Produced by: Maren Olson, Asher Goldstein, Joshua Astrachan, Ron Najor
Cast: Brie Larson, John Gallagher, Jr., Kaitlyn Dever, Rami Malek, Lakeith Stanfield, Kevin Hernandez, Melora Walters, Stephanie Beatriz, etc.
Cinematography: Brett Pawlak
Bloody Marvel!
I refer to both this film, Short Term 12 (2013), and the Disney-owned behemoth studio which, while releasing some incredible film works over the years, currently pumps out generic product of variant quality. I say “Bloody Marvel” because the studio continue to poach some amazingly talented filmmakers with indie roots to front their entertaining cookie-cutter templates. I, of course, include Short Term 12 (2013), writer-director, Destin Daniel Cretton who, having adapted his own short film for a reported $400,000, has subsequently been directing stupidly expensive super-hero films for the studio giant.
Short Term 12 (2013) is one of those films I missed seeing on release. I then, for some unknown series of reasons, did not see it on video until earlier this month. It is a brilliant drama, full of fascinating characters, amazing dialogue, poignant moments of humanity and some really funny scenes also. Moreover, it has almost the perfect low-budget film screenplay, so it is no surprise to find out Destin Daniel Cretton’s script won a Nicholls Fellowship Screenwriting Award. The casting director also deserves a mention too. I am not sure what kind of crystal ball they had because the ensemble is a who’s-who of “before they were famous” castings including: Brie Larson, Lakeith Stanfield, Rami Malek, John Gallagher, Kaitlyn Dever and Stephanie Beatriz.
Set in a group care home, Short Term 12 (2013), centres around the staff and teenage children and their daily ups and downs. At the heart of the story is Grace (Brie Larson) and her work/romance partner, Mason (John Gallagher). As well as working to resolve the often harrowing issues of teenagers such as Marcus (Lakeith Stanfield) and Jayden (Kaitlyn Dever), Grace strives to overcome the post-traumatic scars her childhood has caused her. Aside from a slight tragedy overload in the final act, Short Term 12 (2013), is one of the best films I have seen in a long time. The emotional gravity I felt for many of these characters was so powerful. It is very rare that a film can make me laugh and cry in equal measures. And it was all shot, acted and directed in just twenty days. Destin Daniel Cretton’s sophomore feature film is a true indie marvel!
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!
Screenplay by: Anna Boden, Ryan Fleck, Geneva Robertson-Dworet
Based on: Captain Marvel by Stan Lee, Gene Colan
Starring: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Jude Law, Djimon Hounsou, Lee Pace, Lashana Lynch, Annette Bening, Gemma Chan etc.
**MAY CONTAIN SPOILERS**
Not only am I getting comic-book movie fatigue, but I’m also getting comic-book movie reviewing fatigue too. I mean, what else can be said about said collection of films mostly delivered by Marvel and DC over the last decade? Plus, don’t forget the cavalcade of Marvel TV adaptations too on Netflix and other channels.
On the whole I have enjoyed the journey into the Marvel universe and the studio does deliver mostly cracking entertainment within a very solid genre formula. Of course, I can choose NOT to watch them due to being jaded, but I feel invested enough to complete the superhero cycle, especially where the Marvel films are concerned. Thus, with one eye on the Avengers: Endgame (2019) epic that is due for release very soon, I approached Captain Marvel (2019) with relaxed expectations, just out for a bit of a blast before the final Avenger chess pieces all meet to save the world – AGAIN!
Captain Marvel is a 1990s set action-drama prequel which presents a fast-paced couple of hours set in space and on Earth. It comes at a weird release time in the franchise as this kind of origins story has been done ad infinitum, plus the time it is set means much of what occurs could be deemed dramatically redundant. Nonetheless, it begins with a galactic soldier named Vers (Brie Larson), training with Jude Law’s battle-hardened mentor, Yon Rogg. They are part of a crack team of Kree fighting a shape-shifting enemy called Skrulls. These terrorists threaten the Kree civilisation and must be stopped at all costs. Allied to the main conflict, Vers is suffering post-traumatic stress via flash memories which cause her to question her past and identity. Following a planetary raid which goes awry, Vers is conveniently stranded on Earth, with the villains in pursuit. Here she joins forces with, whom else, Agent Nick Fury (Samuel L. Jackson), and then her literal journey of discovery really gathers pace.
Putting aside Marvel narrative fatigue I still managed to enjoy the movie immensely. Despite the story and plot weaknesses the final hour of action and battles sequences are very impressive. The first hour though finds the screenplay broken and confused. Indeed, like the character, the film is caught between two identities and also has tonal issues. It’s somehow trapped between the character driven, indie style of directors, Boden & Fleck, and the usual Marvel gags, pop music, alien artefacts and explosions shtick.
I loved that Danvers’ character and Brie Larson were given the chance to show depth of emotion; however, by presenting the story in a flashback-non-linear-amnesiac-plot-style, all emotional resonance was lost in the mix. Thus, the story became broken-backed trying to cover too many bases in the wrong order. For example, the empowerment montage, near the end, of Danvers’ character finding strength from overcoming past failures is terrifically planned and shot. It’s a shame though that it does not carry the dramatic weight it could have.
Having said that, there’s loads of stuff to enjoy, notably: some clever plot twists; a committed cast including the effervescent Larson and Jackson double-act; Ben Mendelsohn as the head shape-shifter, Talos; the Gwen Stefani-driven-pop-kick-ass-action in the final act; loads of great gags, especially the cat ones; plus, a bundle of Marvel in-jokes, call-backs and inter-textual references. Ultimately, Captain Marvel, is a very solid work of entertainment which, while opening up the whole “where was Captain Marvel until now?” plot hole, manages to fill the gap enjoyably before the whole game finally comes to an end.
CAST: Armie Hammer, Brie Larson, Cillian Murphy, Jack Reynor, Michael Smiley, Sam Riley, Sharlto Copley etc.
STORY: An arms-deal-gone-wrong sets off a blistering gun fight in an abandoned warehouse.
UK RELEASE DATE: 31st March 2017
FIVE REASONS THIS IS GREAT!
1. Ben Wheatley and his writing/editing partner Amy Jump make independent low-medium budgeted films, seemingly on their own terms, get cracking actors involved and receive decent critical praise too. The recent critically acclaimed High Rise (2015) was an intriguing filmic cult hit while his grim crime-horror Kill List (2011), violently focused on two hit-men’s descent into hell. Wheatley’s work on comedy-serial-killer film Sightseers (2012), Dr Who, and Ideal confirmed him as a very talented filmmaker.
2. During a London Film Festival Q & A Wheatley basically said, “I wanted to make a film with guns where people get hurt.” And he has certainly succeeded there, because Free Fire is an all-out-ballsy-gritty-shoot-em-up.
3. The cast are all brilliant, but I personally loved Armie Hammer’s suave Jewish hit-man and Sharlto Copley’s obnoxious Afrikaner; plus Sam Riley is also a standout as the junkie prick whose behaviour ultimately screws the deal.
4. The script is terrific with sparkling one-liners throughout as the cast spit out insults and zingers with glee. Do you remember when you play gunfights with your mates in the playground? Well, this is the film equivalent of that – except with more blood and violence and death.
5. Stylistically the film is a joy employing a wonderful 1970s setting with actors dressed up in flares, beards, sideburns, dagger-collars, long hair and Cuban heels, all while delivering a fast-paced-high-octane-gun-fest. The soundtrack is a hoot too with a particularly fun use of a middle-of-the-road classic.
The Cinema Fix presents 