Film Review- Captain America: Civil War

The Russo Brother have done it again.

The Marvel Cinematic Universe will no doubt go down as a triumph is cinematic storytelling. Yet, it wasn't until 2014, six years after the franchise was originally launched, that Marvel found a way to make the character of Captain America interesting, with The Russo's initial effort "The Winter Soldier". Winter Soldier was less a super-hero movie and more of a spy thriller, with greater similarities to a the Bourne franchise than 2012's "Avenger's Assemble". This pair of siblings from Ohio had breathed life into Marvel's most stale character, so it is understandable that when it was announced that they would be taking on the infamous "Civil War" story-arc for the star-spangles superhero's third big screen outing, fans lost their minds. 

These fans will not leave the cinema disappointed.

Civil War is a political thriller featuring superheroes. I'm going to say this right off the bat: it's up there with the greatest the genre has ever seen because of the heart it has at the core of its story. Captain America: Civil War is a very human story, one which makes these character's relatable in a way past instalments haven't really been able to do. The relationships between these characters have been so clearly defined in the past films up until this point that when you finally see them tumbling down, it really does pack an emotional punch. The film's marketing has heavily focused on making the audience choose a side before entering the theatres (#TeamCap #TeamIronMan et al) yet when you finally see the film, all preconceived notions over which character is right will suddenly become less black and white. The Russo's have crafted a film that presents both side's views as equally valid, so much so that I left the cinema with a different perspective on the action than my friends did. It is a cinematic achievement in the sense that no movie in the superhero genre has packed this much emotional punch or gave each of its character's (except one or two who we'll get to later) this much depth. From a storytelling perspective, this film is near flawless.

The action sequences are also fantastic. Following on from their previous efforts more grounded and violent chronography, Civil War offers the viewer a vast selection of marvellous set pieces that are well worth the price of admission alone. Without going in to too much detail (this is a movie I don't want to spoil at all) the film has two main fight scenes that will go down as the film's most iconic moments. First up, the moment that both sides clash at the airport in the film's second act. Talk about great direction. Despite having a dozen character's to keep up with, this fight scene showcases each and every character's abilities. Tinged with the right amounts of humour to balance the emotional gravitas behind it, this is a sequence that will go down as one of the greatest superhero brawls of all time. Hands down. Yet, the film's best fight scene does not feature more than three characters: Tony Stark, Steve Rogers and Bucky Barnes. I'm using their real names as that is how personal this fight is. There is one word to describe it: brutal. To say anymore would ruin the story, but let me just say that (and this will become evident as soon as you enter the theatre) that a happy ending is not possible for any of the characters involved. 

Yet, no review of Civil War would be complete without talking about the film's mark-out moments. The introduction of Black Panther was amazing. Chadwick Boseman's fiery performance as the righteous superhero actually made me excited for a movie I was previously impassive about, and I can't wait until 2018 to see him get the spotlight on his own. Tom Holland's Spider-Man is a revelation. Much like Ben Affleck in Batman v Superman, Holland has already staked his claim as possibly the best on screen web-slinger yet in relatively little screen-time. More than being an excellent standalone, Civil War has made me anticipate their future projects more, and it deserved plaudits for that. 

Being perfectly honest, to say the movie has flaws would be nitpicking. The high stakes could have led to a bit more of a payoff and some characters involvement does feel unnecessary and forced (Ant-Man and Hawkeyes in particular) but these are minor problems that do not effect the overall quality of the product as a whole. Civil War is a movie with great emotional gravitas, something all too often missing from superhero films. The action is great and the acting, especially from the previously mentioned Tom Holland and Marvel's biggest commodity Robert Downie Jnr, is stellar. The Russo Brother's have shown they are not a Marvel one-hit wonder, but the new torch-bearers of this juggernaut of a franchise, taking the mantle from the very talented Jon Favreu and Joss Weadon. 

Civil War is the summer blockbuster we deserve and, while it does still have Marvel's patented brand of humour, it sets up Phase Three as a significantly darker period in the studio's history. All things considered, it could be a very welcome change.

Score: 9.1/10

Film Review- Eye in the Sky

For me, Eye in the Sky is the biggest surprise of 2016 thus far. 

Made for under 20 million dollars, the film's marketing was minimal and its release was originally limited to small amount of theatres across the U.S. From what I had seen of the movie, I expecting some form of popcorn action/war film. However what I got was one of the best and most tense thrillers of the 2010's which leaves you second guessing the outcome from beginning to end, with inventive direction and quality acting sprinkled on top for good measure. 

Essentially the plot revolves around an operation to capture extremists in Kenya. Colonel Powel (Helen Mirren) leads the operation, with a variety of other military personnel and government officials involved. However, the mission takes a turn when the objective changes from "capture" to "kill", and a political, legal and moral debate rages as a young girls life hangs in the balance.

Firstly, Eye in the Sky really in a perfect example of how to write an ensemble. There are over 15 central characters in the film, and each of them feel perfectly services and fleshed out, giving each member of the cast a lot to play with. Aaron Paul, Batkhad Abdi, Iain Glen, Jeremy Northam, Richard McCabe, Monica Dolan and young Aisha Takow are all very strong in their roles, with some (such as Dolan) bringing real strength and gravitas to what could have essentially been a throwaway part in the hands of another actor. However, special mention has to be made to the two all-time greats who deliver some of their finest work in this film: Helen Mirren and the late Alan Rickman. Both portray hardened soldiers, both veterans of war. Mirren is the slightly hotheaded Colonel, hot on the trail of a woman she has hunted her entire career. Mirren perfectly illustrates the Colonel's desire to silence this threat, all the while without making her character unrelatable. Rickman plays a similar part, and some of his most brilliant work here comes when he clashes with Monica Dolan's idealistic MP (especially in a scene near the film's end where Dolan questions whether Rickman's General understands the costs of the decisions he's made that day). Rickman was a class act, and that is more than evident in what will be remembered as one of his last performances. 

Yet, this film is only complimented by the great work of its actors. The truly impressive thing about Eye in the Sky is the way that it has been filmed. Director Gavin Hood use of the camera in this film is great. Characters are mostly shot at very close quarters, tricking the audience into sympathising with each of them, which in turn makes the audience feel emotionally torn with regards to decision they have to make. Alternatively, his use of shots from the drones point of view make us look at the situation from a much more practical lens, allowing the audience to form their own opinions on the situation at hand. There is a point near the end where Hood quickly switches between these two perspectives and, combined with a timely use of sound, easily creates the film's most visually powerful moments. Six years on from the unequivocal failure that was "X-Men Origins: Wolverine", Hood has put himself on the map as an extremely impressive visual storyteller who and a man who can sprinkle absolutely beautiful moments of humanity into his work.

I did have one minor criticism of the film in that I felt it's ending should have been more ambiguous. While I do think it did do a good job in wrapping up each of these character's stories nicely (especially in the case of Alan Rickman's character), I do feel it should have left the ultimate fate of young Alia up in the air, as the emotional crux of the movie up until that point was whether to take a gamble with her life or not. I feel that not to have seen what the result of that gamble was would have been far more impactful and would have left me as a filmgoer mulling over the consequences of these characters decisions more than I actually did leaving the theatre.

This aside, Eye in the Sky really is a gem of a movie. Gavin Hood's direction is so strong and his storytelling so subtle that it makes even the film's less tension filled moments still wonderfully entertaining. Little moments like Alan Rickman looking in a toy shop for the "correct" Annabelle doll or Iain Glenn rushing to the loo due to a bad bout of food poisoning really humanise the characters for western audiences, while our time spent with Alia in Kenya as she plays with her hoola-hoop in secret remind us just how lucky we really have it. Overall, it is an emotionally interactive roller-coaster that will have you questioning you're own moral compass constantly throughout.

Score: 8.9/10

TV Review- Daredevil Season 2

Daredevil Season 1 was a fantastic introduction to the Netflix branch of the Marvel Cinematic Universe. It was dark. It was gritty. It wasn't afraid to take risks or tackle adult themes. It had strong action. It had a plethora of well-devoloped characters. It had an extremely compelling villain. In short, it was many have wanted the Marvel films to be more like for a long time, and it received rave reviews from critics and viewers alike. Jessica Jones debut season continued this trend, adding an extra layer of sultriness to this already fantastic formula. It's safe to say that expectations were high for Matt Murdock's sophomore outing. Thank the Lord then that everything you loved about the first season is present in this second season of Daredevil and, though the story can be a tad convoluted at times, there is still plenty to marvel at in this gem of a television series.

First and foremost, the cast is fantastic. Charlie Cox's Daredevil is the corner-stone of this show. Stoic, focused, ruthless and passionate, Cox's portrayal of Matt Murdock helps to illustrate both the character's calm nature and his rage-inducing internal conflict. In costume and out of it, there isn't much more to say about Cox's performance as the Devil of Hell's Kitchen except for one thing: it is bang on the money. Deborah Ann Woll, Elden Henson, Scott Glenn and Rosario Dawson (fresh off her guest-role on sister series Jessica Jones) are all also welcome returns to the ensemble cast, with Henson in particular bringing a new found likability to the role that was missing in parts of the first season. However, it is the new additions to the show that manage to shine the brightest. Élodie Yung is extremely entertaining as Daredevil's most famous associate Elektra, putting in a performance that makes Jennifer Garner's look like horse-manure. While her character traits can be inconsistent at times (we'll get the writing in a minute), Yung uses this to her advantage, playing the character with an underlying air of unpredictability that complements her actions. Yung's greatest strength is in when she plays to the characters insecurities, and it's Elektra's more tender moments that make her stand-out amongst an already stacked cast. The same could be said for the seasons MVP: Jon Bernthal in his role as Frank Castle AKA The Punisher. His turn as the brutality violent vigilant has to been seen to be truly appreciated. Bernthal is cast perfectly in the role, effectively portraying a man who sees the world in black and white, and will do anything to seek revenge for his deceased wife and children. The former Walking Dead star is forced to wear many hats in this season, much like Yung, however he pulls off everything that is required of him without a hitch. Equally as compelling as a pained widower and a sadistic seeker of sweet revenge, Bernthal is the glue that holds this season together. I don't want to delve into his arc too deeply to avoid spoilers, but Jon Bernthal's performance is as good a reason as any to watch Season 2 of Daredevil.

Its stellar ensemble aside, what Daredevil has come to become renowned for is its amazing set-pieces and extremely well-choreographed fight sequences. As in Season 1, the action is Daredevil is realistic, gritty and mostly close-combat, a far-cry away from what the MCU is doing on the big screen where the action lacks any real pathos (with the possible exception being Captain America: The Winter Soldier). Each fight sequence involving Daredevil tells a story and is almost like poetry in motion, as was the case in the debut year. In the third episode of this season, we are treated to an exceptionally choreographed stairwell action scene. It is a four-minute continuous shot of Daredevil making his way down an apartment complex and beating up the Irish mob. Apart from just being badass, it is a true cinematic achievement, topping the hallway fight scene that set the standard the previous season in my opinion.

The only thing that really lets season 2 of Daredevil down a bit is its lack of an over-arching story. The writing for the most part in good episode-by-epidode, in terms of the dialogue all round and as self-contained stories in their own right. However, the plot as a whole just feels a bit aimless. At the start, it appears as though the main story of the season was going to be Daredevil versus The Punisher yet, by the time the finale swings around, Daredevil finds himself fighting upwards of 100 ninjas alongside Elektra. Season 1's story was so good because it was simple; it was Daredevil (fighting corruption in Hell's Kitchen) against the Kingpin (who was that corruption personified). With Season 2, it all gets a bit convoluted and messy and this does have a somewhat negative impact on the season, despite it still being very much enjoyable and entertaining.

All things considered, Season 2 of Daredevil is well worth a watch. Despite the story not being as clearly defined as in Season 1, the individual elements are so strong with this show that you will find enjoyment in it if you take it episode-by-episode rather than a collective whole. The performances are great, the action is stunning, and the Marvel/Netflix coalition continues to reap results.

Watch or Avoid: Watch

Film Review- Midnight Special

Midnight Special, the latest offering from "Mud" director Jeff Nichols, is a science-fiction drama starring Michael Shannon, Kirsten Dunst and Adam Driver that has released to positive critical acclaim while only earning a modest amount at the box-office. The film follows Shannon's attempts to protect his son, who is gifted with supernatural abilities, as they journey across the U.S. to find the place that the boy continuously prophesied about in his "sermons". While the film is ambitious and the basic concept is promising, the overall product is disappointing from a storytelling perspective.

This is mainly due to the scale of the story being told within this film. Delving into the realms of cult communities, estranged families, FBI investigators and other worlds, Midnight Special tries to wear many hats, and they don't mesh well together. Nichols tries to juggle sub-plots while servicing each of his talented cast, yet the limited 111minute run time makes this nearly impossible. The film does not take enough time to introduce us to this world and to our main players, while simultaneously taking an unusual amount of time to really build up some steam and out all the pieces in place. In my opinion, this story would have benefitted from being made as a TV mini-series, as it really would have allowed the filmmakers more time to set the stage and deeper explain the mythology, all the while offering a very talented cast more time to explore their characters and show off their acting chops. 

And that is possibly my biggest gripe with this film: it completely wastes the good work done by its fantastic cast. Michael Shannon as dedicated father Roy is fantastically stoic, putting in a superbly understated performance as is to be expected from the Kentucky native at this point. Adam Driver also impresses as FBI investigator Paul Sevier, while Kirsten Dunst, Joel Edgerton, Sam Shepard and child actor Jaeden Lieberher all also deliver very strong performances. Yet, we are not given enough reason to care about them or their relationships with each other due to their rushed story-arcs. Driver in particular is criminally underused here. His character's arc is never explored to its fullest potential and thus it feels out of place, despite Driver's best attempts to bring some depth to his character. In all honesty, Driver's misuse is pretty much typical of most characters in Midnight Special, with no characters journey really coming to a satisfying conclusion.

Yet the disjointed storytelling isn't my only problems with this effort. While technically speaking Midnight Special is mostly very strong, the special effects are quite dismal. Now, I understand the film may not have had the biggest budget ($18,000,000 to be exact) but, to be quite frank, that is no excuse for how bad some scenes in this film come off. One shot in particular looks as though it has been pulled straight out of a "Sims" video game. And not an up-to-date version at that. Think circa 2003. Many people go to the cinema to escape reality, however this film's dodgy visual effects work took me completely out of the story Nichols and company were trying to tell, which contributed to my dislike for this film.

In conclusion, Midnight Special could have been great. Sharing similarities in plot and tone with Spielberg's "Close Encounters of the Third Kind", the film was built around a strong original concept and could have really been something special (pardon the awful pun). But what we ultimately get is a rushed and poorly edited story which has too many ingredients at its disposal but not enough room on the plate. Like I said, a mini-series would have served this story a lot better than a feature length. Ultimately it left me leaving the theatre caring nothing for what I'd just seen, and that is, in my opinion, one of the worst sins a film can commit. A good original concept squandered by an over-stuffed film.

Score: 5.8/10 

Top 5- Actors who were also Wrestlers

It's Wrestlemania! Now, I understand this won't mean much to most people but, for a wrestling fan, Wrestlemania is basically our Superbowl. The biggest stars return, storylines come to a head and a shit ton of money is spent on fireworks. Effectively, Wrestlemania is to wrestling what Christmas Day is to Eastenders. So, in honour of this momentous occasion, here is my latest top five list of the greatest actors who also competed inside the squared circle.

5) Jessie Ventura

Jessie "The Body" Ventura has had quite the diverse career. Beginning his adult life as a Navy seal, Ventura transitioned into the wrestling world where he became an impressive performer and, eventually, a very distinctive colour-commentator on WWF broadcasts. Ventura's in ring achievements were honoured with a Hall of Fame induction in 2004. However, what perhaps does not get as much recognition is his acting career. Appearing in 80s action staples such as Predator, The Running Man and Demolition Man, Ventura also guest starred in episodes of X-Files and Zorro, while also entering the world of politics as the Governor of Minnesota. Ventura's politics may not be everyone's cup of tea, but there is no denying his in-ring and acting careers are nothing to turn your nose up to and his contributions to the silver screen shouldn't be overlooked. 

4) Roddy Piper

Last year, the world lost one of the most of its most charismatic characters when "Rowdy" Roddy Piper passed away after a short battle with illness. Piper was wrestling's ultimate bad guy, headlining the very first Wrestlemania in a battle against Hulk Hogan and Mr T, while also competing in all-time classics against the likes of Bret Hart and Ric Flair. And while his film career may have went under most people's radar (having starred in mostly small independent films) film fans will recognise him for his portrayal of George Nada in John Carpenter's cult classic "They Live". Impressing audiences and critics alike, Piper proves his acumen as a leading man in film and its a shame we never got to see him do more of this type of thing in his career. He will forever live on in the legacy he has left on the wrestling business and in his infamous line "I came here to kick ass and chew bubblegum. And I am all out of bubblegum."

3) Dave Bautista

Batista burst on to the wrestling scene in the early-2000's as a member of Triple H's villainous stable Evolution. Before his departure from WWE at the end of the decade, Batista had become one of the most decorated champions in the company's history. After a brief spell competing in MMA, Bautista (his real name is spelt differently to his wrestling persona) decided to turn his attention to acting. After starring several low budget action films such as The Scorpion King 3 and The Man with the Iron Fist, the man formerly known as "The Animal" began to make his way further up the food-chain by starring alongside Vin Diesel in 2013's "Riddick". Further roles in recent years as Drax in Guardians of the Galaxy (a role for which he received massive critical acclaim) and Spectre were to follow, further cementing Bautista as a force to be reckoned with in modern-day Hollywood. His relative freshness to the film industry has left him further on his list but, if his performances thus far are anything to go on, the former World Heavyweight Champion could be in for a very special career indeed.

2) Lenny Montana

Lenny Montana was the real-life enforcer of the Columbo crime family when he was cast as the now-iconic Luca Brasi in Francis Ford Coppola's gangster epic The Godfather. Montana's first ever cinematic role, he gave a performance that was as innocent as it was intimidating, and after his turn as the Corleone family member he appeared in many more film productions (such as Matilda) while also making time to appear on many TV shows (such as Magnum PI). However, what many people don't know is that he is a former NWA Central States Heavyweight Champion, competing under the moniker of the "Zebra Kid". Go figure. Is it too cheesy to say he left his openings sleeping with the fishes? Anyhow, Montana's legacy as one of the most iconic big men in cinema history will live on forever, and that is what sees him so far up this list. 

1) Dwayne Johnstone

Can you smell what The Rock is cooking? If you were a wrestling fan in the 90s, you best believe that you could. The Rock was the reason wrestling went through a boom-period in the late 90's/early 2000's, with his long list of catchphrases and undeniable charisma making him one of the hottest properties in entertainment. When he made the switch from sports-entertainment to the film industry, Johnstone brought that magic with him. Johnstone began starring in movies such as The Mummy Returns and The Scorpion King. As the noughties continued, Rocky paid his dues starring in more family friendly flicks. In saying this it wasn't until the dawning of the new decade that Johnstone truly cemented his cinematic legacy as one of the greatest action stars of the modern era, starring in blockbusters such as GI Joe: Retaliation, Hercules and San Andreas, as well as reinvigorating the Fast and Furious franchise. Dwayne Johnstone is the highest grossing actor of the modern era and a true box-office draw, and it is without question that "The Great One" would top this list.

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Film Review- Zootropolis

Zootropolis (or Zootopia as it's known stateside) is the latest effort to hit the big screen from the Disney Animated Studios. Starring Ginnifer Goodwin and Jason Bateman, the film is set in a fictional world where animals have gained human intelligence and attributes and live in multicultural society called "Zootroplis". The film follows newly appointed police-officer Judy Hopps and her reluctant con-man partner Nick Wilde as they investigate the disappearance of missing predatory animals throughout the city. However, the deeper they look into the case, the more it appears that something far more sinister in going on in Zootropolis.

First off, the animation in Zootropolis is stunning. Pixar's positive influence on its sister studio is very clear throughout, with the colourful world of Zootropolis looking like it could have been taken straight out of Riley's brain from 2015's "Inside Out". However, it is the attention to detail that the studio truly deserves credit for. Each strand of fur is perfectly animated. Each texture has its own distinct look. Each and every character's movements are right on the money. It is one of most impressively well-animated films that has come out in the past couple of years, particularly when you take into account the challenges that they must have had bringing these anamorphic creatures to life. The voice acting work in this movie is also right on the money. Once Upon a Time's Ginnifer Goodwin really brings everything to the table as the peppy Hopps. The energy is her voice puts across Judy's eternal optimism in a crystal clear way yet it is in the film's more emotional moments that she really displays her depth, as she conveys Hopp's lingering doubt effectively without overplaying it. Jason Bateman is also great in his role as sly fox Nick Wilde. Bateman's voice oozes sarcasm and condescension, and he is the perfect pessimistic counter to Ginnifer's happy-go-lucky rabbit. A perfect cinematic screen pair, proving the the trope of the "odd couple" has some life in it yet.

However, it is Zootropolis' exciting plot and mature themes that puts it ahead of other family film's you will see in the cinema this year. The neo-noir type plot line will keep both parents and kids engrossed throughout, yet it is the film's commentaries on diversity and discrimination in society that is very timely and hits home. In a world driven by hatred, Disney has released a movie that teaches children not to focus on our physical or social differences, but who a person is on the inside, and I think it's a lesson many adults could learn from in today's political climate. Props to Disney for tackling this issue with such grace and so well at a time where this film was very much needed.

Overall, Zootropolis is Disney Animated Studios true return to form. It's a film that could hold a candle to the studios classics such as The Lion King and Beauty and the Beast in terms of its pathos, while also combining a new-found technical glamour it has inherited from its cousins at Pixar. Disney have outdone themselves with this absolute gem of a movie, providing us with an on-the-money social commentary that you won't see in most big blockbusters of the modern era. A great cast of characters and a fun, colourful vibe add to this film's acumen, yet it is the film's strong plot and mature themes that will mean Zootropolis is remembered as one of the finest Disney films of the modern era.

Score: 8.6/10