Mission: Impossible – Fallout

Fallout… a title that can’t deliver.

I have a soft spot for the Mission: Impossible franchise. They’re ridiculous, overblown excuses for Tom Cruise to do extreme stunts, sure, but they’re always a lot of fun. I love the fact that each film has a director with a radically different style, leading to action films that feel very distinct from each other, even with the same characters and plot. Tom Cruise is always game for more and more insanely dangerous stunts, which means that even if the plot can be a little uninteresting at times, we can always look forward to some breath-taking action. All in all, while I wouldn’t call these films my all-time favourites, I enjoy each movie that comes out quite a bit. With that said, this is probably the least I’ve enjoyed a Mission Impossible film in a long time.

Let me explain. I did like this movie, in fact I’d say I had an above average amount of fun with it, but I couldn’t help but feel a little disappointed at the end of it. While it has a lot of creative action scenes, it has several major flaws which I couldn’t quite ignore. Firstly, the film has a desire to become an emotional, dramatic experience. There are many scenes dedicated to the guilt Ethan Hunt feels for how he has changed his ex-wife’s life and how he affects the people around him. His ex-wife returns at the climax of the film to lend the final scenes extra stakes, and she and Luther have an emotional moment whilst defusing an actual nuclear bomb. There are so many tense scenes in which Hunt’s close friends are threatened with death. Ving Rhames’ character is held at gunpoint, Simon Pegg’s Benji is almost hanged. But what makes these attempts fail to land for me is that they don’t matter. The film loves half measures. Ethan Hunt is framed as a rogue agent, but then almost immediately exonerated. Benji and Luther are both saved at the last second, and the only character to die is Alec Baldwin’s. Baldwin is a good actor, but he had so little to do in the last movie that his development in this film feels as though it only exists to make his death impactful, and so for me it just failed to feel sad at all.

Christopher McQuarrie directs this film as though he wants it to be two things at once, and so it doesn’t quite fit either.  It is trying to be both a serious dramatic thriller, and a ridiculous action experience in which Ethan Hunt learns how to fly a helicopter in seconds, and survives three separate vehicle crashes. On the one hand he fills it with scenes in which Hunt struggles with his guilt, yet refuses to properly resolve this. His ex-wife is brought back, but unlike in Mission: Impossible 3 where there were consequences for him involving her in his life, she survives and nothing bad happens to her at all. I am not saying that this film needed to kill anyone off, or have any of the characters suffer, far from it. I loved Mission: Impossible 4 and that film is quite light hearted. But the tone of Mission: Impossible Fallout doesn’t fit the content. Even the title, Fallout implies some deep and serious ramifications for Ethan Hunts actions. But there is no fallout, just a little smoke. Hunt saves the world just in time and everything is fine yet again. That would work if this film was aiming for a more tongue in cheek tone, but unfortunate it ends up feeling like a cop out. I also could have used a lot more of Simon Pegg, who feels criminally underused. There aren’t many good lines or moments for Pegg to exercise his comedy chops, and that is what his character is for. Without them he feels a little pointless. Most of the other cast feel as though they are trying, but owing to the lack of real stakes, it all feels as though they really want you to take everything seriously, even though the plot is ridiculous, and none of the characters are in any real danger. The title writes a cheque that the movie can’t cash.

Like I said at the start, none of this makes the film bad. It is entertaining, fast paced and a full of fun action. I admire Tom Cruise for insisting on doing so many of his own stunts, and the visuals are great fun. Henry Caville, while not particularly nuanced has at least mastered the evil glare, and he’s a relatively fun villain. What isn’t so fun is the amount of time the film spends pretending he isn’t bad. Hollywood, it isn’t a twist if we all see it coming, the guy with the moustache and the thousand yard stare, as well as a fondness for killing is probably not a good guy. Who would’ve guessed? Apart from this, I can honestly say I enjoyed this far less than I thought I would. I wasn’t looking for things to dislike, or trying to find flaws, in fact I was in a forgiving mood, but I can’t look past the amount of flaws dragging this film down. It could’ve been a much better, more cohesive movie, with a steady tone, but instead it straddles a weird line between serious spy thriller and overblown action flick, without once fully committing to either. Oh and a minor point before I finish, this film needs to chill with it’s soundtrack. I swear every scene was drowning in heavy music, trying to spell out how we should be feeling, making all subtlety fly away quickly.

All in all, this a mixed bag of a film. It has plenty of fun moments, but as an overall product, it is a bit of a mess. It has solid acting, but nothing special. I would say that this is a fine film to watch on TV, or pick up in a shop for a couple of quid, but otherwise I wouldn’t bother. If you really enjoy Mission: Impossible as a franchise, this probably won’t be your favourite, but I doubt you’ll hate it either. I just hope that the next director Tom Cruise gets for the seventh film will breath new life into this series, because it needs it.


Antman and the Wasp: Decent yet Forgettable…

I am probably very late to review this film if you’re reading this from the USA, where the movie has been out for months. However, in the UK we only recently got this film, and so because it is the only new movie I have seen in the last month, I’m reviewing it. Not that I have nothing to say about it, after all, I’m a fan of the superhero genre, although I am starting to finally feel that apathy that has been arising from a lot of movie-goers. It can be hard to be excited about the genre these days, as we are so spoiled for choice and that can lead to the market being dominated by big superhero blockbusters. Some films, like Infinity War, rise above it and manage to be fresh new takes that breathe new life into the genre. Antman and the Wasp is not one of them.

Let me begin by saying that I did not hate this film. It is for the most part competently directed and I was never terribly bored watching it. It keeps up a good pace, better than the first Antman, which dragged at times. The characters and story are more memorable than the previous film too, which helped me forget a little of the wasted opportunity of Edgar Wright’s Antman. The cast mostly deliver strong performances, and the size shifting powers feel even better integrated into the action than in Civil War.

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The visuals have been upgraded from the last movie, meaning that a lot more of the film uses contrasting size shots, which is something only the train fight scene from Antman managed to pull off. At the end of the day, it’s a film that knows what it is; a palette cleanser from the dour ending of Infinity War. A light-hearted romp with likeable actors and smaller stakes. Those are the film’s strengths. But in a bizarre way they are also its weaknesses.

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The film never excels. There were no moments that stood out to me as incredible or exceptional. I realise it’s not a requirement that every film has outstanding moments and there is nothing wrong with popcorn movies. However, the shadow of Edgar Wright looms large even over the sequel. Peyton Reed clearly knows what he is doing. He understands these characters and knows how to direct them. But it feels as though this is just a job to him. I never feel any passion behind the movie.

I actually liked the film a lot more after having just seen it. Now, a week later, it has faded quickly from my memory and I find myself a lot less keen on it. It leaves no impression. The actors do well, and there are several scenes which did make me laugh, such as when Paul Rudd portrays Michelle Pfeiffer reuniting with her husband and daughter using his body. It was very well acted and emotional yet humorous at the same time, which is tricky to pull off. There just weren’t enough scenes like this.

The movie felt in retrospect like it was on autopilot. Set up the hero’s situation, reintroduce the characters from the previous film, set up the villain, conflict, resolution etc, rinse repeat. There was not really any spark for me. Don’t misunderstand me; I enjoyed it. It wasn’t a complete waste of time but at the end of the day it hasn’t resonated with me and it’s hard to defend a movie like this to someone with superhero fatigue. Almost everything in it is something we’ve seen already in other Marvel movies. It improves on the previous film in almost every way, but the previous film was painfully average. As a result, the sequel is elevated to simply decent.

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But maybe that’s enough. Although I didn’t get much out of it, it hasn’t failed at what it set out to achieve. I may talk on about how the story is very predictable and the film hasn’t much to offer that’s new, but that isn’t really this film’s goal. Not every Marvel movie has to be deeply emotional or breath-taking. Sometimes they can be simple pleasures. I may not have enjoyed this film that much, but I did enjoy it. I watched it and laughed and had fun. The film seems constructed for this reaction. It’s a pleasant film that doesn’t rock the boat, and although there is an abundance of movies like it, I can’t bring myself to be too critical. At the end of the day, with the current fraught political climate, and the dark ending of Infinity War, there is nothing wrong with people wanting a simple entertaining film to provide some escapism. Although if that is why you watch this, I suggest leaving before the post credits scene.

Writing Fiction

As much as I enjoy writing for this blog, taking time to organise my opinions and examine them carefully before I share them with you, my real passion has always been fiction. For a long time now I have been writing in my spare time, and growing up I read many different books; more even than I watched movies. Recently I have been trying to turn my writing into a proper career, which is part of the reason I have been neglecting this blog for a while. Sorry about that! To make up for it I am releasing the new review at the same time as a link to my debut novelette.

It is a historical fiction set during the day before the Battle of Hastings, from the point of view of one of William the Conqueror’s soldiers. It was originally written as a screenplay for my final project at university, and I have since adapted it into novel format and released on amazon as both a paperback and a kindle version. If you’re curious about what my fictional writing is like please consider downloading the book or ordering a physical copy. I could really use your support and it’s a story I worked very hard on. Thank you all.

Ebook version.

Paperback version.

Incredibles 2: thirteen years too late…

One of the perks of my new job at a cinema is that now, I get to see movies for free. So, I have made immediate use of this new benefit to catch up on lost time. I haven’t been out to see a newly released film in quite a while, so it was odd finishing my shift and heading inside the screen to be on the other end. The film I chose is one I have been meaning to see for a few weeks. In the USA Incredibles 2 has been out for some time, but owing to the world cup, we Brits have waited for a long time to get our hands on it. Now that I have seen it, I’m glad I hadn’t been buying into the hype surrounding the film.

I want to preface this review by stating that I did enjoy Incredibles 2; I thought it was fairly funny and entertaining. However as a sequel 13 years in the making to one of Pixar’s greatest films, it does fall a little short. It like the previous film, was written and directed by Brad Bird, who has directed many films I’ve loved over the years, such as Mission: Impossible Ghost Protocol. Bird is a stellar director, both in his comedic style and his flair for flamboyant action, but in this case, I can’t help but think he phoned it in a bit. Before I go on, I must say that to talk about my problems with this film, I am going to have to spoil it quite a lot, so if you still have yet to see this movie, skip to the last paragraph where I will summarise my feelings.

Incredibles 2 is fine, except when you consider that it is really just The Incredibles again. The family are struggling under a system where Supers are illegal, until a mysterious group arrives to offer one of the parents a chance to be a hero again, while the other stays at home to look after the kids, before they all come together at the climax to fight the big bad. The plot is more or less the same, except that some of the roles are reversed. Now Bob stays at home with the kids while Helen pursues a mysterious villain as Elastigirl. I thought that more interesting things could have been done with the role reversal, but Bird opts for the tired trope of the dad who can’t keep up with taking care of his kids full time, but refuses help out of pride. The films seems to forget that the whole of the previous movie was already about the characters coming together to fight crime as a family, so it just resets everyone. This means that the cliffhanger with the Underminer is resolved with Dash and Violet getting told to look after Jack-Jack and keep out of the way, and afterwards, the Parrs go back to being a regular family. This misses what was exciting about a sequel to The Incredibles in the first place. After I saw the movie as a kid, I remember thinking how cool it was to finally see the whole family come together to fight, and how great a sequel would be if it spent more time with this, maybe took place a few years later once the kids were older. But no. Instead the rest of the family spends two thirds of the film in a house, doing not much of importance to the main plot at all.

The whole time Elastigirl was saving runaway trains and facing off against the villain, I kept thinking how much better it would be if the whole family were taking part in this. Speaking of villains, I regret to say that the reveal in this film is not a patch on Syndrome from the first movie. Screenslaver is a hypnotist trying to discredit heroes in order to keep them illegal forever, believing they make humans weak and dependant. This is yet another concept that could have been great if given more time, but unfortunately it ends up just feeling very perfunctory. I think too much time is spent on the amusing but ultimately pointless antics of the rest of the family, especially Jack-Jack. His scenes are adorable and funny, but come at the expense of time that could have been spent developing the villain, giving her more screen time and therefore more presence.

Elastigirl ends up working for a brother and sister who are campaigning to bring supers back legally, Winston and Evelyn Devour. The two are interesting characters and polar opposites personality wise, but when Evelyn is revealed as the Screenslaver, it falls a little flat. Syndrome was such an engaging and intimidating presence because he had a large personality to match the supers, as well as a deep personal connection to the protagonist. Evelyn, outside of a few conversations with Helen, just can’t have the same impact. She sums it up perfectly herself when Helen calls her out for her betrayal: “You don’t even know me.” Outside of some rushed backstory about her dead parents, her motivation comes across as arbitrary, based on nothing more than cynicism with the populations complacency. So when she has a short monologue to Helen about the problems with Supers, we as an audience just don’t care enough, as she hasn’t been tied to Helen closely enough for their struggle to feel intense. She also is a quiet, subtlety sarcastic character, which works fine for a bit part, but doesn’t engage the viewer as a main antagonist.

Coming back to the rest of the family, Mr Incredible sits most of the film out as an exhausted stay at home dad, which is fine, but it has been done before, many times in other films. The only thing that keeps it from being completely stale is the introduction of Jack-Jack’s many powers, which leads to some great comedy scenes. Violet has to spend the film overcoming boy trouble, as the guy she was going on a date with has his mind erased, meaning she has to win him back all over again. Although she doesn’t struggle with confidence in this film, so I can’t say she is repeating her arc from the original, she doesn’t really go through a new one this time around. Apart from taking control at the climax to save her parents, she has little to do most of the way through. One could almost say that her crush losing his memory, forcing her to win him back is a metaphor for the sequel rehashing so much from the original. Dash is relegated to a side character, simply delivering a few funny lines here and there. Frozone is underused as well. Edna at least, has a fantastic scene and I wouldn’t change anything about her part. She works best in small doses anyway. The film simply spends too long on mundane things that the audience won’t really care about, and the action really only gets going in the last act of the film. The climax involves the family working again as a superhero team to save a boat full of people, but it just wasn’t enough for me at that stage. I thought that this scene should have been the opening for the film. The previous movie’s climax was a battle between the family and an unstoppable robot that has killed many supers, and was unleashing devastation on a whole city. A boat nearly crashing doesn’t have quite the same impact after that.

To summarise, I enjoyed this film, having kept my expectations low, but I couldn’t help but think of all the ways it could have been so much better. If the villain had been more fleshed out and interesting, if the family had spent more time as a crime fighting unit, and if the story had skipped ahead a few years to let the characters change a little, it would have been a much more rewarding and unique experience. As the sequel stands right now, it’s a perfectly fine remake of the original film, but that wasn’t what we were all waiting thirteen years for. I don’t think for a second that this film took thirteen years to write. I don’t think it took two years to write. This a half-baked follow up, and it’s a real shame because I have seen Brad Bird’s other movies so I know he can do so much better, but I just don’t think his heart was really in it. Oh well, at least I saw it for free.

My Favourite film…

Talking about a common icebreaker…

I have real difficulty responding when asked the question, “What is your favourite film?” There are so many ways to answer this question; Do I talk about the film I personally enjoy most? Or the one I objectively think is the best made of all time (in which case I might have to list ten). Or do you want to know about a film I recently saw which is temporarily my favourite thing ever, because I’m still in the honeymoon phase? As a film student, I get asked this a lot, and at risk of seeming predictable, I almost always end up replying that my all-time personal favourite movie is Lord of the Rings.

I know what you’ll be thinking, that is a trilogy not a single film. Although this is true, the three films tell a single story start to finish, and can be taken as acts one two and three, and if I’m honest, I have never been able to pick a favourite of the three anyway. Sometimes I prefer The Two Towers, other times The Fellowship of The Ring. So rather than break my own heart, I count each of the three films as one cohesive experience and so I’m going to talk about them as a single film. This is normally the part where I would warn you about spoilers but seeing as this film series is about fifteen years old at this point, I think you’ve only yourself to blame if you haven’t seen it yet.

Growing up these films have been very important to me. My Dad used to read the books when he was younger, and so my sisters and I got introduced to it at an early age. The books by J.R.R. Tolkien are a great read, although challenging to young children. When I was about eight or nine, I watched the Lord of the Rings trilogy and from then on, I watched the films regularly. My parents bought the extended versions that included documentaries about the making of the films, which were as long as the actual movies themselves, and from watching these I learned a lot about film-making. You could say that these films are what got me into film in the first place and so I owe an awful lot to them. I am certainly not going to attempt to be one hundred percent objective in this review, after all these are childhood favourites, but the films do definitely have a lot of laudable features, regardless of opinion.

The films are a testament to dedication. One thing that really comes across when watching the behind the scenes features is just how close all the production staff were, and how long and hard all of them worked in order to achieve the quality seen in the final films. A good example of this is two guys who made all of the chain mail for the films by linking rings, working on each of them piece by piece. By the end of the shoot they had worn out the finger prints on the tips of their thumbs and forefingers. Peter Jackson joked that they could now live out a successful life of crime. All of the departments, from costume to digital animation (and Weta Workshop) worked almost tirelessly for three years, excluding pickups to bring all these films together. They used many practical effects, including miniatures that were so large they ended up being dubbed big-atures. As a child, watching these features showed me just how much work and time had to go into making movies, and gave me a profound respect for the dedication showed by movie crews.

The actors are also very well cast. Peter Jackson knew what he was doing when he brought in such talented people as Ian McKellen and Viggo Mortensen, they all bring such depth and humanity to their roles, and in watching the documentary, it was a pleasure to learn how much Viggo Mortensen put into his performance. To hear how he broke his toe kicking a helmet, and used it to improve his acting was hilarious, but also admirable.

His courtesy and friendliness on set is often stated by other members of the cast, and it’s a relief to know that your favourite actors are actually nice people for a change! I got a real sense that these people were for three years, a family, working together and living in the same place for a long time. It made me wish I could have been a part of it in some way.

Translating such a classic book into a movie can be a risky move, with so many beloved characters and story-lines potentially lost, but LOTR was, in my opinion, expertly adapted into screenplay format by Peter Jackson, Fran Walsh and Philippa Boyens. . While I don’t agree with everything they left out or moved around, I can’t deny that the pacing for the overall story is much stronger in the film trilogy than in the book. Furthermore, the film still feels true to the tone and themes of the books, and so most of the changes and cuts do not bother me in any strong way.

Visually, the film is a treat. The action is riveting and well-choreographed, the shots are varied and often quite experimental, even if Jackson did overuse the wide angle close-up in Fellowship. Most of all the incredible costume design by Weta Workshop really gives the films a unique look that fantasy films have been failing to copy ever since. The blend of real world historical inspirations and creative designs leads to props and costumes that look mystical, and yet practical at the same time. Many of the props designed, such as the Elven boats used at the end of the Fellowship of the Ring, actually could be used. The set design went above and beyond, a scale model of Helm’s Deep was really build in a quarry and many of the locations were actually built on in order to create the unique settings in the films, such as Rivendale. In particular, one of my favourite locations was Edoras, capital of Rohan. The city was built for real on the summit of Mount Sunday, which is a striking hill that lies on a flat plain behind great mountains. New Zealand has a treasure trove of fantastic locations, but this is my personal favourite. The place is breathtaking even in photos, but the best part is that the city is designed around a Saxon style. The halls are thatched and wooden and everything was really built on the hill. The crew had to preserve countless plants in greenhouses for months whilst the exterior shots were filmed there – yet another display of the dedication that went into keeping the locations as realistic as possible, when they could have just built an indoor set and used a green screen.

These films are amazing to watch, there is so much to enjoy; adventure, action, drama, romance and poetry – the list goes on. As a child I never got bored of acting out scenes from them with my friends. But watching the behind the scenes features brings a whole new level to the films. Once you understand exactly how much hard work and passion went into every scene, you can appreciate these films on a whole other level, and I hope this explains why for me personally, the Lord of the Rings trilogy are my all-time favourite films.

Making a Scene: Westworld season two…

It has been a while since I did an in-depth scene analysis, and I felt the time was ripe. Since Westworld season two has been airing for the past few weeks, and every scene in it is loaded with meaning, symbolism and subtext, I thought I’d take some time to look at one of my favourite scenes. The series seems to top itself every week, but there was a scene last week that was just a great blend of fantastic action and masterful character development. Jonathon Nolan, who is the writer behind many of his brother Christopher’s best films, is, in my opinion, one of the best writers in the industry currently. Here he works with his wife Lisa Joy to create one of the best scenes, and indeed the best episode, of the whole series so far. From this point onward there will be spoilers, so be careful.

The Riddle of the Sphinx is the fourth episode of the second season of Westworld. It continues multiple story-lines which are all infinitely interesting, however, for the purpose of this analysis we are focusing on the story-line of William, the Man in Black. After spending all of last season searching for the centre of the maze, hoping to discover a hidden meaning behind the park and create real stakes for the game, he finally got his wish when Ford allowed the hosts to shoot and kill the human guests. So far in the second season, he has been tasked with a new quest from hosts programmed by Ford; find the door. In this week’s episode, after finding his favourite host Laurence once again, he takes him back to his home town, hoping to find new hosts to help him on his journey. However, they find the place overrun by confederados, led by the unhinged Craddock, who after being resurrected by controllers last week is convinced he is death’s chosen man. In the scene I want to explore, he has the town under his thrall, and is using a glass of nitro-glycerine to taunt Laurence’s wife. He boasts of his relationship to death to William, who appears to be beginning to pity the hosts. As he looks at the women balancing the nitro in the rain, he is reminded of his wife’s suicide, and a twinge of guilt causes him to turn on Craddock. In a pivotal moment, he tells the man, “You didn’t recognise him sitting across from you this whole time…” and with that, he guns down Craddock’s men and allows Laurence to finish Craddock, performing, for the first time in decades, a righteous act.

There is a lot to unpack in this scene, which is why I have included a clip above. The episode is a directorial debut from Lisa Joy, co-creator of Westworld. She proves to be a masterful director, with a firm grasp of visual symbolism and subtlety. Her choice to shoot the scene in the rain creates a strong mood; rain is often used in pivotal moments to reflect turmoil within characters. However, the rain is also a great parallel to William’s own past. We see shots of water from a bathtub, mixed with blood, making it clear that this moment is reminding William of his wife’s death, without a need to show the actual body. The many close ups of water highlight this and provide a great metaphor for what this means for William. As he exits the tavern and faces off against the confederados, the rain serves as a symbolic baptism hinting at the idea of washing away past sins and starting again. However, the brutal way in which he forces Craddock to drink his own glass of nitro shows us that his good acts are still tempered by violence. William still has a way to go. The shots are well chosen and beautifully framed. The tight close ups and mid shots of the Man in Black make this his personal moment of triumph, a decision which has changed his arch for the rest of the season.

blood water

The dialogue is crisp and chilling in this scene as well. Written by Gina Atwater and Jonathan Nolan, the script has no unnecessary words. William, after having been confronted with death in a real way that shook his understanding, doesn’t appreciate Craddock blabbering on about it. He knows that no host knows true death, and indeed has become desensitised to it himself over the years of coming to the park, to the point where he cannot process it when his wife succumbs to it. He chides Craddock, telling him that he hasn’t known a true thing in his life, but that death is true, final. He speaks of death with a reverence and an understanding that comes from his new experience of it. It is also very appropriate that he identifies himself as death, both because it shows his reliance on his tough persona, and because it shows the guilt he feels over his wife’s demise, partly because his daughter blames him for it.

So, the direction and scripting are both perfectly crafted, but what of the music? Ramin Djawadi, famous for Game of Thrones, provides the score for Westworld as well. This scene is him at his finest, lacing the scene with a mournful and somehow triumphant beat. The final moments also use the man in black’s personal leitmotif, an ominous and impressive tune which takes on a new meaning when William starts to finally stand up for the hosts. He becomes less of a villain and more of a dark protector, and the music reflects this. This musical change is mirrored in scenes with Dolores, who has begun to accept her role as the villain, which is reflected in a darker soundtrack whenever she is onscreen. It is interesting because it seems that Dolores and William are starting to switch roles as the series goes on. Djawadi does a smashing job in this scene and it illustrates and dictates the tone of it impeccably.


Finally, we come to the actors themselves. Jonathan Tucker, who plays Major Craddock, does a great job playing a robot that has gone wrong, finding out that he cannot die. He plays a man who is unhinged, madness playing beneath the calm eyes. But the star of the show is Ed Harris. This is his scene, and he plays the contemplation of his situation perfectly. His thoughtful stares as he tries to come to terms with his wife’s death once again, and his delivery of his tough guy dialogue really sell the scene. He is a master of looking cool, in each of his action scenes his physicality and commitment really emphasis how long he has been playing this game. He is my favourite character for a very good reason. He is complex and cool at the same time.

man in black

So, looking back over the scene, there is a lot to enjoy. The music, direction and dialogue are finely crafted to achieve a very meaningful and action filled scene. The actors give top performances, especially Ed Harris, and they are given perfect lines. The scene of course is part of a great episode on the whole, but it stands out to me as an almost transcendent moment, that will become a highlight for the entire series. I recommend Westworld for anyone, and I recommend this scene above all.

Deadpool 2: Bigger, Funnier, Better.

Deadpool is an interesting and often hilarious character from Marvel Comics. Whilst not always handled well, his character has the potential to be a great satire of superheroes in general, and a vital contrast, should the comics ever become too po-faced. Ever since I saw X-Men Origins: Wolverine, I have been hoping to see a better film adaptation of Deadpool. In that film he was wasted, expertly cast as Ryan Reynolds, who is a master of the quickfire quip, but given little connection to his comic counterpart. They even removed his mouth, one of the most important aspects of the character. In 2016 I finally got my wish. Deadpool was a smashing film, with some great crass and stupid humour, mixed in with a dollop of good-natured piss-taking at the expense of the entire superhero genre.

I did however, have some criticism. The film suffered from a lack of budget, although that did lead to a rather amusing joke in which Deadpool leaves most of his guns in the car and cannot use them. While it poked fun at other superhero and marvel films, Deadpool offered nothing as an alternative. There was little substance, and I could have used a few cleverer jokes, perhaps some proper character development. The new film seems to address much of my issues, perhaps owing to the increased budget or the change of director, and as a consequence I love it even more. There are more characters, a much more interesting plot, some fantastic cameos and a genuine emotional core, albeit one that is constantly interrupted for more jokes. I’m going to get into some specifics about the movie now so consider this your spoiler warning.

Deadpool 2 is a deeper movie than the first one. I know that sounds ridiculous, and I don’t mean that this is anywhere near the emotional wringer Logan was, but this sequel has matured slightly. Deadpool goes through loss and growth and comes out at the end, still a clown, but a clown with more weight as a character. His partner, Vanessa is murdered because of his actions as a contract killer, although one who only kills bad people. His arch throughout the film is to come to terms with her death and try to redeem himself for his inadvertent role in her death. This creates an interesting parallel between him and the film’s major villain, Cable. While Deadpool sinks into rock bottom in the most fantastically comedic way, Cable is dealing with the death of his family at the hands of another mutant. Travelling back to the past, he tries to kill the teenage boy who will one day destroy his family. This boy, played with just the right level of anger and vulnerability by Julian Dennison has grown up in an orphanage alone and abused. As such he desperately needs care and affection, but unfortunately comes across Deadpool right at the wrong moment, leading him down a dark path the kill the ones who tortured him. So, for the majority of the film, Wade Wilson tries to prevent Cable from taking out the boy, and recruits domino, played by Zazie Beetz to help.

The performances are very entertaining. It was a wise choice to cast Julian Dennison, who has proven to be an excellent comedic and serious actor in Hunt for the Wilder-people, directed by Taika Waititi. He manages to balance the feeling of years of torment and abuse with some excellent line delivery and great comedic timing. He matches Ryan Reynolds in every scene they are in, which is amazing as Reynolds himself is on fire. These films capitalise on Reynolds skills as a comedy actor perfectly, and I really admire the actor’s willingness to go there. Zazie Beetz, although with less funny lines, is still a great portrayal as Domino, very confident and cool with a calm outlook that contrasts well with Deadpool’s extreme energy. Josh Brolin plays a gruff, over the top Cable with a degree of empathy and is a fantastic straight man to Deadpool’s comedy. He could do with more depth as a character, but that is no fault of Brolin’s who looks like he was born to play Cable. The CGI for his robotic disease and Winter Soldier arm is very slick. There is also a ton of cameo performances that lend the film a much bigger scope than the first one, which felt a bit too self-contained. My personal favourite was the Vanisher, who we didn’t even know was real until he was killed, revealing the character to be played by Brad Pitt.

This film’s humour is on point. There is a good mix of fourth wall breaking, immature gags, violence and crudity, and very accurate jokes at the expense of the superhero genre. I laughed much more in this than in the first film, and I found that film really funny to begin with. I wouldn’t recommend it to everyone however. If you don’t like the more crude and gory style of humour then this isn’t a film for you. This film is quite brutal in places, although it goes right along with the tone. It is an excessive film, but excessive in the right way. The cinematography isn’t particularly memorable. There are a few shots that I remember thinking were well done, but I rarely noticed them. The costume design toes the line between cool and ridiculous. Cable is obviously over the top macho fantasy, but it is balanced by the X-force team, all of whom have silly impractical get-ups, designed to worn with the tongue firmly planted in the cheek. While Deadpool’s costume is well done, it degrades as the film goes on, by the end it is half made of duct tape, which is a nice subtle gag.

Overall, this film is a great time. It balances a varied and almost eclectic sense of humour with some genuine moments of emotion and character growth and presents a character who copes with the world through humour, coming to terms with great loss, and trying to save a young boy. This film may not be Schindler’s List but it does much more than I expected. It has grown and learned from the film that came before and doesn’t just repeat what worked in that film. I recommend this to anyone who watched the first one, and to anyone who enjoys a good R rated superhero comedy.

Infinity War: Finally Marvel has stakes…

The new Avengers film is a nice surprise…

I have felt a little burned out about marvel films for quite a while now. The problem is that there are so many superhero films coming out at the moment. While I love films like Thor Ragnarok I just can’t muster the same enthusiasm as back in 2012, when superheroes were becoming so popular for the first time. It’s been ten years, and I feel as though Hollywood needs a new fad, perhaps fantasy. So, when I went into this film I was fully expected it to be mediocre in every way. I couldn’t see how they would juggle so many characters in one film, or how they would make a coherent plot to begin with. However, I find myself pleasantly surprised by Avengers: Infinity War. It’s not a masterpiece, but it is a well-made film with some excellent action and some genuine character growth. Let’s take a closer look. Oh, and spoilers of course.

One of the first things that struck me about Infinity War is that is has managed to find focus. The Russo brothers have learned from directing films like Civil War that an ensemble film needs a character to focus on in order to have purpose. There were so many heroes in this films line-up that to focus on any to a large degree would have made the film feel uneven, and so the clever solution of the film is that is makes Thanos essentially the main character. Making the villain of the movie the most prominent character might strike some as odd but it allows him to become a much more layered and interesting character, which solves the villain problem Marvel has had for a while. Normally a Marvel villain, with one or two exceptions, is simply an antagonistic force to propel the plot forward, rather than an interesting character in his/her own right. Thanos by contrast has a plan, motivation, backstory and even a relationship to one of the characters. He has genuine affection for his adopted daughter Gamora. This is helped by some fantastic CGI, and a great motion capture performance by Josh Brolin, who makes Thanos into a very human character, one we may not root for, but can all understand.


The cast all give solid performances, although inevitably the more popular and older characters get more screen time. There are too many actors to go through each of their performances and so I’m focusing on a few choice characters that stood out to me. Off the success of Ragnarok, Thor now has a much larger role, spending time with the Guardians of the Galaxy and taking Rocket and Groot to make a new weapon to take on Thanos himself. Thor is beaten soundly at the start of the film by Thanos and watches helpless as his people and friends are slain. The decision to kill Loki was a smart one, as his character arc had really finished in Ragnarok. Him dying at the hands of Thanos is also symbolic, representing a new, more threatening antagonist destroying the old. Chris Hemsworth plays a darker Thor than ever before, deeply hurting from the loss of all that he holds dear and is ready to die in order just to get back at Thanos. The scene in which takes the full force of a dying star in order to make his new axe is very powerful, as it forces him to earn the powerful weapon. When he uses it in battle at the end of the film, it doesn’t feel cheap because he has spent most of the film earning it.


Robert Downey Jr is always fun as Tony Stark, and the way he clashes with the similar character of Doctor Strange is satisfying. Gamora, played by Zoe Saldana gives a moving performance as she grapples with her severe father issues, as well as the close bond she and Peter Quill have developed. Her and Chris Pratt have a great chemistry and it is great to see them share a moment. This emphasis on her character did make it clear she was going to die from the beginning, but it was still a powerful moment watching Thanos sacrifice her to gain his power. His genuine regret made the scene all the more unnerving.

Speaking of death, the film pulls few punches. We lose Gamora and Loki, two fairly major players who been with the MCU for a long while. At the end of the film, Thanos succeeds with his plan and wipes out half the universe. This is so refreshing I cannot emphasise it enough. Death has not mattered in the Marvel Universe for far too long. So many of these films are hampered by the fact they have not real stakes. We know the characters will all survive. In this film, not only do we fear for all the characters, knowing now that they may die, but it makes Thanos a credible threat. The fact that the film begins with him wiping out the Asgardians, whilst sort of ruining the ending of Ragnarok, sets the tone perfectly. No-one is safe.

Admittedly it would have been nice if one of the big three, Iron Man, Captain America or Thor had bit the bullet, but it is still a great start. The fact that the Avengers lose in failing to stop Thanos is so refreshing it elevates the film. No doubt they will still triumph next year in the sequel, but it is great to have the villain win for once. Many characters disappear as a consequence, including several major characters like Black Panther, Spider-man and almost all of the Guardians. However, I can’t feel sad about this, as it is pretty obvious they’ll all be returning next year. There are plans for sequels to Black Panther and Spider-man: Homecoming for a start. But nevertheless, the stakes have been raised for the next film, and I wait with bated breath to see what they will with Thanos next year.


Finally, the action in this film is top-notch. There are some decent skirmishes on Earth early in the film which are quite fun, but for me the standout is the Battle for Wakanda that happens whilst Thanos fights Iron Man and Doctor Strange on Titan. The battle is shot very well, using the Russo Brothers signature hand held style, and it gets in amongst the action in a very unique way. The scale of the battle is impressive, and the brutal way they fight is a nice change from the over choreographed flippy style that tends to affect other Marvel films. I love that basic tactics are used in the battle, such as opening the shield around Wakanda to create a bottle-neck. Each of the fighters get a moment to shine, all except for the Hulk, and it almost reminds me of the battle sequences from Lord of the Rings. That isn’t to say the fight with Thanos is boring; the magical duel between him and Doctor Strange uses some very beautiful visuals, including transforming energy blasts into butterflies. A great gag in the film is that Thanos keeps turning his enemies’ attacks into bubbles. Overall the action is well done, and in places outstanding.

Apart from a few moments in which the film renders plots from previous movies obsolete, my major gripe is that the film lacks a unique visual style. Whilst it has many beautiful moments and images, it suffers from the blend of so many different locations, as though several marvel films crashed into each other. But this was never distracting and I can’t really think of any way the Russo brothers could have avoided this.

Avengers Infinity War may not be a masterpiece, it has issues and could definitely improve, but it is still a great fun movie. It has learned quite a lot from the films that came before and manages to juggle the most characters I have seen in one movie, while not feeling overstuffed. It somehow keeps focus, finally provides an engaging villain, and creates a desperate tone that keeps you paying attention all the way through. It has real stakes for the first time in a Marvel film and some fantastic performances from its cast. I recommend this, but be warned, you do have to have seen most of the previous Marvel movies in order to get what is going on!

The Thing: A Horror Legend…

My housemate is currently in the middle of writing a distressing amount essays, one of which happens to about John Carpenter. An upside of this is that we recently spent an enjoyable evening re-watching and analysing a bunch of his films, starting with my personal favourite, The Thing. This made me realise that I have yet to cover John Carpenter in this blog and that is a tragic mistake. Allow me to immediately rectify this by looking at The Thing right now.

For those who don’t know, The Thing is a 1982 remake of the 1951 film The Thing from Another World which in turn was based on the book Who Goes There? by John W. Campbell Jr. It cleaves more closely to the original novel than the ‘51 film and achieves a lot more in terms of creature design by virtue of having decades worth more developed practical effects. The film is a great watch and a very tense one at that. The story revolves around an Antarctic research base, which is invaded by an alien who can take the form of any living thing it kills. This leads to rising tensions and paranoia amongst the team as they try desperately to route out the creature and prevent it from reaching civilisation. Careful, some minor spoilers ahead.

Re-watching it, even knowing the plot in advance it is still stomach wrenching trying to keep track of who has been assimilated by the creature at what point. The film is very well acted by all the cast, particularly Kurt Russell as MacReady, who plays a tough no-nonsense helicopter pilot. A man who doesn’t normally lead, but naturally takes charge and keeps his head in a crisis. Russell was born to play tough rugged characters like this, and MacReady is a fun character to root for. He is resourceful and intelligent, yet fallible. Another standout is Keith David as Childs, who simultaneously provides a good sceptical foil to MacReady, and also brings some moments of levity, such as when he explodes after being tied to a chair for so long. His confrontational relationship with MacReady is contrasted well with his methodical and careful nature. He doesn’t want to take anything for granted.


It is immensely refreshing to come back to a Horror film where the characters act logically and make smart decisions. The threat is immediately taken seriously and studied. Once the crew learn of the alien after seeing it assimilate a dog, they take many measures to try and wipe it out, even torching every creature they come across. The script allows for them to make mistakes of course, but they are much more capable than your average horror protagonist, and this makes their inevitable deaths much more impactful. We want to see these characters survive. The blood test scene is a perfect example of logical characters. After seeing different parts of the thing react with self-preservation MacReady devises a heated blood test, to see if the creature’s blood will react to defend itself. This creates intense tension and helps drive the plot forward, weeding out members of the group one by one.

Speaking of the creature, the makeup and practical effects in this film are outstanding. They were incredible at the time and they still hold up really well today. While I think CGI is often unfairly maligned in cinema, there is something to be said for trying to make things for real first, especially because there is always a visceral reaction to seeing something physical happen in a movie, even if you know it isn’t real. The grotesque models and animatronics used to create the various phases of the thing as it assimilates the crew are obscenely fantastic! All the credit in the world needs to go to Rob Bottin, who was only 22 at the time. He dedicated so much time and effort to getting these effects made, that he was ordered to hospital by Carpenter after shooting wrapped. The fact that he received not a single award for this movie is nothing short of criminal.


In terms of direction, Carpenter employs a lot of the same techniques he used in his earlier horror, Halloween. The camera is almost always moving, creeping around the characters and often lingering on empty environments, giving the disturbing impression that the creature is always watching these people, waiting for the right moment. The shots of the base without people in view shape the idea that the building is almost a character on its own, hiding the creature with its small rooms and long corridors. I love the way that Carpenter turns the bright comfortable building, full of beds and TVs into the more inhospitable environment; a place of endless fear where the thing could be hiding in plain sight at any moment. Contrast that to the dark, freezing cold outside, which feels oddly safer at times, forcing the creature to be out in the open and vulnerable, nowhere to corner one of the men to assimilate him. The film also makes great use of reincorporation, bringing things that have been casually set up back later in the film. My favourite example is the idea of using blood to test the men, which initially fails because the samples are ruined, only for MacReady to improvise a simpler, more intuitive version later on. The fact that the crew keep finding torn garments in the trash is another little detail that I picked up on the repeat viewing. Later in the film we find out the creature tears the clothes of it’s victims, and so needs to rip the name label to avoid giving the game away.

This film is an iconic achievement, and it has influenced a lot of media over the years. The creature effects are now legendary and its atmosphere of paranoia inspired directors like Quentin Tarantino, when making the Hateful Eight. John Carpenter is a fantastic cult director, who’s varied body of work is quite an experience to watch. I would strongly recommend seeing this movie, although be warned, it’s not for the squeamish.