Film Review- Ghostbusters

Well, that wasn't nearly as bad as people were making out. 

When it was first announced that Paul Feig was rebooting the Ghostbusters franchise with an all-female cast, the Internet lost its collective mind. "Women!" they cried, "there's no way that will be as funny as the male version." And that is effectively the sad story of how the world decided that it didn't like a film it had not yet had the chance to see. Yes, the trailer wasn't great, but neither were the early looks at Feig's previous hits (Bridesmaids and Spy). Having now seen the film I can say this: the new Ghostbusters is far from perfect but it is good summer fun.

This is a funny movie, and delivers as many laughs nearly as the director's aforementioned previous releases. While not as dry as its spiritual predecessor, Ghostbusters unique blend of physical comedy and vibrant dialogue helps it thrive. The cast also impress, especially Saturday Night Live alums Leslie Jones and Kate McKinnon, who make their big-budget feature film debuts here. Jones is laugh-out-loud funny, with her over-the-top personality shining through. Every moments she is on screen is a pleasure, and she curates the film's biggest laughs with her character's antics. McKinnon is also a revaluation, and while her particular brand of comedy is more subdued than Jones', it is still just as valuable to the film and suited my personal taste. The more practise these two get at adjusting to a more theatrical style of comedy, the more impact we will see them having over the next couple of years. Melissa McCarthy and Kirsten Wigg, the film's leads, are also very capable as already evidences by their star-making turns in Bridesmaids. Their two characters served as both the team's anchors and the film's emotional core so the pressure was on them to deliver on both a dramatic and comedic level. Both ladies are stellar, but I do wish they had tried harder to switch up their characters a bit or departed from what they'd done before. Also, Chris Hemsworth is a great supporting player, his comedic-chops sure to put a smile on even the most cynical viewer. It will be interesting to see if he makes the jump to comedy after his tenure as Thor is up. After watching his performance here, it might not be a bad idea.

However the film does fall into some of the traps that plague reboots in modern Hollywood. The plot tries to give us something new, however it does just end up coming across as derivative of what's come before. The villain is also extremely generic, evoking no sympathy from the audience at all. His story should have been portrayed as tragic, yet it comes across like the writer has just thrown a backstory for the character in at the last minute in a haphazard attempt to flesh out his story. It doesn't work. 

In saying this, the greatest sin that Ghostbusters commits is its insistence on paying homage to the original. Bill Murray, Sigourney Weaver, Annie Potts, and other cast members are flung in to try and get a reaction out of any nostalgic folk in the theatre. This is the last thing this film needed. The demographic which this fan-service was meant to please are the same people who will refuse to see the movie over their fear that it will tarnish the legacy of the original. Feig's Ghostbusters should have been brave enough to stand on its own feet and not use nostalgia as a crutch, but they didn't and the film does suffer at times for it.

Overall, Ghostbusters is a summer-blockbuster that will please both adult audiences and families alike. Leslie Jones and Kate McKinnon are impressive in their first big roles and the script is full of great one-liners and slap-stick humour. It didn't blow me away due to its lacklustre plot and antagonist, but it really didn't disappoint me either. Continuing the trend of so-so releases in 2016, Ghostbusters isn't fantastic but it is by no means the worst film you will see this year.

Score: 7.0/10

Film Review- Now You See Me 2

Now You See Me is one of my favourite films of the 2010's. Fast, funny and self-aware, it featured one of the most star-studded ensembles assembled outside of The Avengers and a plot with rewatchability that is second to none. It took me by surprise and was the most fun I've had in a cinema. As such, when a sequel was announced that would let us see a new chapter in the story of the Four Horsemen, I was buzzing with anticipation.

And this might have been my first mistake.

Usually when I go into a theatre I try to reign in my expectations. This means that if the film is bad I'm not too disappointed, and if it's great then I leave extremely satisfied. But I couldn't stop myself here, I just expected so much. And in many ways it delivered. The returning cast delivered in spades, with Mark Ruffalo serving as the film's emotional anchor. After his, in my opinion, immortalising turn in "Spotlight" last year, it was good to see cinema's greatest "Hulk" back having fun on our screen as his understated charisma is perhaps his most endearing quality.  Jesse Eisenberg does his thing and Dave Franco is as charming as ever. In Franco's case I'd love to see him take on a more dramatic role after this because I have a feeling he could surpass the heights set by his older brother. Woody Harrelson, Morgan Freeman and Michael Caine also bring a sense of class and experience to what is a relatively young cast. In saying this, is the newest additions to the ensemble that shine the brightest in Now You See Me 2. Daniel Radcliffe has the time of his life as the film's main antagonist, Walter Mabry. As equal parts charming as he is menacing, Radcliffe thrives in a supporting role. He is allowed to have fun and adds so many fun shades to his character, his villainous persona at least partially inspired by his proclaimed mentor Gary Oldman. A long way from his days as The Boy Who Lived, I predict Radcliffe's stock will continue to grow after his display here. Yet the film's greatest performance comes from Isla Fisher's replacement Lizzy Caplan. The "Mean Girls" actress is a breath of fresh air in the role of Lula May. She is so sharp and her wit and warm demeanour are more than welcome, with my only criticism being that I wanted to see more of her. Very impressive performance that steals the show from higher profile names.

But the movie does have a lot wrong with it. First of all, the editing. Now I'm no Roger Ebert, so you know when I notice a problem like this on a technical scale, something is most defiantly wrong. The action sequences were very poorly paced which I could forgive, but even the way regular scenes were out together was very strange. It seemed to cut to characters out of nowhere and there was a point where a character began to speak who I didn't even know was in the room at that point. That is not good. The plot is also inferior to the original. While the first instalment earned their twists through really smart storytelling and pacing, this used them as a crutch and a gimmick. The plot holes were gaping and the tricks were not explained, something that the 2013 original did well to avoid. To be honest it's hard to put my finger on what exactly went wrong here, but the best way I can describe it is that it lacked the "Wow" factor.

Or it might have been Woody Harrelson's evil twin. That could be it. He was annoying. And unnecessary. 

Overall, Now You See Me 2 is very "meh". This hurt my feelings. Is it terrible? No. The cast is extremely game, there are some hilarious moments and it is fun for the most part. Yet it just didn't have the magic of the first and almost seemed to cash-in at times on the back of the success of the original. If you're a fan of Now You See Me this is worth seeing, just don't make the mistake of going in with unrealistic expectations like I did.

Score: 6.7/10

Film Review- Central Intelligence

Central Intelligence, directed by Rawson Marshall Thurber, follows accountant Calvin Joyner (Kevin Hart) as his life is turned upside down by former-fat kid/CIA agent Robbie Wheirdicht/Bob Stone (Dwayne "The Rock" Johnston). The two become entangled in a conspiracy as they try to track down the mysterious "Black Badger" who has stolen secret government satellite codes and intends to sell them to the highest bidder. This was Thurber's fist film since "We're the Millers" which, while enjoyed by audiences, did not fare as well when exposed to the wrath of the critics. With this in mind, you can expect that the "Dodgeball" director would have been wanting to prove his doubters wrong with his latest release.

By far this film's strongest assets are its two leads. Kevin Hart does Kevin Hart, but no-one else does Kevin Hart better. What is interesting here though is that he mostly plays the straight-man opposite his quirky partner, bringing a dryer sense of humour to the table in the process. He is still as brilliantly over-the-top as always and is perfect as a fish-out-of-water character, but he dials down his more sometimes irksome traits in this role which is refreshing to see. In contrast to this, Dwayne Johnston does something we've not really seen him do before in this movie and that is to appear vulnerable, and don't underestimate how hard that is for a man his size to do. He shouldn't be relatable, with his 6 foot plus frame and his muscles that look like they've been carved from granite, but he is perfectly believable as the insecure Stone. He looks up (not literally) to Hart's character and is really the film's emotional centre. The Rock's natural alpha-male charisma is diluted to an almost geeky lovable charm, but it works really well in the context of the role. One of Johnston's most unique performances yet.

The writing is also decent for the most part. The delivery of the leads elevates the script, however moments such as Robbie being thrown into the school gym naked and Calvin missing his patented back-flip are extremely funny and well-thought out concepts and stand as two of the film's stand-out moments. CI's small forays into action are also well-done and the scene in the car-park feels somewhat akin to what you would see in an out-and-out action movie rather that a comedy. There is however a lot about Central Intelligence that is a bit generic. For example, there are only so many times you can hear Hart make jokes about the fact he's black and still find it funny. The plot's also a bit so-so and doesn't offer anything new, and the performances outside of the two leads is average at best. 

To sum up Central Intelligence is a by-the-numbers comedy, but it is a very good by-the-numbers comedy. While it might not be the funniest film you will see this year, the presence and charisma of its two exceptional leading men make this well worth watching. The action is fun, the laughs are consistent and it's just an overall fun ride from start to finish. As long as you don't go in expecting Citizen Kane, you'll be fine.

Score: 7.5/10

Top 5- Pixar Films

Since the first Toy Story was released at the end of the 20th century, Pixar studios has went from strength to strength. Currently owned by the Walt Disney Company, Pixar was responsible for forcing its competition to step up their game and they were pioneers in advancing technology when it comes to animation. The vast majority of their work has been released to much critical acclaim, making it extremely difficult to rank their films in order of brilliance. However this is the task I have given myself so, without further ado, here is my list of the Top 5 Pixar films of all time.

*Note- only one film per franchise can be included.

5) Monsters Inc.

Starting off this list is this 2005 effort from the studio. Monsters Inc is arguably Pixar's funniest offering, with more laughs per minute than would be expected for an animated film aimed at a younger demographic, but when taken on a deeper level it actually has a lot of interesting things to say about fear of other cultures and learning how, despite our differences, we could all learn to get along. Or maybe I'm reading too much into it. Regardless, with its fast-moving plot, memorable characters and its unique setting, Monsters Inc more than deserves its place on this list, even if it perhaps doesn't pack the emotional punch of other Pixar films.

4) Finding Nemo

Finding Nemo was perhaps Pixar's most audacious effort. The company had to make major technological advances in order to truly service its underwater environment and make this film a success. It was a labour of love to make and the end result was simply spellbinding; the world of Nemo and his friends is by far the most ambitious and breathtaking of any animated film before it. The story is simple: Nemo gets lost, Nemo gets found. But the journey in between features so many amazing secondary characters (Crush the Turtle, Fishtabk folk, Bruce the Shark and Marvin the Pelican to name but a few) that it is impossible not to be entertained by this modern-classic and It's emotional centre of an overprotective father trying to find the one thing he has left in his life but ultimately discovering himself along the way is more than enough to tug at those heartstrings. Let's hope Finding Dory lives up to the quality (both visually and story-wise) of its predecessor. "Just keep swimming, just keep swimming..."

3) The Incredibles

The Incredibles is one of the best superhero movies of all-time. Directed by Brad Bird (who was also at the helm of another animated classic in "The Iron Giant") the film follows a family of superheroes who are forced to hide their abilities from a world who does not want them to use their powers. In one of the best examples of "world building" I've ever seen, Pixar effortlessly introduces us to the mythos of this world and the characters within it. The Oscar nominated score is fantastic and the plot is almost derivative of Alan Moore's graphic novel "Watchmen". There is a reason a sequel to this film has been so highly anticipated, with a cast of lovable characters, great action and a very entertaining villain making it one of the best efforts ever produced by the studio. It also has Edna Mode. Enough said.

2) Inside Out

Inside Out very nearly topped this list. I'm going to just get this out the way at the beginning: I shed a tear watching Inside Out. Directed by Pete Doctor, Inside Out was one of the best films of last year and should have received a Best Picture nomination at this years Academy Awards. The premise is one of the most inventive and original to hit the big-screen in recent years as it follows 12 year-old Riley's emotions (Joy, Sadness, Fear, Anger and Disgust) as they try to navigate the girl through the hardships of moving home. The voice cast is stellar, particularly Amy Poehler  and Phyllis Smith who shine as Joy and Sadness respectively, all the while featuring what is perhaps the studio's most devastatingly sad moment (the first five minutes of Up aside). If you haven't seen this movie, go and watch it right now, as I predict this will be remembered as a modern-classic in the vein of Toy Story or Disney's The Lion King. Pixar's most innovative film in years, Inside Out is a testament to the legacy of this goliath of animated film and an absolute joy to watch.

1) Toy Story 3

There was no doubt in my mind that the Toy Story franchise had to top this list. Without Toy Story we wouldn't have had any of the film's on this list, while without the second instalment Pixar may not have believed that franchises could be spawned from their properties and thrive at the box-office. However the top spot on this list goes to the final entry in the trilogy, Toy Story 3. The movie was an instant hit upon its release, becoming one of the top-grossing films of all-time and receiving universal critical acclaim. The characters of Woody, Buzz, Jessie, Mr Potatoe-Head and the rest of the gang are timeless, and the third film is a perfect end to their arc and an emotional farewell to an ensemble that has entertained children the world over for generations. Revolving around the toys as they leave Andy's room and join a group of toys at a pre-school, it takes these characters to places emotionally we've never seen before as they struggle with their changing relationship with their owner Andy. The antagonist, Lotso, is relatable as he is menacing and is one of the most compelling villains to feature in an animated feature. With elements that can be enjoyed universally across all age-groups, Toy Story 3 is simply the perfect Pixar film because of its pathos, it's vibrancy, it's humour and timeless nostalgic appeal. When all is said and done, it is perhaps the best third film of a film franchise of all time.

TV Review- Game of Thrones Season 6

In 2013, I found myself at a crossroads. I had exhausted my Friends boxset, CSI had dipped in quality, and How I Met Your Mother had soiled on its own legacy with one of the worst series finales in television history (SPOILER- The Mother dies). For lack of a better word, I was "seriesless". But not for long. On a cold, stormy winter's day a canny friend recommended to me a fantasy series he described as being like no other, one made up of a perfectly brewed combination of politics, backstabbing, lovemaking and warfare. And Sean Bean. 

Thus, my love affair with Game of Thrones was born. 

The HBO show just finished its sixth season, and it is clear that the programme continues to go from strength to strength. At this point it is ingrained in our pop culture to a degree that I believe you could go anywhere in the world and people would solemnly agree with you if you were to proclaim to them that "Winter is Coming". The season 6 finale was viewed live by roughly 9 million people in the States alone, making it the most watched episode in the series' history. It has won numerous Golden Globes and Emmy Awards, making it one of the most critically successful TV shows of all-time. Yes, its resume is impressive. The show's current run concluded last week, so let's delve in and analyse both the good and the bad and the ugly from Season 6 of Game of Thrones.

There were a few dull moments over the course of this season, with the biggest disappointment of the year by far being the storyline involving Arya and the Faceless Men. It was too slow and plodding, stretching out over the course of two seasons, which would have been fine if we had been given a satisfying resolution. Alas, we did not. All we got was Arya effectively becoming the first of the Stark children to drop out of college. It all just felt rather pointless, even if we did get to see how her newly acquired abilities will be of use to her in the season finale. Ultimately, the storyline did nothing to advance Maisee William's character in any way and I'm glad to see her back on Westerosi shores. Tyrion Lannister (played by the excellent Peter Dinklage) is also extremely under-utilised in this season. Ever the show's most consistent performer, the problem is not necessarily with the actor her per se, but rather that he is given very little to do. For a man who has delivered some of the best and most stinging lines in TV history ("I did not kill Joffrey, but I wish that I had!") to be demoted to making jokes with Greyworm on a weekly basis is slightly depressing. There's only so many times you can enjoy The Imp walking through the streets conversing with Lord Varys before it begins to get a little mundane. Regardless, as is the case with Arya, I expect Tyrion's story to pick up again next year as he helps his Queen to claim the Iron Throne for herself.

In saying all this, the show's pros still far outweighed its cons. Cersei's road to revenge was Season 6's best story by far, providing one of the show's most divisive characters with an arc of almost Shakespearean proportions. At the end of Season 5 we seen Cersei at her lowest. Forced to walk naked through the streets of King's Landing (shame, shame, shame, shame etc) the Queen-Regent seemed a shell of her former self. Yet she didn't let anything break her resolve and throughout the year Cersei has been plotting to seek vengeance from those who took her dignity from her. In the finale she commits one of the biggest moments of mass genecide we have ever seen on the show, and in the episodes final minutes she is crowned the ruler of the Seven Kingdom's. It's a story that's captured my attention, though I do have a feeling her downfall and eventual demise is imminent in season 7 (Her brother's gonna kill her, heard it here first). Also, it was good to see Jon Snow being alive and getting involved in the action, and the relationship between him and Sansa, as well as the true nature of his parentage, is sure to be one of the more intriguing plot-lines moving forward. Kit Harrington and Sophie Turner are both excellent actor's and I want to see the, get the chance to improve their already impressive chemistry moving forward.

I don't think this review would be complete without mentioning specifically episodes 9 and 10 of this season. 

They were bloody brilliant. 

The Battle of the Bastards, much like Blackwater and Hardhome before it, was immense. The action was of a cinematic standard, proving how far TV has come in the last few years. The image of Jon Snow ready to die, holding Longclaw aloft as the Bolton cavalry charges towards him, is bone-chilling, and the subsequent claustrophobic scene in which Jon is almost suffocated under a pile of his own soldiers bodies will make any viewer's skin crawl. Action aside, this episode had so many memorable moments (Daenerys and her dragons saving Mereen, Ramsey's satisfying demise, Rickon not knowing how to zig-zag etc) that it has to go down as one of the best episodes in the show's run from both a cinematic and storytelling perspective. I would argue however that the season finale is the definitive Game of Thrones episode. It was so satisfying to see as a fan with Arya getting her revenge on Walder Frey, The High Sparrow getting his just desserts, Jon Snow being hailed the new King of the North and Daenerys Tarrgerian finally (FINALLY) sailing for Westeros with a wicked squad by her side. The iconic moment of the Sept of Balor going up in flames was mesmerising and will go down as perhaps the greatest piece of imagery in the show's history. However it also left us wanting more, anticipating the next season with more gusto and passion than fans ever have previously. Praise has to be given to director Miguel Sapochnik who was at the helm of both episodes, and I'd certainly welcome him back to director further instalments in the series in season 7 and beyond.

All-in-all, Season 6 was solid. At its best it was everything Game of Thrones should be: unpredictable, exciting, shocking and well-acted. Most plot threads were given excellent pay-offs by the time the season ended, and episodes 9 and 10 were two of the best that the show has ever produced. It also put its woman at the forefront of this season, a refreshing change considering that when we first entered Westeros it was mostly run by middle-aged men. However, the season is very inconsistent with some episodes dragging behind the standard we would expect from the HBO series. What I would say though is that this season did its job in the sense that it has brought all its characters together just in time for season 7, and that is a mouth-watering prospect when you think of the possibilities that will arise as a result of this. 

Overall, good job guys, but let's make sure we hit each of these remaining 13 episodes out of the park. No time can be wasted.

Watch or Avoid: Watch