Inferno: Film Review

Inferno: Film Review

Cast: Tom Hanks, Felicity Jones, Ben Foster, Omar Sy, Sidse Babett Knudsen, Irrfan Khan
Director: Ron Howard

The fourth Robert Langdon book heads to the screen courtesy of Dan Brown's paranoia and Ron Howard's direction.

With Hanks once again reprising his role for a third time as Professor Langdon, it's a tale of amnesia, over-population concerns and a good old fashioned chase movie.

As the film starts, Langdon wakes in a hospital bed where a doctor Sienna (Felicity Jones) tells him he's been shot and has a head wound caused by a bullet grazing him.

Unable to work out what's going on, Langdon, along with Sienna (who turns out to be a fan of his) is on the run amid concerns a global virus is about to be unleashed thanks to a genius called Zobrist (Ben Foster).

With time against them, and a series of chasers closing in, can Langdon solve the puzzle and save the day?

If ever a film was so jammed with conspiratorial edges and paranoia, as well as po-faced portentous dialogue such as "Humanity is inhuman" and "The sixth extinction will be our own", Inferno is that film.

With allusions to Dante's Divine Comedy and inferno, black death imagery, hellish sights given life on the streets via Langdon's visions, flashes of kidnapping, the film's so chock full of stuff happening that it merely disguises the fact there's little going on beneath the surface.

It starts at breakneck speed under Howard's guidance and doesn't really let up or give you the chance to breathe and allow for the contrivances to be accepted as it hurtles through Europe and Italian streets and landmarks.

Hanks is solid as Langdon and Jones is intelligent as his acolyte aide (it's like Doctor Who given a new assistant each time these films come out as Langdon receives a new pretty exposition partner), but there's never really much of a vibe between the pair of them to propel the film through.

Far more successful is Hanks' pairing with Westworld's Babse Knudsen towards the end of the film. As the film slows and the pace drops, the scenes between the two of them develop a lilting humanity and bittersweet edge, lifting proceedings from what is a fairly ludicrous chase movie throughout. Equally welcome, though narratively brief is Khan's shadowy leader, who adds humour to the proceedings that grow increasingly dour and border on the stiffly dull.

With its schlocky edges and predictable twists and turns, it feels like it's a few years too late on the scene and while the book diverges from its own ending to something more sanitary and audience pleasing, it feels like it has no courage of its convictions.

Inferno is the cinematic equivalent of a pulpy paranoiac, writ large; an airport thriller riddled with holes and pretensions, perfect for a journey but forgotten the moment of touchdown.

In many ways, thanks to its dullness, it's the cinematic equivalent of Purgatory.

Jurassic World: Blu Ray Review

Jurassic World: Blu Ray Review

Rating: M
Released by Universal Home Ent

Welcome to Jurassic World.

A world 14 years in the making, a world where logic and cell-phone coverage are dramatically intermittent, a world steeped in a reverence and nostalgia of its past. And a world where once again reason fails to win over corporate greed and dinosaurs threaten our very existence.

In the latest, the fourth addition to the Jurassic Park series, we find ourselves on Isla Nublar, now a fully functioning dino theme park, living the legacy of Richard Hammond and yet still fighting the corporate greed of attracting a new range of visitors and sponsors to the site.

When the nephews of park manager Claire Dearing (Bryce Dallas Howard, initially heroic and always in high heels) head to visit, she finds herself having the worst day possible, thanks to the escape of a new genetically modified dino hybrid, the Indominus Rex. Setting out onto the island with the help of the Doctor Doolittle of the Dino world, Owen Grady (a slightly moodier and serious but still wise-cracking Chris Pratt), she tries to track down the kids.

For its first 30 minutes, Jurassic World is a blast.

It's bathed in a nostalgia of the kind of goosebumps you felt the first time you saw the dinosaurs on the big screen way back in the 1990s, when the T Rex roared through the speakers and the screen shook when that foot first slammed on the muddy ground.

It's a film which has a character admit early on, rather cannily, that "no-one's impressed by a dinosaur any more" before then showing off the very latest CGI Dino-tomfoolery while blasting that iconic and still effective John Williams riff through the screen. It also riffs on how corporate greed for the continual pursuit of the dollar is crippling their industry, messing with the very eco-sphere and apathy that haunts theme parks' owners everywhere. It even has a funny warm tech guy (New Girl star Jake Johnson) who has an original Jurassic Park T Shirt on as well as that CGI DNA Strand from Hammond's original presentation. It's horrendously self-aware and beautifully aware of what to stir within you to set you off reminiscing.

But then the cliched characters and everything-goes-to-hell-at-a-convenient-moment-plot really kicks in and you have this horrible feeling of deja vu. A B-plot about the army wanting to take on Grady's trained raptors presents itself and everything old which felt new again is suddenly old in terms of story and dialogue as the B-movie schlocky creature feature kicks into gear.

Nowhere is this more prevalent than in the writing of the women of Jurassic World, which feels like it's come from the Jurassic Era of Hollywood screenwriters. Bryce Dallas Howard's Claire goes from strong ball-buster to shrieking wreck who has to be rescued all the time; her one moment of self-empowerment is ripped away thanks to Grady's acknowledgement of her achievement and she's back to the sidelines; equally, the nephew's mum is simply more than a worrying sort who sends the kids away and then frets as the inevitable plays out. It looks very much as if Joss Whedon's Twitter criticism of the script is spot on  and certainly it's hard to step away from the overall nagging feeling that the women don't do well in this world that's clearly here just for the ride and thrills and nothing else.

Pratt brings his usual charisma to the role of Grady, though it's somewhat steeped in more dour seriousness than we're used to - but don't fret, there's still quippery to be had and there are still plenty of signs that this guy's groundedness and everyman charm show no signs of wearing off.

However, it can be argued, thanks in part to a Deus Rex Machina, that this cheesy lined, cornball flick is saved by the creatures themselves - even the Raptor Squad that Pratt's character has trained up. Most of the moments the dinos are on screen - from the Indominus Rex to the raptors racing through the forest to the Sea-World-esque creature soaking the viewers are incredible; a nod to previous creature features (via a Viewmaster early on) shows the series respects and adores its roots -even if it bastardises them somewhat with a dino that's had its DNA mangled by the mad scientists in the lab. A scene where Grady and Dearing are out in a clearing is a nice nod to a certain scene with a Triceratops from the first flick and gives the production a chance to use an actual creature rather than another CGI interloper.

Ultimately, Jurassic World brings exactly what you'd expect to the table in terms of story and spectacle - it's a world where dinosaurs both literal and metaphorical roam triumphantly, content to bathe in the glory that once was. It's a spectacle and a blockbuster alright, but it's a hollow one that feels like it's just managing to stay one step ahead of extinction.

Rating:

Jurassic World: Film Review

Jurassic World: Film Review

Cast: Chris Pratt, Bryce Dallas Howard, Vincent D'Onofrio, Irrfan Khan, Jake Johnson, Omar Sy, Dinosaurs, BD Wong
Director: Colin Trevorrow

Welcome to Jurassic World.

A world 14 years in the making, a world where logic and cell-phone coverage are dramatically intermittent, a world steeped in a reverence and nostalgia of its past. And a world where once again reason fails to win over corporate greed and dinosaurs threaten our very existence.

In the latest, the fourth addition to the Jurassic Park series, we find ourselves on Isla Nublar, now a fully functioning dino theme park, living the legacy of Richard Hammond and yet still fighting the corporate greed of attracting a new range of visitors and sponsors to the site.

When the nephews of park manager Claire Dearing (Bryce Dallas Howard, initially heroic and always in high heels) head to visit, she finds herself having the worst day possible, thanks to the escape of a new genetically modified dino hybrid, the Indominus Rex. Setting out onto the island with the help of the Doctor Doolittle of the Dino world, Owen Grady (a slightly moodier and serious but still wise-cracking Chris Pratt), she tries to track down the kids.

For its first 30 minutes, Jurassic World is a blast.

It's bathed in a nostalgia of the kind of goosebumps you felt the first time you saw the dinosaurs on the big screen way back in the 1990s, when the T Rex roared through the speakers and the screen shook when that foot first slammed on the muddy ground.

It's a film which has a character admit early on, rather cannily, that "no-one's impressed by a dinosaur any more" before then showing off the very latest CGI Dino-tomfoolery while blasting that iconic and still effective John Williams riff through the screen. It also riffs on how corporate greed for the continual pursuit of the dollar is crippling their industry, messing with the very eco-sphere and apathy that haunts theme parks' owners everywhere. It even has a funny warm tech guy (New Girl star Jake Johnson) who has an original Jurassic Park T Shirt on as well as that CGI DNA Strand from Hammond's original presentation. It's horrendously self-aware and beautifully aware of what to stir within you to set you off reminiscing.

But then the cliched characters and everything-goes-to-hell-at-a-convenient-moment-plot really kicks in and you have this horrible feeling of deja vu. A B-plot about the army wanting to take on Grady's trained raptors presents itself and everything old which felt new again is suddenly old in terms of story and dialogue as the B-movie schlocky creature feature kicks into gear.

Nowhere is this more prevalent than in the writing of the women of Jurassic World, which feels like it's come from the Jurassic Era of Hollywood screenwriters. Bryce Dallas Howard's Claire goes from strong ball-buster to shrieking wreck who has to be rescued all the time; her one moment of self-empowerment is ripped away thanks to Grady's acknowledgement of her achievement and she's back to the sidelines; equally, the nephew's mum is simply more than a worrying sort who sends the kids away and then frets as the inevitable plays out. It looks very much as if Joss Whedon's Twitter criticism of the script is spot on  and certainly it's hard to step away from the overall nagging feeling that the women don't do well in this world that's clearly here just for the ride and thrills and nothing else.

Pratt brings his usual charisma to the role of Grady, though it's somewhat steeped in more dour seriousness than we're used to - but don't fret, there's still quippery to be had and there are still plenty of signs that this guy's groundedness and everyman charm show no signs of wearing off.

However, it can be argued, thanks in part to a Deus Rex Machina, that this cheesy lined, cornball flick is saved by the creatures themselves - even the Raptor Squad that Pratt's character has trained up. Most of the moments the dinos are on screen - from the Indominus Rex to the raptors racing through the forest to the Sea-World-esque creature soaking the viewers are incredible; a nod to previous creature features (via a Viewmaster early on) shows the series respects and adores its roots -even if it bastardises them somewhat with a dino that's had its DNA mangled by the mad scientists in the lab. A scene where Grady and Dearing are out in a clearing is a nice nod to a certain scene with a Triceratops from the first flick and gives the production a chance to use an actual creature rather than another CGI interloper.

Ultimately, Jurassic World brings exactly what you'd expect to the table in terms of story and spectacle - it's a world where dinosaurs both literal and metaphorical roam triumphantly, content to bathe in the glory that once was. It's a spectacle and a blockbuster alright, but it's a hollow one that feels like it's just managing to stay one step ahead of extinction.

Rating:

Win a double to see Armageddon in Wellington or Hamilton

Win a double to see Armageddon in Wellington or Hamilton

Armageddon's coming back to Hamilton and Wellington.

The phenomenally popular pop culture expo hits Hamilton on May 25th and 26th at the Claudelands arena and then into the capital on June 1st to the 3rd at the Westpac Stadium.

We're giving you a chance to win a double to either one of those shows - simply email to this address: darrensworldofentertainment@gmail.com  and in the subject line put either Hamilton or Wellington, your name and address and the answer to this question....

What is the name of the character played by Jason Momoa in Game of Thrones?
(Scan below for a wee hint)

Competition closes Monday May 20th at 5pm

Don't forget you can get all of the information on the guests at the official Armageddon site - and we'll see you at the show!

Game of Thrones actor Jason Momoa has just confirmed he will be attending the Hamilton and Wellington editions of the Armageddon Expo on 25^th - 26^th May and 1^st – 3^rd June respectively.

Famous for his role as Dothraki warlord Khal Drogo in the popular series, Momoa is expected to face record-breaking crowds of fans upon his return to Armageddon this year.

Armageddon organiser William Geradts says he expects Momoa to bring a whole new hoard of fans to the expos, in particular females.

“Game of Thrones is huge, one of the biggest cult shows we’ve seen in years with awesome folklore, characters and costumes, which is the perfect mix for Armageddon. Ticket sales are already going well, but once the public hears that Jason is coming, we’re expecting a spike in sales, and hoping to see more females than usual,” says Geradts.

Momoa returns to New Zealand after visiting Auckland Armageddon in 2009.

Geradts says Momoa’s career has “expanded exponentially” since he last attended.

“After playing Ronan Dex on Stargate Atlantis Jason’s popularity has sky-rocketed. He’s gone on to play Conan in Conan the Barbarian, Keegan in Bullet to the Head and of course Khal Drogo in Game of Thrones for which he’s established a cult following,” he says.

Momoa will be joined by a range of other fantasy, comic book and sci-fi stars including fellow actors from the Stargate franchise, Jo Flannigan and Mitch Pileggi.

The voice of Lisa Simpson, Yeardley Smith is another big name attending both Hamilton and Wellington Armageddons this year along with Lance Henrickson of Aliens fame, Tony Amendola from Once Upon a Time and, Sylvester McCoy from Doctor Who and The Hobbit, 12 dwarves from The Hobbit (Wellington only) and so many more.

All celebrities attending will take part in panels, signings and photos, so fans can meet them in person.

To see a full list of stars and events happening at the expos go to www.armageddonexpo.com

Tickets are available now from Ticketek.co.nz

Armageddon Expo Hamilton

Saturday 25^th May and Sunday 26^th May, 2013
Claudeland’s Event Centre, Hamilton

Armageddon Expo Wellington

Saturday 1^st June, Sunday 2^nd June and Monday 3^rd June
Westpac Stadium, Wellington

Tickets

One Day Passes

Adult $23 ($20 for presales)
Student $20 ($17 for presales)
Child 12 and Under $11 ($10 for presales)
Child entry is free with an adult ticket
Family 2 adults and 3 children $50 ($45 for presales)

Two Day Passes

Adult $40 ($35 for presales)
Child $19 ($17 for presales)

Three Day Passes (Wellington only)

Adult $55 ($50 for presales)
Child $28 ($24 for presales)

VIP Gold and Silver passes also available, see Ticketek.co.nz for details

Underwater: Neon NZ Review

Underwater: Neon NZ Film Review

Cast: Kristen Stewart, Vincent Cassel, TJ Miller, Jessica Henwick
Director: William Eubank

You've seen Underwater before.

Whether it's the mix of The Meg's terror, or the barely disguised Alien rip off baby creature, or in the seabase under threat mentality of various episodes of Doctor Who, there's a sense of deja vu from the moment this murkily executed, frustratingly workmanlike film begins.

Stewart is Norah, a close-cropped techie type who's spent so long under the sea working on the drilling operation that she's no longer sure what day it is, or if she's awake or dreaming.

However, her tenuous grip on reality is rudely awoken when large sections of the miles-deep rig begin to fail and she's forced to run for her life. Siding with a handful of other survivors, including the rig's Captain (Cassel, largely wasted), it becomes a desperate run for life as it transpires something outside the walls, potentially shaken out from the company's deep-sea drilling, is hunting them - and won't leave anyone alive.

Underwater's production values are stunning.

While the CGI creatures are a massive let down, the visualisation of the suits, the grimy walls and subterranean corridors is a claustrophobe's nightmare.

Director William Eubank makes great fist of the encroaching walls and the creaks and jolts of the underwater rig falling in around our ears. Using tightly shot close ups, or images from within the helmets, he gives the film a sense of terror, of urgency and of uncertainty which is largely lacking from a lot of the rest of the script.

Inconsistencies of the creature's behaviour, a desire to give Stewart's Norah a line worthy of Ripley and some truly average CGI work drags Underwater into the sea murk, which is a shame, as there's a kernel of a good thriller horror lurking here, a ticking time bomb of man versus nature mixed in with an "God what did we do" ethos and paranoia that's worthy of any film.

But by showing the creatures, the film squanders any good will, and despite a more muted, racked by tics Stewart showing she's never a one dimensional actor, there was truly some real potential here to uphold the despair and the fight for survival.

Underwater is serviceable enough - just frustratingly, it feels underwritten and its potential lost at sea.

Underwater: Film Review

Underwater: Movie Review

Cast: Kristen Stewart, Vincent Cassel, TJ Miller, Jessica Henwick
Director: William Eubank

You've seen Underwater before.

Whether it's the mix of The Meg's terror, or the barely disguised Alien rip off baby creature, or in the seabase under threat mentality of various episodes of Doctor Who, there's a sense of deja vu from the moment this murkily executed, frustratingly workmanlike film begins.

Stewart is Norah, a close-cropped techie type who's spent so long under the sea working on the drilling operation that she's no longer sure what day it is, or if she's awake or dreaming.

However, her tenuous grip on reality is rudely awoken when large sections of the miles-deep rig begin to fail and she's forced to run for her life. Siding with a handful of other survivors, including the rig's Captain (Cassel, largely wasted), it becomes a desperate run for life as it transpires something outside the walls, potentially shaken out from the company's deep-sea drilling, is hunting them - and won't leave anyone alive.

Underwater's production values are stunning.

While the CGI creatures are a massive let down, the visualisation of the suits, the grimy walls and subterranean corridors is a claustrophobe's nightmare.

Director William Eubank makes great fist of the encroaching walls and the creaks and jolts of the underwater rig falling in around our ears. Using tightly shot close ups, or images from within the helmets, he gives the film a sense of terror, of urgency and of uncertainty which is largely lacking from a lot of the rest of the script.

Inconsistencies of the creature's behaviour, a desire to give Stewart's Norah a line worthy of Ripley and some truly average CGI work drags Underwater into the sea murk, which is a shame, as there's a kernel of a good thriller horror lurking here, a ticking time bomb of man versus nature mixed in with an "God what did we do" ethos and paranoia that's worthy of any film.

But by showing the creatures, the film squanders any good will, and despite a more muted, racked by tics Stewart showing she's never a one dimensional actor, there was truly some real potential here to uphold the despair and the fight for survival.

Underwater is serviceable enough - just frustratingly, it feels underwritten and its potential lost at sea.

Get ready for Hamilton Armageddon

Get ready for Hamilton Armageddon

Armageddon's coming back to Hamilton this weekend and Wellington next weekend.

The phenomenally popular pop culture expo hits Hamilton on May 25th and 26th at the Claudelands arena and then into the capital on June 1st to the 3rd at the Westpac Stadium.

Don't forget you can get all of the information on the guests at the official Armageddon site - and we'll see you at the show!

Game of Thrones actor Jason Momoa has just confirmed he will be attending the Hamilton and Wellington editions of the Armageddon Expo on 25^th - 26^th May and 1^st – 3^rd June respectively.

Famous for his role as Dothraki warlord Khal Drogo in the popular series, Momoa is expected to face record-breaking crowds of fans upon his return to Armageddon this year.

Armageddon organiser William Geradts says he expects Momoa to bring a whole new hoard of fans to the expos, in particular females.

“Game of Thrones is huge, one of the biggest cult shows we’ve seen in years with awesome folklore, characters and costumes, which is the perfect mix for Armageddon. Ticket sales are already going well, but once the public hears that Jason is coming, we’re expecting a spike in sales, and hoping to see more females than usual,” says Geradts.

Momoa returns to New Zealand after visiting Auckland Armageddon in 2009.

Geradts says Momoa’s career has “expanded exponentially” since he last attended.

“After playing Ronan Dex on Stargate Atlantis Jason’s popularity has sky-rocketed. He’s gone on to play Conan in Conan the Barbarian, Keegan in Bullet to the Head and of course Khal Drogo in Game of Thrones for which he’s established a cult following,” he says.

Momoa will be joined by a range of other fantasy, comic book and sci-fi stars including fellow actors from the Stargate franchise, Jo Flannigan and Mitch Pileggi.

The voice of Lisa Simpson, Yeardley Smith is another big name attending both Hamilton and Wellington Armageddons this year along with Lance Henrickson of Aliens fame, Tony Amendola from Once Upon a Time and, Sylvester McCoy from Doctor Who and The Hobbit, 12 dwarves from The Hobbit (Wellington only) and so many more.

All celebrities attending will take part in panels, signings and photos, so fans can meet them in person.

To see a full list of stars and events happening at the expos go to www.armageddonexpo.com

Tickets are available now from Ticketek.co.nz

Armageddon Expo Hamilton

Saturday 25^th May and Sunday 26^th May, 2013
Claudeland’s Event Centre, Hamilton

Armageddon Expo Wellington

Saturday 1^st June, Sunday 2^nd June and Monday 3^rd June
Westpac Stadium, Wellington

Tickets

One Day Passes

Adult $23 ($20 for presales)
Student $20 ($17 for presales)
Child 12 and Under $11 ($10 for presales)
Child entry is free with an adult ticket
Family 2 adults and 3 children $50 ($45 for presales)

Two Day Passes

Adult $40 ($35 for presales)
Child $19 ($17 for presales)

Three Day Passes (Wellington only)

Adult $55 ($50 for presales)
Child $28 ($24 for presales)

VIP Gold and Silver passes also available, see Ticketek.co.nz for details

Ant-Man: Blu Ray Review

Ant-Man: Blu Ray Review

Rating:  M
Released by Sony Home Ent

It's fair to say that as the Marvel Universe expanded its horizons, those running it really did start to lose track of what made the earlier movies so great - character and a degree of intimacy.

Particularly in the last Avengers movie, which concluded in a soulless retread formulaic finale that was redolent of many before, relied on a MacGuffin and that was so steeped in angst, all the joie de vivre threatened to be crushed forever.

So, it's a joy to report that, despite a lack of ant-icipation, Ant-man takes Marvel back to its origins, with a flick that feels like a set- up / origins piece that was so prevalent of Phase Oneand one that is an utter blast in the cinema due to its simple plot.

Those unfamiliar with the incredible shrinking man needn't feel left out. 

It's the story of down-on-his-luck Scott Lang (a brilliantly vulnerable yet timed to comic perfection Paul Rudd), an ex-con with a moral code who just wants to do right by his daughter Cassie after getting out of jail. 

But Lang is singled out by Doctor Hank Pym (Michael Douglas back on form and looking wearied enough to suggest an age and lifetime in the role prior to where we join the movie) to be the recipient of his shrinking super-suit and help Pym ensure that the current CEO of the Pym Industries Darren Cross (Corey Stoll in a relatively thankless role as the rather average and cartoon villain of the piece) doesn't use the tech for the wrong reasons and let it fall into the wrong hands.

Ant-Man is refreshingly small scale and, for the most part, all the better for it.

Sure, it's entrenched in the Marvel Cinematic Universe, but it never feels fully bound by its conventions, ongoing storylines or bogged down by the Infinity Gems saga. 

There are nods to the world around and an acknowledgement of the events in Age of Ultron(even Pym has a wariness about the Avengers getting their hands on their tech) but this is flick is more about the story of fathers and their legacies, rather than super-sized and angsty heroes coming together to save the day.

Ant-Man is at pains to put its redemption lessons and daddy issues front and centre of the film, with a mantra of the ordinary man being a hero squarely at the fore. Lang's told by his ex-wife at one point that his daughter thinks he's "her hero - so just be the person she already thinks you are"; Pym himself talks a lot about how he failed his daughter Hope (a worryingly sidelined Evangeline Lilly) and Cross is angry that his mentor Pym never fully trusted him or embraced him.

But it's the fact that Marvel's embraced these issues and looked more to address the intimacy of the films that's not proved an insignifc-ant contribution to the overall effect.

Granted, there are some pretty impressive visuals that revel in their Honey I Shrunk the Kidsand Planet of the Giants aesthetics, thanks to Pena's performance, there's a crackling line of comedy that buzzes all the way through (and clearly has Edgar Wright and Joe Cornish's DNA all over it) but there is never anything that wanders too far from the emotional edge that's clearly running through this ant's mandibles. And it's all wonderfully executed by Yes-Man director Peyton Reed.

It's not all perfect though - Stoll is never a full-on threat as the bad guy and the Marvel truck has gone back a few steps in its treatment and execution of women in this piece. Lilly deserved more of a presence in this first film (even if a mid-credits coda seems to promise more ahead) and is sidelined; it's once again a boy's world in this superior heist flick. And it has to be said the appearance of the wider world intrudes into this film - a mid-film sequence and even the post-credits moment feels like Marvel's going back to easy old habits, which is unwelcome after what's just transpired.

Ultimately, thanks to a massively charming Rudd and the lighter touch of the script, Ant-Man is entertaining fare, a welcome diversion from the darker edges and continual set-ups that have become the norm for these films and shorn of the ongoing mythology. 

Ant-Man is light, inventive, frothy and above all, fun - this caper has refreshed the Marvel cinematic offering and it's to be hoped that this formula won't be lost in future.

Rating:

Ant-Man: Film Review

Ant-Man: Film Review

Cast: Paul Rudd, Michael Douglas, Corey Stoll, Evangeline Lilly
Director: Peyton Reed

It's fair to say that as the Marvel Universe expanded its horizons, those running it really did start to lose track of what made the earlier movies so great - character and a degree of intimacy.

Particularly in the last Avengers movie, which concluded in a soulless retread formulaic finale that was redolent of many before, relied on a MacGuffin and that was so steeped in angst, all the joie de vivre threatened to be crushed forever.

So, it's a joy to report that, despite a lack of ant-icipation, Ant-man takes Marvel back to its origins, with a flick that feels like a set- up / origins piece that was so prevalent of Phase One and one that is an utter blast in the cinema due to its simple plot.

Those unfamiliar with the incredible shrinking man needn't feel left out. 

It's the story of down-on-his-luck Scott Lang (a brilliantly vulnerable yet timed to comic perfection Paul Rudd), an ex-con with a moral code who just wants to do right by his daughter Cassie after getting out of jail. 

But Lang is singled out by Doctor Hank Pym (Michael Douglas back on form and looking wearied enough to suggest an age and lifetime in the role prior to where we join the movie) to be the recipient of his shrinking super-suit and help Pym ensure that the current CEO of the Pym Industries Darren Cross (Corey Stoll in a relatively thankless role as the rather average and cartoon villain of the piece) doesn't use the tech for the wrong reasons and let it fall into the wrong hands.

Ant-Man is refreshingly small scale and, for the most part, all the better for it.

Sure, it's entrenched in the Marvel Cinematic Universe, but it never feels fully bound by its conventions, ongoing storylines or bogged down by the Infinity Gems saga. 

There are nods to the world around and an acknowledgement of the events in Age of Ultron (even Pym has a wariness about the Avengers getting their hands on their tech) but this is flick is more about the story of fathers and their legacies, rather than super-sized and angsty heroes coming together to save the day.

Ant-Man is at pains to put its redemption lessons and daddy issues front and centre of the film, with a mantra of the ordinary man being a hero squarely at the fore. Lang's told by his ex-wife at one point that his daughter thinks he's "her hero - so just be the person she already thinks you are"; Pym himself talks a lot about how he failed his daughter Hope (a worryingly sidelined Evangeline Lilly) and Cross is angry that his mentor Pym never fully trusted him or embraced him.

But it's the fact that Marvel's embraced these issues and looked more to address the intimacy of the films that's not proved an insignifc-ant contribution to the overall effect.

Granted, there are some pretty impressive visuals that revel in their Honey I Shrunk the Kids and Planet of the Giants aesthetics, thanks to Pena's performance, there's a crackling line of comedy that buzzes all the way through (and clearly has Edgar Wright and Joe Cornish's DNA all over it) but there is never anything that wanders too far from the emotional edge that's clearly running through this ant's mandibles. And it's all wonderfully executed by Yes-Man director Peyton Reed.

It's not all perfect though - Stoll is never a full-on threat as the bad guy and the Marvel truck has gone back a few steps in its treatment and execution of women in this piece. Lilly deserved more of a presence in this first film (even if a mid-credits coda seems to promise more ahead) and is sidelined; it's once again a boy's world in this superior heist flick. And it has to be said the appearance of the wider world intrudes into this film - a mid-film sequence and even the post-credits moment feels like Marvel's going back to easy old habits, which is unwelcome after what's just transpired.

Ultimately, thanks to a massively charming Rudd and the lighter touch of the script, Ant-Man is entertaining fare, a welcome diversion from the darker edges and continual set-ups that have become the norm for these films and shorn of the ongoing mythology. 

Ant-Man is light, inventive, frothy and above all, fun - this caper has refreshed the Marvel cinematic offering and it's to be hoped that this formula won't be lost in future.

Rating:

Edge of Tomorrow: Movie Review

Edge of Tomorrow: Movie Review

Cast: Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson
Director: Doug Liman

Blockbuster season is upon us - and the latest entrant to the popcorn pantheon sees Tom Cruise stuck in a war is hell analogy.

With the earth invaded by creatures known as the Mimics and with nations toppling around them, Tom Cruise's spin doctor Major William Cage finds himself thrust onto the front line by a vindictive general (Brendan Gleeson) on the eve of a major last push from UK soil.

Unable to cope with the concept of fighting, and with a Normandy style beach landing just around the corner, Cage does all he can to escape the war - but to no avail. Thrust into the theatre of war, Cage is killed by a Mimic - only to wake up and find that he's jumped back in time and is being forced to live the same 2 days over and over again....

Edge of Tomorrow is based on the Japanese novel, All You Need Is Kill and is a heady mash up of the sci fi and other genres you've seen before - from Starship Troopers to Groundhog Day, Saving Private Ryan to Looper, Elysium with its exo-suits and even Cruise's last outing, Oblivion,  it's derivative in many ways.

Humour permeates the first third of the film with Cruise's Cage being offed in a variety of ways, in a plethora of situations that if you're not a fan of the superstar may bring you an element of perverse glee (as well as make you think it's some kind of bizarre cinematic video-game).

Though, it's Cruise that shines through in this as he starts out as a smug PR weasel of a man forced into a baptism of fire on the battlefield; with each death, there's a grim edge that creeps into his character and an attitude that he manages to sell incredibly well, with his own old age helping.

Equally, Blunt impresses as the bad-ass Rita Vrataski, despite starting out as the "Full Metal Bitch", heroine of the army and gradually softening to Cage's continued assault. Toned and combat ready, she carries her no-nonsense one-note heroine as Cage's foil throughout - she shoulders the burden of the bulk of the laughs during the reset sequences in a nice twist of expected gender stereotypes. Mention must also go to the evangelical Bill Paxton who, as a base sergeant, spouts such litany of Biblical proportions on combat that you almost feel like signing up yourself.

Liman's brought together an alien invasion that's visually original too, with spidery-style octopus like creatures ripping through the troops during the Saving Private Ryan beach landings. Speed and visual FX impress and make up for some of the convenient lapses in time travel logic and plotholes that permeate parts of the film (why is Gleeson's general so adamant that Cage will fight, how does an airship get off a base during lockdown).

Though it has to be said, the final portion of the film almost muddies the whole experience with a showdown that's as generic and predictable as most sci fi fare and derails the sparkiness and edge that delivered a freshness so early on, despite the sci-fi hokum and flimsy premise.

All in all, Edge of Tomorrow is a fine example of its oeuvre, a fun blockbuster sci-fi blast that reinstates Cruise as the king of the popcorn flick and proffers up Blunt as the queen of kick-ass.

Rating:

Edge of Tomorrow: Blu Ray Review

Edge of Tomorrow: Blu Ray Review

Rating: M
Released by Roadshow Home Ent

With the earth invaded by creatures known as the Mimics and with nations toppling around them, Tom Cruise's spin doctor Major William Cage finds himself thrust onto the front line by a vindictive general (Brendan Gleeson) on the eve of a major last push from UK soil.

Unable to cope with the concept of fighting, and with a Normandy style beach landing just around the corner, Cage does all he can to escape the war - but to no avail. Thrust into the theatre of war, Cage is killed by a Mimic - only to wake up and find that he's jumped back in time and is being forced to live the same 2 days over and over again....

Edge of Tomorrow is based on the Japanese novel, All You Need Is Kill and is a heady mash up of the sci fi and other genres you've seen before - from Starship Troopers to Groundhog Day,Saving Private Ryan to Looper, Elysium with its exo-suits and even Cruise's last outing,Oblivion,  it's derivative in many ways.
Humour permeates the first third of the film with Cruise's Cage being offed in a variety of ways, in a plethora of situations that if you're not a fan of the superstar may bring you an element of perverse glee (as well as make you think it's some kind of bizarre cinematic video-game).

Though, it's Cruise that shines through in this as he starts out as a smug PR weasel of a man forced into a baptism of fire on the battlefield; with each death, there's a grim edge that creeps into his character and an attitude that he manages to sell incredibly well, with his own old age helping.

Equally, Blunt impresses as the bad-ass Rita Vrataski, despite starting out as the "Full Metal Bitch", heroine of the army and gradually softening to Cage's continued assault. Toned and combat ready, she carries her no-nonsense one-note heroine as Cage's foil throughout - she shoulders the burden of the bulk of the laughs during the reset sequences in a nice twist of expected gender stereotypes. Mention must also go to the evangelical Bill Paxton who, as a base sergeant, spouts such litany of Biblical proportions on combat that you almost feel like signing up yourself.

Liman's brought together an alien invasion that's visually original too, with spidery-style octopus like creatures ripping through the troops during the Saving Private Ryan beach landings. Speed and visual FX impress and make up for some of the convenient lapses in time travel logic and plotholes that permeate parts of the film (why is Gleeson's general so adamant that Cage will fight, how does an airship get off a base during lockdown).

Though it has to be said, the final portion of the film almost muddies the whole experience with a showdown that's as generic and predictable as most sci fi fare and derails the sparkiness and edge that delivered a freshness so early on, despite the sci-fi hokum and flimsy premise.

All in all, Edge of Tomorrow is a fine example of its oeuvre, a fun blockbuster sci-fi blast that reinstates Cruise as the king of the popcorn flick and proffers up Blunt as the queen of kick-ass.

Rating:

Dolphin Tale: Blu Ray Review

Dolphin Tale: Blu Ray Review

Rating: PG
Released by Warner Home Video

From the people who brought you the inspirational Blind Side, comes Dolphin Tale, a similarly spirited family movie based on a true story.

Gamble stars as Sawyer, the young kid of a broken family; his dad left him and his mum (Judd) years ago and as the flick starts, Sawyer’s about to lose his cousin to the war abroad and is forced to go to summer school to boost his grades.

However, whilst heading in on the first day, Sawyer finds a dolphin on the beach caught up in a crab trap. Sawyer helps cut the dolphin free and it ends up in the local marine aquarium, where Dr Clay Haskett (Connick Jr) and his co-workers try to nurse it back to health.

But things get worse for Winter (the name they end up giving the dolphin) when her fin has to be amputated – and facing an uncertain future.

And it’s not just Flipper’s pal who’s got trouble – Dr Clay’s Marine centre’s in dire financial straits and Sawyer’s schooling has also taken a dive.

The thing with a Dolphin Tale is you can see what it’s doing a mile off; it’s one of those films which feels like a made for TV movie that occasionally the American audiences revel in and the rest of us wonder why schmaltz like this continues to be made.

Firstly, aside from the opening where the dolphins frolic in the water, the 3D in this film is pointless; it adds little to the story.

Secondly, there are so many clichés at play in this you can see them before they even show; every stereotype is here – from the kid with a broken family who needs the wounded animal to heal – both for his well being and the animal’s - to the doctor facing financial adversity.

And yet, for everything that’s served up in this overtly sickly sweet film with terribly earnest acting, there’s just something about it which keeps it engaging – just.

That would be Morgan Freeman’s appearance as a prosthetic limbs specialist. He brings a welcome note of humour which pricks the dour feel of the film just at the right moment. Essentially he’s playing another nice guy, but the warmth he brings just about saves this saccharine celluloid outing.

All of the cast give it their all and there’s certainly something to be said for the family feel of this film – if you’re willing to leave your day to day cynicism at the door.


Extras: Animated short, behind the scenes with the real dolphin, spotlight on scene, additional scene and gag reel

Rating:

The Five(Ish) Doctors are here

The Five(Ish) Doctors are here

Hot on the heels of the Day of The Doctor, 5th Doctor Peter Davison has launched his mini episode, The Five(Ish) Doctors.

With no Classic Doctors in the 50th anniversary Doctor Who celebrations, Peter Davison joins forces with other Time Lords to be involved.

This mini episode is available to view on the BBC Iplayer and also features Lord of The Rings director Sir Peter Jackson and Ian McKellen, as well as Sylvester McCoy, Colin Baker and Paul McGann.

http://www.doctorwhonews.net/2013/11/the-fiveish-doctors-reboot.html

Dolphin Tale: Movie Review

Cast: Harry Connick Jr, Winter the dolphin, Morgan Freeman, Ashley Judd,  Nathan Gamble, Kris Kristofferson

Director: Charles Martin Smith

From the people who brought you the inspirational Blind Side, comes Dolphin Tale, a similarly spirited family movie based on a true story.

Gamble stars as Sawyer, the young kid of a broken family; his dad left him and his mum (Judd) years ago and as the flick starts, Sawyer’s about to lose his cousin to the war abroad and is forced to go to summer school to boost his grades.

However, whilst heading in on the first day, Sawyer finds a dolphin on the beach caught up in a crab trap. Sawyer helps cut the dolphin free and it ends up in the local marine aquarium, where Dr Clay Haskett (Connick Jr) and his co-workers try to nurse it back to health.

But things get worse for Winter (the name they end up giving the dolphin) when her fin has to be amputated – and facing an uncertain future.

And it’s not just Flipper’s pal who’s got trouble – Dr Clay’s Marine centre’s in dire financial straits and Sawyer’s schooling has also taken a dive.

The thing with a Dolphin Tale is you can see what it’s doing a mile off; it’s one of those films which feels like a made for TV movie that occasionally the American audiences revel in and the rest of us wonder why schmaltz like this continues to be made.

Firstly, aside from the opening where the dolphins frolic in the water, the 3D in this film is pointless; it adds little to the story.

Secondly, there are so many clichés at play in this you can see them before they even show; every stereotype is here – from the kid with a broken family who needs the wounded animal to heal – both for his well being and the animal’s - to the doctor facing financial adversity.

And yet, for everything that’s served up in this overtly sickly sweet film with terribly earnest acting, there’s just something about it which keeps it engaging – just.

That would be Morgan Freeman’s appearance as a prosthetic limbs specialist. He brings a welcome note of humour which pricks the dour feel of the film just at the right moment. Essentially he’s playing another nice guy, but the warmth he brings just about saves this saccharine celluloid outing.

All of the cast give it their all and there’s certainly something to be said for the family feel of this film – if you’re willing to leave your day to day cynicism at the door.

Dolphin Tale: Movie Review - Rating: