“I Always Told You. You’re Special. Your History Isn’t Over Yet. There’s Still A Page Left…”
Reissued to the big screen last year, Ridley Scott’s 1982 cult, science fiction classic Blade Runner is one of the greatest films of all time, period. Directed by a Scott on form of which has never been topped and beautifully designed through soaring cinematography and a world class Vangelis soundtrack, the cinematic adaptation of Philip K. Dick’s Do Androids Dream of Electric Sheep? is likely never to be topped within the genre of forward-thinking futuristic fiction. Treading with an air of trepidatious caution therefore, the release of Blade Runner 2049 is shackled with a the undeniable questioning of why a sequel was ever needed to a film laced with ambiguity and uncertainty twenty-five years ago, but with Scott being reduced to a production role only, a factor most fortunate considering the lack of mediocre releases from the American lately, and arguably the best filmmaker working at this moment in the form of Sicario and Arrival director Denis Villeneuve in charge, 2049 manages to create a heavy sense of confliction regarding its’ existence inside my cinematic mind. With a returning Harrison Ford, a grit-infused Ryan Gosling and the who’s who team of top class filmmakers, featuring the likes of Hans Zimmer and cinematographer Roger Deakins, 2049 holds the ace card for complete success, and what Villeneuve has managed to create is fundamentally a multi-million dollar art house inflicted masterpiece, one which expands the Blade Runner universe into expansive, lurid territory whilst simultaneously paying complete tribute to an original so beloved by many by coming oh so close to toppling the foundations of its’ predecessors unwavered supremacy as the masterwork of nightmarish, dystopian science fiction.
Whilst dissecting the details of the plot would be utter sacrilege, 2049 works as both a worthy continuation of the plot threads left over from the 1982 original and an organic beast in its’ own right, using the underlying narrative regarding the existence of replicants to a more than effective degree in attempting to piece together a story which both points to the past and propels into the future, with Ryan Gosling’s Agent K central to a narrative which combats its’ high-profile cast by giving each star a sharply defined character of notable distinction and interest, with Jared Leto’s Tyrell inflicted Wallace and Sylvia Hoeks’ Luv the standout characters of the piece. Concluding with all the ambiguity and uncertainty of the original, opportunity ultimately remains open for yet another sequel in the Blade Runner canon, yet with the care and delicate approach clearly given to its’ creation, 2049 seems more beneficial to remain solely as a chance to explore deeper the world originally created by Scott as a one-off, and whilst Villeneuve has the American to thank for handing him the chance to mould the Blade Runner world to his liking, the touch of a man who directed the woozy tranquility of Arrival is all over Blade Runner 2049, a film which revels in handing its’ audience a sense of exploration in attempting to piece out the satirical, sociological and thematic notions which are laid out on the screen, a screen which attempts to hold together images which evoke a sense of jaw-dropping awe when attempting to conclude how any living human could create such art. With amber-infused radioactive plains of a destroyed Las Vegas, the surrealist, art deco interior of Wallace enterprises, and the polluted airs of downtown Los Angeles, cinematographer and long awaited Oscar recipient, Roger Deakins, is at the top of his game, creating eye-widening spectacle after spectacle in helping Villeneuve establish the world in which the darkness and despair of the plot ultimately relies on, and whilst beauty has never been absent from the work of such a talented DP (the descent into darkness from Sicario and the sniper scene in Skyfall to name a few memorable shots), 2049 is undoubtedly the picture which will make the world stand up and proclaim Deakins as the undeniable master of his respective art form.
With Gosling’s Agent K on Drive territory, the brooding, bloodied body of his character is essential to the picture’s overt sense of dread which is played straight from beginning to end, and whilst the deliciously packed two hours and forty five minutes may seem a tad of a stretch to some, the film’s excesses never bothered me and even could have gone on further without a hint of objection or disdain. With a eye-watering budget at his disposal, it is quite remarkable how Villeneuve’s approach to 2049 is to completely follow the essence of the original in terms of both tone and feel, using long, sometimes drawn out sequences to enforce the eerie sense of isolation felt by the film’s leading characters, with the best moments sometimes utilising no dialogue or musical accompaniments at all, with the camera focused instead on how a particular character moves, feels or reacts to a particular scenario or plot development, with even Ford managing to be so much more than just a cast-off cameo in his return as Deckard, with a tense and almost Lynchian scene involving him and Leto’s Wallace a breathtaking example of each of the respective actors at the top of their game. With Hans Zimmer supplying the honking, synthy, Vangelis inspired soundtrack to completely encompass the film’s heart of darkness, the resulting chemical equation of putting together so many skilled filmmakers in the same room is rather quite staggering, with Villeneuve’s film managing to not only topple the lofty expectations set upon it, but also managing to portray science fiction cinema at its’ most beautiful and imaginative. Handed with the chance of the lifetime, Blade Runner 2049 is undoubtedly Villeneuve’s film, and with the Avengers style team of movie makers around him all working in complete synchronisation, the world can now finally see what it truly means to be a true sequel to film that never thought needed to be continued in the first place.
Overall Score: 10/10
“Okay, Now’s The Point When You Say It’s All A Joke…”
Remake. Reimagining. Reboot. Whatever. Of all the many psychological horror one-off’s in the world, Joel Schumacher’s 1990 cult flick, Flatliners, is indeed a movie devoid of all reasoning for such a continuation, and whilst the original had interesting ideas and a youthful, enthusiastic cast including the likes of Kiefer Sutherland, Julia Roberts and Kevin Bacon, the jury still remains out on why exactly a sequel is needed at all. With The Girl with the Dragon Tattoo director Niels Arden Oplev helming the similarly titled sequel this week, which from trailers alone, comes across as the bare-bones, cheap money cash-in many would expect it to be, at least there is some reason to be slightly excited, particularly with Oplev helming the likes of Mr. Robot and the somewhat mediocre, if stylish Colin Farrell starring, Dead Man Down since his success with the first of the Swedish-based Millennium series. Whilst it’s almost lazy to tarnish Oplev’s latest with all the obvious cliched quips, it is startling how much Flatliners is completely dead on arrival, with the latest Hollywood sequel lacking both pulse and heart as it only manages to succeed in making the original look like a forgotten cinematic classic.
Using the narrative of the first film to almost pinpoint exactness albeit for minor, lacklustre tweaks, Flatlines suffers fundamentally from the age old issue with sequels with it being a film which doesn’t attempt to build on the successes of its’ predecessor but simply decides to rehash the exact same ideas, and whilst there is an idea at the heart of Schumacher’s original movie which could be made into a thrilling exercise of science fiction, screenwriter Ben Ripley resorts to creating a sequel which attempts to be more Final Destination-esque in tone than the Black Mirror style of story the underlying narrative brings to mind. Whilst Ellen Page tries her best in the leading role, her untimely conclusion creates a vacuum of dullness in the film’s second half, one which utilises tiresome jump scares aplenty and hopeless horror to carry the story to its’ overstayed conclusion, and without a sense of threat and the element of mystery to hold the audience’s attention until the very end, Oplev’s movie is unfortunately a remake than simply cannot be revived no matter how much adrenaline charged substances can be shoved into its’ veins.
Overall Score: 3/10
“Manners. Maketh. Man. Let Me Translate That For You..”
Arguably being the director responsible for the rise of Daniel Craig as the world’s greatest British secret agent due to his successes with Layer Cake back in 2004, Matthew Vaughn’s successful trip with the Kingsman series returns this week with The Golden Circle, a star-studded action sequel which follows on from the fanfare of the first by being a film fundamentally addicted with the Bond series and all its’ many pleasures, but too a sequel which is primarily focused on the excesses evident within arguably the worst Bond films in the canon, releases which chose CGI surfing and invisible cars over any form of substance, and whilst The Golden Circle does boast a returning Colin Firth, Julianne Moore and Jeff Bridges, there is too few elements to enjoy within the space of a two hour-plus movie which follows the common trends of the sequel by being not at all in the realm of critical greatness as its’ predecessor. Whilst the first film did have a variety of flaws, including a crass, laddish undertone which attempted to derail the film completely, The Golden Circle goes one further in mediocrity and suffers fundamentally from elements which so easily could have been avoided, particularly when admiring the previous works of director, Matthew Vaughn.
Of the many elements which do not work, the chauvinistic, sexist portrayal of female characters which began slightly in The Secret Service continues to an extent within The Golden Circle, a particular flaw which makes Roger Moore’s treatment of women in his respective Bond films seem gentlemanly beyond belief. Whether it be a completely twisted and jarring scene of sexual spy implementation rape in a Glastonbury tent or the total lack of substance for characters portrayed by the likes of Halle Berry and Sophie Cookson, The Golden Circle is ran by a script which simply doesn’t care for its’ characters whatsoever, and with the return of Colin Firth after his death in the previous movie, the film suffers too from a complete lack of peril or fear due to the notion that a bullet wound to the head can simply be fixed by magical glue. With fight scenes a-plenty which are just CGI-fueled mania, Julianne Moore arguably giving her worst performance ever and Elton John popping up to add humour to proceedings, The Golden Circle is an absolute mess of a movie, but one which is somewhat redeemed by flashy editing, a cucumber cool soundtrack and a solid leading performance from Taron Egerton but ultimately a sequel which still manages to be the lesser body of work when compared to its’ predecessor. Shame.
Overall Score: 4/10
“Forgive Me, Father, For I Am About To Sin…”
Of all the contemporary horror franchises currently still running, The Conjuring universe is one which although isn’t as groundbreaking as many believe it is within the horror genre, still manages to succeed in some regard, primarily because of how much fun they are, with there always being enough effective jump-scares and spooky children to please the most mediocre of horror fans even when the plot lines are so strikingly familiar to horror enthusiasts. Whilst the cattle-prod approach of jump scare cinema isn’t at all what I deem as ingredients for a decent horror movie, the trope is becoming so well-worn in the current cinematic climate that to see horror films take any other approach is somewhat of a miracle, and whilst Annabelle: Creation isn’t exactly breaking the mould of what we have come to expect from the James Wan-led staple, the addition of Lights Out director David F. Sandberg alongside some enjoyably camp set pieces, the prequel/sequel to 2014’s Annabelle is good enough to warrant its’ existence, even when the narrative swings and overall themes don’t hold the tension and fear factor you expect from a classic horror.
With Sandberg in charge after his high-profile success with Lights Out, Creation is a movie which focuses extensively on the quintessential notion that darkness and the absence of light results completely in absorbing the audience into a state of fear, and whilst the spooky factor begins well for the first half of the movie, as soon as the movie shows it’s hand and reveals the rather clunky demonic presence at the heart of the movie, the tension does inevitably fall apart. With endless shots of lightbulbs either exploding or magically decreasing in strength, Sandberg’s abnormal obsession with such basic horror tropes does become rather grating come the ramped-up final act, yet for the first hour or so, the haunted house formula and multiple usage of camera angles which focus on either ambiguous presences or the rounded, creepy face of the titular porcelain doll are solid enough to keep the interest held, even when questionable decisions from our leading characters puts such comforts at some sort of risk. Creation isn’t a masterpiece, but I can safely say I was never bored and for the time it was on screen, Sandberg’s big budget debut passed the time nicely.
Overall Score: 6/10
“You’ll Never Be The Racer You Once Were. You Can’t Turn Back The Clock, Kid, But You Can Wind It Up, Again…”
With the likes of Inside Out and Zootropolis being superb recent examples of when Disney get it bang on in regards to releases from their animation platform, with the latter managing to proclaim itself as one of the few top marked films on this particular film review site, a healthy title if ever there was one, the release of Cars 3 is ultimately a bit of a downer, a sequel to one of Disney’s more middling franchises but too a film which undoubtedly will surpass many releases at the box office due to the nature of the prolonged six weeks summer holidays in which sweet-addicted children swarm your local cinema screening and make you cringe at their unwanted immaturity and annoying little booster seats. Bit harsh I know, but what we have with Cars 3 is ironically a solid entry into the ever-expanding Disney canon, a film which takes no time at all in laying the groundwork for the narrative ahead, with its’ sweet, harmless tone offering more than enough spectacle for the young at heart. whilst an effective array of jokes prove that there is more enough chewy material to satisfy the adults, even when the plot does fall into the realm of cliche and over-sentimentality at times.
Suffering from the inevitability of old age and facing the threat of newer, faster racing vehicles including the likes of the Armie Hammer voiced, Jackson Storm, Owen Wilson’s Lightning McQueen begins to question his suitability on the race track, and with the legendary racer potentially facing the unwanted exposure of falling into past history, McQueen teams up with Cristela Alonzo’s wannabe-racer Cruz Ramirez and Chris Cooper’s legendary racing trainer, Smokey, in order to get back on track and finally overcome the presence of the egotistic Storm. With flashy colours and an explosion of jet-waxed colours from beginning to end, Cars 3 ticks all the boxes in what you would expect from a Disney animation sequel aimed primarily at kids, and whilst the narrative is somewhat obvious and cringey at times from an adult point of view, the smart-witted dialogue and joyous concluding act proves that the film’s existence does hold more than just being that film that you take your kids to see. Whilst the money will keep on rolling and the spin-off merchandise will keep on selling, the concluding edge of the narrative does suggest we have seen the last of the Cars franchise for good, but with Disney not exactly shying away from a quick buck at times, you can’t take anything at face value these days.
Overall Score: 6/10
“I Did Not Start This War. I Offered You Peace. I Showed You Mercy. But Now You’re Here. To Finish Us Off. For Good…”
Although the original Planet of the Apes movies are films in which I can apologetically state I have never, ever seen, with not even the woefully panned, Mark Wahlberg starring Tim Burton version being at the forefront of my mind in terms of movie catch-up, 2011’s Rise of the Planet of the Apes was a thrillingly satisfactory reinvention of the famous franchise, using the motion performance mastery of Andy Serkis in creating arguably the most effective digital character of the 21st century in Caesar, (Yes, I know, Gollum is probably more iconic) resulting in a duo hit rate of success with both critics and audiences and ultimately leading to where we are today. After continuing the success of Rise with the Matt Reeves directed, Dawn of the Planet of the Apes, an adventurous, if rather flawed blockbuster sequel, Reeves returns this week with War for the Planet of the Apes, a third instalment of the Apes franchise before setting out and directing that film about that geezer in a cape who likes bats. With spectacle in abundance and an emotional yet wholly bleak narrative at its’ core, War is the best of the 21st century Apes franchise so far, combining perfect and sometimes staggering motion capture with top-notch performances and an array of cinematic nods which result in Matt Reeves offering the most effective slice of blockbuster brilliance so far this year.
Following on from the events of Dawn in which the Human/Ape battle is entirely in full swing due to the actions of the treacherous Koba, War begins with a particularly spectacular opening set piece, one which sets the dark and violent tone for the narrative ahead and one which builds the foundations of Caesar’s decision making in his battle against the psychopath figure of Woody Harrelson’s The Colonel. Whilst the 12A rating will open the film up to an extended audience, including the possibility of kids, War is no means a completely joyous ride, with the narrative undeniably melancholic and sometimes masochistic in its’ portrayal of the conflict between the two opposing sides, whilst the death count on-screen rivals pretty much any top-end blockbuster release within recent years or so, yet with so much darkness and dread encompassing the story, the concluding act feels almost like a substantial reward for an audience who feels every inch of the pain our leading ape has to go through in order to save both his family and his race. With winking nods to films such as The Great Escape and Apocalypse Now, with the latter’s influence clearly stated halfway through the action, War is boosted by the quite brilliant digital effects, effects which completely have you believing in the fictional characters on-screen and effects which showcase once again Andy Serkis for the genius he undeniably is. Grimy, grungy and gargantuan in scale, War is an excellent example of a character-based blockbuster and a movie which is made with such care and intelligence, you leave the cinema only wanting more.
Overall Score: 8/10
“Face It, Gru. Villainy Is In Your Blood..!”
Much like Transformers and even the MCU, Illumination Entertainment is the kind of film company that know the key to success in terms of financial revenue, and whilst expansive items such as The Secret Life of Pets wasn’t exactly received perfectly by the likes of myself and other, more famous film critics, the company know which one of their little darlings will always attract the younger generation and their parents’ hard-earned dollar. MINIONS! Returning in their animated form with Despicable Me 3, the famous yellow coloured dumplings take the backseat somewhat after their success within the standalone entry Minions in 2015, paving way for the return of the Steve Carell voiced Gru, the bad-guy-turned-good who this time faces up against the long lost presence of twin brother, Dru Gru in a reunion which sets the basis for a movie which knows what to do in order to make most of its’ animation-loving audience happy. With slapstick galore and some rather hilarious characterisation of the film’s leading villain, Despicable Me 3 is a solid enough threequel, and a movie which uses the appeal of the Minions to undeniable effect.
Released side by side with the likes of The House, the comedic arsenal of Despicable Me 3 makes the film look like an animated Annie Hall in comparison to Will Ferrell’s woeful excuse for a mainstream comedy, and whilst it is true that watching minions read out the yellow pages would probably be an entertaining pastime in itself, the unparalleled addiction of admiring the existence of their particular race is undeniably the best element about the Despicable Me series and whilst they somewhat play second fiddle in this particular entry, the moments they are on-screen are definitely the strongest. Add into the mix a villain with a penchant for shoulder pads, disco balls and a jukebox soundtrack which features everything from Madonna to Dire Straits, DM3 is a surrealist bag of kooky wackiness, using the animated platform to construct characters and sets which I couldn’t help but laugh at, with the best being the inclusion of a pig-infested Freedonia in which cheese is supplied and eaten between moments of courting. DM3 is actively funny enough to warrant its’ existence in the Despicable Me franchise and whilst the narrative is somewhat predictable and uninspiring at times, sometimes you have just got to leave your brain at the door and admire the madness on-screen. BANANA.
Overall Score: 6/10
“The Imminent Destruction Of All We Know And Love, Begins Now…”
Whilst overly long blockbuster movies are indeed not exactly anything original, it does take the patience of a saint to be able to sit through and enjoy most of Michael Bay’s most recent cinematic exploits, and whilst The Rock and Bad Boys prove that sometimes Bay does manage to create something which although is undeniably stupid, is too a whole bunch of fun, his annoyingly pompous stamp on the Transformers series proves without a doubt that fame and fortune is the only thing on the mind of its’ creators, particularly when the series just doesn’t seem to be slowing down in terms of worldwide and domestic gross. Clocking in at a staggering 149 minutes however, a runtime which is actually generously measured when put up against previous Transformers entries, The Last Knight is stated by both Bay and leading star Mark Wahlberg to be the final entry into the CGI-fuelled, overlong, action franchise and with that in mind, there is a sense of joy heading into the cinema knowing that this may indeed be the last time to witness Bay’s live action interpretation of Hasbro’s famous plastic toy range. Unfortunately, yet rather inevitably, The Last Knight is not exactly a movie which can classed as anything remotely joyful, with Bay successfully managing to create the most insipid, boring and woeful excuse for a blockbuster in years. Wait a second while I just clear my tinnitus.
Although narrative and plot are never usually at the forefront of most Transformers movies, The Last Knight actually revels in the fact that there simply isn’t a story to be told. Whilst something about King Arthur, Merlin and some ancient, historic sword attempts to linchpin the movie together, Bay’s latest makes Batman v. Superman look like a picture-book example of coherent A to B storytelling, with the movie too often more interested in endless explosions and placid CGI to really offer anything for the audience to really sink their emotional teeth into. Aside from a woeful narrative, epileptic editing and a cash-hungry supporting cast including the likes of Sir Anthony Hopkins, The Last Knight suffers from two inexcusable elements which simply make the film a painful exercise of patience. Firstly, the length. Not many films earn the right to be 150 minutes plus and whilst The Last Knight may be one of the shorter Transformers offerings, my sweet lord do you feel every single second of its’ sheer awfulness, with each passing minute ripping your soul apart as you slowly lose hope in the future of cinema as we know it. Secondly, and perhaps more importantly, the 12A rating slapped onto the movie encourages kids to go and see it, albeit with their parents, and whilst the action and spectacle may keep many wildly entertained, the constant use of unnecessary expletives and ripe sexual references make this supposed “kids” movie a poison chalice of misjudgement, and a movie which although may succeed in taking shed loads of money, will surely not satisfy even the most hardcore of Transformers fans. An explosive mess of a movie, The Last Knight is worthy of complete avoidance. Don’t take the risk.
Overall Score: 2/10
“You Have Been My Greatest Love. Be Careful, Diana. They Do Not Deserve You…”
Whilst many audiences could be forgiven for experiencing a somewhat turgid time at the cinema within the summer period, suffering from a duo hit of remakes and sequels amidst an air of superhero fatigue, particularly within a year in which the two major forces in the form of DC and Marvel Comics are warring face to face in a contest which rivals the Battle of Helms Deep for sheer epic eventfulness, with more films than ever being released which focus on big-screen adaptations of everyone’s favourite literary heroes. Whilst Marvel waits on hold for the time being, with Spider-Man: Homecoming set for release next month, the ball is currently in DC’s court this week with the release of Wonder Woman, the fourth entry in the so-far much maligned DC Universe, but more importantly, the first real big-screen adaptation of the Amazonian Queen and the first superhero film since Elektra to be solely focused on a leading female character. Adding to the winning formula, Patty Jenkins, director of the Oscar winning serial killer drama Monster, takes the lead of a movie which holds so much in attempting to add a sense of integrity into a franchise which has been slowly dwindling in the shadow of Marvel’s many successes. Thankfully, Wonder Woman is indeed a winning return to form for DC, taking a brilliantly cast leading star and working with a script which adds an element of fun and adventure back into a series which has been sinking into the shallow depths of despair.
Whilst her introduction within the mighty mess of Batman V. Superman was overly rushed and ineffective, Wonder Woman perfectly crafts a backstory for a character who to most audiences may be completely alien, with WW possibly being the first time understanding the nature and background of such an infamous leading comic character. With Gal Gadot in the leading role, the DC Universe has finally hit the first mark in terms of casting, putting to shame recent debacles such as Jesse Eisenberg’s Lex Luther and Jared Leto’s overly wasted Joker, with her physical ability and enviable natural screen presence adding organic depth to a character who is represented more than adequately in Gadot’s shoes. Pairing up with the always reliable Chris Pine, the narrative does reek somewhat of similarity at times however, using the first half of the movie to generate backstory whilst using the latter as a chance to once again conclude with a staggeringly dull CGI boss battle, yet the comedic element which rips throughout the dialogue is effective enough to combat a two hour plus running length, a decision perhaps primarily based upon Marvel’s successes in mixing action, drama and comedy within most of their many releases. If Wonder Woman is the direction in which the DC Universe is heading, sign me up for more, and whilst Jenkins doesn’t really offer anything particularly new to the superhero scene, the brilliance of Gadot in the leading role is the best thing DC has done since Nolan was around. No, it’s not The Dark Knight by a long shot, but Wonder Woman is still a success.
Overall Score: 7/10
“Find Jack Sparrow For Me And Relay A Message From Captain Salazar. Tell Him: Death Will Come Straight For Him…”
Praise be and grab your rum of choice, it is indeed that time once again. After believing that the Pirates of the Caribbean franchise had sailed its’ last sail with On Stranger Tides, a third sequel to Curse of the Black Pearl, Disney’s flagship theme park based series swiftly returns this week with Salazar’s Revenge or perhaps, Dead Men Tell No Tales, depending on where exactly you will be spending your hard earned cash in order to witness the newest CGI orgy of famous actors dressing up like second year university students hitting the town and pretending to act serious when shouting “arghhh” and battling invisible, digitally created cannon fodder, all of whom are eager for disposal by death. Holding my frightfully cynical tone for a moment, the release of Salazar’s Revenge might controversially be the film which reinvents my opinion of the gargantuan series, and even with expectations as low as the depths of the pacific ocean, the addition of Norwegian directorial pair Joachim Rønning and Espen Sandberg alongside the ever reliable presence of Javier Bardem is a cause for cautious optimism, particular with the latter’s ability to carry off a damn fine villain when necessary. Inevitably, Salazar’s Revenge instead is yet just another CGI-fuelled bore-fest, one which trades set pieces for narrative and acting ability for budget costs within a skin peeling two hours which confirms the series has indeed sunk to the depths of mediocrity without any sign of resuscitation aboard.
Whilst the film centrally is based around the retrieval of a mysterious object which breaks every and any curse laced upon the many characters within the Pirates universe, Salazar’s Revenge also has to try and squeeze in the titular character’s quest for violent justice, with Javier Bardem’s CGI-masked villain setting his sights on the figure of Johnny Depp’s Captain Jack Sparrow, a Captain Jack Sparrow who has seemingly worsened in every subsequent movie, resulting in a performance which has increasingly become a caricature of itself in an almost cringe-like fashion. With a script which is laced with cheesy and ear-grating dialogue, Depp has finally managed to confirm that his time in the spotlight as the world’s worst pirate must finally come to some sort of a dignified end, and whilst the inclusion of Orlando Bloom and a completely silent Keira Knightley could leave some fans jumping for joy, the return of their respective characters adds absolutely nothing to the overall enjoyment of the movie. Alongside some terrible sound editing and a complete lack of threat, Salazar’s Revenge is unsurprisingly a meaningless, dull affair, one which continues the woeful track record of blockbusters this year and a film which rivals David Beckham for worst cameo of the year so far. I mean, Paul McCartney, what are you thinking?