"Avenging is your world. Your world is crazy."
Faced with a seemingly impossible task after the enormous success of Avengers Assemble, thankfully this sequel really does deliver the goods. Unlike its predecessor's uncertain opening sequence, Age Of Ultron starts with a bang (and some alarmingly cartoonish CGI which mercifully does not reappear) and keeps running, apart from a couple of soft dips in the mid-section. The action and fight scenes are superbly thrilling and entertaining, leading to not so much a final battle as an entire-third-act melee that nudges above the first film's finale in terms of scale and stakes. There are terrific one-liners, some emotional backstory-setting for a couple of the previously underdeveloped leads, and the precision and excellent delivery of the main ensemble in every scene is a reminder of simply how great this core cast is on screen. The Maximoffs and The Vision are excellent additions, and Ultron - especially in his introduction - is often chilling. Age Of Ultron is a shade darker than Assemble and lacks the obvious sense of discovery and fun that the first film enjoyed, but it is equally as entertaining, spectacular and enjoyable. There are moments that clearly set up the MCU Phase Three, and the very brief mid-credits scene sets the course for Infinity War, but for now Age Of Ultron is a more than worthy follow-up to Avengers Assemble that reflects the development of the Marvel movies up to now and certainly does not disappoint in its own right.
Saturday, 25 April 2015
Sunday, 12 April 2015
FILM: The DUFF (dir: Ari Sandel, 2015)
"That is because you're racist against jocks. You are jocksist."
The DUFF is an unexpected delight. The self-aware script is
played totally straight, and the mixing of very old-school generic teen-tribes clichés (the school paper, the mall, the prom and even some knowing use of camera shots) with modern themes (cyber-bullies, self-image) and the way the high-schoolers actually talk to each other makes the movie feel fresh and current. The major aspect that makes this movie so watchable is the terrific casting, and in particular Mae Whitman (as 'The DUFF') and her next-door-neighbour-football-captain-friend-from-childhood Robbie Amell, as their excellent on-screen love-hate chemistry not only makes their dialogue sparkle but also gives them moments of genuine and unexpected emotional depth. The DUFF is a clever, well-made and very enjoyable take on a very limiting genre.
The DUFF is an unexpected delight. The self-aware script is
played totally straight, and the mixing of very old-school generic teen-tribes clichés (the school paper, the mall, the prom and even some knowing use of camera shots) with modern themes (cyber-bullies, self-image) and the way the high-schoolers actually talk to each other makes the movie feel fresh and current. The major aspect that makes this movie so watchable is the terrific casting, and in particular Mae Whitman (as 'The DUFF') and her next-door-neighbour-football-captain-friend-from-childhood Robbie Amell, as their excellent on-screen love-hate chemistry not only makes their dialogue sparkle but also gives them moments of genuine and unexpected emotional depth. The DUFF is a clever, well-made and very enjoyable take on a very limiting genre.
FILM: John Wick (dirs: Chad Stahelski and David Leitch, 2015)
"Once I saw him kill three men in a bar....with a pencil...."
Simplicity and efficiency are the key words here, making John Wick a very effective action film. The rather brisk set-up not only makes the somewhat convenient coincidences that set off the chain of events forgivable, but it also invests the lead character with unexpected emotional charge and motivation, and Reeves plays both the character aspects and the action scenes with aplomb, making it his best screen performance in a long time (and streets ahead of the tedious 147 Ronin). Of the stereotypical Eastern European villains, Alfie Allen stands out as the brash, arrogant son in a very well-sustained performance. Debut directors (both stunt co-ordinators) Stahelski and Leitch do a sterling job, as the lengthy action sequences are unforgiving in their ruthless and relentless nature with unusually few flash-cut sequences typical of this genre today. This film has echoes of modern action greats (Woo, Tarantino, Rodriguez) and classic film noir style, and whilst life is cheap and death is quick throughout, John Wick is not quite up there with The Raid films but it is a stylish and very affectionately-made blast of pure action entertainment with a great central character.
Simplicity and efficiency are the key words here, making John Wick a very effective action film. The rather brisk set-up not only makes the somewhat convenient coincidences that set off the chain of events forgivable, but it also invests the lead character with unexpected emotional charge and motivation, and Reeves plays both the character aspects and the action scenes with aplomb, making it his best screen performance in a long time (and streets ahead of the tedious 147 Ronin). Of the stereotypical Eastern European villains, Alfie Allen stands out as the brash, arrogant son in a very well-sustained performance. Debut directors (both stunt co-ordinators) Stahelski and Leitch do a sterling job, as the lengthy action sequences are unforgiving in their ruthless and relentless nature with unusually few flash-cut sequences typical of this genre today. This film has echoes of modern action greats (Woo, Tarantino, Rodriguez) and classic film noir style, and whilst life is cheap and death is quick throughout, John Wick is not quite up there with The Raid films but it is a stylish and very affectionately-made blast of pure action entertainment with a great central character.
FILM: Fast & Furious 7 (dir: James Wan, 2015)
"We live on in the hearts of those we leave behind."
This melodramatic and action-packed seventh outing for the franchise that continues to defy the odds does not disappoint at all. A change of director does no harm, and the extended life of the series affords appearances of characters old (Lucas Black from Tokyo Drift) and new (an on-form Kurt Russell). A very focussed Jason Statham makes for a formidable nemesis here, but there is much to admire from the regular team, especially the Diesel/Rodriguez relationship interactions, and the Statham vs The Rock or Jaa vs. Walker fights are worth the price of admission alone. Annoyingly, the best action gags are in the trailer, never quite matched by anything in the extended L.A.-set final showdown, but Fast & Furious 7 is nevertheless a relentlessly entertaining and well-constructed slice of action entertainment. The tribute and send-off for Paul Walker and his character are both fitting and truly touching - Diesel's final voice-over breaks down the divide between film and real life very movingly - which also serves to highlight the one ingredient that makes this franchise a cut above both others: this may be a commercial product, but it is made by a 'family' and has some genuine heart at its core both on-screen and off-screen.
This melodramatic and action-packed seventh outing for the franchise that continues to defy the odds does not disappoint at all. A change of director does no harm, and the extended life of the series affords appearances of characters old (Lucas Black from Tokyo Drift) and new (an on-form Kurt Russell). A very focussed Jason Statham makes for a formidable nemesis here, but there is much to admire from the regular team, especially the Diesel/Rodriguez relationship interactions, and the Statham vs The Rock or Jaa vs. Walker fights are worth the price of admission alone. Annoyingly, the best action gags are in the trailer, never quite matched by anything in the extended L.A.-set final showdown, but Fast & Furious 7 is nevertheless a relentlessly entertaining and well-constructed slice of action entertainment. The tribute and send-off for Paul Walker and his character are both fitting and truly touching - Diesel's final voice-over breaks down the divide between film and real life very movingly - which also serves to highlight the one ingredient that makes this franchise a cut above both others: this may be a commercial product, but it is made by a 'family' and has some genuine heart at its core both on-screen and off-screen.
FILM: Cinderella (dir: Kenneth Branagh, 2015)
"All was as it should be."
The conventions so gleefully parodied in Enchanted are oddly all present and correct here (sometimes humorously so) in what is a lavish, very literal and successful live-action adaptation of Disney's own classic animation. Branagh as director was a smart choice , always able to stage the big set-pieces well but finding the human moments within them (the entire palace/ball sequence is flawlessly realised and staged), and here he creates something very true with such familiar material. There is an effective combination of classic and modern Disney - the former in the rather twee lead couple, and the latter mostly provided by a ditzy Bonham-Carter Fairy Godmother and a wonderfully precise Cate Blanchette relishing the Stepmother role. The film aptly sums itself up at the end: the core Disney values of belief, kindness and magic shine through in this surprisingly pleasing movie. The accompanying Frozen Fever short is also charming, and in its short runtime manages to set up yet another potentially lucrative merchandising line!
The conventions so gleefully parodied in Enchanted are oddly all present and correct here (sometimes humorously so) in what is a lavish, very literal and successful live-action adaptation of Disney's own classic animation. Branagh as director was a smart choice , always able to stage the big set-pieces well but finding the human moments within them (the entire palace/ball sequence is flawlessly realised and staged), and here he creates something very true with such familiar material. There is an effective combination of classic and modern Disney - the former in the rather twee lead couple, and the latter mostly provided by a ditzy Bonham-Carter Fairy Godmother and a wonderfully precise Cate Blanchette relishing the Stepmother role. The film aptly sums itself up at the end: the core Disney values of belief, kindness and magic shine through in this surprisingly pleasing movie. The accompanying Frozen Fever short is also charming, and in its short runtime manages to set up yet another potentially lucrative merchandising line!
FILM: Seventh Son (dir: Sergei Bodrov, 2015)
"I'm starting to wish I was a Sixth Son...."
Not all fantasy films have to be as epic as The Lord Of The Rings trilogy, but - like Eragon and Dungeons & Dragons - Seventh Son is largely dull, dated, relentlessly generic and lacks any real sense of fun. Ben Barnes is a bland apprentice to another bizarre (and sometimes unintentionally funny) turn by Jeff Bridges, and even Julianne Moore seems insecure occasionally as the big bad witch. The scenery is beautiful, Marco Beltrami's score is cacophonous, a couple of set-pieces are lively and there is some great design on display, but the film's sheer ordinariness leaves little overall impression.
Not all fantasy films have to be as epic as The Lord Of The Rings trilogy, but - like Eragon and Dungeons & Dragons - Seventh Son is largely dull, dated, relentlessly generic and lacks any real sense of fun. Ben Barnes is a bland apprentice to another bizarre (and sometimes unintentionally funny) turn by Jeff Bridges, and even Julianne Moore seems insecure occasionally as the big bad witch. The scenery is beautiful, Marco Beltrami's score is cacophonous, a couple of set-pieces are lively and there is some great design on display, but the film's sheer ordinariness leaves little overall impression.
FILM: Home 3D (dir: Tim Johnson, 2015)
"Engage the weapons system!"
"We have a weapons system?"
Home is an amiable and well-presented sci-fi primer for the youngest cinemagoers. The pairing of Jim Parsons (unsurprisingly as the naïve alien Oh) and Rihanna (the feisty Earth-girl Tip) works well, 3D is used nicely throughout, and the bigger themes and sci-fi nods are effective. Home is not in the big league of CGI children's movies, but it acquits itself well overall.
"We have a weapons system?"
Home is an amiable and well-presented sci-fi primer for the youngest cinemagoers. The pairing of Jim Parsons (unsurprisingly as the naïve alien Oh) and Rihanna (the feisty Earth-girl Tip) works well, 3D is used nicely throughout, and the bigger themes and sci-fi nods are effective. Home is not in the big league of CGI children's movies, but it acquits itself well overall.
FILM: The SpongeBob Movie - Sponge Out Of Water 3D (dir: Paul Tibbitt, 2015)
REVIEW No. 550!
"Unleash the condiments!"
"With relish!"
At the same time a faithful translation and successful expansion of the TV show format, the second SpongeBob movie is lively, supremely silly and generally entertaining. With a simple but surprisingly strong through-story, even the superhero-infused third act that takes our cartoon characters onto dry land works, with effective placing of well-designed CGI-characters and strong use of 3D. Like the (literal) contents of SpongeBob's brain, it is all sugar-rush and little substance, but Sponge Out Of Water is extremely good fun while it lasts.
"Unleash the condiments!"
"With relish!"
At the same time a faithful translation and successful expansion of the TV show format, the second SpongeBob movie is lively, supremely silly and generally entertaining. With a simple but surprisingly strong through-story, even the superhero-infused third act that takes our cartoon characters onto dry land works, with effective placing of well-designed CGI-characters and strong use of 3D. Like the (literal) contents of SpongeBob's brain, it is all sugar-rush and little substance, but Sponge Out Of Water is extremely good fun while it lasts.
FILM: Get Hard (dir: Etan Cohen, 2015)
"If this isn't a joke, then it is my worst nightmare."
Get Hard is the least funny major comedy release since the deplorable Your Highness. Apart from a couple of visual gags that raise a smile, a relentlessly unconvincing narrative and predictably lazy puerile stereotyping makes the film a chore to sit through, in spite of the fact that the set-up suggests the film will actually bust stereotyping myths. Will Ferrell disappointingly plays safe in a charmlessly smug performance, with Kevin Hart's empty, shrieking flailing adding little to the mix. You know you are in trouble when the accompanying trailer for Paul Blart - Mall Cop 2 got bigger laughs from the cinema audience.
Get Hard is the least funny major comedy release since the deplorable Your Highness. Apart from a couple of visual gags that raise a smile, a relentlessly unconvincing narrative and predictably lazy puerile stereotyping makes the film a chore to sit through, in spite of the fact that the set-up suggests the film will actually bust stereotyping myths. Will Ferrell disappointingly plays safe in a charmlessly smug performance, with Kevin Hart's empty, shrieking flailing adding little to the mix. You know you are in trouble when the accompanying trailer for Paul Blart - Mall Cop 2 got bigger laughs from the cinema audience.
FILM: The Divergent Series - Insurgent 3D (dir: Robert Schwentke, 2015)
"So I'm the lesser of two evils, is that right?"
"You'd better be."
The daftest and dullest of the recent YA-lit-spawned franchises returns with a slight improvement on the first film but remain very minor fare. 3D and mise-en-scene are used very effectively throughout, but the story is nonsensical and tonal shifts are perplexing at times. All four young leads have improved since the first outing , and Winslet is less pantomime here and much more coolly efficient. It all descends into madly overblown Matrix-style VR nonsense in the final act,. which leaves the series - curiously - in exactly the same position as last year's superior The Maze Runner...
"You'd better be."
The daftest and dullest of the recent YA-lit-spawned franchises returns with a slight improvement on the first film but remain very minor fare. 3D and mise-en-scene are used very effectively throughout, but the story is nonsensical and tonal shifts are perplexing at times. All four young leads have improved since the first outing , and Winslet is less pantomime here and much more coolly efficient. It all descends into madly overblown Matrix-style VR nonsense in the final act,. which leaves the series - curiously - in exactly the same position as last year's superior The Maze Runner...
FILM: Still Alice (dirs: Richard Glatzner and Wash Westmoreland, 2015)
"One thing I will try to hold onto though is the memory of speaking here today. It will go, I know it will. It may be gone by tomorrow. But it means so much to be talking here, today...."
Still Alice is two hours of exquisite film-making but also necessarily relentless emotional battering. Julianne Moore - always an extremely intelligent but grounded actress - is at her riveting best here, but she is supported by a truly outstanding ensemble (notably Alec Baldwin, Kristen Stewart, Kate Bosworth and Hunter Parrish) who all ensure that the confusion, despair and helplessness of the impact of Alzheimer's is not confined to the central character. Still Alice is a sombre, challenging and dignified film that balances a genuinely touching personal drama with making the necessary wider points in an exceptionally well-made way.
Still Alice is two hours of exquisite film-making but also necessarily relentless emotional battering. Julianne Moore - always an extremely intelligent but grounded actress - is at her riveting best here, but she is supported by a truly outstanding ensemble (notably Alec Baldwin, Kristen Stewart, Kate Bosworth and Hunter Parrish) who all ensure that the confusion, despair and helplessness of the impact of Alzheimer's is not confined to the central character. Still Alice is a sombre, challenging and dignified film that balances a genuinely touching personal drama with making the necessary wider points in an exceptionally well-made way.
FILM: Focus (dirs: Glenn Ficarra and John Requa, 2015)
"It's about distraction."
Focus is a peculiar film: all the major elements are good, but it never really gels or catches fire. Will Smith works well as a career trickster in a role actually suited to his own age, and Margot Robbie gives another supremely confident and terrifically watchable performance. Direction and visuals are fine, the soundtrack is cool, and the somewhat straightforward narrative still finds some interesting choices for the characters, even within its rather narrow confines, making Focus a well-made and moderately engaging film overall.
Focus is a peculiar film: all the major elements are good, but it never really gels or catches fire. Will Smith works well as a career trickster in a role actually suited to his own age, and Margot Robbie gives another supremely confident and terrifically watchable performance. Direction and visuals are fine, the soundtrack is cool, and the somewhat straightforward narrative still finds some interesting choices for the characters, even within its rather narrow confines, making Focus a well-made and moderately engaging film overall.
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