Captain America: Civil War (2016)

Review: 

Tip your hat to the Cap for this knockout superhero movie.

After another exceptional, but chaotic, mission for Captain America (Chris Evans) and our other Avenger friends, we watch as deep concerns mount around the world over the public and collateral damaged caused by the superheroes, supposedly assembling to save lives. In Marvel’s latest brilliantly marketed campaign, we are asked to “pick a side”, dividing our loyalties between beloved characters. Of course, we soon learn it is far from being that simple - with the lines of good and bad, right and wrong, growing increasingly blurred. We witness the superheroes being persuaded into signing the ‘Sokovia Accords’, making them accountable to the United Nations with their future endeavours. The usually sardonic and rebellious Iron Man (Robert Downey Jr.) tries to rein in Captain America and stop his mission to save his friend Bucky (Sebastian Stan), in the belief that it will help ease the guilt upon his shoulders for the loss of innocent life in their battle against evil.

The Russo Brothers have provided us with an action-packed adventure, but one that certainly makes you think. With Captain America acting as the usual social conscience of the group, we start with the assumption his would be the side to choose. The story cleverly weaves aspects into the narrative that are symbolic of real life problems: America being a super power, fighting big bads in other countries under the name of saving the world (but not necessarily thinking of the fallout), how to handle or treat prisoners of war, and whether a growing strength over others breeds dangerous attempts to contend or fight back. All of these things start to feel rather familiar to our outside world, which make us begin to understand why the UN would like to gain some control. Yet, as in the previous two Cap movies Captain America: The First Avenger & in particular, Captain America: The Winter Soldier, our patriotic hero fights for what he believes is right: the protection of his people's rights and autonomy, whilst battling his own inner demons and losses throughout his life.

This is where Captain America: Civil War triumphs over a film such as Batman v Superman: Dawn of Justice - we are provided a film with brains and soul on top of the bold, brash action. Far from a simple gimmick, any links or characters from previous Avenger phases of the Marvel Comic Universe movies feel fluid and natural throughout the narrative of Civil War, ensuring Captain America receives full autonomy for his third outing in his own set of films. Never fear, these MCU treats will certainly satisfy any hardcore Marvel fan! There are plenty of pleasant surprises and appearances, so if possible, try to read little about the film prior to watching in order to have a completely fulfilling experience. There are many aspects I'm dying to discuss, such as the introduction of a new cheeky web-slinging friend, but I definitely don’t want to ruin this for you. All I will say is that it receives two thumbs up from me!
 

   

It is at this time, I should finally admit that I went to the first possible showing of Captain America: Civil War, which happened to be the 12:05am showing on Thursday evening/Friday morning, finishing at past 3:30am. I was therefore watching this film with weary eyes, sleepily balancing a pair of IMAX specs on top of my already fairly bulky glasses – and I still found it one of my most exhilarating visual experiences for quite a while. Civil War contains skilfully crafted action sequences and choreographed fight scenes; this is what IMAX was made for.

One aspect that continues to shine through the whole Avengers franchise is how Chris Evans has managed to breathe life into this character and fully made it his own. The development of Captain America has shown good old Steve Rogers to be one of the most unexpected favourites in a world of witty, hardcore and magical superheroes – and it has been a joy to behold. I may have been unable to pick a side in Captain America: Civil War, but I can definitely pick Marvel and I think you should too. 

  

Have a listen on BBC iPlayer to me chatting about the movie and other entertainment news on BBC Three Counties Radio’s ‘Drive with Rob’ – we can be heard on the final hour! 

The Jungle Book (2016)

Review:

Jon Favreau is the king of the jungle with his sumptuous live-action reboot.

 

Just in case you've been living under a rock for most of your life, The Jungle Book tells the story of the 'man-cub' Mowgli, who is pushed into leaving his family of wolves to head to the Man Village. He does this in fear of his life after the menacing tiger Shere Khan decides he wants to hunt the boy down, terrorising anyone that gets in his way. 

The film utterly exceeded my expectations; Favreau perfectly balances staying faithful to the well-loved Rudyard Kipling story and the Disney animated cartoon from 1967, whilst being brave enough to embark on telling a more modernised tale with great panache.

Whilst this version of The Jungle Book does have a darker undertone with the threat feeling more intense due to its realism, it is a delightful example of classic storytelling that reaches thrilling heights figuratively and literally (when seeing Mowgli and Bagheera racing through their breathtaking jungle surroundings). The world created in this film is visually sublime – rich, vivid and spirited, the audience are treated to an immersive experience from the very start.

The precocious young actor Neel Sethi provides a phenomenal performance as Mowgli  - and he wasn't exactly given the easiest job being placed into a setting ready for CGI with, as he said himself, only puppets to work and have fun with. Illustrious vocal performances from the star-studded cast, including Idris Elba, Bill Murray, Scarlett Johansson, Ben Kingsley and Christopher Walken, breathe life into the story’s iconic creatures of the jungle; I don't think I've ever observed digitally animated talking animals that feel so convincing.  

This film is not the sing-along sensation of the animated classic, but the couple of songs included from the original flowed naturally - particularly ‘The Bare Necessities’, which perfectly encapsulates Murray's delightful turn at voicing Baloo the Bear.

The Jungle Book, is an action-packed, witty and heartfelt adventure, and ultimately a lesson in love, family and friendship: no matter how different you are to those around you, your home is wherever you feel you belong.

Deadpool (2016)

Review:

Rude, riotous and refreshing – Deadpool rewrites the superhero rules.

Ryan Reynolds excels in a film that is brimming with dark laughs, weird love and gory graphics; it is most definitely not your average Marvel movie. First time director Tim Miller gives us 148-minutes with a punch and a kick (and an unexpected wedgie) of the kind that the Marvel Universe has needed for a while, knowingly poking fun at almost everything along the way. Deadpool, AKA Wade Wilson, starts off using his prior knowledge of combat fighting as a means for petty cash by working as an underground mercenary for hire. It’s only when disaster strikes that he decides to secretly turn to the solace of an off-the-radar project, which promises to give him superhero powers. During gruelling experimentations, Wade is in fact imbued with the ability of healing any part of his body, but with the noticeable downside of being left disfigured and in fear of losing the love of his life due his appearance. Thus begins his vigilante style mission in his full body suit to get access to the man who did this to him, and whom he also believes can fix his nasty looks for good.

We’re thrown in at the deep end; a disorientating start soon develops into a cleverly woven, non-linear narrative that has us rooting for the cheeky protagonist before the first fight scene is even completed. On the outset, the film can appear to be a rather simple and crude comedy, but every foul-mouthed joke somehow makes the touching moments more charming and poignant. This is in part down to Reynolds’s ability to switch from portraying a sardonic asshole, joking directly to the audience about the fun he’s having brutally killing the people on his list, to demonstrating his evident desperation to ensure his partner Vanessa (Morena Baccarin) doesn’t suffer any hurt. The lengths he would go to protect her is what leads him into the hands of villain Ajax (Ed Skrein) and his tests, which leaves disturbing echoes of Dr. Mengele in WW2. Even these, however, are spun into some form of a joke; the reason for Deadpool’s very existence and his popularity with fans is that he partakes in the superhero genre whilst simultaneously taking the piss out of it, and his blatant self-awareness when doing so – hence his frequently breaking the fourth wall. Wade isn’t going to suddenly turn into a mean and moody withdrawn sort of hero, or become the goody two-shoes whose only purpose is to save the world – these are superhero stereotypes to which we’ve all been going growing too accustomed. Even his relationship with Vanessa is built on their being daft and dirty with each other, whipping and mocking each other before and after sex, as opposed to some epic and heroic battle that leads inevitably to a glamorous, windswept kiss. The result is witty and wickedly satirical, and I applaud the writers (Rhett Reese and Paul Wernick) in particular for how they’ve translated this character from the comic to our screens.

Whilst there is quite a lot of nudity in the film (unsurprising, really, with a rather salacious lead character), it doesn’t feel gratuitous. Well… apart from one scene that does feel unnecessary due to some lingering shots on topless female dancers – you will not be shocked to learn that they added absolutely nothing to the story. Otherwise, there is a pretty fair balance of bare male and female flesh on show, including an item of a man’s anatomy that is never really given much screen time, and which makes up most of Deadpool’s jokes! Deadpool is also shown to be pansexual, which is most definitely a big step in this type of movie – especially as he is depicted as the invincible one, whilst the macho, massive, gun-toting men frequently have their fragility displayed by being walloped in the balls. The film also illustrates how women can be in charge of their own sexuality too, being painted as strong (both physically and mentally) in a variety of ways… until Vanessa is turned slightly into the (albeit feisty) damsel in distress during the final act.

Regarding Deadpool’s visual elements, there are some extremely well crafted and delightfully squelchy graphics during the fight scenes, but this is nothing particularly groundbreaking. Then again, this film isn’t about the slick and super glossy elements – it’s entertaining chaos. The soundtrack choices often feel wonderfully sarcastic, which would certainly make this character proud, and might have feasibly inspired a knowing wink through the screen.

Deadpool isn’t flawless a film, but its eponymous character’s flaws make him, surprisingly, one of the most relatable superheroes out there in the moviesphere right now. Cock jokes ’n’ all.

Spotlight (2016)

Review:

A stellar cast shines in a story that sucks you in from the start.

Tom McCarthy directs Spotlight; a depiction of the Boston Globe investigative journalists who manage to reveal publicly the molestation of children by priests in the Catholic Church, which later throws light upon the scandals happening all over the world and the true extent of their cover-ups.

At the core of this film is belief; and I believe that everything about this film is daring. Let’s begin with Spotlight’s main risk: it is telling a true story which affects a disconcertingly large section of society in what can reasonably be suggested as an “earth-shattering” way - and it does so ostensibly without fearing the inevitable backlash of an institution that still retains the power to hide or quash allegations thrown its way. McCarthy also clearly understands how important the step-by-step processes of real life chronological events are to the story, to any story, really – there are no obvious, cinematically flashy reveals, and he understands the necessity of holding back because nothing about this atrocious tale is glamorous. We are given windows looking into the scenes of real life in the struggle for revelations of the plain truth. When much of the story is the actors simply listening to victims, rummaging through books in basements and photocopying, many directors could be forgiven for ramping things up a notch, but McCarthy’s choice to keep things as “normal” as possible reminds us of the film’s humanity. Offices are mundane with insipid surroundings, messages are taped onto refrigerators, workers file in to their empty offices on a cold Sunday morning; mirrored in this is a sequentially told story, a muted colour palette, regular everyday clothing, no dramatic or overly emotive score, and a cast that truly has a grasp on the fact that this was a real team that worked together to put things right in their own community. Whilst this sounds dry as hell, it was far from it. Instead, you are drawn into the film; you feel as if you are there with the journalists uncovering these horrific details, and this makes for a more-often-than-not uncomfortable watch, just as a film with such a story as unsettling as this should. Herein lies its brilliance.

There are no grandstanding performances either, and the whole cast demonstrates a genuine respect for the original ‘Spotlight’ team. Looking back at the press Q&A I attended, it was apparent that all cast members worked extremely closely with the original journalists, trailing them during their working and domestic lives, and this dedication shows in the connections between the characters on screen – in every scene, in all the sentences, in each second. When speaking of Mike Rezendes at the Q&A, Mark Ruffalo explained about how all his initial perceptions of the stereotypical “dogged” investigative journalist changed, and the cast exhibit what they have learnt with committed expertise on screen: the drama is slow, building to a calm fever pitch, and so the little nuances become each characters’ own colour, their own life story. Whether it was how a pen was tapped against a ratty, rarely ignored notepad, or the facial expressions when one of these pioneering journalists remembers something mid-conversation and has to make that call, all these subtle moments begin to speak a thousand words. The cast work in perfect harmony with each other and their surroundings, skilfully providing the audience with plenty of thrills and chills with the bombast cut right out.

Spotlight also doesn’t shy away from depicting the downfalls of the newspaper and the town in general, continuously asking how could such horrendous activities continue under the noses of such a respected city for so long. The film also doesn’t attempt to glorify any of the journalists at The Boston Globe. We are given insights into the conflicting emotions they all suffered, and how the scandal affected their lives personally – including the guilt that it took an unmarried, Jewish “outsider” as the new editor (performed exquisitely by Liev Schreiber) to push the paper to investigate the child molestation allegations further when a town steeped in religious moralisers did worse than nothing. When I asked at the Q&A whether any of the cast had any personal religious conflicts throughout the filming of Spotlight, Michael Keaton became visually emotional when discussing with me how his own mother was a devout Catholic who went to Mass everyday and that he used to be an altar boy. This rawness seeps into his character Walter ‘Robby’ Robinson, and, in fact, there is a sense of this running through each of the main characters – thanks to the extremely adept actors and the dedication they had to their roles.

Ultimately, Spotlight couldn’t pay any greater tribute to the original newspaper team and their incredible investigative work; a masterclass in gripping storytelling and a reminder of the power journalism can have when done right.

Me waiting at Claridge's for the press Q&A

Michael Keaton, Mark Ruffalo and Tom McCarthy

With the original Mike Rezendes and Walter 'Robby' Robinson

Legend (2015)

Review:

Two for the price of one: Tom Hardy gives standout performances fighting and frolicking in this fun, but flawed, film.

Legend, directed by Brian Helgeland (most notably the screenwriter of the sensational L.A. Confidential), stars Tom Hardy in a double-act performance as both Ronnie and Reggie Kray – the infamous East End gangsters. Their story has frequently been told, showing them to be vilified, glamourised, or even a bit of both… so can Legend’s re-telling pack a punch?

I was relieved that the film certainly does take a different stance on the Kray twins’ story, and I can say assuredly that Legend is much more enjoyable than 1990’s The Krays, which starred the rather non-twin-looking Kemp brothers. Whilst Legend’s narrative prefers to focus on “epic” fight scenes and the Krays at their darkest, instead of exploring how they became that way, it was superb to see a version that is finally steering away from the usual story of them simply being psychopathic mummy’s boys – I’ve always found it aggravating that people underestimate and deny the Krays’ personal accountability for their own actions. In a culture where blame (especially on mothers for their child’s behaviour) is still so commonplace, it’s refreshing to witness an alternative in this film. 

I also applaud how the film managed the illusion of Tom Hardy playing both brothers, and, of course, Hardy’s two very strong performances in recreating these two completely different people onscreen. Hardy masterfully moves from true brotherly tenderness and love to bursting with ferocity and frustration within a single frame, and it’s extraordinary to witness. Apart from some slightly fumbled and awkward fight scenes between the two characters, which, understandably, must have been extremely difficult to film, there wasn’t a minute where you would doubt that you were watching two identical twins onscreen. Another great aspect of Legend is how both Hardy and the script don’t shy away from Ronnie’s homosexuality and mental health problems – there is one particular piece of dialogue that might have you rolling in the aisle! However, the film ultimately belongs to saner of the two: Reggie.

Emily Browning, likewise, gives a solid performance as Reggie’s wife Frances. Browning skilfully demonstrates that just because Frances was “mentally fragile”, it doesn’t mean she wasn’t also a fiery and plucky force. Both Hardy and Browning give sterling individual performances, but when it came to Reggie and Frances’s relationship, I personally felt it was portrayed as quite shallow and unconvincing. Additionally, the movie’s narrative was guided using Frances’s viewpoint as a voiceover, but it really didn’t require it. The narrative basically wasn’t consistent throughout the film, which is one thing it should be in this sort of film; it simply distracted from the flow of the plot, jarring when it did pop up again suddenly here and there.

Nevertheless, Legend is a visual treat. The graphics and production design create a dramatic 60s London landscape, and I’ve always been a sucker for 60s costumes! Whilst the movie may not be a momentous piece of filmmaking, I feel it successfully captivates its audience enough to warrant multiple watches in the future - if only for a double dose of Tom Hardy.

Straight Outta Compton (2015)

Review:

Rap Appreciation 101: A lesson in how to love a very misunderstood music genre.

Straight Outta Compton is everything We Are Your Friends (see my review here) wanted to be but wasn’t. Being far from a rap fan myself, I must admit that I was initially hesitant about seeing this film, but ultimately I found myself realising I was one of the prime audience demographics targeted in order for the film to get its message across, and any initial dread was soon punched out of me by one knockout film.

Directed by F. Gary Gray (whose name turned out to be a bit of a tongue twister for me when I was reviewing this gem on the radio), Straight Outta Compton documents the rise of N.W.A in the late 80s to early 90s; a group generally credited with creating the influential ‘Gangsta Rap’ movement. We are expertly guided through some of their most defining moments, including Dr. Dre and Ice Cube’s turbulent rise to fame: two huge entities in contemporary culture that, even if you’ve been living under a rock all your life, you will have heard of these men.

 A striking aspect of Straight Outta Compton is the relevance it still holds in today’s social climate – during the film we are persistently inundated with distressing scenes of the ongoing race rows in America, where black people are intimidated and thrown to the ground by police, made more profound with all the events happening in Ferguson and elsewhere in America right now. This cleverly enables audiences outside this particular social context to tap into the fascinating story of how and why a band like N.W.A formed when and where they did. These were young men who were sick, tired, and damn angry at the injustice and oppression they were continuously subjected to. Skilfully portraying this anger were the young lead actors Corey Hawkins, O’Shea Jackson Jr. (the freakishly spitting image of his father Ice Cube) and Jason Mitchell, whose gutsy and exuberant performances make this film a compelling piece of storytelling. Stylish and powerful shots of stadium performances of tracks, such as, “Fuck Tha Police” were superb, and it was visibly tough for us cinema-goers to stop ourselves from fist punching the air when those first beats pump into play, defying the cops stalking through the concert crowd. These scenes perfectly juxtapose the gritty handheld shots of some rather harrowing events, giving a stark reminder of the costs of N.W.A’s journey to fame.

A difficult aspect of Straight Outta Compton is the outright misogyny depicted - often with graphic close-ups of how the women in these circles were treated like meat and entertainment for the young, up-and-coming men of the moment. Whilst this most certainly unacceptable behaviour is a challenging watch for any audience member, it must be understood that the film is documenting what happened at a specific time, and presents how these young men learnt how to handle the life they were dealt in 1980s Los Angeles. Omission of Dr. Dre’s violence towards women has been widely reported, and, although this is certainly understandable, one reason for this could be that the film ultimately belongs to Eazy-E; the film’s narrative arc begins and ends with him. One beneficial thing, nevertheless: Straight Outta Compton‘s smart audience members have brought this discussion of violence against women back into mainstream news, despite it not actually being shown on screen.

Conclusively, Straight Outta Compton succeeds in going beyond any previous assumptions you are likely to hold when you enter the cinema. This movie is a slice of cultural history that will educate and hopefully inspire a new generation. Straight Outta Compton - Parental advisory: explicit (but fucking awesome) content.

We Are Your Friends (2015)

Review:

A film that bears great similarity to a prolonged dance music video – all style, no substance.

A directorial debut for Max Joseph and starring teenybopper heartthrob Zac Efron as the main character Cole, We Are Your Friends is the tale of an aspiring Hollywood Electronic Dance Music DJ, embroiled in love, friendship and work dramas – all the usual clichéd situations of your average three-act movie. Cole, along with his three friends, progresses from putting on party nights to attract “bitches”, to befriending a troubled, worn out mentor called James (Wes Bentley) in order to become a successful DJ in his own right. Oh and also he falls in love with his mentor’s girlfriend Sophie (Emily Ratajkowski) on the journey.

The first issue (of many) I have with this film is the story’s lack of credulity. Dialogue was forced and lacked any depth – even during an emotional incident in the final act. In order to distract from this, we are presented with a great number of beautiful scenic shots with Zac Efron looking mean, moody and supposedly thoughtful, but even this couldn’t provide much profundity to the film. The repetition of these shots just ended up adding to the tedium of We Are Your Friends.

Whilst Mr. Efron’s natural charm and charisma are by far the strongest aspect of the film, it’s still a push to like him as Cole, or, in fact, any of the film’s characters. We’re basically delivered the typical dish of a load of males living out their bromance sessions during a quest to become successful for money, drugs, girls and more girls. Ratajkowski’s Sophie, pretty much the only speaking female in the film, was said to be extremely skilled and intelligent, but her whole life seemed to revolve around what either one of her male love interests were doing – or what they required. We see her afforded some agency and independence in the last few minutes of the film, but, as is usual in such fare, it’s a case of too little, too late.

There were some vaguely interesting aspects in We Are Your Friends of how DJs work and the intricacies of how Electronic Dance Music is created and subsequently performed. However, this isn’t built on throughout the film and is utterly undermined by long, lingering close-ups on jiggling parts of the female anatomy. If these are the kind of people who are our friends, I think we’re better off alone.