Film Review: Kingsman: The Golden Circle

2015’s Kingsman: The Secret Service was a gem of a movie which married the fun excess of old spy movies with OTT violence and foul language. Can they pull off the same trick twice?

Well, the answer is almost. 

This second adventure finds Eggsy AKA Galahad (Taron Egerton) still in action as an agent of Kingsman, a private spy agency. But when he’s attacked by a familiar face, it appears the agency is in the sights of a resourceful and ruthless foe. A foe who quickly takes out the agency, leaving Eggsy the only survivor other than tech expert Merlin (Mark Strong).

Following their “doomsday protocol” the two discover a bottle of bourbon branded Statesman and travel to Kentucky to investigate. There they find their American equivalent, posing as an alcoholic manufacturer. After a brief run in with Agent Tequila (Channing Tatum), they realise they are on the same side and unite. 

Their common enemy is Poppy (Julianne Moore), head of a global drug cartel and robotics genius. She has poisoned all of her drugs with a lethal disease, and promises the cure if all drugs are legalized, allowing her to enjoy her success and come out of hiding.

Unfortunately the US President (Bruce Greenwood) has no qualms about letting all the drug users die as it will mean he is remembered as the President who won the war on drugs and Poppy will be blamed.

Affected by the virus are Eggsy’s girlfriend Princess Tilde (Hanna Alström), Tequila and the President’s chief of staff, who objects to his plan but is sent away.

Eggsy investigates with Statesman agent Whiskey (Pedro Pascal) and his mentor Harry (Colin Firth) who survived being shot in the first film but temporarily lost his memory and is not yet back to his best.

Can Eggsy stop Poppy’s scheme? How much can he trust Statesman or Harry? Will he find the antidote in time?

First things first, here’s what works- the action sequences retain the gloriously gory and overblown touches of the original, and while it lacks anything as madly brilliant as the original’s “Freebird” sequence there are some great scraps here. There’s also a nice little gag that plays on one of the first film’s major scenes.

The returning cast are all on form, with Egerton being allowed to let Eggsy’s chavvy enthusiasm to pop up at times. Firth is excellent again especially as he has to play both the badass Harry and the softer, damaged version who can’t remember who he is.

Mark Strong is good in everything he does and here he gets more to do as Merlin.

I also liked that they kept the Princess from the first movie as the love interest, and this relationship, while fleeting in terms of screen time  is handled well enough. Also good that they brought back Edward Holcroft’s obnoxious toff Charlie as Poppy’s cybernetically enhanced goon as it added to his vendetta against Eggsy. 

The newcomers are decent, although Tatum plays less of a role than trailers suggest. Pascal’s swaggering cowboy Whiskey is pretty badass and as their boss Champagne, Jeff Bridges is his usual charming self. The surprise was Halle Berry who is better here than I’ve seen her in a while. 

Whiskey in action

Julianne Moore is clearly enjoying her campy, flamboyant villain turn but it’s less fun for the audience and it can’t match Samuel L. Jackson in the first flick. She’s not bad, and quite fun, but her reasons are flimsy.

But Poppy’s plan is pretty smart and the twist of having a callous President was smart.

There are a few flaws, some characters from the first film are written out rather cheaply and there is a sense of it sticking to formula. But the formula does work and it delivers plenty of laughs and fun along the way. 

There’s also quite a nice extended cameo from Elton John playing himself, Poppy’s hostage and keying up “Saturday Night’s Alright for Fighting” to soundtrack a shoot out.

Harry and Eggsy together again

In fact the music throughout is playful and clever.

I really enjoyed it but MWF and I both felt this is probably where we should leave Eggsy as a third outing might stretch it too far.

Verdict: It can’t match the first movie but this is still a fun, frantic romp. OTT in the best way and with its tongue firmly in cheek this kept me entertained throughout. 7.5/10.

Any thoughts? You know what to do. BETEO.

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Film Review: Dunkirk

See this film now.

From the opening scene where a handful of British soldiers make their way through deserted streets as Nazi propaganda about their being surrounded flutters down until the end this is a thoroughly gripping movie. I wouldn’t necessarily say entertaining as it left my nerves in shreds.

Christopher Nolan in the directing chair films it magnificently, and there are some amazing shots, particularly our first sight of the vast beach where the British soldiers have lined up, looking pathetically vulnerable stood out in the open.

The movie shuffles the time sequence, but while the first threw me the shifts are handled well and it’s easy to keep track of where everyone is. The film follows several characters throughout the day.

Tommy, played by Fionn Whitehead is one of the soldiers we see at the beginning. And we follow his attempts to get off the beach. Posing as a stretcher bearer, hiding on the pier and at one point soaking himself to appear as one of the men from a sunken vessel, Tommy is determined to get home and there is a desperation to his actions which feels all too understandable.

Tommy meets other soldiers along the way including Alex (Harry Styles) and we see their attempts to survive against the odds. 

At the end of the pier is navy Commander Bolton (Kenneth Branagh) and army Colonel Winnant (James D’Arcy)  are the men trying to sort out the evacuation. The pier can only take one boat at a time and the beach is too shallow for larger boats. With 400,000 men on the beach and Winston Churchill aiming for 30,000 to be evacuated they face a tough choice.  Their only hope is the small boats requisitioned by the government to help the evacuation.

One of these is the small pleasure yacht owned by Mark Rylance’s Dawson, who along with his son Peter  (Tom Glynn-Carney) and their hand George (Barry Keoghan). They head for France but en route find a shell shocked soldier played by Cillian Murphy, the sole survivor of a U Boat attack who is understandably shaken by the experience and urges them to turn around for home.

Above them they watch as a three man Spitfire squad attempt to defend the beach and retreating ships from the Luftwaffe. Farrier (Tom Hardy) does his best but with a damaged fuel gauge has no idea how long he can stay in the fight.

The action then cuts between the different characters as their paths cross, events seen from different perspectives. 

The whole movie is almost unbearably tense, from Farrier having to try and work out how much fuel he has left before he heads for home to the soldiers on the pier who can do little more than wait and hope the next German bomb doesn’t have their name on. The feeling of claustrophobia and being trapped, even on the vast, wind swept beach is palpable throughout. The isolation of the men, even with home seemingly so close, is frustrating for the men and the audience, and a reminder of how close to Britain the land war got.

Most terrifying is the fact that even off the beach safety isn’t guaranteed. Scenes of men trapped in small, confined spaces rapidly filling with water are genuinely terrifying.

Several points during the film I found myself gripping the arm rests of the Odeon seats, or MWF’s arm. And in violation of the Wittertainment Code of Conduct I caught myself muttering “No” at several moments.

When the small boats finally arrive, and the relief and joy of the soldiers explodes I found myself openly crying. It was a combination of the relief and reaction of the men, and the respect for this real, genuine act of heroism by ordinary people.

For a war film the refreshing thing here is the lack of big showy heroics. For many there is only a fight for survival and some questionable acts along the way. But there are heroes.

Tom Hardy, even with his face covered with a mask manages to convey Farrier’s inner conflict. He must decide whether to stay longer to help even if it means he might not be able to fly home.

Kenneth Branagh’s naval officer exudes a quiet decency and heroism, a dedication to his job and duty to get the men to safety. Even im the face of danger he manages to keep his cool and even jokes with his army colleague over the other’s lack of sea knowledge.

But possibly the greatest hero here is Dawson played by Mark Rylance with simple nobility. Not only does he set out to help others but there is compassion in the way he handles Murphy’s shattered survivor.

When George asks if the soldier is a coward due to his behaviour Dawson replies that he is “not himself” before adding “he may never be himself again”. It’s a small moment that acknowledges the mental effects of war and hints at Dawson’s own experiences prior to this. 

This is an exceedingly well crafted war film with a cast which does great across the board, from old hands like Rylance and Branagh to the newcomers Styles and Whitehead. The dialogue, while sparse for much of the film, provides brief insigjt into the characters and the tense, relentless pace means that you’re locked in from start to finish. 

It manages to capture the big and small moments, while shying away from being overly sentimental or gung ho. The tone is handled well throughout and I was genuinely moved by the film. 

Verdict: An instant classic, Nolan delivers a masterpiece of war cinema. The ensemble cast do their jobs brilliantly across the board and the action sequences are amazing. 10/10.

Any thoughts? You know what to. BETEO.


Disney Classics #17: One Hundred and One Dalmatians

I remember reading the book this is based on in school, I think because the English department decided it would get them an easy day or two as they took us all to see the live action version. They could have saved themselves the hassle of a shepherding us on to buses and making sure none of us wandered off in Swansea by just sticking this on for a couple of lessons, as this is definitely the superior version.

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The story starts with narration from Pongo (Rod Taylor), who laments the bachelor life he finds dull and decides to find partners for himself and his “pet” Roger (Ben Wright). From the window he spies Perdita (Cate Bauer) and her human companion Anita (Lisa Davis), and rushes out to win her over. This sequence is quite well done, with Pongo looking out the window at the passing canines and dismissing them for various reasons, which match with their owners, going along with the notion of owners looking like their dogs.

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After a short time Roger and Anita marry, and Perdita announces she is expecting puppies. The joy is slightly marred by the arrival of Cruella De Vil (Betty Lou Gerson), an old schoolmate of Anita’s who is obsessed with furs, and delights in the pattern of the dogs’ coats. When Perdita delivers fifteen puppies, Cruella offers to buy them all, but Roger refuses.

Cruella De Vil is a great villain, a gaunt figure surrounded in noxious cigarette smoke. From her entrance at the wheel of a careening car, she is a dynamic, captivating presence and over the course of the movie she becomes increasingly dishevelled and unhinged as her mania takes over. The film’s most memorable song is the theme tune that Roger creates for her, detailing her wicked nature.

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Shortly after while the parents and their owners are out, two goons Jasper and Horace (J. Pat O’Malley and Frederick Worlock, respectively) trick their way into the house and steal the puppies. With the human police having no leads the dogs take the lead (unintentional pun) and get the word out through “the twilight bark” a method of relaying messages across the country.

One of the cool things about this sequence is that there’s a nice little easter egg for observant viewers, with several characters from Lady and the Tramp having little cameos.

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The chain yields results and the puppies, along with many others, are discovered. The message is sent back and Pongo and Perdita rush to the rescue.

The rest of the film is an enjoyable adventure, with the courageous canines saving the puppies and then trying to avoid capture as they escape through the snow. The whole thing is quite pacy and there are a few tense moments as they try to escape. The action is slapstick in places, but it works far better in cartoon form, and watching it back I was impressed, with the movie holding up quite well.

It could do with a few more songs, and the goons are a little too bumbling for my tastes, but these minor quibbles aside this is a good adventure which has a certain charm.

Disney Score: 7/10.

Any thoughts? You know what to do. BETEO.


Disney Classics #16: Sleeping Beauty

The third Disney Princess arrives to a suitable fanfare at the opening of this movie and the “hail to the Princess Aurora” song is irresistibly catchy. But the movie really kicks into gear with the arrival of Maleficent (Eleanor Audley), one of Disney’s best villains.

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I can’t think of another kids’ movie where the villain is such an overpowering presence, even in Disney flicks that include baddies like Ursula, Scar and Jafar, the heroes match up to them, but here the iconic image of the movie is Maleficent in her dark, regal glory.

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Stealing the show

Annoyed not to have been invited to the christening of the newborn, rocks up and curses her, possibly providing an insight into why she doesn’t get invited to parties. The curse? When the Princess is 16 she will prick her finger on the spindle of a spinning wheel and die. Luckily good fairy Merryweather (Barbara Luddy) steps in and changes the curse so it’s not death, but rather a deep sleep until true love’s kiss wakes her. Still, the King isn’t happy and burns every spinning wheel in the country, which seems a short sighted move as what will happen when people need new clothes? Also, you had sixteen years!

The good fairies, Merryweather and her sisters Flora and Fauna (Verna Felton and Barbara Jo Allen, respectively), match the King’s overreaction by kidnapping Aurora and going into hiding until her sixteenth birthday, renaming her Briar Rose. Unbelievably, as the big day approaches she is still hidden from Maleficent, because her minions have still been searching for a baby. How much more successful would Disney villains be if they hired better help?

Briar Rose (Mary Costa) now an adult goes into the forest as her three guardians plan to surprise her for her birthday, because apparently revealing that she’s a princess and that they are her kidnappers isn’t going to be enough to drop on the poor girl. While out she meets a handsome young man, who turns out to be Prince Phillip (Bill Shirley), who is captivated by her singing (princes appear to have a major weakness for singers). They fall in love, neither knowing they’re actually already betrothed, and Phillip (named after Britain’s own Prince Phillip, fact fans) heads off to tell his dad that the arranged marriage is over, planning to return to Briar Rose.

The love story here is done quite well, and the sequence where the two meet and dance together to the glorious “Once Upon a Dream” is wonderfully charming. Sure, it feels rushed, but just go with the love at first sight conceit, and it’s rather sweet and well executed. At least there’s actual conversation here.

Unfortunately, despite not using magic for almost sixteen years, the fairies are useless practical skills like making a cake (even I can do that) and dress making (I’d struggle with that, admittedly), and resort to breaking out their wands. But this catches the eye of Maleficent’s raven sidekick Diablo, who raises the alarm.

I always loved this sequence as a kid, and it’s still very entertaining as the fairies make a pig’s ear of the whole situation. Throughout the movie the three fairies are good fun, bickering with each other and my three sisters each assigned themselves a different fairy.

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Briar Rose learns the truth and is taken to the castle, where she is bewitched by Maleficent and pricks her finger. At this point Maleficent adds to her evil stakes with some top quality gloating over her fallen foe before legging it.

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Maleficent gloats

Knowing that Merryweather has messed with her plans, she dispatches her minions to grab Phillip and take him prisoner.

The fairies work out that Phillip is the mysterious man Aurora mentioned and, put the entire kingdom to sleep and before setting off to rescue Phillip. At this point, Maleficent cements her place as a great villain with a truly evil plan- she’s not going to kill Phil, she’s going to keep him locked up until he’s old and allowing him to revive the still youthful Aurora. That’s delightfully vindictive.

The fairies save the Prince, and arm him. This is another of the movie’s strengths, in that Phillip is far more heroic than the other princess. He fights off the minions, and rides out to the rescue. And then he faces off against Maleficent who has transformed into a gigantic, menacing dragon.

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After slaying the dragon (Maleficent having made the classic mistake of getting caught doing a monologue), he gets to his girl and breaks the curse. And there was much rejoicing.

I used to love this as a kid, and watched it a fair few times, and I’m really happy with how well it holds up. It’s got action, romance and comedy, and benefits from a decent script and some solid characters. The three fairies and their rivalries stop them from being too goody goody, Phillip is a better hero than what had come before and then of course there’s Maleficent and her pure evil. Her imperious mannerisms and voice are fantastic, and it’s so much better that she has no back story. She’s evil. That’s what she is and we don’t need to know how she got this way.

Disney Score: 8/10.

Any thoughts? You know what to do. BETEO.

 


My Favourite Films #49: The Running Man

It’s always interesting watching old sci-fi movies and seeing how quickly they imagined we’d balls everything up. George Orwell thought that by 1984 we’d be living under a totalitarian regime, constantly observed. John Carpenter went for 1997 as the year by which New York had become a prison colony. Of course, some of the joy watching them now is knowing they got it wrong.

And unless Donald Trump really cocks things up, The Running Man will join that list of films set in a future time we’ve now lived through. In 1987 they thought we’d really make a hash of things and live in a dystopian hell where the vicious government keeps the populace brainwashed with violence and glamour on telly.

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I know the poster says 2019, but the opening text says 2017

The film is based on a book by Stephen King (writing under the pseudonym Richard Bachman) and with all due respect to King, is far more entertaining, mainly because it was adapted to be a vehicle for Arnold Schwarzenegger who was at the height of his powers. This takes the bleak and grim novel and revamps it as an ’80s action movie.

Arnie plays, Ben Richards, a police pilot framed for the killing of unarmed civilians, despite the fact he was the one who objected and refused to follow his orders. Locked up on a working prison where they convicts are forced to wear exploding collars that stop them from leaving boundaries. I saw this movie as a kid, and the exploding collars are the thing that stuck with me the most.

 

He engineers an escape with rebellion members Laughlin and Weiss (Yaphet Kotto and Marvin J. McIntyre, respectively). They want to bring down the government and expose the brainwashing, while Richards wants to get the hell out of town and go into hiding. He plans to get his brother to help him but when he gets to his apartment finds that he has been taken for “reeducation” and that a new tenant is living there, musician Amber (Maria Conchita Alonso). Richards uses her to attempt to flee the country, but she blows his cover and he is arrested.

As a result he meets Richard Dawson’s Killian, the smarmy game show host who runs The Running Man, the world’s most popular TV show. Dawson is a fantastic villain, arrogant, scheming and utterly without compassion, all hidden behind a friendly, polished public image. A game show host himself, he captures the faux sincerity and interest, before revealing a stone cold side away from the cameras.

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Also, in a brilliant moment he responds to Arnie’s trademark “I’ll be back” line with a simple “Only in a rerun”.

Killian wants Richards for the show in order to boost stagnant ratings. The show involves criminals having to run through a series of challenges, with the promise of a blissful tropical paradise should they succeed. Stopping them are the colourful, flamboyant and vicious Stalkers, who are a combination of ITV’s Gladiators and the OTT wrestling heels of the ’80s.

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The Stalkers are good value, each with their own gimmick. There’s Jim Brown wielding a flamethrower as Fireball, an electric shooting opera singer named Dynamo (Erland Van Lidth De Jeude), Sub Zero (Professor Toru Tanaka) who wields an ice hockey stick fitted with blades and chainsaw wielding Buzzsaw (Gus Rethwisch).

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Each operates in a different section and attack Richards, Weiss and Laughlin. Amber is also thrown in with them as she starts to realize that the government has lied about things and is busted snooping.

Of course, every Stalker fails and Arnie dispatches them in short order. Each time with a quip ready to go- “Here’s your Sub Zero, now plain zero” and, having cut Buzzsaw in half, “he had to split”.

Killian becomes increasingly frustrated, and the crowd after initial horror begin rooting for Richards. Killian wants to send in Captain Freedom, the retired all time champ played by Jesse “The Body” Ventura, but he refuses.

The action is fast and well orchestrated, with a simple, ’80s bloodiness reliant on practical effects which sees Arnie hack, smash and incinerate his pursuers. Arnie can do this in his sleep, but his odd, unique charisma carries him through and it’s an interesting look at how audiences can be bloodthirsty and fickle.

Arnie’s physical appearance is necessary here, his strength is why he’s chosen as a contender and against better armed enemies it’s ingenuity and brute force that hand him the wins. As a character, Richards isn’t the most developed and we’re expected to just accept him as a hero because he refuses to kill innocents, is fleetingly sad about his brother and tries to protect others, but at the same time he’s rather cold blooded, and physically violent towards Amber when they initially meet. Of course, we root for him because he’s Arnie, which is a clear example of star power.

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The ending, where the truth is revealed to the audience suggests things may be about to change. But it’s an ambiguous ending, and while Richards is free and cleared, it seems unlikely that the whole system will come crashing down.

In taking a decent premise but injecting the drama and visuals of wrestling and game shows, the filmmakers take King’s decent idea and transform it into something far more engaging and believable. This seems more like a show people would get sucked into than the idea from the book, where they merely evade capture in the real world.

By upping the cheesiness around the spectacle, they actually make it feel more real. That people will swallow and enjoy blood and mayhem if it’s packaged the right way.

One of Arnie’s best films and hugely entertaining.

Any thoughts? You know what to do. BETEO.


Disney Classics #15: Lady and the Tramp

Maybe it’s no surprise that as a cat person a movie dedicated “to dogs everywhere” didn’t really float my boat as a kid. In fact I grew up in a house that had, and loved, cats, so a film where the only felines are villains was unlikely to go down well.

That being said it’s hard to deny the film’s charms especially the classic spaghetti scene, which could warm a heart of stone.

Plot wise it’s pretty simple, fancy uptown dog Lady (Barbara Luddy) is feeling threatened by her owners’ new baby. She also meets Tramp (Larry Roberts), a charming stray from the wrong side of the tracks. They get into a variety of scrapes and Lady learns despite his carefree, roguish reputation Tramp is actually a good dog. After they rescue the baby from a rat Tramp accepts a place within the family and settles down with Lady.

It’s a rather sweet tale and it’s helped by a good supporting cast and some good moments. These include a rather dark sequence at the dog pound which is like a doggy death row and set’s up what for me is the film’s best song, the bluesy “He’s a Tramp” performed by Peggy Lee’s Peg.

Watching it back I realised that the story with Lady and Tramp rescuing the baby only to be blamed for the attack is similar to the Welsh legend of Gelert.

It’s not the strongest Disney movie, but it has a few high points contained within a sweet and charming story.

Disney Score: 7/10.

Any thoughts? You know what to do. BETEO.


Film Review: Spider-Man: Homecoming 

Tobey Maguire was a good Peter Parker. Andrew Garfield was a good Spider-Man. Tom Holland is the guy who nails both halves of the character.

For starters, Holland looks closer to an awkward teenager and is just wonderfully charming as he stumbles and bumbles his way through his teenage life. This charm and awkwardness transfers across when he dons the mask, the body language still capturing the gawky youth and attempts to be cool. Also the voice work captures the enthusiastic way Spidey goes into action.

This movie gets one of the things I loved about the character of Spider-Man. He enjoyed being a hero. Sure, there was drama and tension, but when he got up there swinging, he was having a ball. The same is true for large parts of this film, Spider-Man throws himself into crime fighting, even for minor offences with boundless enthusiasm. Even when things get tough there’s still a sense that he wants to be a hero, and that he likes being in the tights. It messes with his day-to-day life, but there’s no stopping him, and there’s no brooding.

There is frustration, having helped out in Civil War Peter hopes to become an Avenger and work closely with Tony Stark (Robert Downey Jr), but finds himself sidelined. Stark tells him to stay close to the ground, and that he’s not ready.

Tony and Peter, with a flawed mentor-student relationship

Some criticised the movie for including Stark, but I like it. It makes sense that after recruiting Peter he would keep tabs on him, and Tony’s attempts to mentor him show how the character continues to evolve from the playboy at the start of the first Iron Man movie. RDJ is excellent as ever, and his affection and concern for Peter is pitched just right. There’s a sense that he respects Peter despite his youth and sees his potential to be great, evidenced when he tells Peter that he wants the young hero to be better than him.

Eager to prove himself Peter decides to go it alone aftee discovering someone is selling hi-tech weapons. This leads him against Adrian Toomes AKA the Vulture (Michael Keaton), who turned to crime having been thrown off the salvage contract after the events of The Avengers leaving him in financial difficulties. He and his crew use the alien tech they grabbed to make weapons and to steal more, leading them to cross paths with Spidey, who persists after Iron Man warns him off.

Michael Keaton’s performance and the changes to Vulture’s backstory are fantastic and make what I’ve always viewed as a lacklustre villain more interesting. Not only does his origin tie in with the rest of the MCU and show the fallout of previous events, it makes him a more relatable and believable character. All his crime is driven by his need to provide for his family, and Keaton captures a sense of a man driven to extremes to keep his head above water. Not that he isn’t great at the basic villain stuff, with him giving the character an intimidating steeliness which as the film continues to impress and increase. Not an utter villain, but with a ruthlessness that makes him a decent threat.

Keaton in great form

The plot unfolds at a cracking pace, the film fizzing along so that the action and laughs flow constantly, but with enough character stuff to mean you genuinely care, largely due to Holland’s work.

While there are some MCU similarities this film has its own tone, being closer in tone to a teen comedy at times, just with superheroics thrown in, there’s a nod to Ferris Bueller’s Day Off and that’s kind of the vibe here. It helps that the dialogue is genuinely funny and some of Peter’s schoolmates are wonderful.

Best friend Ned (Jacob Batalon) is a scene stealing character, a geeky fanboy who is overjoyed at discovering his best friend is a superhero and who pesters Peter with questions. It’s a charming and funny performance, and Ned provides a lot of humour as well as providing Peter with a confidante. 

Ned and Peter, geeky buds

Also worth mentions are Jon Favreau returning as Happy Hogan, Marisa Tomei as Aunt May and a delightful performance from Zendaya as Michelle, Peter’s sarcastic, offbeat classmate.

The whole movie clicked for me, managing to balance peril and humour. It felt like the closest to the Spider-Man from the books and fits well with the MCU by adding a slightly smaller scale. Peter is the friendly neighbourhood Spider-Man, and the bigger more cosmic threats can be left to the other characters.

I was won over by Holland in his brief appearance in Civil War and this builds on this. For me this is up there with the best of the MCU movies and I hope Sony continue their deal with Marvel because this is how to do Spidey. 

Verdict: An entertaining ride from start to finish this has bags of charm and action. Simply magnificent. Holland IS the character. 9/10.

Any thoughts? You know what to do. BETEO.


Disney Classics #14: Peter Pan

I don’t know why but this wasn’t one of the Disney flicks that I liked a lot as a kid, which doesn’t make sense as it has pirates, Native Americans, sword fights and flying, all of which would have won me over.

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I think the problem is that even as a kid the main character kinda annoyed me. Peter’s a self centred braggart and for me the idea of never growing up held no appeal. As a kid you can’t do a bunch of stuff which adults can, I wanted to be a grown up. It was only years later that I find myself wishing I could stay away from adult responsibility. I must have seen it as a kid but it never wowed me.

Watching it as an adult, Peter (Bobby Driscoll) still irritates me, but I think that might be the point? That growing up is kinda important and staying as a child would be daft?

There’s another aspect of this that I don’t think I picked up with, in that I actually feel sorry for Captain Hook (Hans Conried). I mean, sure, he’s a villain and he tries to make them walk the plank, but the poor dude lost his hand and is now a frazzled mess, reduced to a jibbering wreck whenever the crocodile that swallowed his hand is nearby.

Incidentally, this is one of my favourite parts of the film, the way the ticking arrives and the croc’s eyes move with each sound. It’s wonderfully done, and the croc is shown to be quite a malicious beastie, gleefully awaiting Hook to fall into his jaws.

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Back to Hook, he’s actually quite a good villain, with a clear motivation and some smart plans (he plays Tinkerbell like a fiddle), and there’s quite a lot of humour from the inept crew he is surrounded by.

This film actually made me laugh quite a few times, and there are some very funny moments and the action is quite good too. The plot moves along at a decent pace that just about covers up the flaws.

The flaws are numerous, with Peter’s obnoxious nature being just one- almost all the female characters are shown at varying times to be either stupid, jealous or vindictive. Wendy, Tinkerbell and the mermaids all seem besotted with Pete, and react badly when he shows interest in someone else.

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And the representation of the Indians on the island is horrible to watch. All the braves have giant noses and deep red skins, talking like cliches. You may say it was a different time, but watching it in this time it’s not pleasant.

One thing I had forgotten was just how angry and sassy Tinkerbell was. In the more recent films featuring the character she’s shown as a heroic, nice character but here she’s quite nasty. She’s madly jealous of Wendy and Peter’s interest in her, to the extent that she tries to kill the poor girl and rats out the Lost Boys’ hideout to Hook. I have to say she’s one of the more memorable characters thanks in part to the great animation which captures her mannerisms and quickly shifting moods.

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Hell hath no fury like a fairy scorned

When it works, this is great fun, and the times it stumbles are fairly brief, and you can ignore most of them if you go with the movie.

It’s a fun adventure story but the ending baffles me. Was it all a dream? If yes, then how did Wendy’s dad have the same dream? If it wasn’t a dream does that mean he was a Lost Boy who chose to leave? It makes no sense!

Disney Score: 6/10.

Any thoughts? You know what to. BETEO.


Film Review: Wonder Woman

So far the DC extended universe (DCEU) has been playing catch up with Marvel who have built up their shared universe since 2008’s Iron Man. It’s easy to see why DC want to get in on the same kind of thing but unfortunately it’s all felt rather rushed. The first film worked on it’s own, but Man of Steel still had some flaws and the follow up, Batman vs Superman: Dawn of Justice was hit and miss, and saw Gal Gadot’s Wonder Woman thrown in the mix in a way which seemed a bit rushed. The less said about  Suicide Squad the better. 

So, having already met Wonder Woman what we have here is a flashback, an origin movie which takes us back to the First World War. Not that the war has had any impact on Themyscria, the idyllic, hidden island of the Amazons. Here, Princess Diana learns of the Amazons’ purpose, to guide mankind to peace and oppose the corrupting force of Ares, the God of War.

Diana wants to learn to fight, but her mother, Queen Hippolyta (Connie Nielsen) opposes this, as Ares is seemingly defeated and she has fears that Diana’s training and increasing strength will draw the attention of the war god if he is still out there. But Diana’s aunt, General Antiope (Robin Wright) is more cautious and secretly trains her niece, who becomes a skilled fighter but appears to have odd powers and enhanced strength.

After years of isolation the first man visits the island as Steve Trevor (Chris Pine) crash lands in the sea off the island attempting to flee with stolen plans of a new deadly German weapon. Diana rescues him but the Germans arrive and there is a short battle which leaves all the Germans and a few of the Amazons dead. Steve is taken prisoner and bound with the lasso of truth reveals his misssion, Diana believing that the villainous General Ludendorff (Danny Huston) is Ares in an attempt to continue the war.

In defiance of her mother’s wishes, Diana steals the godkiller sword and she leaves with Steve to the world of man. There they deliver the plans and are forbidden to attack Ludendorff as it may damage the delicate armistice talks. 

Diana is outraged when Steve agrees not to get involved, accusing him of lying to her, but he reveals he plans a secret mission, gathering old allies and receiving assistance from Sir Patrick Morgan (David Thewlis), a politician attempting to sort out a peace but determined not to lose more lives or allow Ludendorff to find a weapon to extend the war.

Can Diana stop Ludendorff? Is he actually Ares? What will she think of man’s world and is she ready for the horrors of the front?

This movie’s major strength is Gadot, who not only looks the part as a strong warrior woman but who also captures the character’s journey very well. She excels in the action sequences and shows Diana’s steely determination throughout, while also doing well with the script’s more humourous aspects. She also shows Diana’s confusion and wonder at the things she encounters and the “fish out of water” vibe works well.

As Diana progresses she becomes disillusioned with mankind and the war, and the film is clever in avoiding merely blaming Ares for mankind’s conflict. When Ares faces Diana he talks about how the darkness was inside man and he just guides them to better weapons, hoping to destroy them and have the world return to the paradise it once was. 

The war is hell aspect of the film is decent and a good angle, but the handling is poor. The horrors of war are shown in an oddly bloodless way, and while there are hints that both sides do wrong this does paint the Germans as the bad guys in a way which simplifies the complex reasons for WWI and the fact that neither side really held a moral highground.

Also, it’s hard to say that war is bad when the film delights in the Amazons’ fighting. The battle on the beach between Amazons and Germans is filled with slow motion, which is overused throughout. The Amazons’ skills are presented as cool and admirable, but it’s still basically war. And it feels odd that we get a sombre moment of a dying Amazon as though this is some great tragedy, when they have literally just killed half a dozen soldiers with arrows. It feels fumbled and half done.

That being said, the action sequences are, slow mo aside, quite well done, especially a sequence where Diana charges across no man’s land under heavy fire to save civilians. It’s a solid sequence and visually striking.

But in a way the problem here is that Diana is too strong, too powerful. There are only one and a half characters who can really go toe-to-toe with her and aside from these fights the rest of the battles feel one sided and lacking peril. It’s a similar issue that DC face with Superman, their heroes being too pumped up and often without decent foes.

But for the most part the movie works, landing more hits than misses and entertaining throughout. It’s definitely the funniest of the DCEU movies and a good background for the charcter, even if it doesn’t move anything forward. In fact it adds more questions, like what the hell has Diana been doing between 1918 and throwing down in BvS: DoJ?

Special mention should also go to Chris Pine who does good work here. He shares good chemistry with Gadot, and his Steve Trevor is a likeable character. Heroic without being too clean cut, Steve is a good counterpoint to Diana. Both see the horrors but Diana’s fresh eyes make her willing to deviate from their mission in a way his more jaded view is less inclined to do. And he acknowledges that people can be bad, whereas it takes a while for Diana to dismiss the idea that it is all down to Ares.

I’m definitely interested in seeing more of the character and it bodes well for the DCEU going forward as this is definitely the strongest entry since Man of Steel and left me excited for Justice League.

Verdict: Has it’s flaws but generally works quite well. Gadot is good as the lead and the script manages a decent balance in tone. Stumbles in places but manages to stride out with pride. 7.5/10.

Any thoughts? You know what to do. BETEO.


Disney Classics #13: Alice in Wonderland

I’m going to be upfront with you, I’ve never been overly fussed with Lewis Carroll’s creation and none of the versions I’ve seen have won me over. I think it’s because there’s a sense of self conscious, deliberate, quirky weirdness to the whole thing. It’s clearly a matter of taste as this is one of MWF’s favourite Disney movies, whereas in the Page house it was one of the ones which got taken off the shelf less often.

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For the unfamiliar, the story follows a young girl named Alice (Kathryn Beaumont) who winds up in a weird place called wonderland filled with unusual characters and creatures, where the rules of logic and sense don’t apply. The plot is kinda hard to nail down as it’s less of an overall story and more just a series of episodes as Alice goes along bumping into different characters.

It’s not without any charm and some of the visuals are quite striking and interesting in their psychedelic weirdness. There are some nice little touches along the way such as how the different flowers are portrayed and the whole size-shifting aspect is used rather well. I also like the croquet sequence with the Queen of Hearts, who falls somewhere between unpredictably scary and ridiculous, which seems the best way to approach the character.

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The “Very Merry Unbirthday” song is quite catchy, and the weirdness plays better in animated form, because at least you can’t see the actors trying their damndest to be “mad” (yes, I am talking to you, Mr. Depp). But some of it still feels like it’s trying to hard and some aspects like the Dodo don’t work for me. It feels like too many ideas were being thrown around and a lot more could have been dumped to make the film flow better.

It’s not a terrible movie at any rate, but with Alice being a bit annoying and it all feeling rather fragmented, it’s not the most satisfying either. I mean, it uses the “it was all a dream” ending that we were told to avoid at GCSE!

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Mrs F, my old English teacher probably hates this ending.

That being said, it’s probably my favourite film version of the story.

Disney Score: 5/10.

Any thoughts? You know what to do. BETEO.