Movie Review: The Amazing Spider-man 2 - not even remotely amazing at all, actually...

Oh dear, oh dear, oh dear.  What just happened Sony?  You've got the rights to easily the most identifiable Super-hero (after a certain indestructible extra-terrestrial), with a 60+ year history, and many great and memorable story-lines, not to mention a smorgasbord of interesting and great villains (even more-so than the rogues gallery associated with a certain Caped Crusader).  You've got a talented cast, a hot up-and-coming director, a team of proven screenwriters, a massive budget for jaw-dropping effects...

...and this is the best you can come up with?  Well, 'The Amazing Spider-man 2' is possibly the least satisfying super-hero adaptation that's ever been made.  Yes, even more so than the despised 'Spiderman 3', and even the disappointing 'X-Men: The Last Stand'.  So where does this film go wrong?  Well, I'll start from the beginning.  The film opens with two sequences which, admittedly, are pretty strong.  The first deals with a narrative thread (which was just one that was poorly handled - read completely forgotten about by the final act - in the last film): the fate of Peter Parker's parents.  The next scene is a fun action sequence, as Spider-man, still played with confidence and passion by Andrew Garfield, goes after some Russian gangsters stealing a van loaded with Plutonium.  At this point it's easy to believe that the writers (all FIVE of them - if that's not an indication enough of problems to come!) have finally nailed a tone which befits a super-hero who, beneath his mask, is ultimately a sarcastic teenager from New York; there are some amusing wisecracks, and Spidey moves and fights just like you'd imagine he does from the many years of his comic and cartoon portrayals.  The previous film felt at times it was almost ashamed to be a Spider-man film - while its portrayal of the teenage Peter Parker hit the right notes (thanks again to Garfield's performance), the Spider-man scenes generally didn't meet the potential of the character.  It didn't help that the whole film seemed to take place at night, like the makers felt this would add some 'grit' or 'authenticity' to it; but for the sequel they've gone for a bright palate which is completely right for Spider-man.  However, there are still problems with this scene.  Alright, there is a certain ludicrousness about the whole idea that a van full of Plutonium is going to be driven through crowded, rush-hour New York city - but then this is a film which contains a man who is made of electricity, so I guess you can excuse some of the outlandishness, right?  Where the cracks start to show is in some of the special effects, which verge dangerously close to looking like some kind of live-action cartoon.  It takes the sheen off of what is otherwise a decent sequence.

The first sequence almost makes you think this could be a decent Spiderman film.  Almost...

The film then moves to focus on the relationship between Peter and Gwen Stacy (played by Emma Stone) - Peter is haunted by guilt that he promised her Father (who died at the end of the previous film, remember?) that he would stay away from her to protect her.  One of the saving graces of the previous film was these actors' portrayal of this relationship, which felt like a very well observed and believable burgeoning teenage romance - helped in no small amount by the chemistry between the two actors.  Again, this is probably the sequel's biggest redeeming factor - the scenes between the two are some of the better ones in this film.  Generally, it has to be said that the acting - like the previous film - elevates the whole endeavour; Garfield and Stone, again, are great at the relationship stuff; there's a great and emotional scene between Garfield and Parker's Aunt May (Sally Field); and Dane DeHaan does a good job with Harry Osborn, treading away from scenery chewing and actually making him at times a sympathetic character.  Other actors joining the franchise are under-served by the script to be honest - Jamie Foxx's Max Dillon, who becomes Electro, isn't given enough to do before his transformation to villain, meaning that when it happens there isn't as much of an emotional punch as there could be.

Andrew Garfield and Emma Stone's portrayal of Peter & Gwen's relationship is still the strongest point of the film..

But if he, and other actors, aren't given enough to do, this is down to what almost derails the film almost entirely: the narrative.  Now, it's been previously stated by the Studio that they're 'universe building' with this franchise now, setting up spin-off movies for Villain Team 'The Sinister Six' and Venom - while planning two more Spidey sequels; it's pretty obvious what they're trying to emulate here.  In practice, this seems to mean the writers think they can get away with sloppily editing the story, leaving threads dangling in unsatisfactory and confusing ways.  This was a huge problem with the previous film - Peter Parker suddenly forgets about finding his Uncle Ben's killer (which is only one of the most important aspects of the character, for goodness sake!!), the issue of his parents is frustratingly vague, and an entire character just vanishes without explanation, as though forgotten by the director and writers.  One of the criticisms of 'Spiderman 3' is its uneven tone - well this one takes a shift at one point in to territory so camp it is almost on par with the abhorrent 'Batman and Robin'.  Really, what it's the point of a badly stereotyped German scientist who wears make-up for no discernable reason???!?

You'd have thought the writers (like I said, FIVE of them on this film) would have learnt from their mistake - but no, they do the same thing again.  For example, again Peter goes off at a tangent to uncover the fate of his parents, and he does discover something significant: but then it's completely dropped and forgotten about, leaving you thinking what the significance was.  Then there's the introduction of new villains - the fact this film would handle three, like the problematic 'Spiderman 3', has been a source of concern amongst many people since the first trailers for the film broke last year.  As I've stated, Electro could have done with more time on his character prior to his transformation (even though he gets a couple of impressive scenes taking on Spidey), but the introduction of Green Goblin is rushed and unsatisfying.  And then there's Rhino... I'm afraid I'm going to have to share some SPOILERS at this point, so read on with caution!


This is where the film angered me the most.  The trailers have teased a great smack-down between Spiderman and this character, and all through the film I was looking forward to seeing it.  But frustratingly, what you see in the trailers is literally all you get in the film.  It's the final scene of the film, and I don't know who is responsible for this decision - the writers or Director Marc Webb - but they have committed possibly the worst sin you can with a super-hero movie:

YOU DO NOT END A FILM RIGHT IN THE MIDDLE OF A FIGHT BETWEEN THE HERO AND A SUPER-VILLAIN.  IT IS STUPID, IT IS FRUSTRATING, AND IT LEAVES A VERY BITTER TASTE IN THE MOUTH.

At the end of the film, as the screen cut to black at what could have been the film's high point, I turned to my wife absolutely flabbergasted, beyond disbelief.  I still cannot believe they chose to end the film the way they did.  And, given what came before, it is an ending which robs the final act of it's emotional punch.  You can tell that the writers wanted to make this film the 'Wrath of Khan' or 'Empire Strikes Back' of the franchise - however they undermine this by blatantly foreshadowing what's going to happen by certain lines characters say (you know in old War films where the next solider/pilot/sailor to die is the one who, a few moments before, is showing his comrades a photo of his girl back home?  Well, some of the things certain characters say in this film are on that level of obviousness).  It doesn't help that certain characters do not react in a way which it seems likely they would - if anything, this film could have ended on a much darker and sombre note; it actually would have been better for it, and given what had preceded it the emotional weight it deserved.  It would also have been a more effective 'cliff-hanger' ending than simply cutting to black in the middle of a scene which was just getting going...

In all, between its narrative issues, and a frustrating and unsatisfying ending, 'The Amazing Spider-man 2' is a real disappointment.  It fails to make right the mistakes of the previous film, despite having the same assets - a great cast who elevate the material.  And given the source material they have to work from, this is unforgivable, verging on criminal.  I genuinely believe that based on this film Disney/Marvel Studios should put up some cash and get the rights to Spiderman back from Sony - this isn't just to add Spidey to their ongoing Marvel Cinematic Universe (although that would offer some moments with the potential to melt my geeky brain); simply put, Marvel Studios know how to treat their characters and the wealth of story-lines that go with them.  Sony, on the other hand, are doing a worse job of handling Spidey with each release.  Sadly though, he's their cash cow now, and they'll milk him for all they can get out of him.  I guess it just means that comic book fans, and fans of the character, will have to resign themselves to more disappointing films like this one....

Spidey-sense tingling?  It must have been this review, sorry...

Movie Review: The Raid 2 Berandal - hitting like a fast-flurry of punches about the head...

Gareth Evans' 'The Raid' (or 'The Raid: Redemption' if you're State-side) was like a swift punch to the solar-plexus when it arrived a couple of years ago: a low-budget, yet intense and densely compact Indonesian martial arts action film which won over just about anyone that saw it.  With the sequel, Director Evans' budget has increased, as has his ambition to tell a story with greater scope and breadth.  Following on directly from its predecessor, 'The Raid 2: Berandal' sees the first film's protagonist, good cop Rama (Iko Uwais) thrown further in to the deep end when he is ordered by one of his superiors to go undercover and gain the trust of the son (Arifin Putra) of a prominent gangster-cum-politician.  Only, this requires him to go to jail, as said miscreant is serving time.  Alongside this, revenge is not far from Rama's mind, as he mourns the death of his brother at the hands of another ambitious gangster, Bejo (Alex Abbad).

If you were a fan of the first film (and rightly so), you'll be pleased to hear that the fantastic martial arts fights, and absolutely wince-inducing portrayals of the resulting injuries, are still present - and handled with the same level of aplomb by director Evans and his highly talented martial-arts expert cast.  What marks this sequel, though, is a more measured pace: Evans, who also wrote both movies, is clearly aiming to tell an epic crime/gang story, introducing a greater number of characters, and even sub-plots.  However, this sometimes makes the over-arching narrative seem a bit muddled, and at times difficult to keep up with.  Thankfully, you don't have time to be confused for long, as another great (and bloody brutal) action sequence comes along.  To some viewers, the martial arts sequences might get tiresome - although a number of new antagonists are introduced, the sequences which see them dispatch several anonymous henchmen with bone-crunching ease do verge on the repetitive; especially if you're already confused about the plot and who is who.  In some ways too these new characters are set up but aren't given enough to do - a shame, as the appropriately named Hammer Girl and Baseball Bat Man make for fun, if appropriately brutal, master-assassins.

Hammer Girl and Baseball Bat Man.  Doing exactly what it says on the tin...

On top of this, there are - literally - events referred to which don't actually occur in the film; this is deliberate, as Evans has stated that he wants another sequel (that's right, 'The Raid 3'), to be set both before certain events in this film, and after.  Whilst this is an ambitious plan, it doesn't always help the clarity of the plot, and comes in danger of making for an unsatisfying narrative.

Just when you think the film might begin to falter, Evans manages to balance things out with the introduction of Prakoso (confusingly played by Yayan Ruhian, who played an entirely different character in the first film!) - a hitman hired by the heads of the gangs to take out lower ranking gangsters who are getting ideas above their station.  He's a somewhat pitiful character, almost mistaken for a vagrant at his first introduction, but when we learn his backstory the parallels between him and the protagonist Rama are clear.  Evans wants to show a picture of what might become of the hero if he can't complete his mission, escape from working for a gangster, and reunite with his family.

Whether you're confused at the plot, or beginning to grow fatigued by the martial arts fights, by the final act everything comes in to focus, and we're treated to two incredible sequences - a fantastic car chase, and a final showdown between Rama and a character known only as 'The Assassin'.  This latter will surely be remembered amongst the greatest martial arts fights put to film, as here we have two fighters who are at the peak of their chosen discipline (an Indonesian martial art known as Silat).  The rate that blows are exchanged are truly breath-taking, as well as the damage being meted out by each combatant to the other.  It's also the longest fight sequence of the film, and never feels to outstay its welcome as it manages to throw in a couple of twists to keep it interesting.

Rama takes on 'The Assassin'.  This fight has to be seen to be believed...

Ultimately, if 'The Raid 2' doesn't have quite the impact of its predecessor, it's simply because the first film was quite unprecedented at the time; although it might not feel as fresh, it's clear that it has greater ambition in terms of story-telling scope.  The draw is the same - tremendous and brutal action sequences, delivered by a director who can film them with aplomb, and actors that are masters of their martial disciplines.  The films few flaws aren't enough to stop this from being a highly recommended action movie.

The Most Relentlessly Awesome Films Ever: Shaun of the Dead

On to the next instalment of this regular series - and I've chosen this one not just because it's such a great film, but this month sees the 10th anniversary of its UK release date...

THE MOST RELENTLESSLY AWESOME FILMS EVER - PART FOUR:

SHAUN OF THE DEAD

Here's a probably not at-all-interesting, and mostly pointless fact related to 'Shaun of the Dead': this film has the honour of being the only one I've been to the cinema to watch with my Dad.  The weekend it came out my parents had just separated, and me and my then-girlfriend (the less said about her the better! *shudders*) decided it might take Dad's mind off things and cheer him up a bit to take him to the cinema.  I don't know whether he found it took his mind off things, or cheered him up, or if he actually enjoyed it all (I can remember him saying afterwards something along the lines of 'that wasn't exactly the greatest film I've ever seen'!).  Goodness knows what he made of it at all to be honest; I'm not sure if the humour was his kind of thing, or whether he appreciated the romantic bits, or the zombie bits, either.  Whilst I don't think any of it was his type of thing, 'Shaun's (till then) unique blend of genres - all the time taking treating them with the utmost seriousness and respect - really struck a chord with audiences, and it remains Simon Pegg's and Edgar Wright's best known and arguably most loved work.

Here's another story - but first I feel that I should be open and say that I am the type of person who feels a very intimate connection to Pegg & Wright's work - almost a 'spiritual' one, if you will.  This is a connection based on the fact when these two collaborate on something, they do so from a place which shows they *get* whatever subject they're looking at, in the same way true fans do - because they *are* true fans.  The moment I felt this connection was when I watched the third Episode of their seminal TV series 'Spaced', way back in the early '00's.  My first brush with this TV show was the second Episode - I can remember enjoying it, being drawn to a more down-to-earth setting for a comedy (a humble bed-sit - sorry, flat!), in contrast for the trend at the time for US sitcoms featuring pretty-vacant 30-somethings passing themselves as 20-somethings; I think I also appreciated that the character's had posters up of their favourite films and TV shows/characters - just like I did at the time.  I enjoyed it, and next week when the next episode was on I tuned in.

Within a minute of it starting, my mind was absolutely blown.  You see, at the time I had a weird 'obsession' with the Resident Evil video games - I say 'weird obsession', it was more like a form of PTSD, as since playing them a year or two earlier I had frequently had zombie apocalypse based nightmares - all set at that point were the barricades on wherever I've been surviving come down, and the zombie horde gets in!  However, since then I've been a big fan of zombies in films, comics, TV and videogames.  So when Pegg & Wright included a Resident Evil-inspired segment at the start of that particular episode I was absolutely stunned.  It was as though they'd got in to my head and scooped out exactly how that game had messed with my brain, the frightening daydreams and nightmares I'd had as a result of playing with it.  This programme, these writers/actors/director had really grasped what was going on in my head at the time, in a way no other TV show had ever done.  So since that moment, yeah, I've got a special fondness for Pegg, Wright and their frequent collaborators.

Whilst people frequently link 'Shaun' with that episode of Spaced, I think it's easy to forget what an unprecedented thing they were doing, both with the film and that moment in the TV show.  You see, though it's difficult to believe now, but there was a time when zombies weren't in the mainstream - there weren't zombie films and TV shows starring award-winning and A-list actors; there weren't award winning books and comics involving zombies; there weren't as many games featuring zombies as there are now.  They were still very much a cult thing - to be honest, I never really 'got' zombies until I played the Resident Evil games (the first two, anyway); sure, I'd seen 'Night of the Living Dead' as a teenager, but while I appreciated its heart of darkness I can't say I found it frightening or truly disturbing.  But because of those games, I went on to check out Romero's seminal works - 'Dawn' and 'Day' - and finally I GOT zombies.

So when 'Shaun' was released, along with '28 Days Later' and the 'Dawn of the Dead' remake, mainstream audiences were finally ready to embrace the zombie apocalypse (in its varying degrees of speed and cause, if you're being pedantic!).  What makes 'Shaun' stand out from those films, apart from the fact it's not a flat-out horror, is that it does zombies very, very seriously - properly, some would argue.  Looking back, it's surprising that audiences embraced this element of the film, because if there was ever any doubt 'Shaun' is a PROPER Zombie film, it's at that point when Dylan Moran is pulled apart by the hungry dead.  But Shaun is also a proper Rom-Com, too - and arguably because of Pegg & Wright's appreciation of genre, the three elements work together perfectly.  People who fully appreciated Romero's zombie movies always knew there was a openly satirical element to them, and Pegg & Wright use this to make the zombie and comedy parts of the film complement each other; my favourite scene, and one of the funniest, is where Shaun - hung-over from the previous night's drinking session - weaves his way unsteadily to the local corner shop, completely oblivious to the zombie apocalypse happening around him.  It is a great moment that shows how spot-on the characterisation is in this film, but also where the satire becomes clear: Shaun is part of a generation so self-absorbed and unmotivated that they're completely oblivious to what's going on in the world beyond their lives.

That's right - this film really is a PROPER Zombie movie...

Of course, you don't need to appreciate this satire to enjoy the comedy of 'Shaun' - because it works as purely as a comedy in its own right; and what an instant classic, immediately quotable one!  Although Pegg and Nick Frost don't enjoy being reminded of this fact...  Well, sadly for you chaps, lines such as 'you've got red on you!' and 'we're going to the pub' have now taken on a life of their own beyond the film - tribute to the impact this film has had since its release.  But what about the Romantic Comedy elements, after all it was marketed as a 'Rom-Zom-Com'!  Well, central to the plot is Shaun's attempt's to get back with his girlfriend Liz - actually, ex-girlfriend, as part of what makes Shaun take stock of his whole life is the fact that she dumps him for, well, being a loser, really.  And the film makes no bones that this is somewhat justifiable!  But the whole zombie apocalypse setting is one way in which the film subverts the rom-com genre; usually these are marked with some kind of last-minute dash for the protagonist to win back their boy/girl after some over-blown misunderstanding.  But here there's no misunderstanding, just the prospect of imminent death at the bloody hands of the undead.  Actually, as romantic gestures go, trying to save the lives of the girl you love, her friends, and your family too, has got to rate pretty highly!  Clearly this was enough for Liz, as at the end of the film we see that she and Shaun are back together.  Does it make sense?  Yeah, in a way.  Is it plausible?  Mmmm, maybe not - but no more so than the resolution of most romantic comedies.  Does it make for a satisfying ending to this film?  Absolutely!

For the first time in his life, Shaun takes a pro-active lead...

Another way this film subverts rom-coms is the inclusion of a far greater love-story than that of Shaun & Liz - I'm talking about the 'bromance' between best mates Shaun and Ed.  On the one hand Ed holds Shaun back, but on the other there is a real mutual support between them, Ed is Shaun's rock when things get difficult.  However, Shaun still keeps Ed in his circle when he comes close to messing things up (including the group's chances of survival at one point!).  This relationship is so well portrayed, probably because Simon Pegg & Nick Frost have been friends for so long before they started their on-screen partnership in Spaced.  Heck, this film even recycles one of the jokes about their 'bromance' from Spaced, but it's such a great one it feels perfectly at home in this film.

Still a more convincing story about love beyond death than a certain series about sparkly vampires...

'Shaun of the Dead' came along just at the right time for it to be embraced by audiences - there was a re-awakening of interest in the zombie genre, and following their cult-hit Spaced, there was tremendous interest in whatever Edgar Wright and Simon Pegg did next.  It probably worked in their favour that writers/stars of British Sit-coms often failed to make a transition to the Big Screen - so any interest in their film due to that turned out to create a positive buzz.  But Shaun transcended all that because it is a genre classic - it is a brilliant, endlessly quotable comedy, it is a proper zombie movie (with barbed satirical jabs as well as the right level of gore), and has some of the most relatable and enduring characters in any film of those kind.  It is a film that I will certainly never tire of.

Now, who fancies a trip to the pub?  I'll bring a cricket bat, just in case...

Movie Review: Captain America The Winter Soldier - Marvel's solid run continues...

I was fortunate enough to get tickets to one of the Regional Premières of 'Captain America: The Winter Soldier' - a week before its UK release, and a whole two weeks before it's out in the US.  (Thanks to ShowFilmFirst.com for the tickets!)  So can I count this review as an EXCLUSIVE?  Probably not, but I will anyway - getting in to an advance screening of any film is a bit of a scoop for a lowly cinema goer like me!  Bearing in mind it could be a week or two before most people get to see this film, I'll keep this review as spoiler free as possible.

Anyway, if you've read any of my previous reviews and articles, you'll already be aware that as far as Marvel Studios movies goes, I'm already completely sold.  I've really enjoyed the previous films, absolutely loved Avengers Assemble, and have increasingly geeked-out over the shared 'cineverse' that they're building with each release.  So, first and foremost, I have to be honest and admit that I've approached this new Captain America as a fan; which means that my expectations have been high, and in a few ways quite different to those when I watch most other movies.  I'll admit that it does mean I can be willing to overlook short-fallings in plot, script and characterisations, so long as overall the film is entertaining and as some great comic inspired moments.

Anthony Mackie as Sam 'The Falcon' Wilson makes a very welcome addition to the series - hopefully we'll see some more of him in future Marvel movies...

With that in mind, starting from the viewpoint as a fan of Marvel Studios' movies, I found Captain America: The Winter Soldier to be an immensely satisfying and entertaining - and at times surprisingly thoughtful - ultimately it is a very strong entry in to the cannon of Marvel movies, and in some ways is one of the better films they've released.  During production, Producer Kevin Feige and the Directors, brothers Joe & Anthony Russo, spoke about how this film was intended as a political thriller in the vein of paranoid conspiracy movies from the 1970's.  Well, there's certainly conspiracy, and some great thriller elements, but the political threads don't really come across.  There's some elements which seem to chime with surveillance and the extent of this in a post-War on Terror world, and occasionally some interesting thoughts on the balance between the need for freedom and democracy between the need for order to sustain peace - and what that can cost.  In this respect this film has possibly the most mature themes of Marvel Studios' films so far.

But these ideas aren't really at the fore when the plot thrusts along at a consistently high pace.  After a low-key opening with a one or two scenes which maybe don't quite have the impact they could have, once the main narrative gets going the film begins to lift off.  The first act is like the best bits of one of the better series of 24, only minus pointless daughter-based sub-plots and scenes of torture, but with super-powers and super-science gadgetry instead - it truly hits the conspiracy/thriller marks the makers were aiming for.  Then the narrative takes a slight turn and opens up in a way which in some respects might seem silly for a conspiracy thriller - but bearing in mind we're in the Marvel Cineverse here, it is one which can be excused (then again, depending on how much you subscribe to Marvel's setting).  At this point the thriller/conspiracy elements don't come across as strongly, but the focus shifts to pretty relentless action.

And I must say, the action scenes and set pieces in this film are pretty damned solid, and considering the Russo Brothers have never directed a film on this scale before (they're better known for their TV work), it is handled masterfully.  Initially I was worried about how they were directing the action, as one early scene employs the cardinal sin of on-screen punch-ups: shaky cam, which is always annoying when you're trying to follow one or more fast moving characters and enjoy the physical poetry of their martial prowess!  Fortunately this is dropped after one scene.  Another bugbear raises its ugly head early on - lens flare, so beloved of JJ Abrams to the point it is now officially distracting.  Again, thankfully this is only in a couple of scenes early on and doesn't become distracting.

Captain Steve Rogers finds out he can't trust anyone.  Good job he's more than  capable of handling himself...

Script-wise, the film is efficient if not spectacular, but serves the characters well, and gives moments of that Marvel wit which is familiar throughout their movies.  Some new characters are served better than others, but the key ones, especially newcomer Sam 'Falcon' Wilson, whose burgeoning friendship with Cap himself is handled very well, are done sufficient justice.  Chris Evans and Scarlett Johansson as Captain America and Black Widow respectively are fully at ease in their roles, and suggest there is more going on under the surface than sometimes the script allows them to show.  On the other-hand, despite being the titular nemesis, The Winter Soldier doesn't quite show up enough to make as much of an impact as the character fully deserves; when he does he's a more than formidable foe, but there are little flashes that suggest there is going to be more to this character in later films (and if you know the comics, you'll know that this is emphatically the case).

The titular villain - The Winter Soldier himself; expect more from this character in future films.  A lot more, potentially...

All said and done, Captain America: The Winter Soldier moves along at such a pace, moving seamlessly from one impressive set-piece to the next that there's not time to dwell on the films few short-comings; this is another great entry in the Marvel Franchise.  It is a solid action-thriller, and shows that there is a lot more depth and potential to the Steve Rogers character than as a flag-waving relic of mid-20th Century propaganda.  Once again, choosing a story that explores different aspects of the character(s) by putting them in a situation which puts them at the forefront, rather than overshadowing them with maguffins, villains or showy effects, proves a success for Marvel.  Sony, Fox and Warners/DC would do well to take note..!  If I was asked to place this in order of quality with the rest of the Marvel Studios films so far, I would put it firmly in Fourth - behind Avengers Assemble, Iron Man 3, and the first Iron Man (in that order).

Finally, and here be very, very minor spoilers for this film and next year's 'Avengers: Age of Ultron', but if you've been paying attention to recent casting and shooting announcements, you've probably already put two and two together: this film has one or two ideas, shall we say, which are likely planting seeds for some of the things which are going to happen in Age of Ultron.  As per all the other Marvel movies, there are easter-eggs and references which will make comic book fans and geeks (like me!) squeal with excitement ever-so-slightly...  Then you come to the mid-credits stinger: all I'll say is my geeky brain was somewhat blown by this, as it really confirms some of what I'd read about Age of Ultron, characters in it and what I'd speculated would be the way they'd be portrayed.  It made me wish I had the super-power to skip the next year so it was next May already (with a pause for Guardians of the Galaxy this summer) - and cut out the wait for the Avengers sequel.  It is shaping up to be pretty spectacular indeed...

Movie Review: The Grand Budapest Hotel - this way for your dose of quirkiness...

If you feel like you are experiencing a distinct lack of 'quirk' in your life at the moment, then Wes Anderson's 'The Grand Budapest Hotel' will most likely give you enough quirkiness to last you until the end of the year (most probably).  It's a film which is delivered with no certain amount of earnestness from some of its key players, whilst at the same time delivered with a very deadpan humour in others.  Add to that the way the film is delivered as a recounting of a story within a recounting of a story, then it's clear this isn't a film that should be taken entirely seriously.  And that's before you get to the use of models/paper cut-outs and an anachronistic representation of fictional East European countries (it's almost like a portmanteau of how Americans might perceive Europe during the first half of the 20th Century)...

The film begins with a young woman offering a key ring at the memorial to a writer, before sitting down to read his novel (which shares it's title with the film) - who is then introduced, almost 30 years previously (played by Tom Wilkinson), describing how he came to recount the story of the titular Hotel's owner.  This is interrupted by the author's grandson shooting him with a potato gun.  Yes, I told you it was quirky.  The account then jumps back almost 20 years to 1969, where the author continues the account - but as his younger self, played by Jude Law.

Before I say anything else about this film, I should point out that, yes, this is a Wes Anderson film.  If you've ever seen Rushmore, The Royal Tenenbaums (which I love, by the way), Fantastic Mr Fox, or anything from the rest of his oeuvre you'll be familiar with his fascination with slightly eccentric characters, the rapid fire delivery of quite verbose exposition, and unusual shenanigans.  Well, if those are the director's hallmarks, then this is a Wes Anderson film to the Nth degree.  Some are absent - petty rivalries and child prodigies, but you'll find the rest of Anderson's hallmarks here.  Calling on a pretty spectacular cast (including many cameos) from his most noted collaborators, the film is a highly unconventional crime/whodunit adventure tale at its core, centred on Zero Mustafa (who, played by F Murray Abraham as an older man, recounting his story to Jude Law's author) and M. Gustave, played by Ralph Fiennes.  There is a dark heart to this story, taking in murder, greed and betrayal - and set against suggestions of an escalating war and rising fascism.  However, it is all played out with such quirkiness, and even relatively straight performances carry an undercurrent of a knowing deadpan humour to them.  The stand out in this is Fiennes himself, in his first collaboration with Anderson - indeed, in a rare 'comedic' role for him - but he settles in to the director's world naturally.  His character is at once pompous, compassionate, self-serving, honourable, charming - yes, there is a heightened sense of reality with this character, yet between Fiennes' delivery and the plot Anderson has given him, there is something recognisably human about him.

Ralph Fiennes (right) as M. Gustav: Concierge, man of honour, romancer of octogenarians.  Yes, that is Tilda Swinton (definitely not an Octogenarian) under those prosthetics...

This isn't a film which is going to appeal to, or be enjoyed, by everyone.  For a lot of people the director's whimsical style - incorporating a lot of models and anachronistic pastel colouring, as well as the vagueness of the film's setting - will bemuse if not annoy them.  And as with Anderson's other films, deadpan performances will conceal the absurdity and humour from some viewers.  That aside, much about the film curiously doesn't really stick in the memory for long afterwards, apart from a few of particularly great lines ("she was shaking like a dog having a shit") and some scenes which really amp up, yes, the quirkiness, including a museum set murder (which has no real reason to be in a museum, but offers a couple of amusing sight gags) and a ski & sledge chase filmed using models & paper cut-outs.  I don't think this film hits the heights of the directors previous films, especially 'Tenenbaums' - however it certainly cements him as quite the auteur, and is probably the film people will point to as defining his style.

Ultimately, if you can go with the quirkiness and slightly whimsical touches, then this film is no small amount of fun.  Now, if you excuse me, I need to find my L'Air de Panache, and read some obscure romantic poetry...

Trailer Reaction: 'Guardians of the Galaxy' - Marvel's biggest gamble yet...

Marvel Studios continue to ride high on the crest of a wave - following the incredible success of the awesome Avengers movie, Iron Man 3 and Thor were both critical and box office hits, and anticipation of the new Captain America movie 'The Winter Soldier' is high following two acclaimed Trailers.  Part of Marvel's continued success is their willingness to treat each film as different in its own right, instead of formulaic carbon-copy sequels, each one has been significantly influenced by different genre movies.  They're also willing to take pretty big risks on unknown or unlikely actors for lead roles, as well as unlikely directors for their films.

But the apparent 'risk' they've taken in the past is nothing compared to the absolutely huge gamble they're taking with the next release after the new Captain America; 'Guardians of the Galaxy' is not exactly their best known comic, by a long run.  And to say it's got a far out concept is to really understate things: a team of intergalactic bandits, which consists of a human, three aliens (one of whom is a walking tree) and a gun-toting raccoon.  Yes, you read that sentence correctly, especially the part about the tree and the raccoon.  So, you've got space adventure which is likely to be even more far-fetched than anything we've seen in the Thor movies, and some really bizarre characters - none of whom are going to be known to anyone but the most ardent Comic fans.

So, many people are looking at this as the first significant test for Marvel Studios, their first real gamble (since they started out in 2008 with Iron Man, to a certain degree).  People are looking at this in one of two ways - either it will win audiences over, despite the wacky concepts and characters, and be a hit - or it will be Marvel's first major flop as a Studio.  And everyone agrees, there is significant work to be done in getting audiences on board - which has now begun, in the form of the film's first trailer now released on-line:

And, the general consensus has been positive - there are flashes of humour to this, as well as some flashy space-bound bits, which sell the fact that, yes, this is space-set sci-fi - but there's also a sense of irreverence and fun about it.  Now, Marvel Studio films don't forget their sense of fun, but it looks this one will have the humour really at the fore.  It's hard to tell from this trailer, as it doesn't delve in to the story at all, but it's likely there will be some 'serious' elements to it - Comic fans will be able to draw connecting threads from this to Thanos (the red guy who briefly appeared during the mid-credits scene at the end of 'Avengers'), prompting speculation that this is leading to the third Avengers movie being based around The Infinity Gauntlet, which has featured in a few significant comic story-lines.  If this is the case, then despite the humorous approach, the stakes will be high in 'Guardians', and will have an impact on future Marvel movies - which is all part of what makes their films so exciting.

Although there's little suggestion of the story, this trailer not only gets the fun tone across, it plays an important role in presenting the central characters to the average cinema-going public who won't be aware of the comic. These are Peter Quill (who'd prefer to be known as 'Star Lord'), played by Chris Pratt (currently voicing Emmett in the tremendously fun LEGO Movie); Drax the Destroyer (played by MMA/Wrestler turned actor Dave Bautista - you may have spotted him in the recent Riddick movie); Gamora, played by Zoe Saldana (best known for Avatar and as Uhura in JJ Abram's rebooted Star Trek); Rocket Raccoon  who will be voiced by Bradley Cooper (no doubt bringing snarky attitude like he did in 'The Hangover' and 'The A-Team'); and finally Groot (who will be voiced by Vin Diesel - possibly taking the easiest pay-check of his career, as the character is noted in the comics for only being able to say one phrase - 'I am Groot').

The trailer focuses on Peter Quill (sorry, Star Lord!), clearly wishing to show audiences there is a strong human connection as far as this story is involved.  The trailer doesn't give a lot of his back-story away (apparently he was taken from earth as a child, which in the Marvel Studio's timeline would be the 1980's - hence his attachment to his Walkman!), but it does show how Pratt will be playing the character - kind of like Han Solo's goofier, but none-the-less scoundrel-ish younger brother.  We then get introduced to the rest of the team - and this is where repeated viewings of the trailer, in 1080p, are essential, because what the two 'space police officers' from the NOVA Corps (comics fans will know who they are) - played by the great John C. Reilly and Peter Serafinowicz - don't mention in their voice-over is shown on the screen.   We get an insight in to Grax's motivation (revenge for the death of his family) and his powers (strength and regeneration), and those of Gamora also - but what it doesn't say about her is her personal connection to Thanos, as comic fans will all be aware of...

Not your Usual Suspects...

Then we come to what has the potential to be the real wild-card of the group, and this film's secret weapon - Rocket Raccoon.  Aside from his introduction, we don't get to see enough of this character in action for my liking - but seeing as he's going to be realised with CGI, it's understandable there may not actually be that much in the way of finished footage to use.  The trailer quickly sets out that he's quite the criminal, but if you pause the trailer you get a better idea of why there is a gun-toting raccoon in this film - he's described as a 'cybernetic/genetic experiment on a lower life-form' who has a 'tendency to bite'.  Apparently, in the comics he is one angry, wise-cracking little critter, and it looks like that's going to come across here.  Out of everything in this film, this character is the one I'm most excited about - there is something that is so awesome and crazy about the idea of a bionic, genetically enhanced, gun-toting raccoon which just simply brings a smile to my face.  I can see Rocket Raccoon being a bit hit with kids of all ages (the little 'uns will respond to the cute factor of a raccoon  while those a little older will respond to the fact he has attitude), and if he doesn't steal this movie with his potential awesome-craziness I will be more than a little disappointed!

If this Raccoon doesn't blow everyone away this summer - and I'm not just talking about the villains in this movie - I'll be sorely disappointed...

Finally, we have Groot, the walking tree - who we're told is a 'Humanoid Plant Inhabitant of Taluhnia', and is Rocket's bodyguard/muscle (oh, and houseplant).  On his own, the concept of this character is even more bizarre than Rocket - however, the trailer has already established that this film takes place in a galaxy of numerous alien races, so bearing that in mind, Groot isn't that hard a concept to sell.

Then we get a few shots from throughout the movie, showing some action beats and spaceship stuff that looks as impressive as anything from Star Wars.  There's little of the villains on show, although we do get a couple of glimpses of Karen 'Amy Pond off-of Doctor Who' Gillan as Nebula (that's right, she shaved her head for the role!), but nothing of Lee Pace (best known as Thranduil in the over-long Hobbit trilogy) as big-bad Ronan the Accuser.  All of this is played out to the most obvious soundtrack for a sci-fi adventure: no, none of those Zimmer-esque 'BARRAHHMS!!!', the song used is a '70's track called 'Hooked on a Feeling' by Blue Swede.  If THAT doesn't tell you that this is a sci-fi movie unlike any other, than what else will?

This film could end up being a complete mess, or it could end up being completely triumphant fun - it's still too early to tell from this trailer.  But what is true is that Marvel have a lot of work to make casual cinema-goers care about this film, and this crazy team of characters - what this trailer does do is convey the fun tone they're aiming for, and introduce us to the team.  Considering the buzz that's surrounding this trailer, it seems that Marvel Studios are off to a good start.  But we'll find out for sure in August...

Movie Review: The Lego Movie - Everything is... I'm sure you've got the idea by now...

There's a point in 'The Lego Movie' where the silliness of the whole thing - the zany, seemingly ADHD-driven plot; the scatter-shot jokes; the mostly over-the-top characters - almost becomes too much.  You'd almost be forgiven for expecting one of the Monty Python team to show up in army uniform decrying the levels of silliness.  But then - and no spoilers here, so don't worry - comes a twist which proves to be the film's greatest stroke of genius.  Because, yes this is a film about a line of toys - but rather than simply being a 90-minute long commercial for the brand (I'm sure their sales aren't going to be hurt by this film), it becomes a celebration of imagination, playing together, and the wonderful disorder with which children approach these - something that, as an adult, it doesn't hurt to be reminded of.

This is a film which will connect with children and their parents.  For the young 'uns, it is fast, colourful, funny and tremendously eye-catching (after a few minutes I was so wowed at the sight of an entire Lego City realised on the Big Screen that I seriously wondered why no one had ever considered making a feature film with Lego until now!).  For parents, they'll be reminded of all the fun they had playing with Lego as a kid, have fun with the nods to some of Lego's big name licenses, and laugh at some references to the kind of Lego they'll no doubt played with back in their childhood.  But there was that further element, all to do with that twist, which I'm sure will connect with how grown-ups see Lego now - and also the world.  My own experience of Lego now that I've got a 6-year-old son is very different to when I was a kid; I loved Lego, and got just as much enjoyment out of building what you're supposed to from each set, as I did taking it apart again to build something else from it - then doing it all over again.  Last year we got our son some of the Super-hero branded Lego, seeing as he loves Spiderman, Batman, Iron Man, Teenage Mutant Ninja Turtles etc.  I then made the mistake of checking eBay and seeing how much people are willing to pay for these Characters realised in Lego Minifigure-form - and I developed a strange kind of OCD, following my son around each time he had his Lego sets out, rebuilding them when he tried to dismantle them, gathering them up and trying to keep them in their respective sets...   So the strange thing about this film's 'twist' is that it struck a chord with me - it made me realise there's a bit of the film's villain, Lord Business, in me - and that really, I should just let my son PLAY with his Lego and enjoy it...

Lego Batman swooping in to rescue the Heroes from robots and a Bad Cop in the Old West is one of the relatively least surreal moments of the film...

It seems appropriate that in the midst of the fun, crazy, surreal, jokiness of the film that there is a moment which puts it in to perspective and really clarifies the whole thing.  Well, if you're an adult at least - I should imagine children will just be swept along by the jokes, action and fast pace of the film.  The film-makers have thrown enough jokes and visual gags in that, even when some don't catch, there's another along within seconds which more than likely hits it's mark.  One thing I will say though, is that this is one of those films that is sadly spoilt a little by its own trailers - a lot of the best jokes have already been in those.  Also, given the break-neck pacing, and zaniness of some of the characters, in some cases it feels like more could have been made of a few of them.  For example, I think a real opportunity was missed to make more of Superman, Green Lantern and Wonder Woman, as well as Batman; but then again, given the hasty way that Warner Bros appear to be trying to shoe-horn as many DC characters in to the next Superman/Batman movie as possible to set up a future Justice League film, it's quite likely that deep down they realised not even that could've matched the awesomely fun prospect of a proper Lego Justice League team-up in this one...

These are minor faults, because really this is a film which should be watched by a) all children, and b) anyone who has ever built anything from Lego during their life - so, pretty much, the entire human race.  If you have children to take to see this, they will be entertained by one of the best animated films put on the big screen for several years - and for their parents - and  any adult, really - just when you're worried the brash zaniness might become too much, there'll be at least one moment which will connect in a way you won't have been expecting.

...and yes, that song WILL be stuck in your head for days afterwards...