Tag Archives: Superheroes

CINEMA REVIEW: DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (2022)

CINEMA REVIEW: DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (2022)

Directed by Sam Raimi

Written by Michael Waldron – Based on the Marvel Comics

Produced by Kevin Feige

Cast: Benedict Cumberbatch, Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Xochitl Gomez, Michael Stuhlbarg, Rachel McAdams, etc.

Cinematography John Mathieson

***MAY CONTAIN SPOILERS ***



I have to admit, and fully conceding my opinion counts for zero, that Disney’s Marvel and Star Wars bandwagons have reached a zenith of saturation. Too much of a good thing is definitely not a good thing. The Disney cinema and streaming products released over the last year or so, since the Avengers hit their endgame has been, just obscene. So much so I now have a powerful fatigue when it comes to watching said releases. They may be of excellent quality, but I’m not really sure I give a damn, darling.

While I am yet to see Shang-Chi and the Legend of the Ten Rings (2021) or Spider-Man: No Way Home (2021), I did have the misfortune to slog through the stodgy and nonsensical Eternals (2021) on Disney+. Having said that I did enjoy the meta-textual invention of Wandavision (2021). Aside from the conventional ending it tried to do something different with the character of Wanda Maximoff, dealing powerfully with the theme of grief in an imaginative and thoughtful way.

But it would take a hell of a hook to drag me to the cinema again to watch a Marvel film. I’m happy squeezing the value out of my Disney+ subscription thank you very much. But, what was this? Sam Raimi has directed Doctor Strange in the Multiverse of Madness (2022)? One of my favourite directors entered the Marvel creative team. A bona fide horror and fantasy auteur returned to the superhero genre he inhabited so tremendously in his millennial Spiderman trilogy. Okay Disney – you’ve pulled me back in. I’m tired of your high quality entertainment but here’s my cinema cash.


Elizabeth Olsen as Wanda Maximoff in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Doctor Strange in the Multiverse of Madness (2022) is a big, dumb, fast-paced, scary, fantastic, mystical, surprising and funny chunk of visually stunning fantasy cinema. After unluckily being denied the Oscar for his subtle, yet brilliant performance in The Power of the Dog (2021), Benedict Cumberbatch is on superb hand-waving, cape-throwing, shape-shifting, death-defying, hair-flicking, multiverse-jumping, father-figuring form as Dr Stephen Strange. His hypnotic character finds himself haunted by weird dreams. But are they dreams? Are they instead visions of other worlds? Other lives. Other deaths.

Enter Xochitl Gomez as America Chavez a dimension jumping teenager who, as a “human” plot device, drags Strange into devilish conflict with another powerful magician from the Avengers team. Namely, Wanda Maximoff (Elizabeth Olsen). Wanda is still struggling with her losses before and during the crazy events that occurred in the small town of Westview. Anyway, multiverse films are like buses it would seem. You wait ages and three or more come along at the same time. Indeed, with the time-travel narrative arguably becoming exhausted or rested, multiverse plots provide the writers the ability to introduce and reinvent characters and rules of the world within the Marvel canon.

So you’ve got to see the middle act of Doctor Strange in the Multiverse of Madness (2022), where America and Doctor crash into an alternative-Earth that contains some startlingly fun casting and unexpected character reveals. Add to that the dark arts delivered by Wanda’s continued obsession with getting America’s dimension-jumping powers light up and darken the screen. This allows Raimi to splatter the walls with a dazzling array of colour amidst the spellbinding set-pieces.

The end battle isn’t half bad either with Strange confronting Maximoff’s sorcery via a deathly conduit and ghoulish switching of identity. While I would have preferred Wanda not to have been cast as the nemesis, Olsen gives a fine performance of some depth amidst the mercurial madness. Overall though, this is Raimi’s film. He pulls out all the stops and magic tricks from his cinematic repertoire making Doctor Strange in the Multiverse of Madness (2022) more his film than just another generic release in whatever-phase-of-Disney’s plot to take over the universe this may be.

Mark: 8.5 out of 11


CINEMA REVIEW: THE BATMAN (2022)

CINEMA REVIEW: THE BATMAN (2022)

Directed by: Matt Reeves

Written by: Matt Reeves, Peter Craig

Based on: Characters from DC

Produced by: Dylan Clark, Matt Reeves

Cast: Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Andy Serkis, Colin Farrell, etc.

Cinematography: Greig Fraser

*** MAY CONTAIN SPOILERS ***



Three hours of darkness, shadows, fireworks, distorted sound and vision, dull emo-bluster, explosions, fist-to-fist combat, choppy chases, limp dialogue, sparse suspense, blaring sirens, mumbling delivery and humdrum sexual chemistry combine to an incredibly stylish yet boring experience. It may be the biggest box office hit of the year, but The Batman (2022) was interminable filmic disappointment for me. Bruce Wayne/The Batman is a miserable cipher here for the action on show. He is also arguably one of the worst detectives I have witnessed on the screen. Yet, be aware it is NOT the filmmaker’s fault. It is mine. I am a bad cinemagoer.

I am as jaded, and world weary as Robert Pattinson’s noir gumshoe in a costume on screen. Except I have earned it. I have lived through dead-end jobs, despair and disappointment. This film starts by asking us to follow Bruce Wayne’s Caped Crusader into the mean streets of Gotham to battle nefarious gangsters and a crazed, riddle-driven terrorist. But why do we care about him? Christopher Nolan and Christian Bale breathed vibrancy and commitment into the DC comic hero. His trilogy, though not faultless, made us root for the rich kid scared of flying rats. Going on a journey of discovery and finding himself an identity in the process, Bale’s Batman was a three-dimensional hero. Matt Reeves eschews all that with The Batman (2022), presenting familiar characters searching for some semblance of plot and characterisation in the dark.



The story is a breadcrumb plot as Pattinson’s suited vermin plods through scene after scene trying to work out who is killing the corrupt officials of Gotham City. There are fireworks and expertly designed action sequences although many of them are difficult to see amidst the cinematographic murk. Moreover, there isn’t really any empathetic characters here. I love a good cinematic anti-hero, but that requires personality and energy. This Batman has neither of those. Although the screen work of Jeffrey Wright, Paul Dano, John Turturro, Colin Farrell, Andy Serkis and Zoe Kravitz does breathe light and heat into the dull script. Farrell is The Penguin but essentially an Al Capone substitute. His excellent caricature gets buried and almost lost in obsidian and prosthetics.

But as I say, I am to blame. I am a bad superhero cinema person. I am saturated and fatigued by comic book film adaptations and TV shows from Marvel to DC to Vertigo and Image and Icon (yes I know this is Marvel too). I mean the best I can say is The Batman (2022) blasts away the rot that Affleck and Snyder implanted into the Batman franchise. Although that isn’t saying much. Because an obscene $200 million dollars was spent on this hollow vision of a wealthy emo-brat in a dark suit kicking the crap out of shadows. But remember this is my fault. I am old. I am cynical. I applaud Matt Reeves and his talented production team for delivering an impressive visual feast. It’s just a shame that in the bloated running time (15 minutes of that being end credits), they didn’t write any characters worth spending three hours with.

Mark: 7 out of 11


AMAZON PRIME REVIEWS FEATURING: THE BOYS (S1), THE EXPANSE (S1) and PREACHER (S1)

REVIEWS OF THE BOYS (2019), THE EXPANSE (2016) & PREACHER (2016)

So, we are now a few weeks into the lockdown scenario caused by the COVID-19 virus and I have been off work for around that amount of time too. Tragically people are dying, and we owe it to be responsible by continuing to follow the rules laid down that will prevent the spread of the infection. It’s tough for everyone including families, employees and businesses. The capitalist system has taken a massive hit, and some will not survive in terms of life and work. I am not a religious person, but I pray to everyone’s God, whoever that may be, society comes through this. We are digging tunnels, looking for light and an escape. It cannot come soon enough.

In terms of escape it has never been easier to find both the time and formats with which to fill the gap. Thankfully the internet is still up and running, thus I have been filling my time in — aside from some minor administrative work-from-home stuff — writing my film reviews, editing and posting short videos, exercising and watching quite a lot of television and film content. Anything to stop me from becoming a beer monster or functioning alcoholic – AGAIN! The latest focussed viewing has been of Amazon Prime, and the many boxsets they have. So, here are mini reviews of three shows I have seen recently. All with the usual marks out of eleven.

***MAY CONTAIN SPOILERS***



THE BOYS (2019) – SEASON 1 – PRIME VIDEO

Based on the comic book series created by Garth Ennis and Darick Robertson, this violent superhero comedy is the complete antithesis of the Marvel Universe. Taking savage satirical swipes at huge corporations and United States foreign policy, it features a group of vigilantes, led by Billy Butcher (Karl Urban) called ‘The Boys.’ For a variety of reasons, including good old-fashioned revenge, they have targeted the most powerful business in the world, Vought International. Vought control and monetize ‘The Seven’, a group of all-powerful superheroes who happen to mostly be narcissistic, unstable and psychotic arseholes.

The initial episodes started slowly for me and I found it difficult to warm to any of the characters. This could simply be superhero fatigue or certain weaknesses in the writing throughout. However, the spikes of tremendous action, vicious humour and spectacular violence kept me on board. Elisabeth Shue and Antony Starr impress as the nefarious villains, while Erin Moriarty shone as the one decent superhero, Starlight. The least said about the shockingly bad English accent Karl Urban delivers the better. I mean his acting is impressive, but mate – come on!!

Mark: 8.5 out of 11



THE EXPANSE (2015) – SEASON 1 – SYFY/AMAZON PRIME

Usually when I see something is on the Syfy channel I baulk slightly. I mean the shows are pretty decent as a rule, but some right old fantasy schlock can get dumped there. So, with a saturated streaming market offering a plethora of U.S. cable shows, sometimes the Syfy channel shows get short shrift. It’s a shame because The Expanse is a really good science-fiction programme which began airing on Syfy, but is now on Amazon Prime. The sci-fi show hangs tonally between Alien (1979), Blade Runner (1982) and the Philip K. Dick-style “Mars v Terra” stories I have read. Indeed, while it doesn’t contain actual aliens or Dick’s surreal explorations of the psyche, it is, in fact, a fantastically plotted and styled industrial, political and humanistic set of narratives.

Based on James S. A. Corey’s (a pseudonym I believe for two writers), The Expanse (Season 1), is set hundreds of years into the Earth’s future and space has been colonized. But it’s not a utopia. Mars, Earth and an outer-planetary system of space stations called ‘The Belt’ are all conflicted on the brink of civil or galactic war. The multiple narratives follow the likes of the always-excellent, Thomas Jane, as a grizzled cop investigating a missing person and a space freighter gang led by Stephen Strait. The latter’s crew go from episode to episode finding life-threatening situations throughout. It’s a space-rock solid production full of twists, action and conspiracies; retaining a cynical, noir and unglamorous edge which makes me want to watch further seasons.

Mark: 8.5 out of 11



PREACHER (2016) – SEASON 1 – AMC/AMAZON PRIME

Developed by Hollywood players Seth Rogen and Evan Goldberg, along with Breaking Bad writer, Sam Catlin, this darkly comedic post-modern vision of heaven and hell is based on a comic book by Garth Ennis (that man again) and Steve Dillon. Starring the very reliable Dominic Cooper as hard drinking and former career criminal-turned Preacher, Jesse Custer, we find him losing faith in a small Texan town and a dwindling set of hopeless parishioners. That is until one day he is struck by some twisted divine interpretation. Then, literally, all hell breaks loose as Custer battles his inner demons and the local slaughterhouse baron portrayed with callous joy by Jackie Earle Haley.

Like The Boys, I initially found Preacher a little bit slow in terms of setting up the story and characters. But I think that was deliberate as there are so many crazy concepts relating to religion and the afterlife in here, a balance had to be given to combining the fantastic and more realistic elements. I’m not sure they’re wholly successful, however, Cooper is great, and he is ably supported by the effervescent Ruth Negga as his tough-talking ex-girlfriend, Tulip. Moreover, English actor Joseph Gilgun steals the show as the Irish sidekick with a dark secret. While the narrative moves steadily, with arguably too many secondary characters, the bloody gore levels during the fight scenes are absolutely spectacular. If, like me, you enjoy irreverent bible-black comedy which offends most religions and contains lashings of ultra-violence, then Preacher is definitely one to pray to the lords of television for.

Mark: 8 out of 11 (but 10 out of 11 for the gore)

HBO TV REVIEW: WATCHMEN (2019) – META-GONZO TV OF THE HIGHEST ORDER!

HBO TV REVIEW: WATCHMEN (2019)

Adapted by: Damon Lindelhof

Based on: Watchmen by Alan Moore and Dave Gibbons

Writers: Damon Lindelhof, Nick Cuse, Lila Byock, Christal Henry, Carly Wray, Cord Jefferson, Stacy Kuffour-Osei, Claire Kiechel, Jeff Jensen

Directors: Nicole Kassell, Stephen Williams, Andrij Parekh, Steph Green, David Semel, Frederick E. O. Toye

Cast: Regina King, Jeremy Irons, Don Johnson, Jean Smart, Tim Blake Nelson, Louis Gossett Jr., Yahya Abdul-Mateen II, Hong Chau, Andrew Howard, Tom Mison, Frances Fisher, Jacob Ming-Trent, Sara Vickers, Dylan Schombing, and James Wolk.

**SPOILER FREE**



Maybe I am imagining it, but I think we are now entering a different kind of TV narrative storytelling. Perhaps it has always been there? However, I am sure I can now see through the ‘Matrix’ of the internet’s all-powerful influence. My point is that we are moving away from traditional television storytelling which is solely interested in telling an emotionally whole and linear narrative. Is television that has a predictable soul and a beginning, middle and end — in THAT order — disappearing? Or am I just choosing to ignore the saturation of standard dramas involving cops, criminals and medics to watch more complex TV stuff?

Recent television shows such as Legion (2017), Westworld (2016), Dark (2017) and now Watchmen (2019) take stylish, cinematic and transgressive structural and thematic approaches to narrative. One could accuse them of being postmodern fakery or postmodern genius; or both. There does appear to be a movement toward over-complicated-clickbait-viral-trailer-led-ADHD-TV which fragments and shatters its’ story lines. The creators want us to experience their productions not in the traditional beginning, middle and end standard, but rather through shifting timelines, unreliable narrators and a blurred sense of what is right and wrong.


Image result for watchmen comic book

Damon Lindelhof, who is a brilliant writer and very experienced TV creative, does tend toward the pretentious and over-complex in his work. Having said that his recent production The Leftovers (2014 – 2017) contained some absolutely sensational thematic explorations of the apocalypse, damaged humanity and religious fervour. For his latest project HBO has given him a truckload of money to emulate and remix Alan Moore and Dave Gibbon’s seminal 1980’s comic book Watchmen. The original itself was a subversive tome of genius which subverted the mythology of comic book and superhero storytelling.

The main action is set in 2019 Tulsa, but also spans decades of alternative U.S. history and locations on Earth and not on Earth. If you don’t know the original source material or have not seen Zach Snyder’s valiant adaptation Watchmen (2009), you will be very confused initially and throughout. Because Lindelhof’s approach to this alt-world version of masked cops, criminals and vigilantes is via a chopping meta-storytelling structure. The various plots events and character histories are delivered via flashbacks, flash-forwards, narcotic visions, hallucinogenic dreams, splintered timelines and even a TV show within this television show. It’s a very stylish smorgasbord, splashed with crazy characters, witty hard-boiled dialogue, wild science fiction twists, lashings of violence, pockets of substance, cinematic visuals, high class production values and a cast to die for.

Yes, but Paul, what’s it actually about? How about love, hate, racism, superheroes, corruption, giant squids, cloning, rogue scientists, good versus evil, vigilantism, revenge, megalomania, transcendent beings, war, violence, rogue politicians, superheroes, masked identities, nuclear threat; and that the United States continues to be sown with the seeds of intolerance, blood and death. Watch the Watchmen (2019), take your time and piece the crazy jigsaw together for yourself. If not, and you prefer to play it safe, there’s always Law and Order for those who want something less mind-blowing.

Mark: 9 out of 11


MOVIE REVIEW: WONDER WOMAN (2017)

MOVIE REVIEW: WONDER WOMAN (2017)

DIRECTOR: Patty Jenkins 

WRITERS: Created by: William Moulton Marston,
Screenplay: Allan Heinberg
Story: Allan Heinberg, Jason Fuchs, Zach Snyder

CAST: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen

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**CONTAINS MINIMAL SPOILERS**

The need for super women and men to rise and protect us against the foes of everyday existence has never been more requisite. Governments, politicians, military commanders, corporate greed, religious leaders and humanity’s capacity for evil and destructive behaviour means people are under threat from violence and death on a daily basis. It’s the world we live in and one we have always lived in. Life is a gift which we continue to throw away because of a difference in beliefs, thoughts, race, gender and language. It is insane but I doubt it will ever stop. So, one must except it and be grateful for all the good people and for every day one is alive. But how do you escape from this terror that lurks in the world and the fear that comes with it? Well, we have the fantasies on film and TV screens and in comic books that convince us we can be saved; that the bad people in league with the devil can be put to the sword of justice. This month we have the Amazonian powerhouse that is Wonder Woman!!

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The DC comic-book-cinema-world has taken a critical pasting and much of this can be put at the door of the attention-deficit-director Zach Snyder and of course the studios themselves who have, in my humble opinion, ignored the basics of storytelling and genre in a bombastic attempt to out-do Marvel’s slick and productive Universe. Indeed, there were great films somewhere in the over-stuffed crusts of Man of Steel (2013), Suicide Squad (2016) and the incomprehensible Batman v. Superman (2016); brilliant characters, actors, special effects, action, set-pieces, music in all of them. However, they were ultimately let down by the structure and storytelling. Not so with Wonder Woman, which goes back to basics and takes its time to establish our heroine’s origins and, unlike the other DC films, builds character and empathy prior to launching into a feast of amped-up-to-eleven fight sequences and wondrous leaps of derring-do.

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At the centre of all the action is the athletic Gal Gadot as Diana, Princess of Themyscira, who as a girl, desires to join her Aunt Antiope (scene-stealing Robin Wright) as a great warrior, but is forbidden by her mother Queen Hippolyta (Connie Nielsen.) The first act is full of powerful mythology, imagery and characters and to be honest I could have watched a film about their lives on the beautiful secret island. Yet when their peace is unsettled by the appearance of Chris Pine’s American spy and the German Navy pursuing him we get an almighty beach battle between the modern-day Teutonic troops and the Amazonian warriors. This sets the tone of the mythological past juxtaposing with the modern era (albeit circa 1914-1918) and this theme remains one of the strengths of the film.

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With the introduction of the charismatic and handsome Steve Trevor (Pine), Diana is galvanized to fight for the Allies in World War One, and thus truly begins the heroine’s journey. The pace and turns in the narrative are handled extremely well by director Patty Jenkins. She gives as much importance to the scenes between Diana and Steve, notably the witty exchanges on the boat and during Diana’s first encounter with the big city. This ensures we are committed to their relationship and the romance had echoes of Indiana Jones and Marian Ravenwood’s from Raiders of the Lost Ark (1981). Conversely, everyone’s favourite baddies, the Germans, provide a solid nemesis which to root against as Danny Huston’s General and his more interesting assistant, Doctor Maru (Elena Anaya), develop a heinous gas with which to defeat the Allies.

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I think I liked the film so much mainly because it was simple in structure, well directed, and yet retained much of the magical fantasy and mythology of the comic books. Moreover, it contained some kick-ass slow-motion action sequences and the sight of a warrior Princess using a mighty sword and golden rope while taking out Germans and huge tanks was nothing less than breath-taking. The cast, especially Gadot and Pine commit wonderfully to their characters and the story. Minor criticisms are the slightly over-long running time and the cardboard cut-out nature of the secondary German characters. Nonetheless, as superhero films go Wonder Woman is right up there with some of Marvel’s best movies.

Essentially a traditional origins story, Wonder Woman may follow the well-worn formula of establishing our heroine, her strengths and her commitment to peace through powerful means, but it does it with verve, heart and compassion. I cared about these characters and while it may be a simple notion that love can conquer all, it is a universal emotion that I can definitely get behind. Because there is a lot of hatred on Earth and it needs all the heroes and heroines it can find; even if they are merely fantasy.

(Mark: 9 out of 11)