Category Archives: Cinema

Cinema, New Releases, Reviews

TOY STORY 4 (2019) – MOVIE REVIEW

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TOY STORY 4 (2019) – MOVIE REVIEW

Directed by: Josh Cooley

Produced by: Jonas Rivera, Mark Nielsen

Screenplay by: Stephany Folsom, Andrew Stanton

Story by: John Lasseter, Rashida Jones, Will McCormack, Josh Cooley, Valerie LaPointe, Martin Hynes, Stephany Folsom, Andrew Stanton

Cast: Tom Hanks, Tim Allen, Annie Potts, Tony Hales, Keegan Michael-Key, Jordan Peele, Madeleine McGraw, Christina Hendricks, Keanu Reeves, Joan Cusack, John Ratzenberger, Timothy Dalton etc.

Production company(s): Walt Disney, Pixar Animation

**MAY CONTAIN SPOILERS**

I almost don’t feel qualified any more to review a sequel that was neither expected or necessary. After all, it’s a sequel to a film trilogy which was almost perfect in its’ delivery and execution. But, having paid big bucks for Pixar in 2006, I doubt Toy Story 4 will be the last unnecessary sequel of their products. After all, Disney are in show BUSINESS!!

I also don’t feel qualified as I am so cynical and jaded that the characters of Toy Story do not interest me anymore. In my mind their story is done. Plus, it’s really for kids, isn’t it? However, that isn’t to say that Pixar/Disney have not, once again, created an incredible technical tapestry of some genius. The colour, texture and attention to detail on show are incredible as usual. Similarly, the ultra-talented voice acting of Tom Hanks, Tim Allen, Wallace Shawn, John Ratzenberger, Annie Potts etc. are joined by the brilliant Key and Peele, Christina Hendricks and Tony Hales for the latest release.

Hales offers the voice of potentially one of the worst characters Pixar have ever created: Forky. In fact I think they set out to invent one of the worst characters as a challenge to see if they could make it work. You know what? I think they did make it work. Forky is something the toys’ owner, Bonnie, creates on her first day of kindergarten and with the magic of make-believe he becomes, unknown to her, sentient. We then get the experience of watching a fictitious plastic spork suffering an existential crisis and attempting suicide-by-trash. That’s when good old Woody then tries to teach him his worth.

The sheer goofiness of all this strange plotting works for and against the film. It’s so surreal I thought David Lynch had a hand in the story. Having said that the writer and story credits almost number a football team, so the Frankensteinesque patchwork nature of the screenplay is unsurprisingly. The stitching that holds it all together is Woody’s character. Many of the other toys, including Buzz, are almost sidelined for Woody’s hysterical attempts to control everything around him.

There were a myriad of plots strangling the narrative of Toy Story 4, but the character of Gabby Gabby, voiced by Christina Hendricks, was arguably the most interesting. Echoing the villainy and bitterness of Lotso from the previous sequel, her ventriloquist dummy hench-toys were very creepy and her character added a dark heart amidst the kaleidoscope of wondrous colours. I could take or leave Bo Peep’s, Bonnie’s and Forky’s escapades, but Woody’s encounter with Gabby Gabby was my favourite. Oh, not to forget, Keanu Reeves hilarious little cameo as stunt-toy, Duke Caboom.

Overall, Pixar and Disney do this kind of film amazingly well. Once again one marvels at the technical quality of the animation on show. The story, themes and characters, however, felt a bit recycled and if they do more of these films I think they probably need to jump the shark and allow the toys to finally be seen and heard. How many times can the same joke work? I’m not sure. What is certain though, as long as it makes money Disney will have no issues selling it to the kids. I’m just so old and jaded I’m ready for the attic with all the other discarded and tired toys.

Mark: 8 out of 11

Cinema, New Releases, Reviews

BRIGHTBURN (2019) – MOVIE REVIEW

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BRIGHTBURN (2019) – MOVIE REVIEW

Directed by: David Yarovesky

Produced by: James Gunn, Kenneth Huang

Written by: Brian Gunn, Mark Gunn

Cast: Elizabeth Banks, David Denman, Jackson A. Dunn, Matt Jones, Meredith Hagner, Gregory Alan Williams etc.

**MAY CONTAIN SPOILERS**

What if Superman was evil? As concepts go Brightburn (2019) has a simple but highly impressive one. The trailer too was brilliant and it was only when I saw a few negative reviews did I baulk at going to see the brisk B-movie-super-hero-horror-film. So, does a great pitch, and cool trailer lead to a great movie? In part yes; and in part no!

With the indie-turned-blockbuster director, James Gunn, in the wings producing the film, Brightburn clearly has a pedigree in superhero, comedy and horror film-making. I loved his low budget gem Super (2010) and his work helming the Guardians of the Galaxy films is also impressive. One wonders if Brightburn may have worked better with James Gunn directing but we will never know.

Set, unsurprisingly in Brightburn, Kansas, the story completely steals the Superman origin narrative and twists it in a fun and gory way. Farming couple Tori and Kyle Breyer are desperate for a kid and have failed to conceive naturally. Fortunately, or so it seems at first, a child falls from the skies, and rather than tell the authorities they adopt the kid as their own.

Flash-forward and Brandon is now twelve years old and puberty is fast approaching; cue bodily changes but not the kind his parents were expecting. As Brandon deals with school bullies and his first crush he suddenly begins going into trances and attempting to unlock that red glowy thing in the barn. What could it all mean? Mayhem! Bloody mayhem is what it means!

I really enjoyed Brightburn. It’s script is a bit dumb and some of the character choices are pretty ridiculous, especially when Brandon starts behaving violently at school and around the house. However, I loved the fast-pace, the concept, the dark horror, the red-masked image system, and the gore. Moreover, while many were given away in the trailer, there are some brilliant set-pieces and scares throughout.

Some of the negative reviews I have seen may have come from the wrong angle on Brightburn. Its not really meant to be taken seriously despite the compelling and dramatic performance from Elizabeth Banks. For me it’s to be watched as an imaginative low-budget B-movie feature, somewhat reminiscent of those “kids-go-bad” 1980’s horrors I used to rent from local video store.

There’s an element of depth as it touches on themes relating to puberty, adoption and the trials of parenthood; ultimately though it’s about the rise of an evil anti-hero in a gas mask with glowing red eyes!! In a nutshell, Brightburn is one for B-movie horror fans everywhere and I definitely want them to expand the universe.

Mark: 8 out of 11

Cinema, New Releases, Reviews

THE CINEMA FIX PRESENTS: JUNE MOVIE ROUND-UP INCLUDING – MA (2019); GODZILLA 2 (2019); EXTREMELY WICKED. . . (2019) ETC.

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CINEMA FIX PRESENTS: JUNE MOVIE REVIEW ROUND-UP

After the relative cinematic highs of Avengers: Endgame (2019) and John Wick 3 (2019), I’ve been choosing my battles in regard to the big budget blockbuster movies currently released at the cinema. I’m sure they are very good but I have swerved Aladdin (2019) and Rocketman (2019) as they did not appeal to me.

Anyway, I’ve mixed up some of my film viewing choices so far this month with big and lower budget films at the cinema and via online streaming platforms. Here are some mini-reviews with the usual marks out of eleven.

**MAY CONTAIN SPOILERS**

MA (2019) – ODEON CINEMA

Like Isabelle Huppert in Greta (2019), another amazing actress takes on the role of a disturbed matriarch figure with terrifying aplomb. Indeed, Octavia Spencer is absolutely brilliant in her role as the seemingly kind but ultimately vicious avenging angel, Sue Ann Ellington A.K.A, ‘Ma.’ The story begins with a casual encounter between some teenagers and Sue Ann. They are after illicit alcohol and somewhere to party. What starts innocently then spirals into a full-on psychological horror movie by the end.

The script slowly builds the tension as Ma’s plan carefully moves from convivial host to the unhinged nutter. I liked that they developed Ma’s character motivation beyond the standard cardboard cut-out pantomime villain. Plus, the levels of gore and suspense were darkly enjoyable. Thematically, the film has some familiar genre tropes such as: the new girl trying to fit in; rebellious teens being taught a lesson; past events creating a vengeful monster; and an element of Munchausen’s by proxy etc. However, these aren’t really developed and are window-dressing to the twisted joy of watching Octavia Spencer go into full “bunny boiler” mode and then some!!

Mark: 8 out of 11

GODZILLA 2: KING OF THE MONSTERS (2019) – ODEON CINEMA

Despite really enjoying King Kong: Skull Island (2017) I wasn’t bothered about watching this sequel to the recent Godzilla (2014), because Godzilla/Gojira is a fundamentally dull creature. I get that it’s a cultural phenomenon in Japan; one that reflects the horror of nuclear devastation; however, on the big screen it’s usually a lumbering lizard which, while presenting a strong visual image, is essentially all about destruction. The first film I found pretty boring with too little of Godzilla to make it very exciting. Thankfully, the sequel goes monster mad and you get four fantastic beasts for your money.

Thus, for sheer energy and the appearances of Godzilla, Mothra, Rodan and Ghidorah, all battling each other at various times, Michael Dougherty and his production team deserve some credit. However, the mistake they made was trying to give the story an interesting human angle. While the cast, including Kyle Chandler, Vera Farmiga and Millie Bobby Brown, did their best as the dysfunctional nuclear family, they were poorly established, creating an empathy vacuum that just got in the way of the monster stuff. Overall, it’s clumsy B-movie narrative is blown away by the impressive visuals, in a mostly waste-of-budget and ultimately forgettable cinema experience.

Mark: 6 out of 11

EXTREMELY WICKED, SHOCKINGLY EVIL AND VILE (2019) – SKY CINEMA

If you have read or seen anything about the life of infamous serial-killer Ted Bundy, then this psychological drama doesn’t necessarily tell you anything you do not know. Bundy terrorized an abundance of innocent victims across many of the States in America, for much of the 1970s. A conventionally attractive, intelligent and charming manipulator on the outside, he hid a venal desire to attack, assault and murder young women.

Bundy denied these attacks until the very last, as Joe Berlinger’s solid biopic shows Bundy’s actions and character from the perspective of his girlfriend, Elizabeth Kendall (Lily Collins). The film takes a while to kick into gear but when we get to the prison escapes and court cases then the horror of Bundy’s crimes really impacts. Zac Efron is a revelation as Bundy and he owns the screen with a performance of magnetic evil. The final chilling scene where Kendall confronts him through the glass is a particularly memorable exchange.

Mark: 7.5 out of 11

THE PERFECTION (2019) – NETFLIX

This horror film started if off brilliantly. It begins with two talented musicians (Alison Williams and Logan Browning) meeting and taking time out of their schedule to tour rural China. Suddenly, one of them is attacked by a flesh-eating virus and you think so far, so nasty! However, it soon undoes the excellent opening by descending into a non-sensical revenge story full of plot-holes. To be honest the themes exploring: #MeToo and #Time’sUp combined with a critique of toxic-svengali-masculinity were absolutely fascinating. It’s a shame the sub-Cronenberg narrative fell apart by the end, as the gory events unfold with little sense of empathy or logic. Indeed, I’m still baffled what any of it had to do with classical music!!

Mark: 5.5 out of 11

Articles, Cinema, Essays and Theory

WHAT’S IN A NAME? A BRIEF CONSIDERATION OF FILM TITLES

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WHAT’S IN A NAME? A BRIEF CONSIDERATION OF FILM TITLES

While reviewing the entertaining HBO show Barry, it struck me that I have an irrational dislike of film and TV programmes which resort to using people’s singular names in the title. Why, though? Let’s be honest: it’s not a big deal. So, why does it bother me? To answer this question I decided to a hold a brief whimsical exploration of such titles.

Titles are important. They create the first contact for the audience. They pull you in or push you away before you even know who made the film or who stars in it. I mean, who doesn’t want to watch a film called: Jaws (1975) or Alien (1979) or The Terminator (1984)? Conversely, who wants to watch a film called The Sisterhood of the Travelling Pants 2 (2008)?

Obviously, big decisions are made at the title-naming stage of any works. Or are they? I think naming a film after a single name, on the surface, just seems a tad lazy. But, on reflection, using single names for the titles of a film or TV show can be impactful and to the point.

It’s weird, because I don’t mind place name titles at all. In fact, Fargo (1996), is one of my favourite films. The singular title just works. Similarly, so does Chinatown (1974). Fargo, especially, names both a place and the two syllables within the place — ‘far’ and ‘go’ — suggest the actions of the characters in the story. Chinatown, on the other hand, is more poetic; naming a place but also hinting at something exotic and mysterious. Either that or a cultural area where you can visit and perhaps get a certain kind of food.

I also don’t object to personal names being part of the title. For example, Rosemary’s Baby (1968), is such a great title because it’s better than just plain old ‘Rosemary’. What does the singular Rosemary tell us? Very little. But add the ‘baby’ element and you conjure up suspense and a desire to know what will happen to Rosemary and her child. Similarly, When Harry Met Sally (1986), is a simple yet delightful title which tells you the character names, events and we’re most likely to witness some form of romance.

It may be that the film is an adaptation and just named after the original source material. Rebecca (1940), by Daphne Du Maurier is a good example of this. Rebecca works for me though as the name has a haunting feel; and this is certainly confirmed once you read the book or watch the film. On the other hand, the film Carol (2015), feels benign in comparison. Based on Patricia Highsmith’s literary classic, it’s a sumptuous and touching romance, however, the title did not draw me in. It was only when I saw the cast and that it was directed by Todd Haynes, I decided to watch it.

The best singular name film is Rocky (1975). Here is a classic underdog story of a boxer who is Rocky by name and rocky by nature. He’s streetwise but lacking intellect and seems to have literal rocks in his head. He’s scrabbling around trying to make ends meet with a head as hard as rock too. But, because of this he can take the blows and punches and still come back for more. We love the character because he never gives in; he literally rocks!

In conclusion, like everything, there are good and bad examples of film titles. Some singular named titles work way better than others. Titles like: Barry (2018), Dave (1993) and even a fine film like Carol, seem weak to me. Meanwhile, a title like Rocky just works perfectly. Anyway, here are eleven singular named film titles which also fly against my pet annoyance and mostly work really well.

Top Eleven “Single Name” Films

  1. Rocky (1975)
  2. Carrie (1976)
  3. Jezebel (1938)
  4. Lolita (1962)
  5. Amelie (2001)
  6. Tarzan (1932 etc.)
  7. Rebecca (1940)
  8. Leon (1994)
  9. Matilda (1996)
  10. Marty (1955)
  11. Nell (1994)

Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #16 – JODIE FOSTER

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MY CINEMATIC ROMANCE #16 – JODIE FOSTER

Having recently caught the underwhelming B-movie crime movie, Hotel Artemis (2018), on Sky Movies, I was suddenly reminded what a brilliant actor Jodie Foster is. She has been around for years so it’s easy to take for granted what a consummate performer and on-screen creator she is. Indeed, her sterling work held Hotel Artemis‘ weak narrative together; as she gave a nuanced and clever portrayal of a morally ambiguous medical professional.

Foster is an actor, director and producer who has received two Academy Awards, three BAFTAs, two Golden Globes and countless other nominations recognizing her screen skills and brilliance. She is one of those rare actors, like Ethan Hawke, who has transcended child stardom and become a prolific performer in adulthood too. Here are, in keeping with the rules of this feature, FIVE stand-out Jodie Foster roles that I can highly recommend you watch.

**MAY CONTAIN SPOILERS**

TAXI DRIVER (1976)

Already boasting acting heavyweights such as Harvey Keitel and Robert De Niro, this existential classic finds Foster as a teenage prostitute, Iris. It was a very risky role for all concerned, especially as Foster was only twelve at the time. However, it is one of the greatest child performances of all time, with Foster bringing vulnerability, toughness, smarts and pathos to girl lost on the mean streets of New York seeking salvation.

THE ACCUSED (1988)

Foster’s incredible performance as Sarah Tobias deservedly won her a first Academy Award. Tobias’ character is the victim of a brutal gang-rape and the film sets about to highlight the savagery of men and the injustices of the legal system. I have not seen this film in years but I will never forget Foster’s steely and emotional acting tour-de-force, plus the physical and mental bravery she committed to the stunning portrayal.

SILENCE OF THE LAMBS (1991)

If I didn’t include her role of Clarice Starling then I would need my head examined. Obviously, NOT by Dr Hannibal Lecter, I must add. Indeed, while Anthony Hopkins gets much kudos for his startling turn as no one’s favourite chef, it’s Foster’s sterling work which glues the film together. All in all it’s almost a perfect genre film which owes much to Thomas Harris’ fine characterisations of Lecter and Starling and Jonathan Demme’s excellent direction. Nonetheless, Foster brings the tough, determined, yet vulnerable, FBI rookie to life brilliantly; and her scenes with Hopkins spark, scare and thrill especially.

CONTACT (1997)

I wasn’t a massive fan of this film when it was first released. That was because I was expecting something more action-based akin to Robert Zemeckis’ previous body of work. However, Contact, on subsequent views is an emotionally rich and intelligent look at religion, science and contact with extra-terrestrials. Foster is Dr Ellie Arroway, a scientist who utilises radio signals to chart potential alien signals in space. In a role which doesn’t exclusively find her life in danger, Foster is able to show her range as an intelligent, heartfelt and sensitive character. As such Dr Arroway is, amidst the vast expanse of space and time, ultimately searching for that all-encompassing and universal desire: love.

INSIDE MAN (2006)

I love this heist film because it has so many brilliant aspects; notably one of the cleverest twists in recent movie history. Spike Lee directs in confident style, with Denzel Washington and Clive Owen excellent as the lead cop and main criminal, respectively. Jodie Foster steals her scenes as a feisty and venal fixer brought in by Christopher Plummer’s bank owner, to handle a more “delicate” element of the robbery. I liked that Foster chose a less heroic character to portray, as she struts and sells her services to the highest bidder. Ultimately, her Madeleine White is anything but white; instead she’s a black-hearted vulture, dealing with the greedy capitalists and politicians of first-world Manhattan.

Cinema, New Releases, Reviews

JOHN WICK: CHAPTER 3 – PARABELLUM

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JOHN WICK: CHAPTER 3 – PARABELLUM – MOVIE REVIEW

Directed by: Chad Stahelski

Produced by: Basil Iwanyk, Erica Lee

Screenplay by: Derek Kolstad, Shay Hatten, Chris Collins, Marc Abrams

Cast: Keanu Reeves, Halle Berry, Laurence Fishburne, Mark Dacascos, Asia Kate Dillon, Lance Reddick, Ian McShane, Anjelica Huston etc.

Cinematography: Dan Laustsen

**MAY CONTAIN SPOILERS**

Have you ever thought: what’s the point in carrying on? We know we’re going to die someday so why bother trying to live? Dead French bloke Albert Camus wrote an existential essay called The Myth of Sisyphus and deemed life an exercise in the absurd. He offered mythological character Sisyphus as an example. Sisyphus was condemned to immortality for deceiving the Gods and his penance was to push a massive rock up a hill over and over. Camus wasn’t all doom and gloom, because he opined Sisyphus’s struggle ultimately gave his life meaning.

Why am I skirting around such philosophical musings? Well, John Wick is a classic “Sisyphean” character; destined to a repetitive cycle of life and death with very slim reasons for carrying on. In the first film it was revenge. In the second film it was paying back a marker; and then revenge. In the current, and third film of the franchise, it’s because he broke the rules of the assassin’s world and must pay the $14 million price. Plus, more revenge.

Yet, plot and reason are not the main purpose for watching this franchise. I watch it for the non-stop-Asian-infused-rainy-New-York-noir-flavoured-non-stop-balletic-violence-and-stunts. Here the incredible death toll and bloody killing is differentiated somewhat with: animals, vehicles and assorted sharp ojects joining the array of guns and fists used to hurt the two-dimensional bad people sent by the mysterious High Table gangsters. It doesn’t pay to analyse the film with logic, so just enjoy the immaculate: set design, art direction, cinematography, choreography, editing, visuals; and all-encompassing sound and fury.

Keanu Reeves, once again ignores the limits of his emotional range to deliver a formidable physical performance. Just his face, actions and movement alone are enough to convey his desires. Meanwhile, the writers open out John Wick’s back-story; shading in his past relationships and historical beginnings. This allows us to escape New York and venture to the Middle East, for a bit of sun and much needed change of scenery.

The film also welcomes a slew of fine character actors in support roles including: Halle Berry, Jerome Flynn, Asia Kate Dillon and Angelica Huston. They join the ever reliable Ian McShane, Laurence Fishburne and Lance Reddick from the first two chapters. Although, someone may have asked Fishburne to “rain” in his more bombastic moments, it’s still fun to see Neo and Morpheus on screen together. Oh, but the stunt dogs and 1990s B-movie action hero, Mark Dacascos, steal the show in their featured moments.

Overall, while showing signs of formula fatigue, John Wick: Chapter 3, remains a simple but wonderfully entertaining guilty pleasure. The choreography within the fight scenes and car/horse/motorcycle chases just transcend the action genre. Using: humour, pace, shock and sheer kinetic power they consistently startle and astound. Lastly, one could look at Wick’s character in mythical terms, perpetually fighting the Gods and forever pushing the rock up that hill. Indeed, I guess, like Sisyphus, Wick will carry on ad infinitum as long as there is someone to kill; and an audience wanting to watch such exquisite carnage on a big screen.

Mark: 8.5 out of 11

Cinema, Classic Movie Scenes

CLASSIC MOVIE SCENES #8 – DEAD MAN’S SHOES (2004) – RICHARD MEETS SONNY

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CLASSIC MOVIE SCENES #8 – DEAD MAN’S SHOES (2004) – RICHARD MEETS SONNY

Directed by: Shane Meadows

Produced by: Mark Herbert, Louise Meadows

Written by: Paddy Considine, Paul Fraser, Shane Meadows

Cast: Paddy Considine, Toby Kebbell, Gary Stretch, Stuart Wolfenden etc.

Cinematography: Danny Cohen

**MAY CONTAIN SPOILERS**

Shane Meadows’ Dead Man’s Shoes (2004) is both a revenge thriller and a metaphor for the lost youth of England. Specifically, the youth of the Midlands discarded and forgotten by society.

Paddy Considine gives an incredible performance full of intensity, guilt, pathos, pain, self-loathing and regret. He portrays, Richard, a returning soldier, out to get back at those that hurt his brother, Anthony (Toby Kebbell). The film asks: can revenge absolve guilt? Alas, there is no easy answer.

The film was shot in three weeks on a shoestring budget. Among many, many brilliant and disturbing scenes is the one where Richard initially meets main gang-leader, Sonny (Gary Stretch). It’s a short but impactful scene full of menace and suspense. Richard makes it plain he is coming for Sonny and his motley crew of low level criminals. Apparently a larger scale confrontation was scripted, but due to budget constraints this scene replaced it; proving that more often than not less is definitely more.

Cinema, Under-Rated Classics

UNDER-RATED CLASSICS #4 – TRIANGLE (2009)

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UNDER-RATED FILM CLASSICS #4 – TRIANGLE (2009)

Written and directed by: Christopher Smith

Produced by: Jason Newmark, Julie Baines, Chris Brown

Starring: Melissa George, Michael Dorman, Rachael Carpani, Henry Nixon, Emma Lung, Liam Hemsworth

Music by: Christian Henson

Cinematography: Robert Humphreys

**MAY CONTAIN SPOILERS**

I started this series a while ago and posted a few times on the subject with multiple entries; however, I have now decided to make it a feature, like ‘Classic Movie Scenes’, that concentrates on singular films. My rules are simple. An under-rated classic can be a film I love, plus not be one of the following:

  • Must not have won an Oscar.
  • Must not have won a BAFTA.
  • Must not appear in the AFI Top 100 list.
  • Must not appear in the IMDB Top 250 list.
  • Must not appear in the BFI 100 Great British films.
  • Must not appear in the all-time highest grossing movies of list.

So, here’s a film, called Triangle (2009) which I recently caught again on the Horror Channel and given the critical acclaim many films get, I just cannot work out why this isn’t considered more of a classic.

This is an absolute cracker of a Sisyphean-time-loop-paradox-movie. Melissa George portrays a single mother hoping to escape her stress with a yacht trip with wealthier friends. However, things don’t go according to plan as a massive storm knocks the group way off course.

Without giving anything away this film then went into a loopy and gripping direction with an exceptionally clever criss-cross narrative. The plot is both ingenious and creepy as violent events and startling deaths begin to mount up. Melissa George carries the film incredibly well with a performance which crackles with pathos and fear. Lastly, director/writer Christopher Smith’s work should have heralded more illustrious and bigger budget films based on this incredible existential horror classic.

Articles, Cinema

MY TOP ELEVEN MARVEL UNIVERSE FILMS

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With Avengers: Endgame gloriously bringing to a close the twenty-two film interconnected multiverse, I thought it may be fun to pick my favourite films of the superhero releases. Of course, that won’t be the end of the Marvel/Disney money-making behemoth but we can take a breath for a moment.

In keeping with Thanos’ modus operandi I have chosen half of the films in release date order. At the end I pick — under pain of death — my favourite THREE! My favourite three are based on impact on release, entertainment value, quality of story, direction and writing etc. Plus, they are films I could watch again and again. Although, to be honest I can watch most of them again as they are all such fun and easy viewing.

If you would like to read my review of Avengers: Endgame – then you can find it HERE.

MY TOP ELEVEN MARVEL UNIVERSE FILMS (IN ORDER OF RELEASE)

IRON MAN (2008)

AVENGERS: ASSEMBLE (2012)

CAPTAIN AMERICA: THE WINTER SOLDIER (2014)

GUARDIANS OF THE GALAXY (2014)

ANT-MAN (2015)

CAPTAIN AMERICA: CIVIL WAR (2016)

DOCTOR STRANGE (2016)

THOR: RAGNAROK (2017)

BLACK PANTHER (2018)

AVENGERS: INFINITY WAR (2018)

AVENGERS: ENDGAME (2019)

MY TOP THREE MARVEL UNIVERSE FILMS (BY PAIN OF DEATH)

1. CAPTAIN AMERICA: WINTER SOLDIER (2014)

2. GUARDIANS OF THE GALAXY (2014)

3. MARVEL’S AVENGERS: ASSEMBLE (2012)

Cinema, New Releases, Reviews

MARVEL AVENGERS: ENDGAME (2019) – MOVIE REVIEW

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MARVEL AVENGERS: ENDGAME (2019) – MOVIE REVIEW

Directed by: Anthony Russo & Joe Russo

Produced by: Kevin Feige

Screenplay: Christopher Markus and Stephen McFeely

Based on The Avengers by Stan Lee & Jack Kirby

Starring: Robert Downey Jnr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper, Josh Brolin and many, many more.

Music by: Alan Silvestri

Cinematography: Trent Opaloch

Edited by: Jeffrey Ford and Matthew Schmidt

Production Company: Marvel Studios

**RELATIVELY SPOILER FREE REVIEW**

So, we are finally here; assembled and ready to experience the last battle in this particular phase of Marvel films. Twenty-two movies released over an eleven year period now culminate in the adroitly named: Avengers: Endgame. While they may have all the money in the multiverse backing their superhero endeavours, Marvel deserve much credit for releasing so many great films within the eleven year cycle. Yes, of course many have followed a tried and tested genre formula, however, their legion of production staff, producers, directors, writers and actors did whatever it took to entertain the public.

This final film was set up perfectly by what preceded. I mean, the dust had not even settled at the end of Infinity War, and I, along with many others, were agog at the crushing defeat suffered by our heroes and Earth, at the click of Thanos’ finger and thumb. Thanos had achieved the impossible and obtained the six soul stones and eradicated fifty per cent of the population. This tragic genocide included many of the Avengers we had grown to root for and Endgame begins where its predecessor finished. Here we find a depleted and dejected Avengers team on Earth and a barely surviving Tony Stark in space facing the abyss. Collectively they are hurting, grieving and feeling vengeful.

The sombre and angry tone to the opening of the film was something I was drawn to. Emotionally it made sense to, within the first hour, colour the film with a slower, mournful pace and darker mood. This is encapsulated in the character of Hawkeye, who is using his special set of skills for destructive and nihilistic purposes. Similarly, Thor is twisted into a self-pitying anti-god; and this plays out with both surprise and humour. Of course, the remaining Avengers are not going to lie down for three hours in a reflective study of sorrow. Because, they want their friends and the population of Earth back; and they will do whatever it takes to achieve this goal.

The middle part of the film is where the narrative really gathers pace. Once Stark, Bruce Banner and Scott Lang/Ant Man discover a means with which to somehow alter the tragic events, we are thrown into many imaginative and entertaining set-pieces. I was so pleased Paul Rudd was back as Ant-Man in a key role. He is such a likeable and funny actor who always brings sharp comedy timing and warmth to his roles. Further, like Lang, Karen Gillen as Nebula, while seemingly a secondary character, plays an important role in Endgame. In more ways than one Nebula becomes a vital cog in the intricate and multi-stranded plotting.

The various Avengers including the aforementioned and: Black Widow, Captain America, War Machine and Rocket etc. all splinter to different places in order to achieve their mission. Here the film really finds a perfect pace and stride, delivering a series of brilliant action scenes. Indeed, Endgame is full of brilliant cross-cutting call-backs to the previous Marvel films; presenting a multitude of ‘Easter Egg’ or inter-textual moments.

Safe to say the action unfurls rapidly but the writers also have the confidence to slow the pace and allow several key emotional moments for certain characters. But, mostly there is action and fighting and humour and just so many memorable moments of a light and dark tone. My personal favourite was during Captain America’s mission; this plot strand just sang and hit so many high notes.

I am striving hard to avoid spoilers here, so all I can add is that the Marvel production team deserve so much credit for bringing this multi-stranded story home in such a thrilling fashion. I just loved the direction they took it in regard to the temporal, spatial and universal narrative choices. They assembled, pushed and pulled the formula in certain ways which surprised and kept the characters vibrant and fresh. The tonal balance was positive and only ever slightly threatened to slip into parody; mostly with Chris Hemsworth’s depressed rendition of Thor. My only gripe was I felt Brie Larson’s effervescent Captain Marvel was sadly under-used.

Unsurprisingly, the final gigantic battle sequences were expected but still delivered on a massive scale. Thanos is, and was, a mighty enemy and the last war against him and his hordes were full of epic surprise, pulsating action and heartfelt emotion. Undeniably, it was a most spectacular and moving climax. Thus, overall, I am actually shocked at how much I enjoyed a bunch of superheroes made of computer pixels larking about on a big screen. Maybe, however, given the time, money and energy spent over the last eleven years by the filmmakers and audience alike, it was, like Thanos, inevitable!

Mark: 9.5 out of 11