“We Have To Do Something And We Have To Do It Now…”
With the release of Unfriended back in 2015 one of which here at Black Ribbon was welcomed with warm, open arms and a sense of pride that the long-standing genre of horror found-footage was beginning to explore wilder and more contemporary avenues of storytelling, a sequel was something of which that did seem rather unwarranted and strange considering the undeniable one-trick pony effect of seeing a particular gimmick once may actually be more than enough the first time around. That aside, as per the conventions of modern cinema, monetary issues undeniably talk and here we have this week, Unfriended: Dark Web, a continuation of the found footage format which sees a group of unsuspecting youths being pawns in a murderous game of technological blackmail within a sequel which this time decides to drop the supernatural element of the its’ predecessor and instead focus more so on the seedier side of the web and social media with a more realistic approach, and whilst Dark Web may not be as fresh or as creepy as the body of work the movie follows on from, the latest Blumhouse Productions release is still an interesting and engaging hard-edged thriller.
With the release of the highly entertaining Searching this month bringing the cinematic format utilised by the original Unfriended to a wider audience, it seems strange to find two releases within a short time-span to focus on stories told predominantly upon the technological screens of our leading heroes, and whilst Searching was a paranoid ridden thriller which edged towards a sense of cheesiness as it reached its’ conclusion, the film’s sense of danger and threat perils in comparison to Dark Web, with its’ unrelenting bleakness and cold-hearted treatment of its’ characters particularly cruel, harbouring a violent and dark sensibility which echoed the likes of The Belko Experiment. With a screenplay which includes a wide range of technological jargon and geeky terminology, it is to the film’s credit that you never become lost or left behind as the film moves forward through plot twists and inevitable deaths, and whilst at times particular narrative resolutions aren’t entirely convincing, director Stephen Susco does utilise the talents of the film’s young cast to provide some solid performances which paper over the cracks which often appear, and whilst Dark Web strangely seems to leave the common jump-scare tactic of horror movies behind, its’ focus on the seedy and the uncanny result in the movie being a sequel which attempts something fresh and just happens to succeed.
Overall Score: 6/10
“You Can Do It. You Can Do Anything. You’re The World’s Greatest Grandma…”
Tasked with being the first Marvel release to follow on from the universally accepted awesomeness of Avengers: Infinity War, Peyton Reed’s second instalment of Scott Lang/Ant-Man’s own MCU journey hits cinemas this week, reuniting audiences with a large proportion of characters from 2015’s excellent origin story as it delves deeper into the notion of the quantum realm and the hopeful return of Michelle Pfeiffer’s (mother!) Janet van Dyne, the original embodiment of The Wasp who was lost many years ago in order to save the world from nuclear disaster. With a zippy pace and a childish playfulness which parallels completely with the two preceding Marvel releases within 2018, Ant-Man and the Wasp undoubtedly falls into the MCU category of “great fun but not particularly necessary” alongside previous examples such as Thor: Ragnarok and Spider-Man: Homecoming, and whilst come the closing credits Reed’s movie falls down under the weight of much better entries within the ever-expanding Marvel Universe, the razor-sharp comedy and fundamentally likeable characters at the heart of the drama all succeed in making Ant-Man and the Wasp a thoroughly enjoyable throwaway superhero ride.
With the Bond-esque sensibility of Black Panther and the gargantuan epic space opera of Infinity War proving to be two of the strongest entries within the MCU so far, it’s fair to say that Reed’s latest follows closest to that of a down-and-out comedy, one which stays well away from the R-rated expletives of Deadpool to keep within the remit of 12A rated family friendliness, but also one which feels comfortable poking fun at not only its’ titular character’s fundamental absurdity but the genre itself, with a bundle of well constructed gags eager to please casual and die-hard MCU fans alike. With each of the primary cast all thoroughly enjoying themselves, the dryness of Michael Douglas’ aged Hank Pym mixed in with the brilliance of a Paul Rudd who seems to have been born for the leading role offers the chance for constant giggles, a feat not undone when the movie switches to a more dramatic tone in order to introduce not one, but two leading villains in the form of Hannah John-Karmen’s (Ready Player One) Ghost and Walton Goggins’ (The Hateful Eight) excellent arms-dealing criminal, Sonny Burch. With the action and spectacle offering a much more expansive usage of the shrinking technology utilised by the movies’ heroes, a concluding car chase wraps the film up nicely, leaving the tone of the film within the up-beast positivity in which it began, and even with a post-credits sequence which ties into the mould of the universe set up within Infinity War, Ant-Man and the Wasp is an MCU movie which is undoubtedly great fun, but one which too feels oddly irrelevant considering the dramatic turn the franchise has taken in wait for next year’s concluding arc to the MCU as we know it.
Overall Score: 7/10
“The End You’ve Always Feared Is Coming. It’s Coming, And The Blood Will Be On Your Hands…”
With screenplays for the likes of The Usual Suspects and Edge of Tomorrow on Christopher McQuarrie’s cinematic CV, it seemed only natural that McQuarrie would soon helm the US’s most longstanding and successful contemporary action franchise, where the transition from sole screenwriter to director has formed a winning partnership with Tom Cruise since the release of Jack Reacher in 2012 and the critically acclaimed Rogue Nation three years later. Returning to the fold this week with Fallout, the sixth Mission: Impossible release, McQuarrie reunites with the majority of his cast from Rogue Nation including Rebecca Ferguson (Life), Simon Pegg (Star Trek) and Alec Baldwin (The Departed) as Cruise’s Ethan Hunt is tasked with retrieving stolen plutonium cores before they fall into the hands of “The Apostles”, a terrorist cell with connections to “The Syndicate”, the primary antagonists from Rogue Nation which featured Sean Harris as their treacherous and anarchic leader. With spectacle in abundance, a barrage of breathless action sequences and an editing pace which holds your head in a storm of jaw-dropping disbelief, Fallout is the ultimate summertime blockbuster, an action movie which mixes style and substance as the best genre movies always do and a shining example of how a series can expand and improve when made with such precision and expertise.
With the franchise in general being more and more renowned for Cruise’s lust for practicality when it comes to stunts and set pieces, Fallout features some of the series’ best examples yet of Cruise at his most insane and death-defying. Whether it be a high-speed The Dark Knight inspired vehicle heist, a Casino Royale and Jason Bourne-esque rooftop chase, or a concluding aerial helicopter pursuit which channelled the opening act of Sam Mendes’ Spectre, Fallout perfectly blends the lines between fiction and reality, offering high-octane action on a constant basis in front of beautiful cinematography by Rob Hardy (Ex Machina, Annihilation) which makes you question how exactly a film which sees Cruise being put through the absolute wringer can be made without an over-reliance on digital effects. With an opening thirty minutes which does strangely drag after being bulked down with a crescendo of generic spy-genre exposition, Fallout isn’t perfect but is undoubtedly saved by the remaining two hours which provide a cracking amount of evidence for being the best example of the genre since Mad Max: Fury Road, and with Cruise and co. so obviously enjoying exploring the capacity for how far the action genre can be pushed to the limit before certain death, from an audience perspective, long may it continue.
Overall Score: 8/10
“It’s Time To Make Some Wrong Things Right. Help Me Bring Supers Back Into The Sunlight…”
With the likes of Inside Out, Zootropolis and this year’s Coco categorically proving that the twentieth century has been open ground for a wide range of superb animation releases, the much anticipated return of the power-inflicted Parr family in Incredibles 2 after a prolonged fourteen year wait since their first appearance on the big screen back in 2004 mightily continues the winning streak which Disney is currently relishing in. Directed and written by Brad Bird, the brains behind the original, whose ventures in between the two films have included the rather enjoyable Mission Impossible: Ghost Protocol and the not so enjoyable Tomorrowland, Incredibles 2 is a uproariously entertaining animated blockbuster, one which attempts to balance two separate story-lines as it revels in reverting particular familial stereotypes and one which ties into the conventional superhero mould by blending action spectacle with an abundance of rib-tickling humour, and whilst at times the twists and turns are rather unsurprising and the movie carries an overall feeling that two hours is far too long for most movies, let alone an animated feature, Brad Bird’s fourteen year project in the making does have flaws, but thankfully the many positives result in his latest feature being a damn fun ride.
Ditching the real life time gap and picking up three months after events of the first film, Bird’s screenplay sees the Parr family attempting to rebuild their life after the outlawing of superheroes, and with the help of Bob Odenkirk’s (Breaking Bad) Winston Deavor, a superhero-loving millionaire, the matriarchal figure of Helen Parr/Elastigirl (Holly Hunter, The Big Sick) is placed front and centre of a scheme to reintroduce powered saviours back into favour of the world’s ever-watching eyes. With Helen’s absence therefore, the job of stay-at-home parent falls to Bob Parr/Mr. Incredible (Craig T. Nelson, Gold) who attempts to juggle the stress of managing his three children and wife’s new found success alongside the threat of the ominous Screenslaver, a tech-savvy terrorist type whose intentions seem to be aimed towards the newly popular band of superheroes. Jumping in and out of the two main narrative strands throughout the course of the movie, the primary superhero plot involving Elastigirl and her discovery of Screenslaver is solid enough fun, incorporating flashy and bright action set pieces including a high speed monorail chase and some epilepsy inducing boss battles, however the real winning streak of the movie falls in events back home with Mr. Incredible, particularly in the discovery of infant Jack-Jack’s new-found powers, an extended gag which offers a wide range of set pieces which genuinely land up there with some of the best on-screen comedy I have ever seen. With eye-catching animation, a heartfelt centrepiece message at the centre of the story and a heavy balance of enough there to fulfil both child and adult audiences alike, Incredibles 2 isn’t exactly groundbreaking, but it offers enough of a good time to be more than worth a visit to see its’ ravishing pleasures.
Overall Score: 7/10
“If We Want To Save Our Country, We Must Release All Our Anger In One Night…”
With The Purge: Election Year correctly signalling the conclusion of a trilogy which had already outstayed its’ welcome after a triage of films which never really managed to balance the interesting socio-political ideas at the heart of the series with effective elements of horror, even if some of the genre-inspired masks were actually quite creepy, for reasons which can only be regarded as monetary, here we are once again with The First Purge, an unwarranted series prequel which showcases the events of the first ever Purge-related experiment as the idea is authorised for testing within the area of Staten Island, New York City. Written and produced by series stalwart James DeMonaco, who this time takes a backseat from directorial duties and instead hands the reigns to Fruitvale Station producer, Gerard McMurray, The First Purge is a languid, pointless and utterly worthless work of gratuitous nonsense which falls into the trap of its’ predecessors by simply exploiting its’ fundamental notional cornerstone in favour of graphic violence which is eagerly presented without any real sense of meaningful purpose, and even when the same can be said at times for the preceding three movies, McMurray’s take is the first entry to miss the mark in astronomical fashion.
With newcomer Y’Lan Noel’s Dmitri portrayed as the central hero of the piece, a character who earns his money through exploiting a poverty stricken community via drug dealing and murder, it’s fair to say that in terms of the movie’s sense of peril or threat, the radar lands on a resounding zilch, and even with the inclusion of Lex Scott Davis’ morally central, Nya, and brother Isaiah, as played by Joivan Wade (Doctor Who), the chance to break away from the two-dimensional characters in which the actors represent is never offered, resulting in a movie which is tonally cold and utterly un-engaging. With the movie also struggling to contain a lid on the various tonal strands it embarks on, with elements of horror, action and unwarranted comedy all jumbled together like a cinematic equivalent of spin art, the constant and untimely gags end up feeling jarring, with a scene of a sexual assault in particular concluding in a chuckle-some Trump-targeted pop which literally had my mind exercising somersaults of disbelief. With Marisa Tomei (Spider-Man: Homecoming) being criminally underused in favour of happy-go-lucky drug dealers and endless cheap jump scares, The First Purge is a wasted opportunity to represent the series with a new, interesting light, the type of movie which ironically enough, should be purged from our cinema screens as violently and quickly as possible.
Overall Score: 3/10
“You Wanna See This Thing Through? I’m Gonna Have To Get, Dirty…”
With Denis Villeneuve showing a wider audience what was to come of his expert film-making prowess back in 2015 with Sicario, a expertly crafted, white-knuckle thriller which laid the basis for the similarly masterful Arrival and Blade Runner 2049 in terms of what the French-Canadian could achieve with the right backing, arguably the more impressive element of the feature was Taylor Sheridan, an American most famous at the time for his stint on Sons of Anarchy but whose screenplay for Sicario was both smart and compelling, one swiftly followed by equally impressive screenplays for both Hell or High Water and Wind River, capping off a trio of superbly written movies. each with a dedicated lust for heavy doses of substance and style in equal measure. Returning to writing duties again for the eagerly anticipated Sicario sequel, subtitled Soldado, the absence of Villeneuve means Italian director Stefano Sollima (Suburra) takes charge of a movie which continues the oppressive, ominous tone of the original whilst working through a genuinely thrilling narrative, one which sees the return of Josh Brolin (Avengers: Infinity War) and Benicio del Toro (Star Wars: The Last Jedi) as Matt Graver and Alejandro Gillick as they attempt to orchestrate a war between the Mexican cartels after they are seen to be aiding agents of ISIS cross the border in order to carry out their destructive message, and whilst Soldado doesn’t entirely hit the heavy heights of its’ near-perfect predecessor come the end credits, Sollima’s movie is still an unnerving, powerful work of war at its’ most darkest and lawless.
Beginning with a catalogue of terrorist related events, including a jaw-dropping and horrific supermarket explosion in which the camera lingers closely from outside through every familiar step of contemporary terror, Soldado quickly re-introduces the reunion of Graver and Gillick as they are handed the freedom to do as they please in order to combat the ever-increasing Mexican cartel presence on the US-border which has now taken extra precedence due their involvement in potential terror activities. With a central narrative which sees the kidnapping of the young, spoiled daughter of a renowned Mexican cartel boss, one which ultimately results in in-house allegiances being put to the test, Sheridan’s screenplay also follows closely the exploits of newcomer Elijah Rodriguez’s Miguel as he crawls up the ranks of the cartel’s people smuggling operation, and whilst the sequel doesn’t entirely hit the brooding, ambiguity which drove through the entirety of its’ predecessor up until the very end, the tight-knit, unbearable tension does manage to completely follow over, rearing its’ head throughout a high proportion of a movie which aside from one sarcastic aside, primarily holds its’ tone as completely and utterly serious. With a Michael Mann-esque, militaristic sensibility which sees countless shots of rampaging army vehicles cruising across the vacant, perilous landscapes of the US/Mexican border, Soldado is wickedly spectacular in its’ approach to action set pieces, with the piercing sound of bullets echoing the overripe mixing of Christopher Nolan’s Dunkirk merging spectacularly with endless cinematic screenshots of whirring helicopters, over-head drones and enough firepower to start and end a small coup.
With the inclusion of much more lusciously orchestrated action scenes second time around, the question remains whether the overall screenplay deserves such luxuries, and even as an overall body of work Soldado doesn’t piece together as tightly or rigidly as Sicario, with particular crucial plot threads concluding rather suddenly without any real sense of full-blooded purpose, the avenues which Sheridan’s writing takes us undoubtedly suits the bleak mould of the series, particularly in the movies’ penchant for gut-wrenching murder sequences and a concluding near-death experience which undeniably ranks up there with one of the more brutal character arcs in recent history. With Brolin and del Toro on superb, angst-ridden, macho-growling form, with the latter having much more space for a deeper layer of examination this time around as his character’s uncertain, ambiguous nature is slowly scraped at and given light, young Isabela Moner (Transformers: The Last Knight) as the similarly tough Isabela Reyes gives an equally impressive performance as the daughter of the cartel boss responsible for the death of Alejandro’s wife and daughter. With a bruising, battling, war torn sensibility which is as tough at times as it is riotously engaging and enjoyable, Soldado is a sequel success story which both pays homage to its’ predecessor with utmost respect whilst developing its’ characters in fascinating ways, and with the possibility of a third film coming to nicely round the series off as a trilogy, one can only query how much further Sheridan can continue his winning scripture streak.
Overall Score: 8/10
“These Creatures Were Here Before Us. And If We’re Not Careful, They’re Going To Be Here After…”
With Colin Trevorrow’s Jurassic World managing to take an eye-watering amount of cash at both the worldwide and U.S domestic box office back in 2015, a sequel to the return to all things dinosaurs was rather unsurprising and expected giving the current cinematic climate, and with Fallen Kingdom adding to the already mind-blowing array of big-screen blockbusters within the past six months, 2018 seems to be the year to beat in terms of record breaking ticket sales. With Trevorrow taking a step back from directorial duties for the time being, with the American reduced to executive producer before returning to the director’s chair for the third Jurassic World instalment in 2021, The Orphanage and A Monster Calls director, J. A. Bayona takes control of a middle trilogy entry which remains high on gorgeous spectacle and charismatic characters, but one too which is aching for any meaningful level of substance, but with a flashy, beautifully designed catalogue of reincarnated dinosaurs and a riveting potential set-up for Jurassic World part three, Fallen Kingdom is a popcorn-induced exercise of cinematic box-ticking which becomes more rewarding the less you examine its’ rather obvious many faults.
With the movie sweeping towards you with a break-neck speed from the outset, the frenetic pacing of the piece provides quite obviously a film which may have benefited from being broken in two, with the first hour dedicated to a return to Isla Nubar, the titular home of the Jurassic Park franchise, for the basis of a rescue operation after the introduction of previously inactive volcano which is set on eradicating all life on the island, and the second hour a hammer-horror style exaggerated set-piece which sees the newly created Indoraptor wreak havoc within the confines of a mansion where the richest of the rich have come to exploit the now captured prehistoric beasts. With characterisation out the window and the emphasis instead on set pieces, Bayona’s movie attempts to juggle a wide range of interesting notions, ranging from animal rights to the strange inclusion of human cloning, amidst continuous destruction in order to both add something original and stay faithful to audiences who come to just see dinosaur mayhem on-screen, and whilst the end result is messy, the attempt can at least be applauded, particularly when some of the more downright horror inflicted elements of the movie work rather efficiently. With a handful of gorgeously executed shots, including the sight of a sole dinosaur being swollen up by the darkness of an on-shore volcano and the biggest survival downhill run seen in years, Bayona’s take on the Jurassic World franchise is admirable and engaging enough to paint over the creases, and with a tantalising premise hinted at during its’ conclusion, Fallen Kingdom is undoubtedly the middle act of a wider scheme which does its’ duties well enough to suit the generic movie-going audience eager for some explosive digital dinosaur action.
Overall Score: 7/10
“Doing The Right Thing Is Messy. You Want To Fight For What’s Right, Sometimes You Have To Fight Dirty…”
With Avengers: Infinity War concurring global box office domination for the past four weeks or so, it seems only fair that another highly anticipated superhero sequel should try and chip at the financial willingness of a 21st century, comic-hungry audience, and whilst that sequel this week is of course Deadpool 2, it comes at no surprise that Marvel, and more unsurprisingly, Disney, feel the need to make even more eye-watering sums of cash with yet another hot release. I mean come on, it almost feels like yet another Star Wars should be coming out soon, right? Right? Swapping mass universal destruction and gut wrenching superhero genocide for the 15 rated oeuvre in which 2016’s Deadpool graced its’ successful presence, Deadpool 2 swaps original director, Tim Miller, for Atomic Blonde and unaccredited John Wick director, David Leitch, as it attempts to build on the meta-referencing, fourth-wall breaking shenanigans of its’ predecessor and proving the joke of R-rated comic book carnage isn’t as one note as one might expect. With the original Deadpool described in my own review as “not amazing, but enjoyable nonetheless” and a movie which “goes in one ear and carves its’ way out the other in the most violent and adolescent way possible”, it’s ironic how such sentiments echo the feeling of its’ sequel, a movie which takes the Guardians of the Galaxy Vol. 2 approach of playing to its’ predecessors strengths and attempting to expand upon them to successful degrees, and whilst Vol.2 never was going to match the success of its’ respective predecessor, Deadpool 2 does manage to complete such a task and whilst Leitch’s movie still isn’t on the same level of excellence as other Marvel alternatives, it’s still a expletive laden ride.
With Ryan Reynolds (Life) returning as the invincible and titular figure of Wade Wilson, the added inclusion of 2018’s man of the year, Josh Brolin, as the time travelling, futuristic cyborg killer, Nathan Summers/Cable, is undeniably one of the more pressing reasons for the sequel’s existence, but with Brolin’s superbly crafted digital performance of Thanos in Infinity War setting a new bar for superhero villains, it’s surprising how little character development Brolin’s Cable is afforded in the movie’s extended two hour runtime, resulting in his character somewhat lacking in memorability even when Brolin is as cool and imposing as ever. With an added level of sentiment within a Looper inspired narrative, particularly aided by the inclusion of Hunt for the Wilderpeople’s, Julian Dennison, the tonal shifts between shock value comedy and gut punching loss does not work well at all, with the early death of an important character not entirely suiting the film’s overly silly sensibility, but with at least eighty percent of the quickfire puns and sharp, slick in-house references resulting in effective laughs, Deadpool 2 feeds the paying audience exactly what they want without ever stopping slow enough to fall out of the carnival-esque state the movie straps you into, and with solid enough action and comedy set pieces, a quickfire editing pace and a combination of brilliantly designed pre and post credit sequences, Deadpool 2 is flashier, more experimental and much more rewarding that its’ first incarnation, but too a movie which begs the question how much longer the joke can be stretched out before it begins to feel slightly tiresome. I’m sure the box office will have the final answer on that one.
Overall Score: 7/10
“Is Someone Else Staying Here? I Thought We Were Alone..?”
With it being an entire decade since the release of Bryan Bertino’s mildly successful 2008 American horror, The Strangers, the follow up sequel, subtitled Prey at Night, finally hits the big screen under the direction of English filmmaker Johannes Roberts, whose previous credits include 47 Metres Down and The Other Side of the Door, with Bertino still attached to the project by supplying the screenplay for the movie alongside American pen pusher Ben Ketai. With the original film based on a culmination of the infamous Manson Family murders and a personal experience of break-ins in and around an area to which Bertino lived within, the 2008 release was nihilistic oddity with a genuine nasty streak which paid tribute to the likes of famous video nasties including Straw Dogs, The Texas Chainsaw Massacre and The Last House on the Left, and what Prey at Night offers is a very familiar, ultra violent slasher flick which overcomes a wide array of weaknesses thanks to a stylish, retro tone and various interesting and well orchestrated set pieces which offers the case for Roberts’ movie being a case of a sequel which improves upon the basis set by its’ predecessor.
With an opening act which introduces the quartet of leading familial victims including Christina Hendricks’ (Drive) mother figure, Cindy, Martin Henderson’s (Everest) Mike, and the two teenage children played by Bailee Madison and Lewis Pullman, the attempt to flesh out any reasonable characterisation within the first twenty minutes fails pretty spectacularly, with the reasoning behind the families sudden venture to the most vacant of caravan parks not really expanded upon, resulting in a complete absence of empathy for when the inevitable violence eventually occurs. Thankfully however, once the action begins, Prey at Night continues the overly hyper-violent tone of the original to impressive means, utilising a surprising early character death to set the pace for remaining hour or so of the piece, and with the aid of the creepy masked killers, the iconic image of the series so far, the murderous rampage which the film embarks upon is surprisingly entertaining. Central to the film’s success however is a strangely ironic and satirical undertone, one which is beefed up by a wholly comedic and off-kilter 1980’s jukebox soundtrack, and one which allows individual set pieces to blossom with a heavy sense of style, particularly a latter act scene involving a superbly manoeuvred confrontation at a swimming pool which for me, took the film to a higher level than it possibly should have ever been, and although Prey at Night does indeed fall into a realm of cliche and predictability when looking back as a whole body of work, its’ the film’s style and nasty streak which makes the sequel work to an entertaining degree.
Overall Score: 6/10
“This Is The Way The World Ends…”
With Guillermo del Toro joyously arriving home earlier this month with a couple of Academy Awards in his back pocket for The Shape of Water, his latest rousing critical success is brought somewhat back down to earth with the release of Pacific Rim Uprising, a sequel to del Toro’s 2013 ridiculously silly action gargantuan which in all fairness, is more painfully cheesy than entertaining, and a film which brings to mind the middling rough patch the Mexican seemingly went through before this year’s resounding return to form. Swapping the director’s chair for a producing role however, the job of taking hold of the unnecessary sequel falls to Steven S. DeKnight of Daredevil Season One fame, undeniably the strongest Marvel/Netflix release to date, whose big-screen debut features John Boyega (Star Wars: The Last Jedi) as Jake Pentecost, son of the legendary General Stacker Pentecost as portrayed by Idris Elba (Thor: Ragnarok) in the first film, who swaps his life of thieving and black market dealings for a return to the fold in line with the Jaeger program after a fresh threat arises from the destructive, otherworldly Kaiju. With awful dialogue, a woeful lack of emotional investment and endless, mind-numbing overblown action set pieces, Uprising is unsurprisingly utter tosh, and even when some of the characters at times threaten to make the film more interesting than it should be, it’s plain to see that the main function of DeKnight’s cinematic debut is of course, solely monetary.
Whilst the first feature was just straightforward, unadulterated nonsense with an added layer of awfulness due to Charlie Hunnam’s vacuous leading character, the performances of both Idris Elba and Rinko Kikuchi meant that the film was at least likeable to a certain degree, and with the latter one of the more interesting returning characters added to the fold once again, her particular narrative strand within Uprising is systemic to the problems of the film. Far too many times are new and returning characters given so little to do in terms of engaging character development that when the film does eventually heed to the wishes of its’ true and fundamental natures in the form of CGI-engulfed action sequences, not one audience member actually really cares who does what and who makes it out alive. With it becoming patently clear that any movie touched by the woeful “talent” of both Charlie Day (Fist Fight) and Scott Eastwood (Suicide Squad) is destined to be labelled as god-awful, Uprising does at least benefit from a committed, cockney-fuelled performance from the ever-charismatic Boyega and a runtime which improves on the staggeringly long length of its’ predecessor, but with a concluding act which makes Man of Steel look like a Woody Allen movie and a jarring post-credits sequence which makes you roll your eyes in utter condemnation of the movie’s future possibilities, Uprising doesn’t totally suck, it’s just the type of movie you watch with a blank expression and let it leave your consciousness as soon as its’ over. If you stay awake that is.