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The Ninth Year: The Haunting of Swill House

Category: Movie Review

Captain America: Civil Bore

What a beautiful day it was yesterday; the sun was shining, birds were probably tweeting somewhere, and the cat had stopped yowling for five minutes so I could get some work done. So off I strolled- without a jacket, which is the first time I’ve risked stepping outside in this godforsaken country without out in about nine years- to see a movie, because it was that kind of day. And that movie was Captain America: Civil War.

I must admit, I was pretty intrigued by the premise of this film- after years of the Avengers leaving fatal and catastrophic collateral damage behind most of their escapades, the governments of the world want to hold them to account. Some of the team is for the idea, while others are against in, causing a schism that bubbles over into violence and genuine animosity. It’s a “who-watches-the-watchman” idea that spices up Marvel’s usual punches-quips-cameos structure, and it looked as if it could be at least a new take on what we’d seen previously.

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And I guess, in some ways, it was. All those elements were in the film, it’s just that they were lost under a staggeringly overfull two-and-a-half hours of movie. While Civil War was aeons better than the now-legendarily awful Batman vs Superman, it suffered from a lot of the same problems as it’s DC contemporary-mainly, that it was a lot of set-up for other movies, and didn’t feel like a movie with it’s own specific identity in the way the previous Captain America movies have.

For one, I think it’s a little disingenous to call this a “Captain America” movie, when it was far more a team-up film than anything else. While, yes, the film did take a left turn around the second act to involve Captain America and his ongoing Bucky plot, there was simply too much else going on for this to really be all about him. In fact, with a huge chunk of the emotional arc and the actual plot of the movie revolving around Tony Stark (including some flashback sequences featuring a distressingly convincing young Robert Downey Junior), I half-felt as if I’d been conned into seeing the new Iron Man movie instead.

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And then, of course, there were a couple of other major characters introduced in this movie- Black Panther and Spiderman. Now, as someone with a passing acquaintance with comic books, I knew plenty about Spiderman (because he’s impossible to avoid as a pop cultural icon) and next to nothing about Black Panther, and I’m sure I wasn’t alone in this. The movie, however, decided to treat us to a ten-minute detour explaining Spiderman’s backstory, location, and powers, while Black Panther was brushed off with…two lines about what his suit was made from?

I understand that Marvel have a Black Panther movie to sell and don’t want to give away too much here, but they gave an uninitiated viewer like me next to nothing to work with, even though I very much enjoyed Chadwick Boseman’s performance in the role. It felt like a cop-out- a promise that I’ll get to find out more if I pay money to see his movie, which I pretty much consider cheating. They don’t have to give away everything, but slightly more than we  got-especially in comparison to the time spent meticulously introducing Spiderman- would have added something, and led to me spending less time going “so, has he got superpowers or is it the suit or…?”

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On top of the time taken out of the movie to bring in these new characters, the film also raked up pretty much every other superhero they’ve ever put to celluliod in the last ten years- Hawkeye (Jeremy Renner’s slimy presence on-screen did little to improve his already pish character), Ant-Man, War Machine, Falcon, Black Widow, Vision, Scarlet Witch, and many more I’m probably forgetting, for the big second-act clash. Which was all fine and good, but felt like it was taking place in another movie- not the Captain America movie I’d been promised. In fact, much of the film felt sliced down the middle, with one plot dealing with the tearing apart of the Avengers (the plot I was actually interested in), and the other cobbling together a bunch of shit about Hydra and supersoldiers and Bucky’s past that felt strongly first-drafty while trying to string the two together with mixed success.

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That plot benefitted from a great villain in the form of Daniel Bruhl, who seems to be Hollywood’s stock ambiguously-European-antagonist guy for the time being, but even still, the film was forced to switch up the pace to whiplash levels by the third act just to get everything done by the time the credits rolled. Much of the time, it felt as if it just wasn’t time for another team-up Avengers movie yet, so they were just going to have to grit their teeth, roll up their sleeves, and get everything set up in this Captain America outing.

Add to this the fact that Sebastian Stan was actually required to act in this movie, and revealed quite unequivocally that he couldn’t, and the whole thing is only just holding together at the seams. In comparison to this year’s other big superhero outing, Civil War is pretty solid- but in some ways, Marvel were lucky to be following on from one of the biggest disasters the genre’s ever seen, because I’ve got a feeling we wouldn’t be quite so happy giving a pass to this bloated, confused mess otherwise.

 

 

February in Tights, Part Three: Deadpool

So, I went to see Deadpool this week, after several days of passionately resisting everyone telling me “Go on, you’ll love it, it’s not like all those other superhero movies you hate!”. I wore my Batman skirt, though, just to make a point. What that point was, I’m not sure, but I feel the creators of Deadpool might have appreciated my moxy.

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Also pictured: my Batman pyjama top and my Batman tights. I own a lot of Batman-themed clothing, for some reason.

And, yes, Deadpool was different to all those other superhero movies I hate. At least superficially. It kicked off with a genuinely hilarious opening credits sequence ripping the piss out of all the behind-the-scenes machinations that bring these films to light, followed by a breathlessly brilliant action scene that took full advantage of it’s non-family-friendly rating by piling on the gore and the dick jokes and the violence. For those first ten minutes, I was properly blown away. It really was different- smart, sharply witty, brilliantly action-packed. Ryan Reynolds was excellent- I’ve always found him intensely annoying, so casting him in a motormouthed role where he was required to get on your tits a bit really helped. The fourth-wall-breaking, meta-humour was patchy but occasionally excellent. And sure, it didn’t come close to topping that opening sequence, the action was pretty well constructed. But take away all the glossy, distracting execution, and it suffered from all the same problems that all the rest of the superhero movies it took such pleasure in disparaging suffer from.

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And yeah, of course, the execution being so radically different is important, and shouldn’t be ignored. But this was a movie, for all it pretended to be something different, that ended in a climactic battle between two straight white guys on top of a building while a sexualised woman lies in the background of the shot getting tortured. For all it’s subversive pegging jokes (seriously), the plot just couldn’t move forward without a trip to a strip club to shake some tits in the audience’s face (I was ripping the piss out of the Suicide Squad trailer for hinting at this, so my eyes just about rolled out of my head when Deadpool did it). It hit all the origin story beats (chemically altered super-soldier? Deadpool, meet Captain America, and Wolverine, and countless others I can’t remember right now), often without actually acknowledging that it was hitting them.  The only women and non-white people who appeared in it appeared as sidekicks to more important white male characters, and the wonderful Morena Baccarin was almost bogglingly wasted as one of the worst love interests in ages, with the movie beyond uninterested in her story. This was a movie marketed to me as a game-changer for the genre, and, in terms of it’s bare bones, it just wasn’t. It regurgitated all the irritating tropes of the genre, often without critique, and left me feeling kind of cheated.

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Which is not to say I didn’t like Deadpool.  As superhero movies go, it’s one of the better ones, for sure- despite the fact that the execution covers up pretty generic stories and characters, it is dazzlingly fun to see a character call out the tropes of his own genre directly to camera, especially in a movie coming from a studio as normally generic as Marvel. But I fear for the inevitable franchise, if this is the most groundbreaking thing they could come up with on their first go around. And, until I see something that generally pushes the more challenging boundaries of the genre (perhaps by critiquing dumb tropes surrounding gender, race, and the beyond-boring origin story structure), I’ll be withholding my wild praises for now.

Star Wars: The Force Awakens Spoiler-Free Review

So, I saw the new Star Wars movie last night.

That might not sound like a particularly earth-shattering statement, but for me, it kind of is. I’ve spoken before about my passionate, probably dangerous love, of the entire Star Wars franchise (yes, even including the prequels) on this blog, but I don’t think anything I could type here would accurately sum up the bone-shivering levels of excitement I felt when I sat down in the cinema yesterday afternoon. I’ve watched all the trailers for The Force Awakens multiple (MULTIPLE) times, analysing every frame and tearing up every time I saw the Millenium Falcon, and, for me, The Force Awakens was always going to be the best film of the year, whether or not it was actually any good. It’s a new Star Wars movie, for Christ’s sake- a new STAR WARS movie. Nothing at all could dim my levels of blind excitement for this film, not bad reviews, not fandom cynicism, not people gracelessly reminding me of the prequel trilogy, nothing. My expectations were so staggeringly high, all The Force Awakens could do was match them.

And it did.

I think it’s easy to forget, when you’re a Star Wars fan the way I and many other people insist on being, that the Star Wars movies-even the original trilogy-are intensely flawed. The dialogue is wobbly at best, the performances (aside from Harrison Ford’s Han Solo, which is basically down to flawlessly perfect casting) are decent but rarely ground-breaking, occasionally dipping into outright terrible, and the stories are often peppered with inexplicable plot points (Leia and Luke’s steamy incestual make-out session springs to mind). But the success of the original trilogy, and what little good there is in the prequels, comes from being able to capture a certain bombastic tone. A New Hope, for example, is a flawless adventure movie, two hours of obscenely entertaining nonsense that captures you from the first enormous chord of John Williams’ career-best suite through a gloriously simple story set in world thick with dashing rogues, mysterious powers, and political intrigue. As far as I’m concerned, it’s the ultimate blockbuster, and that was the best thing that The Force Awakens could evoke.

And evoke it it did. In fact, the plot had strong echoes of a New Hope that will make themselves evident to anyone who’s familiar with the original movie, but The Force Awakens had more than that. Where the prequels had gone wrong- focusing on dull characters and drudging political stroylines- the seventh part of the Star Wars franchise crisply sets up a galaxy struggling to right itself after the emergence of the Empire 2.0, throwing us straight into the action with a handful of strong, interesting new characters who demand your attention and endless speculation. With an almost aggressive focus on real effects (SEE THESE THINGS RIGHT AT THE FRONT OF SHOT SEE HOW THEY’RE REAL YOU SEE DO YOU SEE?!), we’re instantly guided back into the always-welcome Star Wars universe.

Of these new characters, Kylo Ren, played by Adam Driver, is my favourite, maybe because I was already coming to this movie with a very high opinion of him as an actor but probably because Ren is one of the best villains the whole franchise has ever seen (especially after the  hilarious mishandling of Anakin’s prequel character arc). And there aren’t really enough good things to say about newcomer Daisy Ridley as Rey, whose sharp, witty, compassionate performance continues in a long line of fantastic leading women in the franchise. John Boyega as Finn, with his compelling backstory, was about as charming a leading man as you could hope for in a franchise in which both Harrison Ford and Ewan Mcgregor have starred, and Oscar Isaac as the best pilot in the galaxy didn’t seem able to wipe the excited grin from his face for the whole two hours. I only have a shrug to offer on the subject of Domnhall Gleeson and Andy Serkis, both of whom I assume will get plenty of time to expand on their villainly in later movies.

Of course, the stars of the original series made a comeback too, with Harrison Ford, Carrie Fisher and Mark Hamill all returning for various amounts of screentime. Among them, Harrison Ford is still my favourite, just as morally ambiguous as ever, but Carrie Fisher proves once again why she’s the feminist icon of my movie-watching career. I saw some reviews snivelling about how The Force Awakens pandered too much to fans of the original trilogy, but frankly, they couldn’t be more wrong- there’s just enough to connect the seventh instalment to the one before it without letting it get bogged down in nostalgia, and besides, this is a continuation of that story. It would feel like cheating if they dropped everything that the original trilogy worked so hard to achieve, and tapping into that mythology gives the film an instantly deep backstory. Which is not to say there isn’t a little fanservice here and there- the introduction of the Falcon caused a ripple of excitement across the whole cinema-but after ten years of waiting, I’m not going to begrudge that.

Above all else, though, The Force Awakens is one of the finest blockbusters in recent memory, and believe me, I’ve seen ‘em all. Careful pacing, a sharp vein of humour, and good balance of brilliant action and actual storytelling mark this out as a worthy successor to it’s predecessors, and for that alone, The Force Awakens deserves your custom. Well, we’ve got two more movies to come yet, so you may as well get on board now.

Spoiler-Free Review: The Visit, or Shyamalan’s Biggest Twist Yet

So, we all remember M Night Shyamalan, don’t we? He made those couple of films you like, and then a bunch you don’t, and then The Happening, where Zooey Deschanel permanently puts the nail in the coffin of her ever getting out of Manic Pixie Dream Girl-land? You know what I’m talking about.

His first couple of big hits were pretty impressive- The Sixth Sense and Unbreakable were interesting, tightly-constructed little stories told with deftness and some strong performances. Signs (for my money, his best movie) and The Village at least succeeded in their simplicity, telling small stories against the background of a larger conspiracy. Fuck, I’ll even throw all my credibility to the wind and admit that I don’t mind Lady in the Water, mainly because it has Paul Giamatti in it and I’m legally obliged (look it up, it’s in there) to like any movies he’s in. But past that, we’ve got The Last Airbender (Let’s cast almost all white kids in this predominantly Asian series!), After Earth (Scientology: The Motion Picture), and the aforementioned The Happening. Like many other people, I’d honesty written him off as another director cursed by his early movies being too good to top (See also: Quentin Tarantino, Danny Boyle). But then I saw The Visit, and that changed things.

I was staggered when I sat down in front of The Visit and found Shyamalan pulling off his biggest twist to date- that he was actually a good film-maker the whole time! I can only assume that The Last Airbender and The Happening were just sleight of hand as he led us up to his career’s own twist ending, which came in the form of the kind of brilliant, old-fashioned found-footage horror.

It’s impossible to escape the fact that Shyamalan is bringing his movies back to their roots with this one, a tense horror that focuses on some strikingly good performances from child actors. Remind you of anything?

An unbelievably great movie, if you need convincing, by the way

But, ignoring the obvious Sixth-Sense comparisons, this was just an impressively low-key horror, which is difficult to pull off without losing the stakes. It follows Rebecca (Olivia DeJonge) and Tyler (Ed Oxenbloud) as they go to visit their estranged grandparents for the first time. Rebecca documents the progress of their trip in the hopes of turning it into a documentary-but the camera doesn’t lie, and there’s definetly something weird going on with their beloved nana and grandpa. There’s not much else to say about the plot without ruining great swathes of the film for you, and it’s the tautness and simpleness of the story that gives Shyamalan so much space to get us really invested in these characters.

Ed Oxenbloud in The Visit. Ooh, I just want to pinch his cheeks!

I really can’t stress how utterly fantastic the two child actors are, which is a phrase I say about as often as “NO, I would NOT like to see the new Rob Zombie movie, thank you very much” so you know it’s serious. I adore the way the script delves into their characters a bit, balancing their stubborn, schtum tendencies as young teenagers against their ability to genuinely articulate their feelings and fears, especially over the disappearance of their father. The leading quartet is rounded out by Deanna Dunagan and Peter McRobbie as the grandparents, who are equally great and exude just the right level of discomforting off-ness for the film’s run. It’s the careful time Shyamalan spends on letting us get to know these characters that makes the horror, which takes it’s sweet time to arrive, even more effective. Seriously, I’ve seen all the Saw movies and The Visit definitely ooked me out quite a bit, which is certainly not why I was showering with the door open for a week so that they couldn’t sneak up on me. Not in the least.

Oh, hey, Katherine Hahn plays their mother! What’s not to like?

The Visit was impressive almost just because he pulled it off. I was waiting the whole way through for some ludicrous twist (me and the consort were bellowing guesses at the screen all the way through: “THEY’RE ALIENS! THEY’RE DEAD! THE TWIST IS THAT THERE IS NO TWIST!”) to render the whole experience pointless, but it never came. And, for that alone, The Visit deserves a watch- it’s proof that Shyamalan is still capable of making controlled films that don’t spiral into senseless insanity at the half-way point. For anyone mourning the loss of his days as a good writer and director, let me welcome you with open arms to this movie. Just don’t watch it alone.

Avengers: Age of Ultron Spoiler-Free Review

We booked up the tickets, we got a bit drunk beforehand, we piled into the cinema like a family of hamsters, clambering over each other until we were firmly settled for what was one of the most anticipated movies of the year. Not only was it the latest Marvel team-up movie, but it burst forth from the mind of demi-god Joss Whedon. At the very least, I was expecting to be entertained.

And, well, I was. Age of Ultron is certainly pretty far from being a boring movie (apart from the last twenty minutes, but we’ll get to that). It’s straining at the seams as it is with a main cast of five characters, but when you threw in all the set-up for future movies and all the plots and sub-plots (from The Vision to the Maximoff twins to FLASHBACKS) the film honestly felt a bit over-full. It was like Whedon was less writing a script than he was attempting to balance a bunch of plates on a single stick, every movement causing them to wobble precariously and threatening to send the whole thing crashing to the floor. I like that the film’s business meant than it didn’t have a second act lull or a major drop in pace, but the sheer overstuffed nature of the story meant that moments of emotional weight were a little bit lost in the fray. It left me a bit annoyed that we didn’t get to spend more time with some of the new characters because there were so many other things that we had to do first.

The cast themselves were as good as expected; I’ll always make a good case for Chris Hemsworth’s jovial, hilarious Thor as the best, but Captain America was a close second. As hinted at in the trailers, a subplot unfolds involving Black Widow and The Hulk, and it fell pretty flat for me, with a dearth of chemistry that apparently just couldn’t be helped. James Spader as Ultron was as utterly fantastic as I had hoped he would be, engulfing every line with a thick coating of venom and wit. There was far too little Maria Hill for my liking, although it was good to see another female superhero (Scarlet Witch, or Eyeliner Maximoff as I have dubbed her) appear in a Marvel movie because, you know, it’s probably difficult when they all get their periods at the same time. Women, amirite?

There’s not really a place for this comment anywhere else in the article, but Aaron Taylor-Johnson’s Quiksilver was on a par with Evan Peters in Days of Future Past, because they were both played in a totally different way. Both were excellent, and standouts in their movies.

I digress. The script was peppy as fuck, full of cheeky jokes and enough quips to overdose on (the finest came with Hawkeye trying to lift Thor’s hammer; “You’ve had a long week, Hawkeye, we understand if you can’t get it up”). In fact, by the third act, it might have been a bit too heavy-handed on the hilarity, pulling focus from the semi-serious shooty-shooty gun-gun bits so the Cap can spit out something else from between those perfect, perfect teeth. It felt at times like Ultron was more of a Joss Whedon film, with the meta-humour and whip-smart jokes, than it was an Avengers movie, which is probably why it felt like it was a little unsure of itself at times. A few sloppy holes in the script left it feeling a little bit like a first draft, which was a shame as it was clear that the script had been worked on and worked on and worked on until all the pieces fit together, but they just wouldn’t go.

And speaking of shooty-shooty gun-gun bits, I always seem to forget that Marvel movies are always building to a climatic frenzy of an action sequence that I always find kind of dull. It’s not that Joss Whedon didn’t direct it well, or that it wasn’t performed convincingly; it was that we’d spent the whole film watching stretched-out action sequence after stretched-out action sequence with some vague bits in between to get the plot moving; the plot was essentially abandoned in the third act in favour of totally forgettable orgies of destruction. Thinking back, most Marvel movies have had at least one really “woah” moment in their big action scenes- whether it’s Nick Fury in his car in The Winter Soldier, or, well, mostly all of any Thor film- but I was struggling to bring to mind any really “fuck me, this is amazing” moments from Ultron.

I knew what I was going in for, and Ultron mostly delivered. But it felt way too much like a step torwards the next sequence of movies as opposed to a movie in it’s own right- a stepping stone instead of a bridge. It was perfectly entertaining and, for that,I can’t fault it. But it was a little bit disappointing, after all the hype, to see a film that topped out at pretty good, not one that sporadically blew my mind like the first Avengers Assemble movie did. A popcorn movie, not a rewatch movie.