrying the superheroic mayhem with the frazzled domestic trials of raising a nuclear family. Bob’s struggles in coping with Jack-Jack’s polymorphous powers are frequently hilarious, cleverly spoofing newborn teething problems. Helen helps Dash find his favourite pair of sneakers while chasing down new foe Screenslaver. The whole family bickers over whose turn it is to look after the baby while trying to thwart the Underminer’s latest scheme. Moments like these are what make the Parrs such a relatabley endearing bunch and this movie is crammed full of them.

It’s not all maths homework, first boyfriends and diaper changes, though – Incredibles 2 has more complex, grown-up issues on its mind, too. The plot hinges on the question of whether superheroes should be banned from helping people and, if not, how far are they prepared to go to fight back against the law. From there, Bird tackles such weighty topics as law and order, equality, Trump’s America and our dependence on technology, all handled with a wit and charm that will ensure the movie appeals to parents as well as the nippers.

If there is to be one gripe, it’s that these progressive, intelligent themes aren’t matched by a similarly boundary-pushing plot. The main structure of illegal heroes secretively combating super baddies with the help of a rich benefactor is a complete retread of the first movie, only with a less engaging villain. Whereas Incredibles’ disgruntled former fan Syndrome was a believable, fully-rounded foe, the elusive Screenslaver’s telegraphed identity is revealed too late in proceedings and their muddled reasoning simply doesn’t pass muster. The action is also repetitive. The film’s three major set pieces involve a runaway mining vehicle, a runaway monorail and a runaway super yacht. Surely 14 years was enough time to think up at least another two set-piece ideas?

Still, the heroes are so warm and well-intentioned, and the action whizzes by in a blur of dazzling energy and joyous enthusiasm that you might not even care about the minor quibbles. It’s a delightful thrill to have the Incredibles back – here’s hoping they don’t leave it quite so long between their next visit.

Runtime: 125 mins (approx)
Screenwriter: Brad Bird
Director: Brad Bird
Stars: Craig T. Nelson, Holly Hunter, Sarah Vowell, Spencer Fox, Samuel L. Jackson, Bob Odenkirk, Catherine Keener

Deadpool 2 – Film Review

Deadpool does things differently. Fast-talking, gleefully profane and with a fondness for fourth-wall-breaking, the first ‘proper’ outing for the Merc with a Mouth had an outrageous spirit that pulled the pants down on its fellow oh-so-serious comic book movies. And did it with a wink and a smirk.

So it follows that Deadpool 2 was never going to bow to convention and follow its record-breaking predecessor by going bigger, badder and darker. Instead, it takes a katana to the rule book and just keeps doing what Deadpool does best. Namely, delivering a ferociously filthy and wildly entertaining antidote to the usual fate-of-the-world superhero formula.

With John Wick’s David Leitch at the helm (replacing Tim Miller), Deadpool 2 has a slick, confident swagger. The restless stream of gore, dick jokes and meta put-downs are ballsier, cleverly and cruelly taking down rival superhero universes, Deadpool’s own messy cinematic history and featuring what’s quite possibly the most disturbing Basic Instinct gag ever committed to film. The giddy kinetic action sequences, meanwhile, have an inventive verve, including a comically catastrophic road heist that’s so ruthlessly violent, even Thanos would be watching from between his big meaty purple paws.

That’s mightily impressive given Deadpool spends most of the movie in a massive funk. Having reunited with fiancée Vanessa (Morena Baccarin) and found a living using his unique brand of crime fighting, Wade is ready to start a family. But when that chance is ripped away from him by tragedy, he sinks into a deep depression. Ryan Reynolds struggles to sell these bleaker moments, which jar with the movie’s otherwise haywire energy. Watching Wade mourn, you’ll find yourself waiting for a punchline that never comes to undercut the mood. That’s because the character development doesn’t ring true, the transition from ultimate loner to doting father-to-be coming without explanation, and Wade’s pain lacks impact as a result.

Fortunately, Wade quickly finds a new family when a grizzled super solider with a “Winter Soldier arm” travels from the future to kill a super-powered child, and Deadpool forms the X-Force to help take him down. Once Deadpool has a fresh batch of super buddies to riff off of, the movie really finds its stride. Zazie Beetz is enjoyably invincible as ‘lucky’ Domino; Rob Delaney makes an adorable cameo as the sweetly non-super-powered Peter; and with Cable, Josh Brolin continues to show he has a knack for imbuing unstoppable Marvel baddies with wit, charm and uncommon vulnerability.

The cynical view might be to say that this simply serves to set-up a future universe of inter-connected franchises (an X-Force movie is already in development). Yet this is still Reynolds’ movie and a role that fits him like a tailor-made spandex suit, providing the perfect vehicle for his juvenile charm and hyperwit. So whether its slicing up scoundrels while wearing stilettos or tea-bagging a time-travelling robot hitman, whatever Deadpool does next, it’s sure to be something different.

Runtime: 119 mins (approx.)
Director: David Leitch
Screenwriters: Rhett Reese, Paul Wernick, Ryan Reynolds
Cast: Ryan Reynolds, Josh Brolin, Zazie Beetz, Morena Baccarin

Avengers: Infinity War – Film Review

“The fate of the universe is at stake,” warns Doctor Strange, early on in Avengers: Infinity War. That’s no overstatement. The first of a two-part story – an untitled Avengers 4 is due next year – that’s widely pitched as the endgame for the Marvel Cinematic Universe, this latest superhero mashup promises to bring 10 years and 18 movies of unprecedented world-building to a close with planet-shattering consequences. That’s one hell of a mission statement. Yet Infinity War not only matches its gargantuan ambitions; it smashes through them, delivering Marvel’s most shocking, dramatically hefty movie so far.

That Avengers prefix is a tad misleading, though. Infinity War might involve pretty much every major character in the MCU, but they’re all overshadowed by the giant, purple-skinned titan who’s finally decided to get off his space toilet and join the fight. A darkly operatic opening sequence immediately dispels any lingering doubts about Thanos’ (Josh Brolin) effectiveness as a villain, with a ruthless demonstration of power grimly kick starting a rampage across the cosmos as he makes a smash-and-grab for the remaining Infinity Stones.

That he is such a frighteningly formidable foe owes a great deal to the emotional weight Brolin brings to Thanos’ pixelated heft. His plan to exterminate half the universe is completely mad, but it’s powered by traumatic experience and his victories come at great personal cost. He suffers for his cause and the unimaginable lengths he’s prepared to go to succeed in his mission make him a far more compelling villain than we’re used to seeing in the MCU.

It’s this unflinching determination that sets Thanos apart from the splintered band of heroes who try to stop him. “We don’t trade lives,” Steve Rodger’s (Chris Evans) nobly claims at one point in the movie – Thanos spends most of the near-150 minute runtime testing that conviction. Time and again the Avengers are forced to chose between saving a life and doing what’s necessary to win, a constant turmoil that drags them into dark, challenging places as they confront their deepest demons. Tony Stark (Robert Downey Jr) comes face to face with the monster who has tormented him since the Chitauri invasion of New York. Doctor Strange (Benedict Cumberbatch) has to consider how far he’s prepared to go to keep his promises. Thor (Chris Hemsworth) doubts how much more he can bear to lose. Is the price of being a hero one any of them are willing to pay?

For all the bleak, existential quandaries, this is still a Marvel movie – so there’s plenty of levity shining through the darkness. The fractured, disparate nature of the heroes leads to several delightfully unusual combinations. The meeting of egos between Stark and Strange certainly doesn’t disappoint. Thor’s unexpected arrival aboard the Guardian’s ship is another hilarious highlight, as is his amusingly accurate retelling of his family history. And Tom Holland continues to prove he’s the best on-screen Spider-Man yet with his naive exuberance landing some of the film’s best lines.

Naturally, not every thing works perfectly. With such a massive cast, it’s unsurprising that several characters struggle to make an impact – the Children of Thanos fail to register as anything more than surprisingly handy henchman – and it feels like directors Anthony and Joe Russo are pulling their punches with some of the bigger plot twists. These minor quibbles feel just that, though, when the rest of the film is such a bold, exciting spectacle. That’s especially true as the movie enters its thrilling endgame, culminating in perhaps the most strikingly inviting of cliffhangers since Han Solo was dipped in carbon. Think Infinity War is the end of the Marvel Universe? On this basis, it’s just getting started.

Runtime: 149 minutes (approx.)
Directors: Anthony and Joe Russo
Screenwriters: Christopher Markus, Stephen McFeely
Stars: Josh Brolin, Robert Downey Jr, Chris Evans, Chris Hemsworth

Black Panther – Film Review

Think of Black Panther and one thing comes to mind. As the first black superhero movie, much of the noise surrounding its release has focused on the landmark statement of intent it makes for inclusivity in Hollywood. Quite rightly, too, given that, for all its recent forays into far away galaxies, quantum realms and astral planes, the MCU has remained tightly bound to its white male superstars. Yet perhaps Black Panther’s greatest achievement is that, once you’ve settled down with your popcorn and gallon-sized cup of cola, you’ll forget all about the game-changing importance of its mere existence. Instead, you’ll simply be blown away by a searingly intelligent, exhilaratingly well-crafted piece of filmmaking.

After a potted Wakandan history lesson, which cleverly establishes the secretive, technologically advanced nation while laying the seeds for an engaging mix of geopolitical thriller and complex family drama, we arrive in the aftermath of Captain America: Civil War. With his father murdered in a bomb-attack, T’Challa (Chadwick Boseman) returns home to be officially crowned Wakanda’s king and super-powered protector Black Panther. His rule is immediately beset by challenges, however, as rivals line up to take his crown and political tensions quietly simmer between his most trusted advisors. When his kingdom comes under threat from canon-armed weapons smuggler (a gleefully unhinged Andy Serkis) and a rogue US black-ops solider, Black Panther is forced into action to protect his throne and Ulysses Klaue stop the world from discovering Wakanda’s secrets.

What is immediately striking is writer-director Ryan Coogler’s (Creed) emphasis on eschewing reductive African stereotypes, particularly in the vivid, jaw-droppingly detailed realisation of Wakanda itself. A lively, Afro-futurist utopia, the hidden nation is a thriving metropolis, boasting advanced medicine and superior weaponry thanks to an abundance of vibranium laying beneath its lands. Coogler grounds these fantastical elements by throwing in plenty of African cultural influences, with separate languages, shirtless ritual combat and brightly-attired tribal leaders, serving to compliment a richly complex landscape that feels wholly unique, and yet entirely believable.

Such an intricate cultural backdrop allows Coogler to touch on several weighty political issues. While Wakanda has remained hidden for decades in order to protect its resources, many of its tribal leaders disagree over whether this remains the best course of action as the outer world dives deeper into turmoil. Is the country safer on its own or as part of a global community? Does it have a moral obligation to share its wealth with poorer nations? Coogler poses many difficult questions in the kind of powerfully thought-provoking drama not seen since Christopher Nolan’s Batman trilogy.

While its themes run deep, Black Panther offers plenty of ferociously paced, dizzyingly exhilarating action sequences to keep its Marvel rivals on their toes. From a chaotically inventive brawl in a South Korean casino, to a wildly intense car chase through neon-lit city streets, to a heart-poundingly brutal fight atop a cascading waterfall between T’Challa and Michael B Jordan’s highly-skilled Killmonger, the movie offers plenty of whizz-bang for its buck.

That latter sequence is so gut-wrenchingly tense at least in part due to the powerful, commanding presence of Jordan’s Killmonger – one of Marvel’s best villains in a long while. Although viciously monomaniacal in his intentions, there’s an understandable, deeply emotional rationale to his desire to use Wakanda’s technology to arm the world’s oppressed minorities. Jordan sells Killmonger’s unflinching commitment to his cause with a bitter, savage swagger that neatly contrasts Boseman’s poised assuredness.

As good as they are, though, there’s a number of charismatic supporting players who threaten to steal the show from underneath them. Daniel Kaluuya is quietly composed as W’Kabi, the leader of Wakanda’s Border Tribe, while Danai Gurira is confidently aggressive as Okoye, head of the all-female special forces team that protects T’Challa. Meanwhile, Letitia Wright enlivens every scene as T’Challa’s cheekily intelligent, tech-savvy little sister Shuri, who builds and develops all of Wakanda’s tech. What makes them all so compelling is that every one of them posseses an emotionally engaging throughline – W’Kabi is frustrated at his king’s failure to catch his parents’ killer, while Okoye finds herself torn between her heart and her sense of duty – and Coogler ensures everyone gets their moment to shine.

Yes, there are flaws. Some of the early action sequences are clumsily edited and the climatic battle suffers from Marvel’s usual overload of CGI gadgetry and giant creatures. But at a time when MCU movies have becoming increasingly cookie-cutter in style and tone, Black Panther dares to be different. It delivers glorious visuals, insane action sequences and an absorbing, complex story filled with rich, fully-rounded characters that elevates the superhero genre to extraordinary new heights. It’s mightily impressive.

Runtime: 134 mins (approx.)
Director: Ryan Coogler
Screenwriters: Ryan Coogler, Joe Robert Cole
Stars: Chadwick Boseman, Michael B Jordan, Danai Gurira, Latitia Wright

Justice League – Film Review

It’s difficult to overstate just how much the DCEU needed Wonder Woman. After the dour and mean-spirited Batman V Superman and the full-metal racket of Suicide Squad, Gal Gadot’s virtuous Themysciran warrior was a Wonder-ful leap forward for the franchise, finally placing an endearing superhero at the heart of an entertaining movie that was as witty and inventive and it was groundbreaking.

If the success of Diana Prince’s first solo-outing offered the chance for the DCEU to shift gears, it’s one Justice League fails to take. Visually ugly, boring and repetitive, this souped-up superhero team-up is a return to the murky aesthetic, sketchy characters and chaotic action that have continuously dogged the series since its conception.

Tonally, the movie is all over the place, clumsily attempting to stitch together it’s disparate elements into an uninspiring whole. This is most noticeable during a labourious opening act which swings wildly between a grim and gritty Gotham, the shimmering lands of Themyscira and the submerged ruins of Atlantis as Bruce Wayne (Ben Affleck) grumpily tries to recruit a mis-mash of meta humans and ancient gods to his nebulous cause.

It’s several months after the ‘death’ of Superman and the absence of the son of Krypton has encouraged exiled God Steppenwolf (Ciarán Hinds) and his army of buzzing Parademons to invade Earth in search of three cosmic MacGuffin boxes that, when combined, posses the power to destroy the universe. Realising that a seven foot supernatural warrior with a magic axe might pose more of a threat than a bunch exploding wind-up penguins, Batman assembles a ramshackle band of super-beings to help him defeat Darkseid’s right-hand man and prevent the world from becoming an apocalyptic wasteland.

Such a hackneyed plot holds few surprises, essentially following the tiresomely typical beats of a team-up movie – even the idea of an alien baddie invading Earth to unite a trio of cosmic trinkets is ripped straight from The Avengers. Perhaps that’s why the movie is in such an almighty rush to get down to business. Coming in at a trim two hours, it’s a brisk, breezy adventure – further leavened by an abundance of knowing gags, no doubt penned by Joss Whedon, who replaced director Zack Snyder after a family tragedy and here receives a writing credit.

Yet this leaves very little time to get to know our new heroes and to dig down into the team dynamics. Like every other movie in the DCEU, Justice League is so eager to catch up with its Marvel rival that it assumes our connection with its characters rather than earning our affections. As a result, the planned emotional beats fail to pay off and the entire story descends into an underwhelming mess of ropey visual effects and lunkheaded plot developments – culminating an overblown finale featuring giant purple tentacle-things, flying zombie insects and a CGI monstrosity so sloppily developed it’ll make you yearn for the heady days of Doomsday and Superman playing computer-rendered whack-a-mole.

Even so, there’s great fun to be had, particularly in scenes of the League together, bickering and bonding in a rapid-fire exchange of quips, and the cast play off each other extraordinarily well in the circumstances. Ezra Miller is the highlight as a whip-witted and overzealous The Flash, while Gadot once again radiates gravitas as Wonder Woman. Ray Fisher perhaps needs more fleshing out as the brooding Cyborg, though his digitised Frankenstein arch holds promise. Of the new recruits, Aquaman is by far the worst served, Jason Mamoa reduced to bellowing stock-jock phrases like ‘Oh yeah’ and ‘My man’, as if he’s a drunken frat boy rather than the heir to an ancient kingdom.

If Batman feels like an after thought to the team, that’s hardly the fault of Affleck, who brings an enjoyable gruffness that works well with his elder statesman interpretation of the Caped Crusader. The problem is that Batman is simply not suited to the role of inspirational leader to a team of superheroes – a point the movie tries to address, to unsatisfying effect – and his physical handicaps when compared to the rest of the team understandably see him left behind during many of the action scenes.

Justice League is undoubtedly brighter and funnier than any DCEU movie to date. But it remains lumbered with the same flaws that have been dragging the franchise down from the beginning – namely a loose grip of its tone, haphazard plotting and a collection of unengaging heroes who fail to live up to their billing. As long as these problems persist, there’s no danger of the DCEU usurping the big red behemoth as ruler of the multiverse.

Runtime: 120 mins (approx)
Director: Zack Snyder
Screenwriters: Chris Terrio, Joss Whedon
Stars: Ben Affleck, Henry Cavill, Gal Gadot, Ezra Miller, Ray Fisher

 

 

Thor: Ragnarok

It’s been six years since Chris Hemsworth’s Thor swaggered onto the MCU scene with charmingly misplaced arrogance and pecks that could crush an Infinity Stone to dust. But lately it feels like the God of Thunder has grown stale: Alan Taylor’s grimly stogy follow-up and an overstuffed Avengers sequel proving that all the Shakespearean haminess and entitled worthiness were starting to lose their appeal.

Thankfully, Thor: Ragnarok is just the bonkers shot in the arm the hammer-twirling superhero required. Gleefully tearing up the rule book for a cape-and-tights adventure, director Taiki Waititi has crafted a colourfully cosmic thrill ride that’s funnier and more uproarious than a modern superhero movie has any right to be.

The director of affectingly funny Kiwi comedies Hunt for the Wilderpeople and What We Do in the Shadows, Waititi wastes little time in stamping his off-beat style on the Norse god. Things kick-off with a side-splitting prologue in which Thor’s attempts to reason with a fiery demon are constantly interrupted by the twirling of his restraints and the from there delivers belly laughs at every turn.

It’s indicative of a movie that cheerfully brings out the superhero genre’s inherent silliness by undercutting any hint of seriousness or pomposity with a perfectly executed mix of clever, daft and just plain weird gags. Make no mistake, Ragnarok still delivers all the pulse-quickening set-pieces you could desire – it’s just that it’s all imbued with an effervescent sense fun which brings a whole new energy to proceedings.

The God of Thunder likewise feels reinvigorated by this change in tone. Since we last saw him swatting verbose robots in Age of Ultron, Thor’s taken to wandering the cosmos to learn more about the Infinity Stones (or “glowing stoney things” as he calls them). That is until a premonition forces him to return to Asgard – where his brother Loki has dethroned Odin and dumped him in an Earthly retirement home – to head off the threat posed by Cate Blanchett’s invading Hela. After receiving an almighty pasting from the Goddess of Death, Thor is tossed from the Bifrost and finds himself stranded on the junkyard planet Sakaar. There he’s promptly taken hostage, shorn of his cape, his trusty Mjolnir and, most devastatingly of all, his flowing golden locks, before being thrown into the gladiatorial pits to fight for his freedom.

Being stripped of his defining traits proves to be transformative for the buffest of deities. Left with only his fists and wits to survive, we get to see a grittier, wilier Thor, but also a more vulnerable one, which is particularly enticing given his strength is about to be severely tested in terrifying new ways. It also allows Hemsworth to flex the comedic muscles he so handsomely displayed in last year’s Ghostbusters reboot, ditching the fish-out-of-water schtick of previous outings and throwing himself into a much sillier version of Odinson.

And then there’s the big green rage machine. Riffing on the Planet Hulk storyline, Thor is joined in his kaleidoscopic exile by Mark Ruffalo’s Bruce Banner, whose stuck in perma-Hulk mode and eking out an existence as Sakaar’s premier tourist attraction. Having developed a broader vocabulary, the strongest Avenger gets more to do than just Hulk smash his way through every scene (though there’s still plenty of destructive force on show) and quickly forms a winning double act as the tightly-wound straightman to Hemsworth’s reckless hero.

Indeed, the movie is stuffed with staggering performances. Tom Hiddleston makes a welcome return as sly mischief maker Loki, who finds himself unexpectedly on the fringes of his brother’s plans after his previous betrayal. Jeff Goldblum is at his most flamboyant as Sakaar’s eccentric overlord the Grandmaster. Tessa Thompson is an impressive addition, playing an ale-swigging Asgardian warrior-turned-scavenger. Meanwhile, Waititi almost steals the entire movie with an hilarious turn as softly spoken Kronan gladiator Korg whose heartfelt commentary results in some of the best lines.wits

But true to Marvel form, the villain fails to inspire. Blanchett is a certainly striking presence, looking for all the world like Marlyn Manson’s stroppy sister with her smudged eyeliner and twisted headdress, and poses a significant threat with her superior strength and ability to conjure razor sharp weapons out of thin air. Yet she’s underused, her motive for invading Asgard never fully fleshed out and little being made of her complex connection to Thor’s family. Her scenes rarely move the action forward and serve only as an unwelcome distraction from the bombastic joys of Thor’s off-world hijnks.

That’s ultimately where Ragnarok falters: when it’s forced to be a straight-forward superhero movie. Though the plot is far from slight – dealing with massacres, slavery, refugees and the small matter of the end of days – attempts to reach the heavier emotional beats are hampered by the constant barrage of gags that are fired towards us. It feels like the movie spends so much time goofing across the universe that there’s little time left for character building or emotional depth. With the stakes made to feel so low, it’s hardly shocking that the climatic showdown lacks gravity – and not just because Waititi can’t help but resort to the usual Giant CGI Thing cliche.

Nevertheless, Thor: Ragnarok is a delirious carnival of psychaedelic colour and bonkers entertainment that offers a fresh, invigorating look at one of the most popular Avengers. If only Waititi has resisted the urge to revert to formula in the final third…

Runtime: 130 mins (approx.)
Director: Taiki Waititi
Screenwriters: Eric Pearson, Craig Kyle, Christopher Yost
Stars: Chris Hemsworth, Mark Ruffalo, Jeff Goldblum, Cate Blanchett

Spider-man: Homecoming – Film Review

After six movies and two reboots in the last 15 years – not to mention a further 16 outings for Marvel’s other heavy hitters since 2008 – fans could be forgiven for growing weary at the thought of yet another Spider-man movie. Thankfully, Spider-man: Homecoming repays audience persistence in spades.

Having already wowed fans with his zingy and zestful cameo in Captain America: Civil War, Tom Holland’s first full outing as the web slinging crime fighter deftly walks a tricky tightrope between paying heed to the larger Marvel machine and offering a fresh and revitalising spin on the typical comic book movie template.

By far the film’s best move is skipping Spidey’s tired-and-tested origin story, with which we’re already far too familiar. Unburdened by the shackles of dead parents, murdered uncles, cute neighbours and radioactive spider bites, we’re free to jump straight into the action.

Picking up right after that almighty skirmish over the Skovia Accords, 15-year-old Peter Parker is dropped back in Queens by his new mentor Tony Stark and told to wait by the phone for another call to join up with the Avengers. Cut to two months later: Peter’s heard nothing from Stark and his reluctant minder Happy Hogan (Jon Favreau) isn’t returning any of his texts, leaving Peter to act like ‘a friendly neighbourhood Spider-man’, catching petty thieves and helping old ladies with directions in return for deep-fried Mexican treats.

Scaling back the influence of the larger Marvel universe proves to be a masterstroke. Though Downey Jr’s Stark featured heavily in the promos, his appearances here are minimal and fit seamlessly into the story. And with the wider MCU taking a backseat, there’s plenty of room for us to get to know our new hero in greater depth than ever before. The result is something more akin to a high school comedy than a superhero movie as Peter tries to contend with jealous school bullies, getting invited to the cool girl’s party and finding a date for homecoming dance; all the while squeezing a spot of crime fighting between the end of school and his 10pm curfew.

With so much of the focus on the young hero, it’s handy that he happens to be the best on-screen Spider-man thus far. Introduced geeking out in a homemade video after meeting the Avengers, there’s something instantly endearing about Holland’s version of the web slinger. Though he’s gifted with spider-like abilities, he feels entirely relatable. Like any teenager, Peter is reckless, impulsive, dangerously ambitious and refreshingly earnest in his attempts to figure out what kind of person he wants to be.

He also happens to be appealingly lame as a superhero, struggling to control his powers (understandable, considering he now has more than 500 web settings in his new Stark-modified suit) and frequently falling flat on his face during his hapless attempts to help others. That he remains likeable even when his mistakes have potentially fatal consequences is in no small part due to Holland’s cheeky and heartfelt performance.

Drawing sparky performances out of talented youngsters is quickly becoming a calling card of director Jon Watts. Having caught the eye with revenge thriller Cop Car, which deftly balanced gripping thrills with dark humour, Watts brings a similar lightness of touch to proceedings here. The freshman humour is uproariously on point – there’s a great Ferris Buller gag – and even the action sequences are peppered with quick-witted one liners.

Yet Watts appears to struggle when dealing with the larger scale demands of helming a Marvel movie. Many of the big set-pieces, while effective and well-executed, feel far too mundane to make much of an impact. And except for a vertiginous rescue atop the Washington Monument, there’s not a single action sequence that sticks in the memory, which falls far below the level of inventiveness we’ve come to expect of a summer blockbuster.

This lack of whizz-bang visuals is more than compensated for by the presence of a surprisingly compelling villain. Like Peter Parker, Michael Keaton’s Adrian Toomes is an ordinary guy trying to cope with extraordinary circumstances. A former salvager who turns to illegal arms trafficking to support his family, Toomes’ motivation is entirely believable, if not forgivable. Even more so when you consider the political context of his actions – Toomes makes angry speech about rising up against the greedy 1% who keep all the money for themselves – which feels incredibly relevant in the wake of President Trump and Brexit.

It’s not quite perfect. The final showdown between Toomes and Spider-man inevitably descends into the usual blurry CGI slugfest and many of the female characters are completely without their own purpose or agency. Yet these issues feel like minor quibbles in a movie as fresh and invigorating as this. Ditching the overwhelming superhero angst and sludgy pacing which dogged previous incarnations of the character, and replacing it with a fun and breezy coming-of-age comedy, the youthful Spider-man: Homecoming is the most original comic book movie to swing into cinemas in a very long time.

Runtime: 133 mins

Director: Jon Watts

Screenwriters: Jonathan Goldstein, John Francis Daley

Stars: Tom Holland, Michael Keaton, Robert Downey Jr, Jacob Batalon

Wonder Woman – Film Review

We’re all agreed Gail Gadot’s Wonder Woman was the best thing about DC’s dour and dispiriting man-spat Dawn of Justice. Amid all the grim soul searching, moody visuals and bludgeoning SFX work, Gadot’s Amazonian goddess strode into view like an ass-kicking, lasso-whipping electric cello riff in human form to brighten up the darkest of hours for DC’s faltering superhero universe. It’s little wonder there’s been so much excitement and goodwill surrounding Diana Prince’s first solo outing. And we haven’t even mentioned the fact that it’s the first female-led (and, with Monster’s Patty Jenkins behind the camera, female-directed) superhero movie.

Feminist triumphs aside, though, Wonder Woman feels like a missed opportunity. While it’s undoubtedly the best movie of the DCEU thus far, brightening the tone and demonstrating a stronger handle on its core characters, it’s still plagued by many of the issues that have held previous DC movies back: over earnestness, mind-numbing action, and a slogging origin story that’s framed around a messy, wildly preposterous plot.

Having already been introduced as an experienced, battle hardened warrior in the present day, Wonder winds the clock back to Diana’s picturesque childhood on Themyscira, the hidden island of the Amazons. This tribe of athletic, gold-plated female warriors live in a bubble, protected from the corruption of man, as they prepare for the prophesised return of Ares, the Greek god who plans to wage an endless war to destroy humanity. And then Chris Pine’s charismatic American spy washes up on shore, bringing with him a flotilla of German soldiers, and tells of a horrifying war raging in the outside world. After one of the most bizarre action sequences of modern times – a slow-mo beachfront battle between pirouetting women and gun-totting men – Diana decides to defy her mother’s wishes, stealing her trademark sword, shield and lasso before setting sail for the world of men to stop the war once and for all.

As Diana, Gadot is extraordinary. Dawn of Justice proved she has the youthful athleticism to stand toe-to-toe with Henry Cavill’s Superman and Ben Affleck’s pumped-up Caped Crusader, but Wonder gives her a chance to explore the nuances of an impulsive, idealistic young warrior who has a disarming belief in doing the right thing. Gadot infuses Diana’s sweet innocence with a ferocious defiance that helps to keep the more hokey moments in the script from sounding too goofy. She’s funny, too, especially during the fish-out-of-water scenes in a civilised London where she attempts to tackle a revolving door armed with a shield and sword.

Using World War I as the backdrop for a highly-stylised action movie might make some people uncomfortable. Yet it allows Jenkins and screenwriter Allan Heinberg to explore themes of feminism, oppression and the evil that men inflict upon each other. It also neatly sidesteps the issue of needing to find a villain capable of facing-off against a near-indestructible warrior created by Zeus, by making Diana’s unshakable belief in the power of good the thing that’s tested rather than her physical prowess. Jenkins sensitively captures the devastation of the conflict, bringing a grim tangibility to scenes of wounded soldiers and bloodied refugees trudging though the mud and charred remains of their former lives.

With so many positives here, it’s a shame the movie is hobbled by a clunking, sloppy script. Like Thor, this is supposed to be a story about a naive demigod coming to terms with the harsh realities of the world. Instead, much of the focus is on a clumsy love story between Diana and Pine’s Steve Trevor. There’s nothing wrong with a bit of romance, but its use here only serves to sideline Diana for much of her own movie. With no experience of the modern world, she’s largely useless once we’ve left Themyscira, which means Steve steps into the valiant hero role, leading the mission to stop the war and making the noble sacrifice that saves the world. Diana is essentially his MPDG, using her optimistic innocence to undercut his early cynicism so that he can find his inner hero. It’s hardly a fair dynamic, especially when you consider she has the power to break him like a twig.

It’s also poorly structured, spending far too much time milling around Themyscira and period-era London despite events there having very little to do with the actual plot – which involves stopping Elena Anaya’s intriguing but underused German scientist and Danny Houston’s military chief using a deadly gas to prevent the armistice agreement. That leaves no time to explore Diana’s world view, which goes unchallenged for much of the movie, as we rush towards yet another weightless, overblown finale where two CGI beings levitate at each other. Wonder Woman might be a Diana Prince-sized leap in the right direction for the DCEU, but it still has a lot to ground to make up if it wants to match the sparkling triumphs of its Marvel peers.

Runtime: 141 mins

Director: Patty Jenkins

Scriptwriter: Allan Heinberg

Stars: Gail Gadot, Chris Pine, David Thewlis, Elena Anaya, Danny Houston