Avengers: Infinity War Movie Review

Released: 27th April 2017 (UK and US)

Length: 149 Minutes

Certificate: 12A

Director: Anthony and Joe Russo

Starring: Robert Downey Jr, Chris Evans, Chris Hemsworth, Mark Ruffalo, Scarlett Johansson, Benedict Cumberbath, Tom Holland, Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Chadwick Boseman, Don Cheadle, Anthony Mackie, Paul Bettany, Elizabeth Olsen, Sebastian Stan and Josh Brolin

2008’s Iron Man was a great film, but it was the closing moments that left the biggest impact on the superhero genre and indeed cinema as a whole. The prospect of bringing together countless characters together for the ultimate crossover is something that just about every major studio has had a crack at, but none have been able to top Marvel’s original formula. After a huge amount of anticipation, Avengers: Infinity War has arrived; it’s the culmination of ten years and eighteen movies worth of build-up. Does it work? Without a doubt…

Avengers: Infinity War brings on the ultimate test for the MCU’s heroes, that of Thanos’ (Josh Brolin) universal conquest for the Infinity Stones; with all six of them, he can wipe out half the universe and it’s up to Captain America/Steve Rogers (Chris Evans), Iron Man/Tony Stark (Robert Downey Jr) and their respective teams and alliances to put a stop to it. With the background and lore already laid out, Infinity War puts it all on the line, raising the stakes to the highest they’ve ever been, telling its story via groups of characters each with their own role to play. Just like its predecessors, the balance between the characters is excellently done as the film cuts back and forth across Earth and beyond. The first act has plenty of awe-inspiring entrances from the well-known characters and from here, the action is non-stop; the intensity builds to a peak in the last moments, where a shocking conclusion throws the more light-hearted tone of the MCU sideways. Everything really does come together here; if you forced me to say anything negative about it, it’s that a lot of the impact will be lost on you if you haven’t been following key parts of the franchise.

A gargantuan cast lines the narrative of Avengers 3 and because we’ve had ample time to get to know each and every one of them, they’re all perfectly positioned for the epic showdown, having been marked by the journeys they went through in previous films. Both Iron Man and Captain America feel appropriately serious, hardened by their conflict in Civil War, Thor (Chris Hemsworth) is bruised and battered, the Guardians of the Galaxy (Chris Pratt, Zoe Saldana, Dave Bautista and Bradley Cooper) find themselves out of their depth and Doctor Strange (Benedict Cumberbatch) finds his morals put to the test. These are just some of the tribulations thrust upon the characters which create an immense amount of dramatic impact, yet even with the end of the world bearing down on them, the unique characteristics always come into play in all the right ways; there’s still plenty of humour to be found with some of the highlights being some banter between the Guardians, Thor and Tony Stark. Rounding off the list is Thanos himself, who receives a very effective amount of development throughout; for a character who we’ve only seen briefly in post-credit scenes, this is another high point, as we witness his reasons for bringing the universe into balance and the belief that his deeds are for the greater good. You’ll be wondering what will happen to every one of these characters throughout the film, which gives the third Avengers a sense of palpable uncertainty, something hammered home even more by the aforementioned finale.

We’ve seen plenty of action from the MCU over the years and Infinity War ramps things up considerably; all of it is incredibly tense and well-shot, with one scene involving hundreds of characters clashing on the field of battle. The visual effects also reach a new zenith, with incredible looking locales in the far reaches of space and impactful spectacles that showcase the power of the infinity stones as they come into play one by one. The way the different effects and tones throughout the series come together are also stellar with Iron Man’s suits matched against Dr Strange’s portals; seeing all these varying effects coming together is yet another culminative effect that Infinity War makes skilful use of throughout. The score from the returning Alan Silvestri feels far weightier here than it ever did in the film’s predecessors, with a powerful array of choirs and more ominous notes that really get across the devastation of Thanos’s march. Just as the build-up led us to believe, Infinity War stakes its place as the biggest and most far-reaching entry in the franchise with an arsenal of superb special effects to match.

Infinity War is a truly amazing achievement; every payoff lands brilliantly, not a single member of the cast is at fault and the plot is unrelenting in both its drama and action. It’s a testament to the years of painstaking effort and passion poured into the MCU’s productions and it’s an event that every single audience, comic book fan or not, simply must experience.

Rating: 5/5 Stars (Exceptional)

The Foreigner Movie Review

Released: 18th December 2017 (UK on Netflix only)

Length: 114 Minutes

Certificate: 15

Director: Martin Campbell

Starring: Jackie Chan, Pierce Brosnan, Liu Tao, Michael McElhatton, Orla Brady, Katie Leung, Ray Fearon, Lia Williams, Charlie Murphy, Niall McNamee and Simon Kunz

Jackie Chan is one of the most recognisable names in martial arts cinema, but very rarely have we seen him move away from that persona to tackle a more serious production. In 2017, his match arrived; released on Netflix as opposed to theatrical, The Foreigner is an earnest effort all around.

Based on Stephen Leather’s “The Chinaman”, The Foreigner concerns a new string of bombings from the nationalistic Irish Republic Army, who resurface in London after two decades of absence. With the peace accords at risk, a rapid round of negotiations and a hunt for the perpetrators ensues with Irish Minister and former Ulster loyalist Liam Hennessey (Pierce Brosnan) and the London police led by Commader Bromley (Ray Fearon) on hand. But caught in the middle is the quiet, unassuming Ngoc Minh Quan (Jackie Chan), who seeks revenge for the death of his daughter. The film kickstarts the proceedings immediately with a frighteningly brutal bombing in London and efficiently sets Quan on his path of revenge. From here, it’s a tautly paced thriller with Quan hounding the tight-lipped Hennessy at every turn and tracking down those responsible; the film cuts between three perspectives, delivering some background on each throughout the proceedings. The film’s source material is unflinching, particularly for UK and Irish audiences in that it often becomes a vivid portrayal of what would happen if the Good Friday Agreement with Northern Ireland was to fail. The Foreigner gains much of its impact on this level and heightens the tension to a relentless peak in the final act; it’s only issue is the somewhat unbalanced focus on the three perspectives. There’s a moment halfway where Quan briefly disappears from the story which could have been better balanced out to further explore his backstory.

The main cast of The Foreigner provides a very potent mix for dramatic tension and what makes the two performances so great is that Chan and Brosnan are playing the opposites of their typical roles; Jackie Chan’s more laidback heroic persona is set aside here for an older more grizzled man who talks little but does plenty over the course of the film to seek revenge. On top of that, his age marks a greater vulnerability than any of his previous films. Pierce Brosnan, normally remembered for his tenure as the smooth James Bond, plays a secretive and sly political figure, desperately trying to keep his violent past wandering out into the open. The ways the two play off each other are equally brilliant; both men have been involved in violent conflict but took different paths to escape from it, making for an intriguing dynamic. The side characters mostly go for elements of authenticity; both Commander Bromley and the overseeing MP Katherine Davies (Lia Williams) succeed in this regard while also highlighting the delicate nature of the peace accords. However, the antagonists outside of Hennessey, specifically the perpetrators of the bombings played by Irish actors Niall McNamee and Charlie Murphy among others are undeveloped, mostly sticking to the side-lines as the Quan and the police forces close in; with the film already grounded in a very grim subject matter, it could have done more to explain how and why the younger individuals were drawn to the IRA’s cause, particularly as a generation who lived outside of The Troubles. This may have been too controversial and provocative to include.

The Foreigner is well-helmed as a technical production with Martin Campbell again showing his prowess for directing gritty action. Despite the somewhat unbalanced narrative, the rapid cuts between Quan, the police and the IRA during the action have a strong flow, while also highlighting the different operational procedures between the factions. The same holds true for the action itself, which thanks to Chan helming some of the production is excellently choreographed and shot, but it also features a helping of dramatic tension with Quan’s older age putting him at odds with Hennessy’s pursuing henchmen. The soundtrack mostly features a range of modern techno beats to add a punchy feel to the action, with a couple of more emotive tracks here and there to build up some internal tension within the characters.

With two excellent performances from Jackie Chan and Pierce Brosnan, The Foreigner is a highly effective thriller, taking a difficult subject matter and applying the same visceral grit and paranoia that hung over both Ireland and England decades ago. If you can stomach the hard-hitting subject matter, I urge you not to miss it.

Rating: 4/5 Stars (Great)

Altered Carbon Series Review (Season 1)

Released: February 2nd 2018

Created by: Laeta Kalogridis

Number of Episodes: 10

Where to Watch: Netflix

Starring: Joel Kinnaman, James Purefoy, Martha Higareda, Chris Conner, Dichen Lachman, Ato Essandoh, Kristin Lehman and Renee Elise Goldsberry

While numerous efforts over the years have taken big-screen audiences beyond the stars, the realm of the space-faring future on smaller counterparts have been dominated by one big series every now and again, be it Star Trek, Battlestar Galactica or the cult favourite Firefly. Netflix has been gaining ground in the science-fiction genre and their latest effort is an adaptation of Richard K. Morgan’s novel of the same. Altered Carbon has its strong moments, but never really takes the source material to the heights of other, better contemporaries.

Set over 350 years in the future, mankind has moved both beyond Earth and, for a lucky few, death. Memories are stored in cerebral stacks, which are transferred between bodies (known in this universe as “sleeves”). Against this backdrop, deceased mercenary Takeshi Kovacs (Joel Kinnaman) is placed into a new sleeve to solve a murder, that of multimillionaire Laurens Bancroft (James Purefoy). In his new body, Kovacs reluctantly agrees and as we follow him across the ten episodes, his past on both sides of a war long past becomes clear. The action unfolds from both his perspective and other main characters including police detective Kristin Ortega (Martha Higareda) who seems to have a personal interest in the resurrected soldier. Just like the main character, we’re dumped into the future city which does work at establishing perspective, though not so well for introducing us to the world portrayed. The series is slow for the first few episodes as Takeshi finds his first leads on the investigation, during which you’ll have a tough time getting into it though the pace does pick up with a handy twist or two at the halfway point. Thematically, the series revolves around life and death, the endless struggle between rich and poor, as well brief smatterings of artificial intelligence and while these fit nicely into the narrative, it isn’t enough to overcome other problems. The storytelling could have used some tuning up; while there are some breadcrumbs alluding to Kovacs’ past, things go sideways with episode 7, which serves as one big exposition dump; the story pauses for a moment here and while the backstory delivered is strong, it could have been layered more organically across the rest of the series.

The performances of Altered Carbon are mostly well done by the very diverse cast, though much like the initial stages of the plot, you may not get into their struggles so easily. Takeshi as an anti-hero isn’t so easy to root for at first, his older persona commanding more intrigue and Ortega is a standard cop with close family ties. As things go on though, they do grow on the audience, particularly as they’re placed in more desperate situations and the investigation heats up. Ato Essandoh’s Vernon Elliot (despite at times just sitting around as the sidekick) is also good, with an especially poignant family backstory keeping the viewer invested. Chris Conner was the most unexpected highlight as the smartly dressed, ambiguous hotel operator Edgar Poe who has plenty of smooth mannerisms and cocky comments to deliver throughout the ten episodes. Unfortunately, some of the side characters feel very underdeveloped and are often missing backstories; Ortega’s colleagues at the police department, especially Waleed Zuatier’s Samir Abboud isn’t given much to do and other components of the science fiction world such an underground combat arena and clinic specialising in psychological interrogation get only minor mentions, making for some weak-world building.

The show is appropriately stunning with plenty of budget thrown behind its special effects; the rain-soaked cities and underground pleasure domes look forebodingly grotty and uninviting, a contrast against the immaculate whites seen in Bancroft’s home in the clouds. The fight scenes, despite having a few hiccups with editing are effectively choreographed, often delivering bloody carnage that reinforces the unforgiving nature of the setting. Outside of its central sleeve concept, Altered Carbon doesn’t do much that you haven’t seen in the genre; futuristic yet dimly lit city environments, reflections on the past through flashbacks, virtual constructs that bend the rules. It’s all tried-and-true which does diminish the series ability to immerse. The city is traditional cyberpunk fare and with long shots few and far between, we’re never given any sense of geography, or the sense that it’s a living, breathing environment. Altered Carbon looks brilliant at times, but it doesn’t always have the substance to draw the audience in to its dystopian future. You’ll often be reminded of Blade Runner throughout the production and while the series apes this inspiration well enough, you’re left wishing it would do more of its own thing.

Altered Carbon is conflicting as a series; offering strong effects, acceptable characterisation and a troubled method of storytelling and world-building. Things do get better further down the line, but if you’re looking for a science-fiction series to rival the very best in the genre, Altered Carbon isn’t quite it.

Rating: 3/5 Stars (Fair)

A Quiet Place Movie Review

Released: 6th April 2018 (UK and United States)

Length: 95 Minutes

Certificate: 15

Director: John Krasinski

Starring: John Krasinski, Emily Blunt, Millicent Simmonds and Noah Jupe

Horror films are often cheaper to make and easier to make a profit on; but when a more unique outing comes to theatres, audiences are quick to notice. Marking his third directorial production, John Krasinski has surprised everyone with his best film to date, a horror film to rival the best in the current decade.

The film is a post-apocalyptic thriller that makes use of minimal exposition and background information, following a family of four played by John Krasinski, Emily Blunt, Millicent Simmonds and Noah Jupe. It starts you off with one simple rule; don’t make any noise, something immediately established by the character’s lack of shoes, heavy use of sign language and need to keep any loud toys away from the children. The prologue serves as a catalyst for both the Abbott family and the terrifying situation they find themselves in. From here, it transfers to a deserted countryside and homestead; a beautiful setting made deadly by something out in the woods. The use of suspense is brilliant, with moments layered throughout the narrative set to pay off in the most heart-stopping ways; it’s a page right out of Hitchcock’s playbook, where a figurative bomb is about to go off and the characters in the film don’t know about it. Even with all its frightening moments, there’s still plenty of time given to the four family members, showing their inner struggles and the close bond they have to one another. The plot’s other great strength is how it never explains the post-apocalyptic landscape depicted; you can piece together what happened to other people yourselves, which further reinforces why this family has survived. It’s truly excellent storytelling all-around.

The cast may be small but A Quiet Place more than makes the most out of it. You really feel this family is close, despite them hardly uttering a word to each other throughout the film. With the film mostly cutting dialogue out of the proceedings, the moments where the actors do use their voices are often powerfully visceral; the strains the characters go through to remain silent only adds to the tension. A moment involving Emily Blunt’s character and a sealed bathroom is particularly nerve-wreaking. On the other hand, the filmmakers went the extra mile by casting Millicent Simmonds, who is deaf in real life. The interactions she has with both the other characters are excellently portrayed through facial expressions and overall all four performances are extremely well-realised, capturing both terror and heartfelt ties in equal measure.

A Quiet Place is also conservative with its presentation; computer effects are used sparingly throughout the film to create the antagonists of the film (which I won’t speak of for fear of spoilers) but for the most part, the film has a very natural look and feel to it. The boundaries and components of the farm are well defined through a wide variety of shots and when the tension heats up, the camera is placed at all the right angles to deliver its biggest shocks. The music is mainly ambient to give off a strong atmosphere, before eventually rising to fit the mood. Yet it’s the sound design that makes the largest impact; because the film is so reliant on silence, any loud noise that does crop up feels incredibly jarring, pulling the audience into the moment while also serving as trigger points of tension. It’s a minimal method of filmmaking, yet still highly effective in creeping out the viewer at every turn.

Taking both its inspiration and lessons from all the right contemporaries, A Quiet Place is a phenomenally effective horror film, one which manages to frighten its audience while still delivering great depth with next to no clichés, intrusive dialogue or moments wasted. It’s also one of the rare horror films with a real heart to its performance, drawing you into the characters and their plight; I can’t recommend it enough, even if you normally steer clear of the genre.

Rating: 5/5 Stars (Exceptional)

Ready Player One Movie Review

Released: 28th March 2018 (UK)

Length: 140 Minutes

Certificate: 12A

Director: Steven Spielberg

Since their beginnings half a decade ago, gaming has risen to become a fledgling part of pop culture, but it’s rare to see a major film release tribute them so absolutely. Spielberg, a fan of the medium himself, has now turned his attention to Ernest Cline’s Ready Player One, a love letter to geek culture from the eighties to the present.

In 2045, the real world has degenerated into a cluttered mess, causing millions to escape their problems in the virtual world of the Oasis; designed by legendary game designer and professed introvert James Halliday (Mark Rylance), the game is a place where you can be whoever you want and imagine any scenario you can conjure. Following his passing, Halliday unveils the ultimate contest; an Easter egg unlocked by three keys. Whoever finds it first inherits his full fortune and complete control of the Oasis. The quest unfolds from the perspective of Wade Watts, (Tye Sheridan) who lives in the stacks of Ohio; he soon forms a motley crew with his best friend Aech, (Lena Waithe) cyber crush Art3mis (Olivia Cooke), and comrades Daito (Phillip Zhao) and Dato (Win Morisaki) and they set out to find the keys before the villainous Innovative Online Industries Corporation does. Unfolding from the perspective of both protagonist and antagonist, the plot of RP1 never slows down an inch throughout, making for a rapid barrage of stunning action sequences broken up by a few ventures into the real world. There’s no doubt that the book has been heavily trimmed to keep the pacing consistent and the darker moments at bay, which does keep things engaging though this comes at the cost of world-building. You don’t learn very much about how the Oasis works and the first act does contain an unhealthy amount of exposition. The same also goes for the real world; while in the book it was often a bleak setting choked by global warming, corporate ruthlessness and a growing energy crisis, the viewer never really gets that context in the film, which would have made the Oasis itself more alluring.

With an intention to focus on the Oasis itself, characterisation in Ready Player One is rather thin; the actors all play their parts well enough, but I wouldn’t expect any major development or character arcs throughout the film. Wade’s basic living in Ohio is rarely expanded upon and his bond with Art3mis feels especially weak with only a few moments given to the two of them in the real world. Aech’s character reveal is mostly backended towards the second half of the film and as for Daito and Sho, they really don’t have any character at all. It’s a shame that they couldn’t get the balance right between their real selves and alter egos in cyberspace as this would have deepened their characters. Ironically, it’s Mark Rylance who conveys the most as James Halliday; the audience learns the most about his backstory and his creation of Gregarious Game Systems and as a result, he manages to deliver that convincing heart that Spielberg often puts into his films that isn’t matched by the other characters. Sorrento is your typical conniving corporate businessman, but you can tell Ben Mendelsohn is having a lot of fun with the role. If you can move past the basic characterisation, RP1 still keeps you interested and I’ll explain why.

Being based in a video-game world around 80% of the time, RP1 makes a heavy use of CGI and it all looks absolutely fantastic. Incredibly detailed animations, dazzling environments and lighting, fluid camerawork everywhere you look; it’s all superbly helmed by cinematographer Janusz Kaminski and Industrial Light and Magic, who return to collaborate with Steven after a decade of absence. Alongside plenty of clever animated movements in the Oasis, a nightclub scene with a cheeky nod to the Bee Gees is a highlight with all its zero-gravity shenanigans and heavy use of luminous lighting, as well as the final battle which brings together hundreds of characters for a wildly ballistic round of destruction. The cultural references on show (of which there are more than any other film) are all faithful and contrary to fears, the film doesn’t rely too much on them, or place them in awkward positions too much. The music by Alan Silvestri is a great fit for the virtual world, laced with classic gaming soundbites and a few retro tracks from the eighties sprinkled in for good measure. With all the pop culture across the decades colliding, I was reminded of Back to the Future at points; in short, if you have the slightest interest in any of it, the film is unrelenting in its efforts to pull you into its world.

Ready Player One is pure nostalgic escapism to the nth degree, delivering everything you’d ask for from a nerdy tribute to your favourite pastimes. It’s not so deep with its characters and world-building, but for the most part the film is so much fun, you’ll be glad you jumped on for the ride.

Rating: 3.5/5 Stars (Good)