Change Your Image
CinemaSerf
Ratings
Most Recently Rated
Reviews
House of Cards (1990)
House of Cards
As political dramas go, they just don't come any better than this - and Ian Richardson proves a master as an epitome of an ambitious and schemer that even Machiavelli would have been proud of. He is "Urquhart", the chief whip of a government under new leadership. It's "Collingwood" (David Lyon) who takes the top job, but when he decides against promoting this local secret-keeper, he makes quite a mistake. Fuelled by his conceivably even more ambitious wife "Elizabeth" (Diane Fletcher) and taking advantage of the naive and malleable young journalist "Mattie" (Susannah Harker) he starts on a wonderfully evil, internecine and charmingly menacing yellow (or perhaps black) brick road of his own to Number 10. It's written with some potently insightful insider knowledge of just how power-brokering works, with "Urquhart" using his frequently droll or reprimanding pieces to camera to try and justify his actions, his appraisals of his colleagues and deliver his comically potent use of other people's desires to climb the grassy pole, really entertainingly. The ensemble cast are best summed up via a pithily described platform at the party conference when we are treated to his candid views of each of his colleagues in as disparaging a fashion as possible. There are also super efforts from Miles Anderson as the coke-head press officer "O'Neill" and from Colin Jeavons as his almost ophidian deputy "Stamper" as strings are pulled and careers laid asunder. It's a gloriously effective, satiric, swipe at the introspective and incompetent political class, and shows the ruthlessness of a man with a keen brain in a drama I can watch again and again.
The Crow (1994)
The Crow
Well if you though it was wet on "Blade Runner" (1982) then welcome to a ruined city where the torrential rain never seems to stop. A series of flashbacks tells us that two graves hold the bodies of a young couple about to be married. That's before local kingpin "Top Dollar" (Michael Wincott), who had designs on their building, sent his henchmen to "coax" them out. A year after this tragedy a crow alights on the grave of "Eric" (Brandon Lee) and enlivens his corpse so that he may avenge the brutality visited on his fiancée and himself. What now ensues is a dark and menacing revenge thriller that, though fairly predictable, sees this former rock musician develop some astonishingly lethal ninja skills as he identifies and then rather entertainingly despatches a variety of drug dealing undesirables whilst retaining a sense of the decent by befriending local cop "Albrecht" (Ernie Hudson) and re-connecting with the young "Sarah" (Rochelle Davis) whose mother is another of the addicts in this dismal and hopeless city. It's the enigmatic "Myca" (Bai Ling) who spots the Achilles heel of our hero and so sets a scene with her menacing beau as "Eric" hones in on the final stage of a challenge that will hopefully allow him to return to his own grave in peace. Lee is really is in his element here and Alex Proyas and cinematographer Dariusz Wolski use the grim, sodden and ruined environment to depict as physical a corruption as the story does a societal one. What dialogue there is is largely left to an engaging contribution from Hudson, who has his own mini axe to grind with his police colleagues who saw him busted from detective for trying to investigate the activities of "Dollar" before. When you watch this film, you can't help but think on the number of other characterisations it has spawned, and it shows how revenge horror can work without resorting to endless special effects and jump-scenes. A cinema screening is best - a big dark room that makes you hear that relentless rain fall all around you.
Evolution (2001)
Evolution
"Ira" (David Duchovny) and "Harry" (Orlando Jones) are local college professors who go to investigate a meteor landing near their American town. When they get there, though, they discover it's riddled with strange looking creepy-crawlies that don't look at all indigenous. It's not long before the army shows up and these two are kicked off the project by an wholly incompetent "Gen. Woodman" (Ted Levine) and proper scientist "Allison" (Julianne Moore) - an ex of "Ira" who relishes sticking the knife in. As these beasties start to grow in number and size and become more menacing, the state governor "Lewis" (Dan Aykroyd) demands that the army takes action - but what can they do? Napalm? Meantime, our two intrepid scientists and their buddy "Wayne" (Seann William Scott) are working on a more "direct" approach to thwarting the expansion of our menacing alien visitors. At times it's quite a good laugh and some effort has gone into creating some squelchy and sticky monsters. There are even some hungry blue apes and SWS does a good job trying to tunelessly serenade one in the mall, but the rest of this is not especially original and the whole thing really relies too heavily on "Jones" to bring us some predictably comedy whilst Duchovny and Moore fall rather flat amidst a sea of not so subtle advertising. It's watchable and quite good fun, though, just not a film you'll remember.
Ender's Game (2013)
Ender's Game
I doubt "Ender Wiggin" (Asa Butterfield) would be anyone's idea of a soldier but "Col. Graff" (Harrison Ford) reckons his reaction to some bullies might suggest he has more mettle than his weedy physique indicates. His bootcamp experiences are much the same with loads of muscle-bound bullies making his life difficult but "Graff" isn't interested in making his life any easier, despite the occasional protests of his sidekick "Anderson" (Voila Davis). Indeed he actually ups the ante considerably when the young man is introduced to the eccentric "Mazer" (Sir Ben Kingsley). A veteran of the ongoing deadlocked war with the "Formics" that everyone hopes can train the the young "Ender" to break. Butterfield does quite well here as the youngster but both Ford and Kingsley underwhelm with the latter, tattoo-covered, character more hammy than intimidating as the story gradually stops being about the people and more of a video game with great visual effects, but a rather weak conclusion to the story that is inconsistently paced for two hours. I like the genre and it tries to be a bit different in it's approach to sci-fi story with a bit of a conscience. Worth a watch.
The Four Feathers (2002)
The Four Feathers
The loved-up "Harry' (Heath Legder) does the unthinkable and resigns his military commission just as his regiment is about to go into action in North Africa. He thinks of his motives as thoroughly honourable - staying to be with new affianced "Ethne" (Kate Hudson). Sadly for him, though, just about everyone else thinks he has gone a bit yellow and deliver him the ultimate symbol of cowardice - a single white feather attached to their card. It's only his friend "Jack" (Wes Bentley) who has some sympathy but when the soldiers leave, "Jack" is completely ostracised - even by his love. He isn't a coward though, and determines to follow his colleagues, incognito, and as the story develops they can all be glad that he did. I really enjoyed the 1939 version of this, and to be fair this isn't an half bad remake. It's a bit long and flighty at times, and the supporting cast of largely British actors doesn't really add much to the sense of menace the soldiers face on their desert battlefield with the fearsome Dervishes bearing down on them relentlessly. The combat scenes are quite well put together and there are plenty of them as his tortuous challenge reaches it's conclusion. It's really just a camera-friendly vehicle for a charismatic star who looked like he was enjoying himself amidst the stiff-upper-lip Victorian military environment where pride quite literally went before a fall. If you enjoy a solid, boy's-own style of adventure movie then this entertains easily enough for a couple of hours of colourful derring-do.
An Englishman in New York (2009)
An Englishman in New York
Quentin Crisp (John Hurt) has tired of Blighty and arrived in New York where he quickly becomes a successful part of the theatre scene with his unique blend of monologue followed by a Q&A from the audience. Befriending "Philip" (Denis O'Hare) and promoted by "Connie" (Swoosie Kurtz) he is the talk of the town, until he commits a faux pas when responding to a question about the newly developing AIDS epidemic. His refusal to apologise or recant led him to fall from favour. He was increasingly rejected by a grieving gay community to whom he struggled to relate. His sardonic and aloof self defence mechanisms making it almost impossible for him to explain or say sorry. There's still one corner for him to turn, though, as he inspires the infected artist Patrick Angus (Jonathan Tucker) which in turns sees him back on stage, this time in a two-hander with "Penny Arcade" (Cynthia Nixon). Back in the spotlight, he realises that his hernia is the least of his worries, that time is running out and maybe now some new perspective is required. Hurt owns this part, and building on our introduction to this man from 1975, entertainingly delivers a performance that marries his realism and cynicism in a very stoic but ultimately very empty fashion. He lived into his nineties a wealthy and celebrated man, but did he ever actually enjoy his life - or really appreciate the joy of being loved, either?
The Final Cut (1995)
The Final Cut
"Francis Urquhart" (Ian Richardson) is he now pretty unassailable as his Premiership welcomes a new King and he looks to establish some sort of legacy to eclipse even that of his inspirational predecessor. That opportunity comes when he involves the UK in negotiations to solve the problems on the island of Cyprus. This task has added poignancy for him as that's where he served in the army. It's the sudden defection of his foreign secretary (Paul Freeman) not just from his government but from his party that points to a chink in his armour. Instinctively, he is inclined to just swat this man away - like so many others he had summarily dealt with, but this isn't so easy. It's not just his political future that is suddenly a bit rocky, but also his reminiscences of times and experiences on the island that clearly were not without trauma and tragedy. Though outwardly as assuring and supportive as ever, his wife "Elizabeth" (Diane Fletcher) is aware that he is faltering, and is probably even more determined that he shall leave a legacy, even if it's not quite the one he is planning. This is a solid political drama, well written and superbly presented by an actor who now owns this part. For me, though, this story is a bit weaker and the plotting less effective than in the earlier two series and that does rather rob "Urquhart" of his sense of manipulating evil that he imbued so well. I think I'd have preferred this to finish without looking to an eventuality without him in power. A valediction of his scurrilous and enthralling behaviour would have suited me fine! The sharpness has gone and it's not so powerful a drama, but still a good watch.
Fantastic Beasts and Where to Find Them (2016)
Fantastic Beasts and Where to Find Them
Hats have to come off here to Eddie Redmayne. I reckon he must have spent virtually all of the filming days staring at a green screen reacting to CGI. That's my problem with this. Though set in a fantasy world, there's nothing remotely authentic about it. Not his "Newt Scamander" character, nor the constantly changing scenarios that are busily trying to engage our eyes without bothering with our brains. "Newt" arrives from Britain into the USA with a magical suitcase full of creatures that is the target of the dastardly "Grindelwald" (a few fleeting appearances from Johnny Depp). When it is stolen and some of the beasties escape, it looks like a bad time to be insuring the properties of New York's Fifth Avenue and with all hell breaking loose, "Newt" and his new muggle friend "Jacob" (Dan Fogler) to round them all up and thwart a plan that will bring the wizarding world to the brink chaos. There's no denying that the film looks great, with astonishing attention to detail and an impressive imagination behind the design of mystical creatures and their animated visual effects. The thing has no soul, though. Unlike with her earlier "Potter" characters, JK Rowling hasn't really created anyone here about whom I really cared. There are some fun critters - the curious platypus and their own mini version of "Groot", but Redmayne just seems to be rushing around reacting all the time, without us really getting to know him or much about his mission. Colin Farrell, Ezra Miller and Depp suffer likewise, with little effort put into imbuing them with much persona. Even the magic itself seems sterile and derivative. It's not terrible, it's more a sort of "so what" that you just know will spawn loads of predicable sequels and "Newt" and "Grindelwald" square up for a battle royal.
Fierce Creatures (1997)
Fierce Creatures
"Rollo" (John Cleese) is drafted in by his ruthless American boss "McCain" - no fries on him - to run a British zoo. His policy upon arrival is to get rid of all the cute and cuddly critters and leave just the menacing lions and tigers and bears! The staff are horrified, especially when some neat new graves appear after five resonating gunshots. The staff revolt and that convinces "McCain" (Kevin Kline) to send his son "Vince" (also CK) to take the helm with his savvy executive "Willa" (Jamie Lee Curtis) and pretty soon his new branding policy has just about everything sponsored, including the staff - but, of course, none of this is legit. We just know that the tortoise named after benefactor Bruce Springsteen is not likely to ever see the man. When it appears that "Vince" has his hand in the till, too, his father decides to be shot of all of these smelly beasts and just build a golf course. To that end, he arrives on scene to help his two underlings impress the would-be Japanese investors who have their eye on the place. It does have it's funny moments, but I reckon much of those will depend on your fondness for Cleese and his slapstick style of humour. His tall, gangly, appearance frequently being his principle prop - that his his character's innate crassness and stupidity. As the story evolves, we get a bit less of that and more of Kline's mischievous humour and of course Curtis, whom her pal things is interested in him romantically but she is far more enamoured of the zoo and then rather predictably... There's an entertaining supporting cast here - Robert Lindsay, fellow Python Michael Palin and Ronnie Corbett, and they and their animals add the "aah" factor the the thing making it watchable, but not really very memorable.
The Four Feathers (1939)
The Four Feathers
A British officer (John Clements) is called up to serve in Kitchener's army that will set out to avenge the defeat of General Gordon in the Sudan. He is deeply in love with his fiancée (June Duprez), however, and so decides to prioritise his family over his career. Bad move, that - his girlfriend and three of his closest compatriots (Ralph Richardson, Jack Allen & Donald Gray) consider him a coward and present him with the token of a yellow-belly - a white feather - and his engagement to the daughter of a retired general (C. Aubrey Smith) is ended. He determines to follow, incognito, his colleagues into the desert and shadows each of them as they face - and he shares - the perils and hazards of their mission. Once again, the Korda's present us with an ensemble of strong performances and a wonderfully colourful and well-paced adventure story of determination and betrayal that is tinged with quite a bit of sadness, too. I'd say this is every bit as good as Merian C. Cooper's 1929 version. (PS: keep an eye out for John Laurie as "The Khalifa"!!!)
Fracture (2007)
Fracture
This has all the ingredients of a classic crime drama - a great cast, some slick writing and a healthy dose of suspense. Sir Anthony Hopkins as the meticulously fiendish aeronautics engineer/millionaire ("Crawford") who discovers his wife is up to some mischief and so takes matters into his own hands (or does he?). Ryan Gosling ("Willy Beachum") is the sloppy and complacent prosecution attorney with his eyes on a big, private sector, promotion away from the district attorney's office so is initially easy prey in this sophisticated game of manipulation/counter manipulation. When he begins to cotton on that he's being played, then the rest of the plot makes for a really enthralling, tensely written and deviously plausible story. We are never in doubt as to who did what - but can they get away with it? That's the million dollar question in this well crafted battle of wits. Well worth watching.
Fantastic Four (2015)
Fantastic Four
It'd have to be a pretty bad film for me to think it was worse than anything featuring Ioan Gruffudd, but ten years after that attempt - this 2015 version of the Marvel franchise is as bad as they get. Michael B. Jordan is in a class of his own as "Johnny Storm" (admittedly, the best character from this rather limited choice) but the remainder of the team deliver a performance totally devoid of humour - there is simply no fun to be had in this dark, dreary telling of the four youngsters who are involved in an accident on a parallel world that leaves them with some rather interesting quirks. Soon everyone is trying to cash in on their skills - from science to the military - until their erstwhile colleague "Victor von Doom" (Toby Kebbell) arrives determined to seek his revenge for them leaving him behind... The effects are great, colourful and professional but that's about the height of it - Miles Teller and Kate Mara have no chemistry at all and Jamie Bell's appearances aren't long enough before he turns to stone to merit much comment either. Maybe the 2025 version will be better...
Me Without You (2001)
Me Without You
This is one of those films that is so riddled with stupid personal choices from the characters that I lost interest fairly quickly. We start in the early 1970s as "Marina" (Anna's Poppelwell then Friel) and best friend "Holly" (Ella Jones then Michelle Williams) grow up together. The former girl has an absentee (pilot) father and a mother who is great fun - so long as she can pop a valium or two. The latter girl is a bit more stable, and it's that stability that provides "Marina" with a rudder through her increasingly Bohemian life. Each time she messes up, "Holly" is there to the rescue. Gradually, though, the penny drops for "Holly" as she realises that her own life is being subsumed into that of her friend. They even end up sharing blokes, wittingly and otherwise. The challenge for "Holly" now is how to assert herself and live her own life without her mate doing her own version of the Hindenburg. It's quite wittily poignant at times, but the inherently repetitive nature of the frying pan to fire scenarios and the unlikable nature of both of these women didn't really do it many favours as it trundles along. In principle, it addresses the complexities of addiction - not just booze and pills, but for an affection not just related to sex. In practice, though, it's a messy and incomplete analysis of two uninteresting people surrounded by men who all seemed to deserve each other. There's also far too much dialogue and after a while it just starts to fade into a background of mediocrity with the rest of this. Not for me, sorry.
Di jiu tianchang (2019)
So Long, My Son
Set against a background of political and social change in China, it follows the life of the married "Yaojun" (Jingchun Wang) and "Liyun" (Mei Yong). They are contented enough until a tragedy disheartens them thoroughly and they move to a more urban existence which doesn't really suit anyone. It's especially problematic for their adopted son "Liu" (Roy Wang) who takes recalcitrance to an whole new level and just walks out on them one day. Initially concerned for his wellbeing, time elapses and they have to face the immediate difficulties of their own lives - at work and emotionally, before concluding that perhaps they ought to return home. It's a story that constantly moves the stability goalposts for the couple - and though their own love remains steadfast, the pressures put upon them by a society that restricts family numbers then evolves slowly into a market economy that endangers their very livelihood and what prosperity they have worked hard for poses increasing challenges. Eventually, they (and us) begin to realise that perhaps it's grief that is lacking from their life. Grief for their earlier loss(es), for allowing that to fester and inhibit much of the joy of later life - and maybe a resentment of the hand they were dealt by fate. The closing scenes are poignantly reconciliatory and though it looks long on the tin, the slowly developing characterisations are really well presented by two actors who deliver a gently effective chemistry that is palpable - is sometimes exasperating, throughout.
My Brother the Devil (2012)
My Brother the Devil
"Rashid" (James Floyd) is a good looking and charming lad who has all that his younger brother "Mo" (Fady Elsayed) wants. He's well thought of, got a nice girlfriend and has a bit of cash. How he gets that money is what he is determined to keep from his brother - he wants better things for him. Needless to say, "Mo" doesn't always appreciate that, and decides one day to follow his freshly spruced up brother thinking he was on a clandestine date. He was sort of right, but is not quite ready for what he discovers. "Rashid", meantime, is prepared to do one final job before leaving the estate - and hopes that this will ensure his sibling can stay clear of his dodgy life. It's a bit routine to start with, this. Lots of "bro" and "fam" kind of dialogue to accompany a typical London gang culture drama, but as the two principle characters start to evolve, it becomes more of a study of the younger man as he has to deal with is own aspirations and prejudices whilst "Rashid" some hitherto unthinkable love. Both Floyd and Elsayed deliver well here as the story builds, but the denouement is confused, a little bit rushed and hasn't quite the courage of it's earlier convictions. Still, it's a decent effort from Sally El Hosaini at addressing taboos amidst the UK's population of young Egyptian men, and is worth a look.
Vildmænd (2021)
Wild Men
"Martin" (Rasmus Bjerg) does a fine impersonation of a Viking chasing down a goat with a bow and arrow... Thing is, he's pretty useless and we quickly discover he's a fairly fair-weather hunter with a penchant for crisps and chocolate. Whilst he is foraging, a group of men driving along the road have an unfortunate encounter with a moose and believing his friends are dead, the injured "Musa" (Zaki Youssef) abandons the wreck and sets off for help. It's "Martin" who finds him and helps him with some home made first aid before they set off together to find his tent. Separately, we are aware that the police are after after the moose-manglers and when they apprehend "Musa", "Martin" intervenes making him just as wanted as his new friend and setting the scene for some daft escapades amongst the wilderness. What only makes matters worse is that his friends are still very much alive, and they too are on his trail - all for the contents of a sports bag! At times this is actually quite funny and Bjerg has a bit of comedy timing to him, but sadly the story rather runs out of steam and becomes a little too farcical as thugs, police and the pair reach a disappointing denouement. There is some glorious scenery to behold and the writing does delivery some fun from the characters' eccentricities - especially the familiar face of Rune Temte who's "Henrik" leads a village of real live Vikings cooking freshly caught meat over the fire (whilst their car is parked nearby). It tries a bit too hard, but is a bit different and worth a watch.
Le Cinquième Élément (1997)
The Fifth Element
I wonder how many taxi drivers get a fare they wish they's just driven past! Well I think poor "Dallas" (Bruce Willis) might have wished he had done that with the almost mannequin-esque "Leeloo" (Milla Jovovich) as he finds himself embroiled in a plot to conquer the planet. She speaks in syllables that wouldn't have been out of place in an edition of "The Clangers" but still manages to convey the sense of peril to mankind well enough for him to try to track down the priest "Cornelius" (Ian Holm) who might be able to locate some sacred stones that belong to the benign "Fifth Element" in time to save us from "Mangalores" and his evil henchman "Mr. Zorg" (Gary Oldman). Of course, we soon learn that "Dallas" is no ordinary, pie-eating, cabbie. He is a former special forces ninja who is no stranger to an Uzi 9mm or to some nimble fisticuffs. Luc Besson manages to integrate some engaging comedy threat into a decent sci-fi adventure that raises a smile. Willis offers his usual style of charismatic, slightly sarcastic, delivery and Oldman (well, more his hairdo, really) camps up nicely as the baddie in charge of an army of alien soldiers who couldn't hit a cow on the tit with a tin cup. There's loads of action pretty much from the start as somehow we just know that Bruce is going to come through for us. It's a parody fo loads of other sci-fi concepts, but it does work.
Film Stars Don't Die in Liverpool (2017)
Film Stars Don't Die in Liverpool
Based on Peter Turner's book, this is quite a touching story of the last few years of Gloria Grahame's battle against breast cancer. She (Annette Bening) had been struggling with the disease for many years but refused to let it defeat her when she arrived in the UK to perform on stage. That's when she encounters the young Peter (Jamie Bell). He's struggling to make a living treading the boards, and at just twenty-eight is completely unaware of the Hollywood pedigree of his new neighbour. Quickly they are much more than that; she is introduced to his family and then he is whisked off to the US to meet her's. There is quite a contrast between the affection she receives from his mother (Julie Walters) and that which he receives from her's (Vanessa Redgrave) and we start to see strains in their relationship. The audience is aware of the reasons for some of the strains, but Peter is not. Not until he has returned home and she returns for a fling on stage that, well that's where history takes over. It's quite a poignantly presented story with at times lively, at others more considered performances from both Bening and Bell. They have fun, and it's easy to see why she falls for this diverting young man who makes her feel alive again. He is completely smitten, too - but his affections more visceral. It's also quite an interesting look at just how a woman once so fêted and honoured by her profession was now reduced to sharing lodgings and doing English provincial theatre to pay the bills. Almost completely ignored on the awards circuit - perhaps it was just a bit too close to home?
Iron Man (2008)
Iron Man
Having inherited his father's skill, "Tony Stark" is supplying just about every bit of military hardware to the US Government. On a trip to Afghanistan, however, his convoy is ambushed and he is seriously injured. He awakens in a cave, held hostage by insurgents, and with the help of co-captive "Yinsen" (Shaun Toub) must use all of his skills to stay alive and to find a way out of his predicament. Cannibalising just about every bit of kit he can find, he concocts a power source to keep him alive and a suit of armour that enables him to fight his way out. Once free, he determines to further hone this flying suit of armour and use it for the common good. His business partner "Vanko" (Jeff Bridges) soon realises there are other, more lucrative, uses and a conspiracy is soon afoot. Can "Stark" thwart him and save the day? As ever, there is no jeopardy whatsoever - what this is, is a fun action adventure with loads of top notch visual effects and quite a bit of humour in a script well delivered by an on-form Downey well supported by Gwyneth Paltrow and a solid cast. The "Iron Man" stories are not the most complex. It's a pretty linear depiction of good and evil - though it does, at the start, demonstrate some of the ironies of the weapons supplies industry. It's overly long, we spend just a bit too much time getting going, but once it does - it is worth a watch on a big screen.
Thor: The Dark World (2013)
Thor: The Dark World
Alan Taylor picks up where Sir Kenneth Branagh left off and delivers a dark, more menacing, action adventure with "Thor" (Chris Hemsworth) having to thwart the aspirations of the dark elves led by "Malekith" (Christopher Eccleston). The elves are desperate to obtain the "Aether" - a source of unspeakable power. Meantime, "Jane" (Natalie Portman) and an increasingly off the rails "Selvig" (Stellan Skarsgård) are on Earth continuing their search for a way to communicate with Asgard again. When she accidentally gets sucked into a wormhole, she becomes a target for the evil elf, and after he conquers Asgard, all nine worlds are at risk of being subsumed into perpetual darkness. As with the first film, there is humour here - there is chemistry on screen between Tom Hiddleston's untrustworthy "Loki" and Hemsworth, as between him and Portman. Skarsgård seems to spend a fair amount of the film in his underpants, and it all happens under the sparingly delivered gaze of Sir Anthony Hopkins. The story is good, and forgetting for a moment that Eccleston is not (remotely), this makes for an enjoyable to watch film that remains completely detached from the Marvel/SHIELD series and it should be appreciated for that too.
Thor (2011)
Thor
Coming as it does from easily the most interesting of the mythological Pantheons explored by Marvel, this is my favourite from their catalogue. Sir Anthony Hopkins ("Odin") presides over Asgard with his sons "Thor" (Chris Hemsworth) and "Loki" (Tom Hiddleston). The former is a bit wayward, but has his heart in the right place; the latter is a bit of a devious schemer whose machinations cause his elder brother to be cast into "Midgard" (where we live, basically). It is there - devoid of his strength and his famous hammer (Mjölnir) that he alights on a team of scientists led by the eccentric "Selvig" (Stellan Skarsgård) and "Jane" (Natalie Portman) and sets about regaining his power and returning home before his brother wrecks everything... I was surprised to read that Sir Kenneth Branagh was going to direct this - but he actually does a thorough job. The film is full of action, is well paced and both Hemsworth and Hiddleston have enough depth to their characters to keep this from just becoming another good looking fight-fest. The story is darker, there is more of a sense of menace throughout too - and that reflects the more mature approach taken by the director to give us an adventure film with just a bit more substance to it. The script has humour, especially for Skarsgård and Hemsworth and Sir Anthony has a sagely imperiousness to hold the threads together before a strong conclusion with just the tiniest hint of romance. Great visual effects and yep, I enjoyed this.
Thor: Ragnarok (2017)
Thor: Ragnarok
I was dreading this. My favourite Marvel persona was about to be eaten up by the all consuming "Avengers" brand - but wait, no - no sign of "Stark". This is muscle-Marvel. The evil "Hela" (Kate Blanchett) tricks her way through the Bifrost into an unguarded Asgard where she quickly takes control setting in motion the unstoppable "Ragnarök". Only by uniting can the usually squabbling siblings "Thor" (Chris Hemsworth) and "Loki" (Tom Hiddleston) hope to thwart her dastardly plan, and save their people - but the former has been imprisoned on a planet where he must fight, under the gaze of the terribly un-terrifying "Grandmaster" (Jeff Goldblum), to the death on a pretty much daily basis for a baying crowd. That's where he encounters "Hulk" (Mark Ruffalo) and "Valkyrie" (Tessa Thompson), and determined to escape they join forces and... Blanchett (or her voice) is great as the menacing goddess of death; the action scenes continue to have a far more menacing feel to them the elsewhere in the Marvelverse, the stories and characterisations are strong (perhaps not so much with Sir Anthony Hopkins peering longingly off a cliff) and there is loads of action. It also allows some scope for the more peripheral characters from the earlier films to take on bigger parts. Notably Idris Elba's gatekeeper "Heimdall" and there is a good effort from Karl Urban "Skurge" who (reminded me a little of Sting in "Dune" (1984)). The ending, as with the three films in general, still keeps it's roots in Norse mythology and rounds off a most enjoyable tale of sibling rivalry, ambition, deception - and darkly, evil, good fun.
Doctor Strange (2016)
Doctor Strange
"Stephen Strange" (Benedict Cumberbatch) is a brilliant neurosurgeon who is involved in a terrible car accident. Frustrated by his new-found limitations he travels to the Himalayas where he is schooled in the mystic arts by Tilda Swinton. Together with her associate "Mordo" (Chiwetel Ejiofor) they must learn to work to thwart the ambitions of "Kaecilius" and his henchmen who are serving the powerful "Dormammu" who wishes to destroy the three Sanctums on the Earth that protect humanity from his dominance. It does take a while to get going this, and Cumberbatch's accent takes some getting used to, but once the period of initiation and learning is underway, we are presented with a well paced, magical adventure film that marries a decent script with some gorgeous visual effects, a slightly more cerebral storyline and leaves us in no doubt that this is just the first instalment for this developing super-hero. Cumberbatch grows into the role, and Swinton is effective as his slightly ethereal mentor. It comes in at the slightly shorter end of the MCU movies spectrum, and that's a good thing too.
Guardians of the Galaxy (2014)
Guardians of the Galaxy
Generally speaking, I'm fan of Chris Pratt and here he is thoroughly entertaining as the "Star Lord - Peter Quill", a sort of inter-galactic treasure hunter who is challenged to track down an orb. Once he finds and tries to sell it, his world becomes a whole lot more interesting as just about everyone from Djimon Hounsou - sporting a cracking hairdo as "Korath", to kick-ass Zoe Saldana "Gamora" and the most unlikely of duos "Rocket" & "Groot"- one a racoon (Bradley Cooper), the other a walking tree with an extremely limited vocabulary (Vin Diesel) - want to snatch it from him! It soon transpires that the orb contains a source of unimaginable power that the evil "Thanos" and his lieutenant "Ronan" (Lee Pace) will stop at nothing to possess. When all these attempts to steal his artefact attract the attention of the authorities lead by an immaculately coiffured Glenn Close, they end up in a maximum security prison where they decide to join forces - alongside the deservedly named "Drax the Destroyer" (Dave Bautista), forcing their way out and setting off on a quest to stop the arch criminals from reducing Ms. Close's world to atoms. It's got bundles of charisma, this film - the script is witty and fast moving, the characters are easily the most interesting and developed in the ensemble Marvel-verse, and the pretty eclectic soundtrack is used properly, rather than as a substitute for the dialogue. I'm praying that it doesn't spawn a whole slew of pointless sequels and spin-offs; it's originality is an huge part of it's charm.
Guardians of the Galaxy Vol. 2 (2017)
Guardians of the Galaxy Vol. 2
Oh well, they had to try I suppose - and as sequels go, this isn't the worst - but it's a far cry from the first one. Chris Pratt still has a cheeky charm as "Peter Quill" but somehow the writing and humour in this are not so relaxed and spontaneous. This time, the gang fall foul of the "Sovereign" despite having saved their bacon from a vicious big monster. When the enemy fleet seems to have them at their mercy; a stranger comes to the rescue and we soon discover that he has a surprise or two for our "Star Lord". Meantime, "Yondu" (Michael Rooker), his erstwhile Ravager mentor, is having quite a bit of trouble keeping his own crew in order. The fun chemistry between "Rocket" and new, baby "Groot" relies too heavily on the "aw, bless..." attitude towards our tiny tree. Dave Bautista ("Drax) has some decent, sometimes quite cruel one-liners, but essentially just revisits his role from the first film with far less purpose, and Zoe Soldana ("Gamora") and her pesky sister "Nebula" (Karen Gillan) actually don't add much to the plot either. It falls to Kurt Russell as "Ego" - a sort of Kenny Rogers/Kris Kristofferson hybrid to provide the menace, but all he really does is ham it all up a bit too much and leave much of the last half hour of the film to the SFX experts. It has to be said, they do a wonderful job, especially towards that end, but unlike in the previous episode, the effects really dominate at the expense of the dialogue and of the story. The soundtrack starts off with a gentle little boogie from "Groot" to ELO and continues to provide quite an eclectic mix as it helps guide us through the adventure, but I'm afraid this is just not as good - pure and simple. GotG 3 is well on it's way - we can but hope is reverts to the more characterful style next time - this one just hasn't got a very good story.