The New Mutants: Film Review

Cast: Maisie Williams, Alice Braga, Anya Taylor-Joy, Charlie Heaton, Blu Hunt

Director: Josh Boone

The idea of the X-Men franchise getting a dose of horror is, in theory, a great one.

But what director Josh "The Fault In Our Stars" Boone delivers is something that fails to build on the potential, frustratingly drawing a veil over 20th Century Fox's involvement in the X-Men franchise.

The story, such as it is, centres around Blu Hunt's Danielle Moonstar, a native American who is the sole survivor of a tornado which destroys her reservation. Awaking having seen her father killed, Dani finds herself chained to a gurney inside a hospital with the soothing voice of Dr Reyes (Braga) telling her everything will be alright, as long as she just accepts the treatment.

Introduced to four other teenagers within the hospital, Dani soon believes they are being trained to be part of the X-Men. But when the group starts to be attacked, they find their loyalties questioned, and their grip on what is the truth crumbling....

The New Mutants never really gets going.

Despite a cast that has charisma in other roles, flat dialogue and limp direction hinders them from being truly memorable.

Add in to that mix, some truly ropey CGI and this X-Men spinoff never finds any of the feet it needed to launch a trilogy. Rough editing, and some uninspired visual choices stop The New Mutants from soaring when it should.

The asylum setting is a nice antithesis to the pristine brilliance of Professor Charles Xavier's school of mutants - and the oppressive claustrophobic nature of what's within should provide the film with the atmosphere it needs, but in truth, the film's script doesn't capitalise on years of prior X-Men films, nor does it show any of its own strengths.

Scenes from Buffy The Vampire Slayer play in the background right before the film practically rips off the moments on the big screen, hints of child abuse and same-sex relationships are danced around to hold off any darkness and the movie never really gains the wisdom of its own merits to soar.

Williams delivers a performance that seems to be another version of her character from (the more superior) schoolgirl murder mystery The Falling; Taylor-Joy appears to be channeling Jennifer Lawrence's Russian Red Sparrow via way of Villanelle and Heaton is playing a kind of Johnny Knoxville-mutant-hick hybrid.

Instead of revelling in the creepy, The New Mutants rolls in the familiar and by being left rotting on a release shelf for 3 years, it really shows that it's out of step and time for what it should be.

Massively frustrating, given the chance to reinvigorate the tired and stale X-Men universe, The New Mutants will fall easily into a category of what should and could have been, rather than what is. 

Terminator: Dark Fate: Neon NZ movie Review

Dwelling in the past while simultaneously dismissing everything which happened post 1991's Terminator 2: Judgment Day, Terminator: Dark Fate wastes no time in steeling itself as homage to the films, and twisting and repurposing some of the best bits of Judgment Day.

In this latest, which sees the return of James Cameron, Reyes' Dani is the latest target of robots from the future, this time in the form of Gabriel Luna's Rev-9. Singled out for assassination, Dani finds her humdrum life in the hands of agile new saviour Grace (a strong Davis, easily the best addition to the series in a long time, androgynous, sympathetic and wearing similar gear to Sarah Connor's original white tank top) and Sarah Connor, whose life has been turned back to tragedy in the years after she and John averted Skynet's future.

Forced on the run, and with promise of help coming from a mysterious cabin in the woods, it's a fight for survival for the trio.

Terminator: Dark Fate isn't really content to go its own way.

It proffers up plenty of tantalising ideas, and gets into the action straight away with a factory-based fight and freeway chase with trucks.

If that sounds familiar it is - later on the film chooses to use a chase sequence involving a helicopter and a Terminator pouring its liquid form through its window. It's essentially Terminator 2: Judgment Day writ large for the 2019 audience. Much of it feels familiar, in the same way that any sci-fi robot-chasing-you-to-death film is going to - there's little room for nuance character work in between fits and bursts of popcorn baiting action.

Hamilton hovers between spitting, snarling and chewing the scenery with her damaged Connor; a few quieter moments allow her some depth, hinting at the ongoing effects of being caught in this eternal hunting game and are all the better for it. Schwarzenegger dabbles in some usual humour and nostalgia moments, but is largely there for set-dressing; and Reyes' Dani oscillates wildly between being terrified to becoming her destiny. Luna has little to do other than appear relentless, and be the subject of some occasionally iffy CGI.

Thankfully, Davis as the augmented super soldier, makes a valuable case of a vital new addition to the franchise, meshing both robotic like steeliness to the cause, and moments of humanity as reality sets in. It's no shock she radiates a younger Sarah Connor's determination, and even echoes her wardrobe.

Some of the action set pieces creak from obvious CGI, and Deadpool's Miller is competent enough at rolling them out, even if occasionally they feel perfunctory and all too familiar. (No one needs to ever see a Dunkirk style Terminators rising sequence ever again) That said, some of the live action ones are never less than thrilling, and offer a strong case for the Terminator's continuing popcorn appeal.

But the urgency of the dread fear of an unstoppable hunter on your tail has gone in this latest - and even echoes of contemporary themes such as detainee centres, electronic surveillance and immigrants try to add some urgency, they're not enough to detract from a film that pursues its core objective with dread precision, yet proffers no real reason to keep going back to a universe that seems destined to repeat itself ad infinitum.

The Farewell: Neon Movie Review

The Farewell: Neon NZ Movie Review

Director Lulu Wang puts family drama and reunion squarely on the table in this piece which is based on an actual lie, as the opening title board points out.

Chinese born Billi (Awkwafina, in a muted and conflicted turn) lives in New York, with her mother and father, and is a struggling writer. When she learns that her beloved Nai Nai is dying, her immediate desire is to get back to China and help her cope.

But the family decides to withhold the fatal cancer diagnosis from Nai Nai, telling her she only has benign shadows on her X-Rays and that she's fine. However, they all decide to fly back to China under the pretence of a wedding for one final family reunion.

The clash of familial duty and the affairs of the heart comes delicately together in The Farewell, and is all anchored by Crazy Rich Asians' Awkwafina's rueful turn that brings together both the inner turmoil and deep emotions needed in something that projects her from the screen into the stratosphere.

But as the subtleties of familial relationships are poured through the prism of escalating tensions and imminent sadness of the loss of the matriarch, the film pivots on its ideas and never milks the emotion for easy drama.

East vs West is explored (obviously) and the family arguments and discussions are all set against some gorgeously shot scenes of dining and food.

It all means that Wang brings together the film in ways that are warm, earnest and also amusing. From Nai Nai's nagging to Billi about how she shouldn't wear earrings in New York as they'll be ripped from her ears to the reunion of the two brothers after twenty-plus years, this is a film that's rich in nuance and deep in feeling.

The Farewell is a nuanced take on family, one that balances perfectly on resonance.

It may be based on an actual lie, but its truths are universal and its performance by Awkwafina is delicate and complex, and well worth absorbing. 

Tenet: Film Review

Cast: John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh, Aaron Taylor-Johnson

Director: Christopher Nolan

Christopher Nolan's high-concept action-filled Tenet is a blockbuster to see on the big screen.

That's not an exhortation given worries over Covid-19, social distancing and movie releases - more that the film's been primarily made for the big screen experience, and certainly for the IMAX screen with extended action sequences filling every inch of what is on offer.

Nolan's been sparse with details of the plot, but Washington plays an unnamed CIA agent who is called upon to stop a Russian oligarch Andrei Sator (played with devilishly dead eyes by Kenneth Branagh) from ending the world. 

So far, so run-of-the-mill spy thriller.

But Nolan then peppers the script with talk of entropy, backwards-moving bullets and time-shifting scenes and further muddies the water with a never-ending series of set pieces that each try to outdo each other with visuals and action.

The thing is with Tenet is that it's muddled in exposition serving as a bridge in between each action sequence.

Early on, one character says to John David Washington's The Protagonist "Don't try and understand it."

To be frank, it's a missive from Nolan that could also apply to the audience as the movie spools out.

On an emotional level, Tenet is less interested in providing something to grab onto. Whereas Elizabeth Debicki's gangster moll Kat appears to exist purely to service an abused wife storyline, there are hints of attraction between The Protagonist and her, but they exist only in passing.

More effective is the relationship between the Protagonist and Robert Pattinson's initially mysterious Neil. Pattinson delights in delivering one of the strongest performances he's mustered in a while, slipping into the intrigue and action with ease. Washington and he gel well, whereas solo, Washington's Protagonist is left to spout reams of exposition and supposition of what lies ahead. It's in the verbiage that Tenet gains its pomposity.

But at the end of the day, Tenet is all about the action.

Nolan delivers overly choreographed sequences of utter jaw-dropping consequence that are heavily scored by a bombastic and edge-of-the-seat score. An opening sequence inside a concert hall sets the tense atmosphere in motion, and the film very rarely lets up from then on.

It's here that Tenet more than delivers, shifting its pieces around the cinematic table with masterful ease - it's easy to understand why Nolan refused to compromise on his delivery of Tenet into the multiplex and it's easy to let the action wash over you.

There are hints at the end of a potential sequel, but it's hard to see how Nolan could top himself in terms of visual thrills and action sequences.

There's no doubt Tenet is a spectacle, and an at times extremely entertaining one. Just don't scratch below the surface, because emotionally Tenet is lacking. And while that may not be a key factor for those seeking out blockbuster entertainment, for all of its top notch bells and whistles, it does have you leaving the cinema feeling a touch confused and wondering if that was it.

Bill & Ted: Face The Music: Film Review

Cast: Keanu Reeves, Alex Winter, Samara Weaving, Bridget Lundy-Paine, William Sadler

Director: Dean Parisot

More uneven than a fully formed coherent journey, Bill & Ted: Face The Music sees Alex Winter and Keanu Reeves reprise their William S Preston and Theodore Logan roles, nearly 30 years since we last saw them.

It's 2020, and Bill and Ted are still living in the shadow and fear of their legacy. But the airheads are just about still married to their wives and have two daughters (Weaving and Lundy-Paine, a great source of vacant-headed energy throughout and the breakout stars of this, potentially setting up a new franchise) as the world starts to fall apart.

Unable to write the prophesied song that will unite the world, and with reality collapsing in on themselves, Bill and Ted are visited by Kelly, Rufus' daughter and told they have a deadline to sort the music or it's all over.

So, the boys decide to go into the future to steal the song from themselves...

It may start off a little ropy, thanks to the feeling that Reeves is struggling a bit to recapture some of the lunk-headed nature of his younger self, but once Bill & Ted: Face The Music settles in, there's a great deal of charisma to be had from seeing this duo back together and interacting with various future versions of themselves.

There's a lack of comedy throughout, and it misses the knockabout charm of Bill & Ted's Bogus Journey (a reunion with William Sadler's never-not-funny Death happens too late in the piece); a sub-plot sees Bill and Ted's daughters Billie and Thea essentially doing a musical journey a la Excellent Adventure's history quest, and there is a general feeling that it could have used a more knockabout approach to a fan service script.

Whereas Reeves seems to be struggling to get the tone and intonation of the wholesomely goofy and enthusiastic Ted (he even says at one point to Bill that he's "tired, dude"), Winter effortlessly slips back into Bill and even offers a few subtle spins on the character as the story pans out. It's here Bill & Ted Face The Music finds its emotional core, and even dances lightly around the nostalgia of its franchise - there's a sweetness (and sadness) to these two friends never quite growing up and reaching their potential, and the script rightly recognises that fact.

Generally, Bill & Ted: Face The Music is more adequate than excellent, but when it comes together in the last 20 minutes, it really does leave an undeniably goofy grin on your face. But it also does demonstrate that given a tighter script polish, and a bit more of a humorous edge, Bill & Ted: Face The Music could have been another time-travel cult classic.

As it is, it's perhaps the film 2020 needs right now - but thanks to the unevenness not quite the one we were expecting from the dudes.

Marvel's Avengers | Out Now Across Australia & New Zealand

MARVEL’S AVENGERS LAUNCHES TODAY REASSEMBLING AUSTRALIA’S GOLD MEDAL WINNING MEN’S FREESTYLE RELAY TEAM FOR THE 20^TH ANNIVERSARY

More Than Six Million Players Spent Over 28 Million Hours Playing as Earth’s Mightiest Heroes During August Beta – It’s Time to Assemble!

 

SYDNEY, 4^th September 2020 - Today, SQUARE ENIX® announced that Marvel’s Avengers is now available across Australia & New Zealand for the PlayStation®4, Xbox One, and PC, and they have recruited Olympic Champion’s Ian Thorpe, Michael Klim, Chris Fydler and Ashley Callus to celebrate the launch.

These four Aussie legends were part of one of the greatest team efforts in Australian sporting history, smashing their US rivals ‘like guitars’ to claim Gold in the Men’s 4x100m Freestyle relay 20 years ago. The team is reassembling to mark the milestone and this time they are swapping swimsuits for gaming consoles and taking on a new mission – defending Earth in the new Marvel’s Avengers game

Our mightiest heroes aren’t letting COVID-19 travel restrictions prevent them from getting together, reuniting online in the game through its four-player co-op function to commemorate the anniversary. 

Olympian Ian Thorpe says having the opportunity to celebrate the anniversary through the game is serendipitous, “Going into that race, we knew it was going to take superhuman strength from all of us to win Gold. Now, 20 years later, having the opportunity to actually play a superhero in Marvel’s Avengers alongside the team, it’s a nice tribute to that moment and a chance for us to relive some memories.

Unfortunately, due to the current travel restrictions Ashley can’t join us but being able to play Marvel’s Avengers and compete in a different way through the game is special way for us to honour the win,” added Thorpe.

Marvel’s Avengers offers players a truly rich experience and combines the single player focused Reassemble story campaign with the ongoing Avengers Initiative’s War Zone missions, which take the Avengers around the world and beyond. Each mission in the Reassemble campaign is designed to showcase one or more hero’s unique abilities, while the Avengers Initiative missions can be played solo with your own custom AI team or with a group of up to four players* as any Hero in the player’s roster.

 

“At its heart, Marvel’s Avengers is a game about hope in a modern Super Hero setting,” said Shaun Escayg, creative director for Marvel’s Avengers at developer Crystal Dynamics. “Our original story campaign features Kamala Khan, aka Ms. Marvel, as the point-of-view focus who is unflappably optimistic, and she uses her passion, natural curiosity, gifted intellect, and emerging powers to expose a conspiracy, leading her on an adventure to re-assemble and re-build the Avengers to their former glory.”

 

To ensure a continuing heroic experience for all players, the narrative of Marvel’s Avengers will expand over time, with the addition of new stories featuring new heroes, villains, mission types, regions, items, and more delivered to players at no additional cost once they own the core game. These stories move the entire Marvel’s Avengers narrative world forward on a multi-year arc, and all new missions are accessible to the entire roster of playable heroes.

 

Fans won’t have to wait long for this new content, either. The game’s first post-launch content season, focused on the recently announced Kate Bishop and her iconic mentor Hawkeye, Clint Barton, begins just weeks after launch with mysterious new Tachyon missions. Kate’s Operation, “Taking AIM,” kicks off in late October featuring a new villain and new mystery. Kate, an Olympic-calibre gymnast and master archer, comes with her own distinct set of Skills, Gear, and moves to unlock and master just like the core launch Heroes.

 

“Taking AIM” begins shortly after the conclusion of the game’s Reassemble campaign and is just the first half of the two Hawkeyes’ Story Arc. Clint Barton’s Hawkeye takes the stage in November to complete the double-feature arc and set the stage for what’s next. All of these new missions are playable with the entire roster of heroes, and all of this content, including heroes, villains, game modes, missions, gear, and more will be made available at no cost to all owners of the Marvel’s Avengers core game.

 

Players in Marvel’s Avengers are also able to customise Earth’s Mightiest Heroes in a number of ways. While each Super Hero plays true to their unique power sets, each has the flexibility to play differently based on the gear players equip and the skills they enable, so no two player’s heroes play in exactly the same way. Each hero has dynamic combo systems, heroic moves,  intrinsic abilities, and signature move sets to unlock and customise – many inspired by classic moves from over 80 years of Marvel history across all media, while others are crafted as originals just for the game.
 
Players can also dress the iconic Super Heroes with classic, fan-favourite, and all-new original outfits, including Iron Man’s suit from the 2014 Original Sin storyline, or Thor’s Donald Blake identity, which is a nod to an alias of Thor’s who first appeared in 1962’s Journey into Mystery issue #83.

Marvel’s Avengers will be available on PlayStation®5 and Xbox Series X when the consoles launch in 2020. Players who own the current-gen version of the game will be able to upgrade to the next-gen version at no additional cost, regardless if players are moving from PlayStation 4 to PlayStation 5 or Xbox One to Xbox Series X. Those moving their saves to next-gen will transfer their player profiles and progression so they can pick up right where they left off. In addition, cross-gen play will be supported so PS5™ players will be able to play with their friends on PS4™ and Xbox Series X players can connect with their friends on Xbox One.

 *Internet connection required. Your platform’s online multiplayer requirements will apply.

James Bond: No Time to Die new trailer

A brand new trailer for 007's final Daniel Craig outing has been released.

About No Time To Die

Bond has left active service and is enjoying a tranquil life in Jamaica.  

His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help. 

The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.

Directed by: Cary Joji Fukunaga (Beasts of No Nation)

Returning Cast: Daniel Craig, Ralph Fiennes, Naomie Harris, Rory Kinnear, Léa Seydoux, Ben Whishaw, Jeffrey Wright

Debuting Cast Rami Malek (Bohemian Rhapsody), Ana de Armas (Bladerunner 2049, Knives Out), David Dencik (Chernobyl), Lashana Lynch (Captain Marvel), Billy Magnussen (Aladdin)

No Time To Die releases in cinemas November 12