I really wanted to enjoy this movie. Unfortunately, despite some cracking visuals this is a painfully dull and poorly written affair.
It’s been four years since Dr Alexander Murry (Chris Pine) vanished, leaving his family reeling. His thirteen year old daughter Meg (Storm Reid) has become directionless at school, isolated and angry. Her gifted younger brother Charles Wallace (Deric McCabe) has befriended a strange trio women, Mrs Whatsit, Mrs Who and Mrs Which (Reese Witherspoon, Mindy Kaling and Oprah Winfrey, respectively). They reveal themselves to be cosmic beings who have come to help the Murry kids find their dad, who turned out to have been right about the idea of interstellar travel and has been cast into space.
They try tracking him down but it turns out he has been captured by the It, the evil force in the universe which corrupts life wherever it finds it. Can the Murrys, along with Meg’s classmate Calvin (Levi Miller), find him and rescue him? And can they resist the dark side?
What a load of cosmic twaddle. Not helped by weak child performances- Reid is bland, and oddly expressionless for long stretches, while Charles Wallace is the kind of brainy, precocious kid who is immensely slappable and unlike any kid you’ve ever met.
The visuals are impressive but the “love is the most powerful force in the universe” idea is cheesy beyond belief and there’s far too much talk for a kid’s movie. This would be fine if the action sequences were up to scratch but they’re uniformly limp and there’s never any real sense of peril.
The adult characters are one note too. The Mrs characters are an interesting idea, and visually striking, like one of Jack Kirby’s cosmic creations filtered through RuPaul’s Drag Race, but other than exposition, weak philosophy and a few lame gags, they add little.
Weak. I can’t imagine this winning many fans- too talky and slow for kids, too twee, cheesy and poorly executed for adults.
Verdict: Some of the visuals are good. That’s all the positives I can manage. 2/10.
Any thoughts? You know what to do. BETEO.
Ladies and gentlemen, we have an early challenger for my film of the year.
Disney and Pixar knock this one out of the park creating a beautiful, gorgeous world to tell a charming and affecting story of family, music and remembrance.
Set in Mexico and based around the Day of the Dead festivities this is probably Pixar’s best movie since Inside Out and one which takes a place with the very best the studio has produced.
The Rivera family have effectively banned music after an ancestor left to become a singer, never returning and meaning his wife had to work, creating a successful shoe making business. However, young boy Miguel (Anthony Gonzalez) is loves music and has adopted local musical legend Ernesto De La Cruz (Benjamin Bratt) as his hero.
He wants to take part in a talent show but is forbidden by his grandmother, who insists he spends Day of the Dead with his family. As they set out the pictures of dead ancestors and relatives, the photo of his great-great-grandmother is dropped. The broken frame reveals that the photo has been folded. Miguel’s great-great-grandfather, the runaway musician, who’s face has been torn from the picture is revealed to be holding Ernesto’s famous guitar.
Miguel takes this as a sign, and argues that he his honouring his family’s traditions, but his grandmother smashes his guitar. Angry, Miguel storms out, announcing he doesn’t want to be part of the family. Desperate to find a guitar to compete he breaks into De La Cruz’s crypt and steals the car.
It is at this point the movie really kicks in, with the already charming and likeable film embracing the supernatural and introducing the ghostly ancestors who have come across to the land of the living to visit their family. The art here is great with the ghostly figures styled after sugar skulls and their skeletal figures retaining unique characteristics for each person.
Miguel can see them because having been cursed for stealing from the dead. He must break the curse by sunrise, by obtaining the blessing of a family member, however, his great-great-grandmother Imelda (Alanna Ubach) only offers a blessing with the condition that he never plays music. The rest of the family refuse to go against the matriarch and so Miguel decides to find De La Cruz.
Miguel travels through the city of the dead, a vibrant, strange world with his only guide Hector (Gael Garcia Bernal) a scruffy, trickster who tries to trick his way across to the living. But nobody has put up a photo of him so he can not cross. He claims to know Ernesto and agrees to help Miguel on the condition that he takes his photo so he can cross once more and see his daughter one last time before she forgets him.
When the dead are forgotten they vanish forever, and Hector’s daughter is the only one who remembers him.
Can Miguel break the curse? Will his hero Ernesto help him? And will Hector get to see his daughter again?
This film is simply gloruous. The artwork is beautiful and the colourful, sprawling city of the dead and it’s residents are extremely well done.
The characters are fantastic too, with Miguel a charming, likeable hero. He has humour and courage, and it’s through his eyes we experience the wonderful world he enters.
Similarly, the swaggering De La Cruz and scruffy Hector are both engaging and interesting characters and their story unfolds nicely. One of the revelations is easy to see coming, but there are a few twists in the tale.
As Miguel tries to break the curse he comes to understand the importancr of family and how much they mean to him. It also serves as a powerful reminder of respecting our past and appreciating how it shapes us.
The film has raw emotional power, not just in the melancholic nature of the city of the dead but in the handling of Miguel’s great-grandmother, Mama Coco (Ana Ofelia Murguia), who is losing her memory and in confused moments still waiting for her father to return.
Sod it, I have to give a spoiler here, but to be fair, most grown up viewers will guess it during the movie.
Hector is Coco’s father, and he did know Ernesto, in fact he wrote many of his songs. Ernesto’s bombastic signature tune “Remember Me” is actually based on a quieter, more low key song Hector wrote and sang to his daughter.
The scene where Miguel returns home and sings this to her, reviving the long dormant memory is one of the most moving scenes I’ve seen in a long time, and reduced WoM and me to tears.
The moving scene, which captures all of the film’s themes is wonderful and caps the movie beautifully.
Loaded with charm, gorgeous to look at and profoundly moving, this one will be hard to beat in 2018.
Verdict: An utter delight. Some plot developments are easy to see coming, but it doesn’t rob the film of it’s ability to move you. A fun, emotional and beautiful film. 9.5.
Any thoughts? You know what to do. BETEO.
The original Jumanji is a much loved film to kids who grew up in the ’90s. Starring the late, great Robin Williams it’s an anarchic adventure which sees the jungle come to suburbia through a cursed board game. Announcement of a reboot/sequel was met with much millenial anxiety, although for me as soon as Dwayne Johnson was announced my worries eased.
The update changes things up by having the board game get found by a teenager in the ’90s, who casts it aside with the dismissive comment “who plays board games?”. The game transforms to a video game and starts it’s mischief once more.
Twenty years later it is discovered by four high school students on detention. Neurotic nerd Spencer (Alex Wolff) is punished for having written essays for football player and former friend Fridge (Ser’Darius Blain), who joins him in the punishment. Alongside them are Bethany (Madison Iseman), a shallow, image obsessed popular girl caught using her phone in class and Martha (Morgan Turner), who Spencer saw arguing against pointless physical education lessons and accidentally insulting her teacher.
Tasked with sorting old magazines they are distracted by the game and begin to play, choosing their characters. They are then sucked into the game where they become their avatars.
Hulking jock Fridge finds himself as the diminutive side kick Franklin Finbar (Kevin Hart), having misread his nickname “Mouse” as “Moose”. Bethany is middle aged scientist Sheldon “Shelly” Oberon (Jack Black) and Martha is the scantily clad, kung fu dighting Ruby Roundhouse (Karen Gillan). Spencer is transformed into the group’s leader, muscular adventure Smolder Bravestone (The Rock).
They work out that to get home they must use their characters’ strengths and their own wits to return a gemstone to it’s statue to complete the game and free themselves from the curse. However they must deal with their issues with each other and overcome their flaws.
Can they do it? And can they do it without using up all three of their lives?
I really enjoyed this movie which manages to pack in a heap of action while mining plenty of humour from the body swap aspect. While all four leads are good, I have to single out Jack Black for special praise as he manages to percectly capture the disgusted teen girl within. A scene where he coaches Ruby Roundhouse in seduction is hilarious, and throughout he maintains the character perfectly. After a period of duds, this is Black back on form.
Kevin Hart also delivers plenty of laughs and his chemistry with Johnson is a driving force as the duo bicker and their characters deal with their role reversal. It’s a testament to Johnson’s skill that he manages to deliver the big action moments while also allowing the nerdy teen to show through.
It’s a strong comedic performace which most action stars couldn’t handle, but he holds his own alongside Hart and Black.
The plot is daft but rattles along well and their are some nice touches like the inclusion of Nick Jonas’ character “Seaplane” McDonough, the fifth character. They realise he is the missing kid from the ’90s and this scene, where his slang alerts them is handled well, as is how they adopt him to the group.
The plot, of the teens realising their inner strengths and unknown depths, is standard fare but carried off with no shortage of charm and a sense of fun. The gentle flirtation between Spencer and Martha is pitched at the right level and the whole film left me with a big dumb grin on my face.
Verdict: Great performances across the board and a clever premise and spin on the original pays off with a massively entertaining adventure. Great fun. 8/10.
Any thoughts? You know what to do. BETEO.
Since Spaced I’ve been a fan of Edgar Wright as a director and his big screen work has been of a pretty high standard, with Shaun of the Dead, Hot Fuzz and Scott Pilgrim Vs The World all being firm favourites of mine. Two of his hallmarks are skilled, clever editing and his use of music, and his latest effort is largely based around this.
The film follows Baby (Ansel Elgort) an extremely talented and skilled getaway driver who works for underworld figure Doc (Kevin Spacey), in order to pay back a debt incurred when he stole a car full of drugs by mistake.
Doc puts together different teams for different jobs, the only constant being Baby at the wheel, his “lucky charm”. But Baby has almost paid off his debt and having fallen for waitress Deborah (Lily James) is thinking of a life away from crime. Will it be that easy?
The music aspect comes to the fore as Baby’s ears are damaged as a child and he uses music to rid him of distractions and also to perfectly time his runs. This means that the car chases are all set to music and turns this into a kind of action musical. The perfectly choreographed chaos is glorious and great fun.
The movie has its roots in genre movies and this is shown in the dialogue which for me called to mind the unnatural cool back and forth of old action movies. The film is extremely stylised in all aspects, but it works in its favour and makes it stand out.
There’s no great depth here, and it’s a case of style over substance, but what style. And it never presents itself as anything other than a fun thrill ride. And there’s something charming about the light tone and joyous execution.
Also Elgort is likeable as the lead, winning you over with his cheery energy and almost naive, dreamy way of moving through life.
The supporting players are fine across the board, with Spacey downplaying Doc throughout. There’s something decidely everyday and unflashy about his performance, and it’s testimony to his skill that Spacey still manages to convey a quiet menace and command the screen alongside flashier performances.
These include Jon Hamm and Jamie Foxx. Foxx plays Bats, a loud, dangerous figure with a leaning toward violence and fraying mental stability. Hamm is the suave Buddy, who bonds with Baby over Queen and who has a cool swagger about him.
The plot is fairly simple and familiar, but unfolds well and presented with flair. Hugely entertaining, bursting with action and powered by some cracking tunes this is a step away from Wright’s comedy roots but is an accomplished action movie.
One of the most fun, flashy films of the year.
Any thoughts? You know what to do. BETEO.
You don’t watch a Pirates of the Caribbean movie expecting fine art, but you usually expect a fun diversion. Unfortunately, despite having rather enjoyed the fourth film the wheels come off here.
It all feels so lazy and half arsed. They’ve thrown in a bunch of familiar features- OTT stunts, some kind of magic, shifty British officers and various double crosses but it feels flat.
Javier Bardem hams it up as the villain, but the sound and fury can’t cover up that his character is woefully underwritten. He hates pirates, and wants to break the curse, but unlike Geoffrey Rush’s Barbossa in the first movie he’s utterly unsympathetic. He’s shown in flashback to be a d**k and while he’s a villain you still need to care.
The design hampers the crew too, while Bardem’s hair, which bobs about as though underwater, is a nice touch the idea to have the cursed sailors miss parts but act as though they still have them is daft. A hand floating in mid air just looks silly.
The rest of the cast aren’t much better. Returning players seem to be going through the motions and the new ones are woeful. Brenton Thwaites is utterly bland as the young hero and Kaya Scodelario is given a character who clearly is meant to be a strong female but who just walks around telling everyone how smart she is.
And finally there’s Johnny Depp, who still raises a few smiles as Jack Sparrow. But is that good enough? It feels like Depp is happy to stay in his comfort zone and Jack has become a one note character, a living cartoon who like Wiley Coyote manages to walk away from whatever catastrophe befalls him.
Lazy, loud and uninvolving this seems like the right time to call it a day on the series.
Any thoughts? You know what to do. BETEO.
I wasn’t happy to be going to see this yesterday because I really wanted to see Wonder Woman but MWF was in the mood for a comedy, and as she was paying she got the final say. Now, I love The Rock and have been impressed by Zac Efron over the years, but I didn’t like the look of this movie. It looked, well, dumb.
And it was. But in the best way.
Carrying a lot of the weight is Dwayne Johnson, taking over from the Hoff as Mitch Buchanan, head of the lifeguards. His easy, charming on screen presence anchors the film and he shows off some decent comedy chops, although this won’t surprise anyone who remembers his skill on the mic at the WWE.
In Efron he has a good partner, with Efron’s selfish, stupid jock clashing with no nonsense Mitch from the jump. Efron’s character, a disgraced Olympic swimmer is at times the audience’s perspective, wondering what a drug smuggling ring has to do with their role as lifeguards. This plot and it’s ridiculousness is played for laughs and this is a solid action comedy.
The action is overblown and well staged, with a particularly entertaining fight between Johnson and a goon taking place in a child’s bedroom, various toys being used as weapons.
There are a few pops at the old show, but it seems affectionate ribbing, highlighting the far fetched stories and stylistic choices. Pamela Anderson’s replacement as CJ Parker, Kelly Rohrbach is shot in slow mo repeatedly, which other characters comment on and it’s nice that when Pam shows up for her (disappointingly brief) cameo she appears in super slow mo.
The jokes come at a quick and steady pace, mixing slapstick, gross out and some decent one liners. It’s not a classic but entertaining enough and similar in tone to the Jump Street flicks.
Kudos should be paid to the supporting cast who all handle their roles well and get the tone right. A special stand out is Jon Bass who plays nerdy Ronnie, hopefully smitten with CJ. He steals a couple of scenes and is extremely funny.
It also means that David Hasselhoff has two entertaining movies under his belt this year, which is pretty surprising. And awesome. Although it does mean this has a confused relationship with the show. Two Mitch Buchanans? Two CJs? Huh?
Verdict: Johnson and Efron are charismatic leads and work well as a duo. Incredibly daft but amusing enough. Keeps the laughs coming. 7/10.
Any thoughts? You know what to do. BETEO.
I love the original King Kong, ever since I picked up a cheap VHS copy. While dated, it told a simple story very effectively and movingly. I’ve always been a sucker for stop-motion effects. I’ve never seen the ’70s remake but I remember being psyched when Peter Jackson released his, although this was ollowed by crushing disappointment as a wealth of CGI and Jack Black couldn’t cover the fact that it was bloated and boring.
One of the things that I always loved was the mysterious Skull Island that Kong calls home until he’s stolen away to New York. The island is home to other monsters, and you always wonder where Kong came from. Was he part of a giant ape race? Or a singular freak of nature?
This movie focuses on the island and gives Kong a fresh backstory. It’s not a retread of the original, and a new approach to the character, which I think is the way to go.
The movie kicks off in 1944 when two pilots crash on the same beach, one Japanese and one American. They try to kill each other and chase each other through the jungle, until their fight is interrupted by the arrival of a massive ape.
We then jump almost thirty years forward to 1973, and two representatives of an organisation called Monarch are trying to get support for a mission to an uncharted island. The senior official, Randa (John Goodman) is fearful for the organisation’s future and wants to get the mission set up before the Vietnam War ends. However, the senator dismisses his theories of “monsters” and only agrees when Randa’s assistant Brooks (Corey Hawkins) points out that as they know little of the island there is no telling what is there and that if they hesitate the Russians might beat them to it.
Randa requests a military escort and is provided with the Sky Devils, a helicopter squadron about to ship back from the war. Headed by Colonel Packard (Samuel L Jackson) they will fly the scientists to the island which is surrounded by a perpetual storm. Also recruited is James Conrad (Tom Hiddleston) a former SAS Captain noted for his skill in jungle survival and expertise in uncharted territory.
Rounding off the group is photographer Mason Weaver (Brie Larson) a photojournalist who clashes with Packard who blames the media for negatively effecting support for the war back home.
They arrive at the island where the scientists plan to use explosions to map the geologic nature of the island, which turns out to be hollow beneath the bedrock. Unfortunately the explosions anger Kong, a giant ape who attacks the choppers and brings all of them down, scattering the survivors across the island.
Conrad leads Weaver, Brooks and a handful of others through the jungle seeking the rendezvous point. Meanwhile, Packard leads the majority of his men and Randa towards one of the isolated pilots, Chapman (Toby Kebbell). Packard gets the full story from Randa, who holds to the “hollow earth” theory that there are pockets beneath the earth’s surface where monsters dwell.
Intent on revenge Packard aims to reach Chapman’s chopper and use the weapons and explosives to kill Kong.
Conrad’s group run into the local tribespeople and are introduced to Hank Marlow (John C Reilly), the American pilot who crashed there at the beginning. He has been taken in by the locals and explains that he befriended the Japanese pilot who was killed by another monster years earlier. Marlow explains that the native population worship Kong as a king or god, as he protects them from what he dubs Skull Crawlers, vicious beasts that try to eat them. Kong’s race have long held this role, but as the last of his kind the locals are fearful that when Kong dies the Skull Crawlers (henceforth known as SCs) will run wild, having nothing to fear. The explosives dropped by the group will have roused some of the beasts, although they suspect that “the big one” will remain underground.
Marlow shows the group his boat, made from debris of the fighter planes and other vehicles that have crashed at the island. They head for the rendezvous but find Packard, who insists they head on for Chapman. The group are attacked by a SC, and after suffering heavy losses manage to kill it. When Packard’s plan is revealed Marlow objects, supported by Weaver, who Packard draws his gun on. Conrad cools the situation and leads the civilians to the boat, however, he decides he needs to stop Packard and with Weaver and Marlow returns.
Packard’s men attack Kong and while many of the men are killed, Kong is injured. Then the Big SC arrives. Kong battles it, but is weakened and the nasty chases the humans. Conrad, Weaver, Marlow and the surviving members of the Sky Devils make for the boat but following Conrad’s instructions Brooks has left at dawn. Attempting to escape on foot they use their meagre weapons on the BSC but their weapons don’t seem up to the task.
Does the battered Kong have the strength to bring it down? If he can’t what happens to the survivors and the monsters?
Okay, here’s the thing I really loved this movie which delivers pretty much from the jump. The 1944 prologue was a nice touch and the character of Marlow provides a neat way to provide exposition and Reilly’s performance as the slightly unhinged survivor is charming and entertaining, stealing most scenes he’s in. Reilly should be praised for balancing humour with genuine emotion, with the frazzled, lonely man talking about what might await for him at home being quite touching and tying into the film’s theme of whether soldiers can ever truly come back from war.
This is touched on in Conrad, Hiddleston’s calm and collected action hero, who is recruited by Randa who observes that men go to war in search of something, and Conrad’s continuing presence in Vietnam suggests he is yet to find whatever that is.
It’s most evident in Jackson’s powerful performance as the vengeance seeking Packard. During his first meeting with Weaver where he blames the media for effecting support and moral for the war in Vietnam, she asks him incredulously if he is blaming them for losing the war. His response that the war wasn’t lost, instead “abandoned” shows an insight into his psyche and his dogged pursuit of a fight with Kong shows that he is not ready to come home yet.
Jackson is always watchable and here he is on fine form as the tightly wound soldier who slowly unravels and becomes obsessed. He’s mesmerising on screen.
Tom Hiddleston is pretty good as an action hero, even if he does look a little clean cut and smooth for an SAS officer who spends time alone in the jungle saving POWs. That being said, his quiet performance is well done and he has moments where he charms. He also handles the action sequences like a boss.
But it’s hard not to feel bad for Brie Larson who while capable enough has an underwritten role as the photojournalist accompanying the mission.
The period setting works wonders for me as it handily explains how Skull Island has remained undiscovered until the movie and means the humans have older, less sophisticated weapons for their fights. It also means that the movie has a belting soundtrack of ‘Nam era songs (Bowie, Black Sabbath and Creedence Clearwater Revival), and borrows heavily from the imagery of that war- fires engulfing jungle, helicopters flying low and the look of the soldiers. The film looks fantastic and the mash up of Nam movie iconography and giant monsters works for me, unsurprisingly.
The monsters here are fantastic, as is all of the island. The native tribe and their walled village is well done as is their temple to Kong, replacing the African style tribe of the original with a more Asian vibe fitting the Pacific setting. The island location is beautiful, with mountains, dense jungle and panoramic views of the landscape being worth the extra IMAX charge alone.
This is only the second movie I’ve seen in IMAX (the other being Doctor Strange) and it is proving to be worth the money, and vastly superior to normal 3D. This is the kind of epic movie that warrants the big screen and enhanced visuals, and it delivers throughout, both in the titanic smackdowns and in the scenes on the groud amongst the trees.
The movie succeeds where the Jackson movie stumbled by putting Skull Island front and centre and we get to see plenty of the island’s nature. Alongside Kong and the SCs we also get supersized versions of spiders and water buffalo, a reference to giant ants and some seriously vicious pterodactyl style critters. The island is set up as a dangerous place to be and the action sequence are uniformly well executed throughout.
It’s a relentless thrill ride and has some solid performances, and a sense of fun to proceedings, making it considerably more enjoyable than the most recent Godzilla movie, which this will apparently cross over with. Hopefully the monster mash will lean more towards this, which is more fun and has better human characters. The romance between Hiddleston and Larson’s characters might be underdeveloped, but aside from this the major players hold the attention and the director knows that this is secondary to letting Kong do his thing.
I’ve always preferred Kong to Godzilla because his ape features are more expressive and that in every incarnation he has moments of gentleness. The backstory here of him as the island’s top dog and protector is a nice touch and I felt it delivered.
A big, action packed blockbuster, this is gorgeous to look at, filled with nice moments and just plain fun. It might lack the emotional punch of the original, but it’s still kept me involved throughout.
Verdict: The ’70s setting is a nice touch, the cast do well with what they get and the movie knows that it’s main strength is Kong and lets him cut loose. Hugely entertaining. 8/10.
Any thoughts? You know what to do. BETEO.
The cinematic X-Men universe has been a mixed bag, with some of the movies doing quite well (see Deadpool and Days of Future Past), while others were plain awful (X-Men: Origins: Wolverine and X-Men: The Last Stand). The movies have struggled to get the tone right and have also created a convoluted and contradictory timeline, it’s time for a reboot and where better to end it than with the driving force and most consistent part of the series- Hugh Jackman’s Wolverine.
Since the first X-movie only Jackman has popped the claws as the Canadian mutant and while he’s often been in lacklustre movies he’s managed to do the character justice. Now, he is finally given the kind of swansong the character, and his efforts, deserve.
Set in 2029 we find Logan in dark times, working as a chauffeur and living out in the Mexican desert looking after Charles Xavier (Patrick Stewart), who has destructive seizures and seems to be in the early stages of dementia as he enters his nineties. Logan and Caliban (Stephen Merchant), an albino mutant who burns easily in sunlight, keep Xavier drugged to dampen his powers. Logan’s healing powers have slowed, meaning he limps and carries severals scars. He hopes to save money to buy a boat and sail away with Charles so that his seizures can’t hurt anyone.
The other X-Men are revealed to be dead and mutant kind has died out, with no new mutants having been born in decades. While on a job Logan is approached by a Mexican nurse Gabriella (Elizabeth Rodriguez) who asks for his help as she is being chased by shady figures. Logan refuses to engage with her and leaves. One of these, the cybernetically enhanced bounty hunter Pierce (Boyd Holbrook) who works for the Transigen corporation. Logan denies all knowledge and Pierce tells him to call him if he hears anything.
Logan is called to another job but it turns out to be Gabriella who has arranged it, she offers him $50,000 to take her and her daughter, Laura (Dafne Keen) to North Dakota and a safe place known as Eden. The money will be enough for the boat and Logan reluctantly agrees, however when he returns he finds Gabriella murdered. Returning to Mexico he discovers that Laura has stowed away in the boot of his limo and Pierce arrives shortly after. Xavier claims to communicate with her and says they must keep her safe.
Logan is subdued by Pierce’s men, but Laura then reveals that she too has adamantium claws, similar to him and kills many of the men. Logan, Laura and Charles escape and head for North Dakota with Pierce in pursuit, using Caliban and his mutant tracking powers to continue the hunt.
A message left by Gabriella reveals that Transigen bred new mutants, using DNA they had on file in order to develop super soldiers, of which Laura is one of the X-23 programme. However, upon discovering that Transigen had decided to abandon the project due to the fact the kids were hard to control she and several other nurses helped the kids escape before they were “put down”.
Will the jaded Logan be able to form a bond with Laura? Can they make it to North Dakota, and if they do will the promised safety exist or merely be revealed as a dream? And what have Transigen created to replace Laura and her peers, and will Logan be able to defeat this new threat in his weakened state?
I have to say I really enjoyed this movie, which felt like a solid conclusion to the series and a good place to leave this version of Logan. However, I appreciate that it won’t be for everyone and the downbeat, bleak future wasn’t appreciated by MWF and the friend we saw it with. For me, it worked and I liked the way it slowly revealed the fate of the other mutants and the reasons for their extinction.
Rated 15 here in the UK this is by far the darkest and most brutal film in the series, and the first time that Wolverine’s berserker side has really been shown. Previous fights have always been rather bloodless and tame, but this kicks off with a brawl where Logan takes on a gang of criminals in a fast, vicious encounter. It’s good that after suggestions of his dark side we finally get to see it on show here. Otherwise it’s all just a lot of sound and fury signifying nothing, as is the case in Doctor Who where they repeatedly tease that he was a badass during the Time War only to never deliver on this.
It is hard work in places and Logan is a lot more bitter and jaded than his last outing which makes sense, we left him during the cheerful altered present of Days of Future Past, surrounded by friends at the Xavier School, so it stands to reason that years down the line, with his friends gone he would have reverted to his angry, cynical ways. There’s a suggestion that the X-Men didn’t go out in glory and there’s definite tension between Logan and Xavier, and when it’s finally revealed what happened it’s a gut punch of a twist.
The whole road trip is a tough journey, with tragedy and violence dogging the trio across the US, and the stakes feel higher than in any previous movie.
It’s here I have to give a lot of praise to Patrick Stewart, who does a sensational job as the ageing, shattered Xavier. His performance is genuinely moving, almost heart breaking as he captures the sense of a man long dependent on his mind who is now losing it slowly. His crankiness and vitriol is a world away from the dignified, compassionate leader of the past, but there are glimpses of this throughout, especially when Laura arrives and he sees the opportunity to aid her and do the right thing. It’s quite nice to see that the relationship between the two has changed and shifted, and that there’s some closure between then.
But this is Jackman’s movie and he excels again as Logan, capturing all the different aspects of the character- the brooding loner, the reluctant hero, the savage and even the man trying to do better. Coughing, limping and stiff it’s a shock to see the most robust of the X-Men in such a state, and yet it works.
The rest of the cast do their jobs extremely well, with props going to newcomer Keen who captures the almost feral detachment of Laura and who slowly gets the audience to feel for her while avoiding any child actor cliches or excesses. Her relationship with Logan develops slowly and at times unsentimentally, and it’s interesting to watch as she slowly tries to form a bond with someone for the first time while he tries to pull away due to the fact that he’s lost so many people.
The villains are well done, especially Richard E. Grant as a slimy, manipulative scientist behind the experiments.
The bleak future world is wonderfully executed, with machines replacing human workers, a gigantic wall at the Mexican-US border and a sense that corporations are running the show now. The reason for the absence of mutants is revealed in quite a clever way, and the quest to safety is tense as throughout it’s never certain what awaits the group when I get there.
The final sequence, a mad dash for safety and Logan unleashing his berserker side against Pierce’s men and the latest Transigen experiment X-24 is bruising, vicious and intense. The ending is emotionally raw and well played, and a fitting finale for the series.
As a series the X-movies have often stumbled, but it’s good to see that they stride out on a high, a well executed and solid movie. It’s the most grown up of the series, and not just because of the blood and swearing, it feels like the story of a grown man still struggling with who he is and what his purpose in the world is. Jackman shows again why he was brilliantly cast as Wolverine and leaves big shoes to fill in the inevitable reboot.
Although it is a shame we won’t get to see Jackman’s Wolverine team up/fight Ryan Reynolds’ Deadpool.
Verdict: Dark, brooding and bleak this is the most grown up and emotional of the franchise. Jackman and Stewart excel playing aging, failing versions of their characters dealing with loss and change. The plot is solid and moves along well with a few nice twists along the way. Finally a film that delivers after a series which often botched its potential. 9/10.
Any thoughts? You know what to do. BETEO.
WARNING! Here be spoilers!
I wasn’t overly keen on going to see this, but MWF is a massive fan of the Harry Potter films. My scepticism was born out of the fact that I wasn’t overly fussed on the earlier series and that knowing they planned five films based on one slim book made me think I was in for lots of padding as a money making exercise.
Thankfully I was proven wrong.
Set in the New York of 1926 this deals with Newt Scamander (Eddie Redmayne) a British wizard who has traveled the world collecting and studying magical creatures. Many of which he keeps in his charmed suitcase.
Arriving in America he encounters a magical society very different from that which exists in Britain. The major difference is that American wizards have no interaction with muggles, or No-Majs as their known in the States. While distracted by an anti-witchcraft preacher Mary Lou Barebone (Samantha Morton) his suitcase becomes mixed up with that of No-Maj Jacob Kowalski (Dan Fogler), and one of the critters gets loose. Newt recaptures it but before he can wipe Kowalski’s memory the man flees and Newt is arrested by Tina Goldstein (Katherine Waterston).
However it turns out that Kowalski still has the wrong case and Tina is a disgraced Auror (magic cop) and nobody listens to her. She and Newt go to find Kowalski, who has already met some of the other beasts, three of whom have escaped. Kowalski is injured and in an attempt to hide him from the authorities they take him to Tina’s flat which she shares with her more cheerful, mind-reading sister Queenie (Alison Sudol), who Kowalski takes a shine to.
Meanwhile, Barebone and her adopted children continue to spread anti-magic propaganda although her son Credence (Ezra Miller) is working with Graves (Colin Farrell) a high-ranking Auror who promises to rescue him from his abusive home if he helps him find a magical child who is in danger.
A magical beast kills a prominent No-Maj and Newt is blamed, despite him identifying the real killer as an Obscurus a rare energy formed when a witch or wizard represses their magic creating a dark, lethal force which they have no control over and eventually kills them.
At this point it’s revealed that Graves is dodgy which comes as no real surprise as he’s played by Colin Farrell.
He has been playing Credence and thinks the Obscurus is tied to his adopted sister, but it turns out it’s actually Credence and the Obscurus is stronger than any of them suspected.
Can Newt and friends save the boy? Or will he be lured to the dark side by Graves? What will become of Kowalski when it’s all over?
The plot is simple enough and well done, but the real strength here are the characters. In the Harry Potter films the problems for me were that in the early films the kid performers are weak (Grint would remain shaky throughout) and the characters annoying. Seriously at most points at least one of what Potterheads call “the Golden Trio” are being a bit of a twerp.
Here all four heroes are well performed and likeable enough, and special mention should go to Sudol and Fogler who make their characters immensely likeable and craft a downright adorable fledgling romance.
Having Kowalski at the centre for much of the film is a great touch as the wonder is seen through his eyes and his delight his infectious. It’s his wide eyed joy and acceptance of what he sees which wins you over to him, and shows that in some ways he’s already ahead of wizarding characters in terms of his attitude towards magical creatures.
He also forms a good duo with Newt, ably portrayed by Redmayne who manages to inject just the right amount of eccentricity into the role. Newt’s genuine attachment to his animal charges is affecting and his conservationist style outlook won me over pretty damn quick.
Also a big plus are strong female heroines, with Queenie starting out as a seemingly ditzy blonde who steps up when needed and Tina as a slightly neurotic but noble figure who wants to help others and who shows a flexibility that the wizarding government lacks.
The overall tone is nailed just right with some very funny moments and quite a bit of whimsy, but just enough peril to keep you gripped. Towards the end the film delivers an emotional knockout which I found genuinely moving and I left eagerly awaiting more in the series.
As expected the effects are great, and the magical creatures on display are glorious, with each given a personality of their own.
All in all I found this a very fun and entertaining film, with solid characters and a decent plot. The performances are great across the board (even Johnny Depp’s brief appearance is well done, lacking his usual OTT touches) and I was utterly charmed by this glorious movie. For my money it might actually surpass the Harry Potter movies.
Verdict: Incredibly well done this movie has enough warmth and charm to avoid seeming like a needless cash in. The main characters are all extremely engaging and the story, while predictable in places, is gripping enough. I went in sceptical and came out eager for more. 8/10.
Any thoughts? You know what to do. BETEO.
I love the movie Finding Nemo which for me is right up there with The Incredibles and the Toy Story trilogy as the best work Pixar have done, so I was pretty stoked about a sequel, especially one that focused on Dory (voiced by Ellen DeGeneres), the upbeat fish with short term memory loss.
Picking up a year after the original Dory is still living with Marlin and Nemo (Albert Brooks and Hayden Rolence respectively). One day she remembers something about her childhood and parents, and decides to go find them, aided by an excited Nemo and reluctant Marlin. They cross the ocean where they find the Marine Life Institute. Unfortunately they are separated when Dory is captured by humans.
Inside the institute, Dory begins to remember some things and is marked for transfer. Enlisting the aid of cranky octopus Hank (Ed O’Neill) who doesn’t want to be released back in the wild and agrees to help if he can get Dory’s tag which will help him be transferred. They begin searching the institute looking for clues.
Meanwhile, Marlin and Nemo must try to get in and find their friend. Along the way both are aided by different marine residents including two lazy sea lions, a shortsighted whale shark and a lonely clam.
Can Marlin and Nemo find Dory? Will Dory find her parents? And if she does which family will she live with?
I quite enjoyed this film which is fast paced and fun. The plot is simple but the Pixar team load it with some exciting sequences, colourful characters and plenty of emotion, but it falls short of the original. it lacks the scale of Marlin and Dory’s journey across the ocean or the heart of the Marlin and Nemo story.
That’s not to say this isn’t emotionally involving as they take the comical Dory and add depth, exploring the isolation and sadness that comes with her condition. It also shows us her family life which is incredibly sweet and features an unbelievably cute baby Dory.
This is the heart of the film, as is the theme of family, with Marlin and Nemo being driven to find the adopted Dory as she seeks out her biological family. The question of whether Dory will leave them is a major question and one we see the characters have to face with some reluctance.
The flashbacks are warm and sweet, and Dory’s fears and frustration about her loss and getting back are well done and moving. DeGeneres manages to make Dory engaging and likeable through her voice work and adds just the right wobble of uncertainty to the formerly cheery and charming character. It’s the same Dory audiences fell in love with, but with a slightly deeper insight.
The story moves along briskly and the action sequences have a chaotic, humourous tone which keeps the audience hooked and the laughs coming, as do a selection of new characters.
I laughed numerous times and it continues Pixar’s knack of layering jokes for adults into their family films. There are some nice running gags and Hank’s camouflage skills are used well throughout, and an OTT car chase is wonderful.
It’s gorgeous to look at and quite good fun but MWF and I both left with the feeling that this is a lesser Pixar work, good but with their ridiculous high standards a slight disappointment.
Verdict: Full of fun and with likeable characters, a simple, engaging plot. But it can never match the original and feels slightly lightweight in places. Good but not great. 7/10.
Any thoughts? You know what to do. BETEO.