“Even If There’s A Small Chance. We Owe This, To Everyone Who’s Not In This Room, To Try…”
With the final season of Game of Thrones gracing eager audiences earlier in the month, April 2019 will always be remembered as the time in which pop culture exploded into realms of unprecedented greatness as society witnesses the end point of both TV’s most talked about show and of course, the enormously anticipated, Avengers: Endgame, the latest chapter in the Marvel Cinematic Universe and the sequel to last year’s excellent and groundbreaking, Infinity War. Presented as the final installment in the Kevin Feige coined, “Infinity Saga”, which began all the way back in 2008 with Iron Man, Endgame sees our grieving band of OG superheroes come to terms with, and more importantly, attempt to revert the catastrophic damage caused by Josh Brolin’s (Deadpool 2) megalomaniacal titan, Thanos, in the previous chapter, and with the giant purple one’s tricky finger snap having gone down in pop culture loire for evermore, the bar is set impressively high for a sequel which Marvel themselves see as the one film the entire MCU has pretty much been leading up to. Bamboozling critics and audiences alike with a staggeringly long three hour run time, it’s fair to say that in terms of excess, Endgame laps it up completely, and whilst anything stamped with the Marvel branding tends to be absolutely critic-proof, what an absolute pleasure it is in being able to confirm that Endgame is everything that it should be and more, an emotional, bizarre and thoroughly engaging and entertaining cinematic blockbuster which manages to effectively balance spectacle with narrative payoffs, resulting in a closing chapter which beautifully reinforces the idea that what Marvel have done will never ever be executed quite as brilliantly ever again in the history of cinema.
Heading in, it’s quite important to note that Endgame is not in anyway Infinity War part two, and whilst expectations and fan theories always affect judgement on the final piece, the fact that I’ve now watched Endgame twice goes to show that the fourth Avengers piece is not just another movie, in fact it’s almost too much of a movie, a three hour long comic book dream which expects its’ audience to be synchronised with every in-joke, every knowing aside and be able to recount what happened where and at what time in each of the preceding twenty one MCU chapters. If part of this selective band of followers, then Endgame seeks to provide as much fan service to you as humanly possible whilst crucially still understanding the fundamentals of filmmaking by biding its time with an opening act which seeks to show the effects of Thanos’ snap, one which impressively highlights melancholic tales of loss, depression and guilt, resulting in some of the most impressive writing I can remember seeing in a superhero film since The Dark Knight. With the PR team for Endgame deserving their own round of applause for brilliantly being able to manage not spoiling anything at all, pretty much everything seen in the film’s trailers either occurs during the opening thirty minutes or not at all, and whilst particular narrative choices are expected from fans with more observant qualities to their Marvel addiction, the fact remains that in order to enjoy Endgame‘s many shocks and surprises you must simply head in not being aware of anything, with one of the film’s many joys is being able to gasp, cry and fist-pump your way through the action with an audience who are as dedicated to both the characters and the franchise as you undoubtedly are, if not more so.
At three hours long, the fact that Endgame did not feel as if it was testing any sort of patience at any point is a remarkable feat in itself, with both the pacing and the editing serving the action rather splendidly in a way that only the best filmmakers can successfully manage to balance, and whilst at times particular characters seem to be slightly wasted or criminally underused, such a complaint is particularly minor and in a way obsolete, with the primary mission of the piece clearly offering the chance to serve conclusions to characters who have been with us since the start and being well aware that for the new breed, the future is both bright and holds their own tales ready to be told and explored as we head into the franchise’s new phase come the end of the year. With enough hilarious dialogue and slapstick performances to put most so-called comedies to shame, Endgame deliciously plays into the Marvel mould we have both come to know and love, and whilst the balance between light and dark never fails to hit the solemn, gritty realism of Logan, the emotional payoffs of particular character arcs will leave even the most cold-hearted of sociopaths in floods of tears as they come to realise that characters in which their time has been spent with for just over a decade may not be ever seen again, in this universe anyway. When it comes to reviewing Endgame, what Marvel have ultimately achieved is unprecedented in the realm of cinema, twenty two movies across eleven years and all leading to a conclusion which is worthy of both the hype and anticipation laid upon it, and in some way, just being part of such a magnificent journey is reason enough to fall in love with a movie which will not only make it difficult to look at any future superhero movie in the same way, but is in some ways a love letter to fans whose dedication and desire have ultimately made such a dream come true.
Overall Score: 9/10
“When I’m Done, Half Of Humanity Will Still Exist. Perfectly Balanced, As All Things Should Be…”
Following the release of Jon Favreau’s Iron Man exactly ten years ago, the culmination of plot threads, narrative developments and vast array of characters which have encompassed the Marvel Cinematic Universe since then have all led in the direction of Avengers: Infinity War, the latest gargantuan superhero romp which sees each of the major Marvel characters of the past ten years come together and join forces in order to thwart the oncoming threat of Josh Brolin’s (Sicario) ominous Thanos, who vows to collect each of the Infinity Stones, six immensely powerful alien artefacts, in order to bend the universe to his evil and genocidal will. With the hype train well and truly steaming ahead, the anticipation for Infinity War is unprecedented within the realms of superhero cinema, and with a extensively star studded cast list and the directing duo of Anthony and Joe Russo at the helm, whose previous credits of course include Captain America: The Winter Soldier and Civil War, expectations from audiences and critics alike are resoundingly off the charts. Thankfully, what the Russo’s have manged to achieve with Infinity War is a staggering, operatic work of spectacle and heartbreaking drama, a film, which on paper had no right to succeed, but has somehow resulted in the most rewarding, magical and downright jaw-dropping Marvel superhero experience in the MCU so far.
With two and a half hours worth of plot to dissect, Infinity War essentially breaks down into a quartet of individual narrative channels, with Earth being the base for the character band lead by Chris Evans’ Steve Rogers, space being the battleground for both the Guardians of the Galaxy subplot and Robert Downey Jr.’s Tony Stark own personal quest, and the entire universe being the backdrop for Brolin’s Thanos who travels from planet to planet leaving behind a cold, calculated and murderous path as he collects the all-powerful Infinity Stones. With the MCU struggling in the past to effectively conjure up groundbreaking and well-rounded villains, the introduction of Thanos follows in the footsteps of Black Panther‘s Killmonger by refusing to bow down to simply cannon fodder for superhero stardom and instead is the surprising central character of the piece, with the script superbly managing to highlight the character’s genocidal plan with some degree of purpose whilst at the same time introducing flaws and elements of empathy, particularly in the stand-out conversations between himself and Zoe Saldana’s Gamora. Of course, with purple CGI muscles, a band of merry followers known as the Black Order and the Infinity Gauntlet in hand, the real power of the character is evidenced to an alarming degree too, with surprising character deaths by his own hand and a dedicated reluctance to fail, resulting in explosive action set pieces which both never seem to outstay their welcome and a include too a perilous sense of threat for everyone involved which the franchise up to now was thoroughly lacking.
Of course, with so many characters and so little time spared on deep characterisation aside from the film’s leading antagonist, particular individuals do become somewhat by-products of a larger endgame, particularly those involved in the drama taking place on Earth and specifically, Wakanda, but with eighteen previous stories worth of backstory and development behind it, Infinity War isn’t designed to further character arcs and instead is there to tie up the development already achieved and offer long-awaited fan service for which it undenaibly achieves. Whether it’s the banter fuelled dialogue between Tony Stark and Benedict Cumberbatch’s Doctor Strange or the egotistical match-up between Chris Hemsworth’s Thor and Chris Pratt’s Star-Lord, amidst all the grandiose drama, Infinity War still manages to hold onto the razor-sharp comedic puns the franchise is renowned for without ever feeling cheesy or stupid enough to lose its’ dramatic edge, and whilst the best moments are undoubtedly in the other-worldly realms in which Downey Jr. and Pratt are present, the film as a whole balances its’ monumental premise with staggering ease. Of course, with Infinity War only part one of a much bigger design, there is a resounding sense of payoff not yet being ripely achieved, but with a ground-breaking, melancholic and brazen concluding scene which rips up the cinematic blockbuster rule book completely, the year long wait for the concluding chapter is of course undeniably agonising, but one which if continuing the success of Infinity War, will undoubtedly be an experience to savour.
Overall Score: 8/10
“Everyone Around Me, They Feel Connected To Something. Connected To Something I’m Not…!”
With the levels to which the hidden advertisement gurus have gone to in order to make sure this year’s adaptation of Ghost In The Shell is popularly positioned within every cinema, street corner and television set, one of the main reliefs of finally sitting down and watching such is to be safe in the knowledge that never again will we see the propaganda-esque levels of publicity for Rupert Sanders’ Americanised remake of the 1995 Japanese animation which in turn was based upon the famous manga series of the same name. Whilst the background to the development of the project was rife with controversy regarding the announcement of Scarlett Johansson in the leading role of a film which is primarily Japanese based, mirroring in an almost uncanny fashion to the awfulness which was The Great Wall, Ghost In The Shell fortunately is a solid enough by-the-numbers sci-fi flick which through a wide range of elements is strong enough to bypass the controversy surrounding its’ leading star’s heritage, yet still suffers from a wide range of issues which prevent it from being the culty spectacle it almost feels obliged to be.
Of the good elements of Ghost In The Shell, director Rupert Sanders has created a future world in which not only is highly plausible but beautifully admirable in its’ construction. Think Blade Runner meets The Fifth Element with a hint of Minority Report and the surrounding boundaries of our heroine’s setting is the grungy science fiction landscape which many films have attempted to utilise without a sense of physicality. Luckily for Ghost In The Shell, such physical spectacle is there to be admired, although one which is amongst a narrative which unfortunately isn’t as groundbreaking as it thinks it is, with it taking plot threads and twisty turns into realms of extreme obviousness, particularly amongst science fiction fanatics like myself, whilst the real interesting notions, such as Scarlett Johansson’s Major attempting to discover who she truly is in a Blade Runner-esque fashion, are left to one side in favour of various action set pieces. Having a soft spot for Peter Ferdinando, star of the Ben Wheatley directed A Field In England and High-Rise, his performance as the (SPOILERS AHEAD) villain-in-chief is passably fun, whilst Boardwalk Empire’s Michael Putt is truly wasted as the cast-off cyborg thingy who speaks in a way which combines the weirdness of The Man From Another Place from Twin Peaks and Stephen Hawking. Solid and spectacular in places, Ghost In The Shell is the type of movie you can sense what the ultimate endgame of the narrative is a mile off but for a cheap Friday night blockbuster, it does the job suitably.
Overall Score: 7/10
“You’ve Operated With Unlimited Power and No Supervision. That’s Something The World Can No Longer Tolerate…”
Being in a time of comic-movie mayhem, where every year there seems to be more and more live-action superhero goodness, or blandness in the case of Batman v Superman, Captain America: Civil War, the third in the Captain America saga within the Marvel Cinematic Universe, could be forgiven as being just another piece of the everlasting jigsaw, an attempt perhaps to grab the cash while they can before the riskier projects come to fruition, particularly with the ambiguous Doctor Strange on the horizon, yet with a character list that basically includes almost everyone and anyone associated with the MCU, Civil War was an interesting case of whether one, it could be as poorly executed as BvS, a film with similar parallels in terms of plot and overarching themes, and two, whether the extensive cast list would endanger the film into becoming overtly baggy and long-winded. What a joy it was then to witness the best superhero movie of the year so far, with Civil War only continuing the promise of the Russo Brothers’ work on The Winter Soldier, with it being a marvellous thrill ride from start to finish, if not being as crisp and spellbinding as the previous entry on first glance.
What makes the film so great I hear you ask? Firstly, It’s cool. I mean ridiculously cool. A fanboy’s dream indeed featuring bad-ass coolness throughout. Acting? Superb and on point, particularly from Downey Jr, Evans and a stand-out newcomer Chadwick Boseman as the rip-roaring vigilante Black Panther whose brief back-story element leaves the standalone movie to do the hard work and for Civil War to show how brilliant he may become in the future. Action? Breathtaking, with the Russo’s having a clear and dedicated vision of attempting to make the fight scenes as realistic as possible with choreography that could make the creators of The Raid weep in joy. I mean seriously, both Captain America and The Winter Soldier in this were just rock solid to a laughable extreme that at times I just sat and gasped at the speed to which the action scenes took place. Clearly, someone at Marvel HQ had been watching Daredevil and thought, yeah, this is the direction we need to go. What a decision it is, with the ground-based fights making the last two Captain America’s arguably being the best in the series so far.
Although rather ironically, Civil War does feature plot lines remarkably similar to BvS, the connections between the two films stop there. This is how you make a superhero movie Mr. Snyder, this is true, full-blooded entertainment. Although slightly too long in places and the almost inevitable fact that some characters just some rather shoehorned in for the sake of it, particularly that of Paul Rudd’s Ant Man and Martin Freeman’s character, endanger the film in becoming not quite as good as The Winter Soldier, the film’s saving grace belongs to it’s final twist, one that was not given away so easy and one which created the real civil war between our two leads at the conclusion of the film after the comical, if rather splendid, battle between our two teams within the confines of a empty airfield. Captain America: Civil War does what it needs to do and does it superbly. Richly entertaining and breathtaking in places, the Russo Brothers have my complete and utter backing for the behemoth of a project which is Infinity War. Good luck to you gents, my faith is completely in you. And oh yeah, wasn’t Spider-man cool?
Overall Score: 8/10
“I Am Mowgli, And This Is My Home..!”
Of all the Live-Action Disney remakes that have graced our screens over the course of the past few years or so, the latest from Iron Man’s Jon Favreau could easily be regarded as perhaps the best of the lot, with Kenneth Branagh’s take on Cinderella last year arguably being the closest Disney re-imagining that manages to at least rival and in some areas, better, the latest take on Rudyard Kipling’s The Jungle Book, a film featuring an impressive foray of CGI inflicted animals, each with their own personalities, aided by a stellar voice cast featuring the likes of Bill Murray, Ben Kingsley and of course, Idris Elba as the terrifying figure of Shere Kan, an enemy completely parallel to the one featured in the 1967 Disney animated classic, highlighting the darker and scarier direction Favreau’s film has decided to go in. The real question still remains though; does the latest incarnation of Mowgli and Baloo’s story give justice to both Kipling and the 1967 animation? It does indeed, although, perhaps inevitably, probably won’t be as endearing as the latter has been in terms of longevity and legacy.
Of the film’s many successes, the CGI animals throughout the entirety of the film are a sheer wonder to behold, with flawless design and an incredibly voice cast accomplishing the incredible feat of forgetting the animals’ fictionalised reality and entirely believing in them from the outset. A dour joke at the beginning that fell flat on its’ face aside, the CGI through the course of the film is easily the best use of the technology in recent memory, perfectly realising the characters of Kipling, particularly that of the stand-out trio in Bill Murray’s charismatic Baloo, Idris Elba’s sinister Shere Kan and finally, Christopher Walken’s King Louie, harbouring a comical updated version of “I Wan’na Be Like You”. Letting the team down rather comprehensively however is Scarlett Johansson’s Kaa, a involvement way too short to have any impact whatsoever. Of course, being the only real-life actor within the film, Neel Sethi’s portrayal of Mowgli is one of depth and interest, a testament to the young acting abilities of Sethi, a previously unheard actor. Not any more I would think. Disney does it again, congratulations, The Jungle Book is a easy-going family treat, one that will please everyone that intends to see it. With a sequel already in the works, it is safe to say the story of Mowgli has a very strong future indeed. Any news on Star Wars now?
Overall Score: 7/10
“Squint Against The Grandeur..!”
When it comes to the Coen Brothers, there is no doubting their ability in the art of film-making even if sometimes their films begin to dwell into the realm of complete mayhem, with films such as Burn After Reading showing their tendency to revel in too much kookiness being on similar wave-lines with cinematic sludges such as their remake of True Grit, a film that can be applauded for its’ cast but yawn inducing nonetheless. On the other hand, films such as No Country For Old Men, Fargo and my own personal favourite Inside Llewyn Davis showcase the brothers’ love for cinema, a love that is no doubt reciprocated within their latest adventure Hail, Caesar! a comedic drama focusing on a day in the life of Capitol Pictures fixer Eddie Mannix, portrayed in a near-perfect fashion by Coen mainstay Josh Brolin supported by a mind-boggling rafter of stars including George Clooney, Ralph Fiennes, Scarlet Johansson, and Channing Tatum as well as Alden Ehrenreich as the “singing cowboy” Hobie Doyle. Stars galore right? But does the film match the greatness of its’ payroll? Not exactly.
Amongst the damsels in distress, replacement actors, an attempt to get a mother to adopt her own child and contemplating a move to another place of working life, all of which encompass one day in the life of Brolin’s Mannix, the core plot-line amongst the many that are brought to life within the film’s magical air of 1950’s Hollywood is the kidnapping of famous star Baird Whitlock, played in full-on comedic fashion by Clooney, by the mysterious cult calling themselves “The Future”. Although this particular plot-line establishes itself as the core of the movie, aside from the involvement of Clooney, it is strangely the weakest within the film, resulting in a through line that attempts to hold the film together but instead results in a film weaker than the sum of its’ parts. It almost feels like a Coenzian (I’m coining that phrase now) wishlist of stars playing their part in the dreamland of a Hollywood in the mid-20th century of which the brothers wished they were part of, something that on the face of it isn’t bad at all, but for some strange reason, the love I wish I had for it just isn’t there and Hail, Caesar! ultimately feels like something of a let down regarding the talent on display.
Among the great things in the movie is the introduction to Tatum’s character with an all-singing all-dancing routine which is bound to capture the hearts of most audiences whilst the story of Doyle is particularly captivating, with his confrontation with Fienne’s Laurence Laurentz easily one of the most quotable of the year so far. Hill barely has two words to say and is just completely wasted whilst Frances McDormand continues to cash in on her marital duties and appears ever so briefly in the husky air of the back-end editing room; a very strange scene indeed. Hail, Caesar! has a few laughs, a variety of chuckles and a tendency to bring out a smile on occasion yet the film just isn’t the masterpiece it perhaps could have been. Better than Burn After Reading? God, yes. As good as Inside Llewyn Davis? Not at all. It’s solid from the Coen’s, just not ground-breaking.
Overall Score: 6/10
It’s that money-making, mind-blowing, blockbuster time everyone and with the simply unbelievable performance of Furious 7 over the course of the past few weeks, where I believe it is now into the top ten of highest-grossing films EVER (Seriously?), it is time for Avengers: Age of Ultron to firmly push it, and many others in the top ten, out of its place. In terms of the money-making side of movies this year, one of the conundrums of 2015 is what will take more; Avengers or Star Wars? After watching the latest addition to the MCU however, I think the one true question is whether they will match each other in terms of quality. After returning from the midnight showing on Thursday morning, slightly knackered but still rolling on, I think it’s fair to say that Star Wars has a lot to live up to. Avengers: Age of Ultron is pretty fab.
The real winning formula of the first Avengers movie was that each and every character got their own decent share of screen time, and although Downey Jr. and Hiddleston as Iron Man and Loki respectively, were the stand out performers, not one of the actors and actresses in such a huge ensemble cast felt left out in any way. Fortunately for Age of Ultron, this formula is pretty much adhered to, even with the inclusion of a bunch of new characters, where, sloppy Russian accents aside, Olson and Taylor-Johnson as Scarlet Witch and Quicksilver are a fantastic addition to the MCU, whilst Bettany’s portrayal of The Vision was a wonder to behold, although there should have been a rain-check on that cape. No capes. Top marks for best newcomer however has to go to big baddie Ultron, magnificently voiced by James Spader, who walks away with the award for best CGI robot-thing in a MCU film so far, not only due to the stark realism of the characters’ presence on screen, but because Ultron felt like a proper character, someone who you could believe in, and someone you felt afraid to the bone of, something of which is rare in a lot of CGI characters.
With the first Avengers being one of the standout pictures in the MCU, Age of Ultron kind of needed to change direction, if only slightly, in order to sway away from the dreadful curse of being only “more of the same”, and the way in which Whedon and co. have decided to do this is to make Age of Ultron a much darker film than the first. Yes, the banter between the team is still rife as ever, but the darkness stemmed from Ultron himself, who came off as a much more cold and malevolent presence than I ever thought Loki was, as brilliant as he is as the bad guy of Asgard, to the whole sterialisation story of Black Widow, which was pretty damn depressing to say the least. In the case of Age of Ultron, the step into the dark-side worked and the threat of impending doom was always there, particularly in the final battle, cemented with the death of one of the supposed key characters of the Avengers, which although was teased throughout the film, had a sickening, yet cleverly finessed, twist to cap it all off.
Yes the film does have faults. The whole MCU cross-ins and cross-overs, mixed with interwoven stories and plot points would obviously be confusing to the lay movie watcher who just happens to have not seen any of the previous installments and decides to watch Age of Ultron, but my question to that person would be, why watch it without seeing at least the first Avengers previously anyhow? Even as a keen follower of the MCU (not the comics however), even I at times tend to get lost and confused regarding what Infinity Stone is what, who is where etc. etc. so the level of confusion for someone oblivious to the stories previous is going to pretty high. The film also had an awful knack or rushing certain plot points, with it sometimes just resorting to another jumping, action, blowing up scene, which is always good fun, but seemed a bit too much at certain points. I mean, don’t even get me started on what Thor did at the pond thing. I have no clue whatsoever. My usual moan of runtime however, cannot be adhered to this time, with the film’s 140 minute runtime surprisingly flying past, something of which hasn’t happened since last years’ Interstellar.
So in conclusion, yes, the film does have flaws, but the positives overwhelmingly outweigh the negatives, with a stellar cast being put to great use to continue the fun of the MCU which doesn’t seem to be in danger of crippling anytime soon. Is it better than the first? On first watch, probably not, but the beauty of a blockbuster is that there are a ridiculous amounts of chances to watch it again (I think it is showing 30 times a day in my local multiplex) and a second watch is something of which I am looking forward to already. Age of Ultron is a solid and spectacular farewell to the directorial duties of Joss Whedon too, who has supplied the Marvel fans with two of the finest superhero films of all time. Farewell Mr. Whedon. Its’ been emotional,
Overall Score: 8/10
Once again I’m back to feeling half my age, hyped up for the new Marvels’ Avengers: Age of Ultron movie where the cinema staff obviously did not want to calm me down when handing me a free action figure with my coke! But I digress, the film was amazing and was all I could want from an Avengers film, but that’s not to say there wasn’t a few disappointments. (SPOILER WARNING)
Let’s start with the first scene with the Avengers going against a Hydra base. I would have liked a bit of context on how all of the Avengers assembled (LOL), for example, at the end of Iron Man 3, correct me if I’m wrong but didn’t Tony Stark blow up all of his Iron Suits? Yet here he is flying around! Don’t get me wrong, I love Iron Man but just a bit of context would have been nice, unless I missed something.
Now, I don’t know if any of my fellow reviewers here on Black Ribbon watch Marvels Agents Of Shield, but it was awesome seeing Dr List and Strucker, the Hydra Villains at the beginning, which have been seen in the TV show and now appear on the big screen. Having Dr List introduce Quicksilver and Scarlet Witch fitted well with the back story of Agents of Shield, with Hydra kidnapping people with powers.
The interactions, mainly the wit, between the characters were in my opinion top class. The cinema audience laughed at the characters’ banter and gasped at the shock of the Vision handing Thor his hammer which made the film all that more enjoyable to watch. I did enjoy seeing some back story into Hawkeye and Black Widow which was well deserved and did lead me to anticipate one of their deaths but was gladly mistaken. I would have liked some more scenes with Quicksilver and Scarlet Witch where although you get a brief description of them telling Ultron about their past, it felt like there was very limited dialogue between them and the Avengers which I would have much preferred to see.
In terms of the fighting choreography, being an Avengers film I think we all expected some amazing action and I was not the slightest bit disappointed. All of the fights seemed original, well- paced and made full advantage of the surroundings. The combos between the characters were clever, however I would have liked if they mixed up the combination of characters. I lost count the number of times Thor did a combo attack with Captain America.
To me what makes a good action film is a good villain. In the case of Ultron, he is good and has character, despite being a robot. With an understandable motive and evil plan however I was slightly let down. In the trailers he seemed more malicious, giving off an evil Pinocchio vibe giving that awesome line “There are no strings on me” where just thinking about it gets me hyped up! However, in the movie he just felt less impressive but this could be due to him being out-shined by the Vision. I would have liked to see Ultron kill an Avenger with his hands or at least a bit more close quarters rather than random shootings with a helicopter. Sure he cuts off Klaw’s arm but who cares about Klaw? Hardly jaw dropping stuff!
Like every Marvel film there is always a teaser at the end of the credits and this time we see Thanos pulling out the Infinity Gauntlet saying “I will just do it myself”; F*!& yeah! This small clip has got me psyched up like a bat out of hell! I can’t even imagine the amount of carnage which is going to occur, however I am slightly worried about the new Avengers they showed at the end (War Machine, Scarlet Witch, Falcon) as they hardly seem like replacements for their predecessors but maybe I read that entire scene wrong.
I know I have listed many negative points throughout the review but believe me when I say this; I loved it and I’m very much tempted to go watch the film again which for me never happens. I loved seeing the character interaction between the huge roster of heroes with all of them getting a fair amount of screen time whilst the action scenes were creative and fast paced whilst showing constant humour, and all of this is setting up for another huge film in the future with Thanos. I’m sure most of you will go see this film regardless, however for those on the fence, go see this film!
Overall Score: 8/10
Created by the undeveloped mind of Luc Besson, Lucy appears on-screen. Sure, The Taken series is pretty cool. Terribly acted and the most generic storyline known to man repeated 3 times for money rather than filmmaking is the problem with it. Straight off the bat I was ready to tear into this wannabe Limitless. Unimpressed by the fact that they base the whole movie on the myth that we only use 10% of our brains (Busted by our favourite Mythbusters) and if we use higher percentages than that, we gain super powers. Unlocked by a synthetic drug, Scarlett Johansson is now super women. Granted super intelligence and ability to see “data waves” she can manipulate the world around her. Upon unlocking more of her mind, she gains more powers to manipulate the world around her. This whole idea is utter rubbish. I like sci-fi movies and super hero movies but this is ludicrous. It tries too hard to legitimise itself making it incredibly convoluted and the most boring piece of shite I’ve watched for many years.
There really is no plot to actually write about except that she wonders about using her powers to get the rest of the drugs. If she was so fucking smart, it would have ended 20 minutes sooner and we wouldn’t have had to go through one of the worst action scenes I’ve ever seen. Had the movie actually thought about what it was actually getting at, the outcome could have been plausible and engaging. So with no real story, what is left? How about acting? Yeah, um…
Scarlett, I love you with Marvel as Black Widow but this is just awful. As a character who is supposed to be emotionless (but somehow still has emotions…) your voice is as if you’ve given up on life (I don’t blame you with this script) and its excruciating to listen to. The scenes where you have emotions are so poorly acted, its as if you’ve never acted a day in your life and combined with the overall fuckery, it truly is a disgrace to watch such a star perform so poorly. I cannot stress this enough, if you’re going to use action, it needs to be fun, if you want to create something that uses sci-fi elements and A-list actors, you’re going to want to write a decent storyline and make sure they can act it! The acting isn’t just down to the main stars, the rest of the crew were just as bad. One particular Korean guy stands as the worst person I’ve ever seen on screen. You’ve probably seen him with the rocket launching sliding on his knees like he’s on stage with Motley Crue in the 80’s – awful hairstyle included.
I’m not doing a quicky review simply because I have other things to do or that I really cannot be bothered, this time, I’m so shocked as how bad this movie is, I really don’t know what to write. I would say that they were simply using both Morgan Freeman and Scarlett Johansson as crowd pleasers but the reality is that this will never work for this movie. I’m surprised it has the rating it does from the critics. To me, this movie wouldn’t even stand up as Sci-fi. Its poor quality and overly convoluted direction would turn Syfy pale if it was to ever appear on their channel. I wouldn’t bother wasting your money on this and suggest you experience something a lot more fun, perhaps Limitless or a drill bit to your testies. 5/10 for this one – Sorry Scarlett…
If you’re looking for a new movie to get your teeth into, Chef is going to be your cup of tea. Just be sure to bring plenty of snacks as you’re going to come out with the cravings of a pregnant mother to be. If it’s not clear, Chef is about a Chef called Carl Casper (Jon Favreau) whose known as one of the best cooks in one of the best restaurants in LA. With world renounced Food blogger; Ramsey Michel (Oliver Platt) ridiculing him and his work, the job becomes too much for him and he embarks on a journey from Miami to LA in an old Taco truck selling the most delectable Cuban sandwiches with the help of his friend Martin (John Leguizamo) and son Percy (Emjay Anthony) in a bid to bring back the meaning to his life and become the father he wants to be with the aid of social media.
So you’re probably wondering where the various big names come into play. Inez (Sofía Vergara) is Carl’s ex-wife and Percy’s mum. Inez’s previous husband; Martin, played byRobert Downey Jr. is a character that is irrelevant. Merely a seat filler whose only role in the movie is to hand over the taco van to our protagonist with a little comedic scene thrown in for good measure. Much the same can be said about Scarlett Johansson and her role as Molly the head greater and waitress who has had a relationship with Casper and then disappears of the face of the earth when the story develops. The loss of the characters and possibly story avenues left me questioning what could have developed and how heavily they were played upon by sexualising both of them simply to fill seats and bring a few of Favreau’s friends along to play. With the overpriced cameos, the acting was alright. I don’t feel that there was any exemplary cases especially considering that I’ve seen little of Favreau’s other acting projects to really decide if he was any good. My strong annoyance with many movies are young kid this is due to the fact that the children are typically terribly annoying characters and actors. Now, Percy was a little different. At times he was annoying as both a character and an actor yet the majority of the film he was fairly good.
Billed as a comedy, I was expecting a lot more from it in that department. What humour existed was light hearted and genuinely funny and was portrayed through interactions rather than the typical slapstick that we are usually inundated with so it’s refreshing to see something that isn’t trying to polish a turd. I’m looking at you James Franco. However, at points Chef doesn’t feel like a comedy. Drama seems to dark and adventure to extreme. Perhaps a family adventure summarises it best, much like Walter Mitty but with less daydreaming and world travel. The ambiguity of the genre is nothing in the grand scheme but perhaps its variation has allowed it to become individual.
The overall outcome of the movie works together brilliantly. With some gorgeously bright scenes and a huge variety of shots of the mouth-watering food with a blend of music that is catchy and aids in livening up the travel scenes. Then the additional social networking shots that include the Twitter bird flying off into the sky was a great extra! It’s genuine individuality and charming story alone is enough to warrant a watch and the comedy just increases that potential. Chef is a fantastic movie and deserves 8/10.
What did you think of Chef?