Deadpool 2 – Film Review

Aaron Farrell

 

The opening to Deadpool 2 is like a Flip Book of of his comics; globetrotting mercenary levels of killing economy doused in meta-humour that reaches through the fourth wall to slap you silly. Though Deadpool may be wearing the same suit, and frolic with many of the same characters, the unkillable love child of Freddy Krueger and Monty Python is most definitely a sequel that’s had more money thrown at it whilst having less constraints set upon it.

 

Wade Wilson (Ryan Reynolds or perhaps simply, Wade Wilson in disguise within our reality) wants a family, and as such tells the viewers that this movie is in fact part of the Family genre, even following the same tropes that make up a large percentage of Disney classics. A death close to Deadpool sets him off on a journey that raises some apt questions around immortality and the meaning of existence, all wrapped up in delectable tortilla of humour and violence. A trademark Deadpool chimichanga that is upset by the appearance of future-soldier Cable who’s hell bent on killing a child who will prophetically go on to herald a dark dystopia.

 

Like many of the heroes within what has become an oversaturated genre, identity crises are as wrung out as falling cities and CGI-laden battles. Deadpool, the film, the character, the identity, has no such crisis. Reynolds, Leitch (One of the guys that killed the dog in John Wick) and writers Rhett Reese and Paul Wernick know precisely what makes Deadpool tick. And so gloriously bask in the blood, the bad mouthing and the bombast to deliver the promise of a blockbuster sequel. The locales are grander, the scope farther reaching and the meta-humour coming at you harder than the 3D Horror genre post-Avatar. For all the excessive violence and F-words there’s a precise balance here between the fourth wall and the Fucks.

 

Rules are oft spoken about in much of the discourse between the Great Silver Sinew that is Colossus and the Merc with the Mouth. Rules and their self-fulfilling prophecies are meant to be broken. Whilst these discussion aren’t aimed at the viewer, the self-reference is multitudinous. Deadpool has always had the comic book tropes in his crosshairs and that’s part of the reason he resonates. He is the rule, and the rule breaker squeezed tightly into a red leather sweatsuit. The nonconformist who exemplifies its black heart on its scarred sleeve for all the caped crusaders to see. Both metaphorically and literally, as nothing and no one is safe in Deadpool 2. Marvel, DC, James Bond, John Wick, Hugh Jackman and Ryan Reynolds. Even Deadpool himself. Nothing is off limits and that is the intoxicating rebellion that Deadpool leads. He is the author and the reader, so how do we go about acknowledging the death of the author (Reynolds is literally a Co-Writer this time round) when he can grow back limbs on a whim? Even if those limbs regrow in infant form first leading to a wicked Basic Instinct gag and streams of smut. When it comes to Deadpool, or meta-fiction itself, perhaps they truly are unkillable.

 

 

Whilst Colossus, Teenage Negasonic Warhead, Weasel and Ness are back, there is still some wiggle room for the newcomers to dance. Cable being the biggest pull for this new installment, announced way back in the hilarious end credits of the original Deadpool movie. Brolin straight off the back of his grandstanding turn as Thanos in Avengers: Infinity War brings the matured badass. The soldier from days of future past has always been the finest accompaniment to digest Deadpool, taking no shit and brooding in his own brutality all the while. And when he stops trying to blow Deadpool away with a gun that cranks the firepower to 11, Cable and Deadpool share in a reluctant, unbalanced brotherhood. Domino, played by the charismatic Zazie Beetz has fun in bringing her lucky streak to the unfortunate pair whilst becoming another iconic heroine amongst the established likes of Black Widow, Wonder Woman, et al. Heroines that look to change the playing field once more, and rightly so.  The expanded roster of heroes and villains fleshes out the world in which Deadpool plays, acknowledging and yet disavowing the presence of the X-Men that kicked off this Superheronaissance in 2000.

 

Deadpool works so well because he is the Punk to the established Rock ‘n’ Roll, only allowed such frivolities because he can deconstruct that which has already been constructed. This taste, or lack thereof (Deadpool’s words, not mine) of Action Comedy is by no means meant to serve everybody satisfactorily. The deeper one has swam within the seas of Pop Culture and Comic Books, the more one will appreciate this sequel. Or at least understand it’s desire to commit an established character to the screen faithfully. Deadpool 2 is as paradoxical as its titular character and the world he inhabits. You, yes you, dear reader, will feel the joys and sorrows Deadpool feels, as both Fiction and Film allow. You will laugh and you might even cry. You’ll groan and you’ll gag. And you might even throw roses toward the screen after the end credits in appreciation of this one man show whose lack of giving a shit is the fight with one sword for liberal politics, equality, justice and family values. And with the other, skewers them decoratively. Deadpool 2 is a riot of a movie that raucously fills the shoes of an iconoclastic idiot that might be the hero we all deserve.

 

Blade Runner 2049 – Film Review.

Blade Runner 2049.

 

A return to the dystopic, smoke-filled streets of neon darkness, Blade Runner 2049 is in no way a pompous, bloated sequel to cash in on the now legendary status of 1982’s Blade Runner. It is an exploration of the grand themes, electric atmosphere and volatile world which ignited the hearts, minds and souls of a generation of filmmakers and cinema fans alike.

This is a spoiler-free review so if I seem vague on plot it is so I do not ruin a single moment of the magnificence on display.

Much has happened since Deckard and Rachael decided to defy the rules and run. Three short films released by Warner Bros are a great way to fill in some of the gaps in-between but also to revel in this palpable world. The animated short Black Out 2022 directed by Cowboy Bepop’s Shinichiro Watanabe is the standout but all three wholly warrant attention. Thirty years on from the dangerous days of 2019 however, Ryan Gosling’s Officer K is a new breed of Blade Runner. Working for the LAPD, K’s job is to track, hunt and retire ‘replicants’ that hide in the shadows of the looming city. Whilst on the job, K stumbles upon a long-buried secret that has the potential to change the very rules of the world in which he lives.

 

Denis Villeneuve is an angel. When I read that he was attached to the Blade Runner sequel, whatever apprehension I had seeped from my bones as his body of work has never failed to blow me away. Enemy is a surreal nightmare of identity, Prisoners the spiritual successor to David Fincher’s genre-defining cop noir Se7en – capturing all its rain-soaked ambience and heavy hitting plot. Sicario is dread-inducing showcase of the human spirit in decline and Arrival, a big Sci-Fi blockbuster with intelligence, heart and importance. Villeneuve then, the angelic composer of genre cinema becomes a god with 2049 as everything that came before was merely a warm-up for what he presents here. Within minutes, the film absorbs the viewer into the atmosphere which hasn’t allowed fans much respite since 1982. Villeneuve utilises everything used in the past to deliver a film so replete with life, that its essence bores deep inside to salt the ideas presented, not only making them tastier but preserving their meaning.

As K explores the world within Blade Runner 2049, the audience is dragged deeper down the rabbit hole. If Blade Runner was the scramble toward the light above then 2049 is the plunge deeper into dystopia. This, all thanks to our proxy in Ryan Gosling. Gosling never leaves his presence at the door and here it glows. Although initially seeming like a quiet performance, as the narrative blooms so does Gosling. He certainly channels his performance in Drive but this is by no means a rehash. The angst, despair, desire, longing he portrays through his stare are subtitles to his mind. Conflict is prominent in K as a character, as it was in Harrison Ford’s Deckard. Although K is given a more rounded jumping off point. Still clouded in mystery albeit mysteries we delve into throughout the film. Gosling is a still tree in the first few scenes. Cold and distant although not unaware of his plights and the prejudices of the world. As the story unravels however the tree is whittled into a piece of living, breathing art. Gosling may be the spearhead here as 2049 is his film and story (this isn’t to take anything away from Deckard so worry not fellow fans) but every character casts a shadow.

Ana de Armas is vulnerable yet inspiring as Joi, K’s confidant and love. She is intoxicating and plays against Gosling tremendously, the characters complement one another, wanting to protect and enable. Robin Wright’s Lieutenant Joshi is stern and sharp, as if Claire Underwood left politics for policing. Niander Wallace is the self-appointed prodigal son of Tyrell and his corporation. He is a self-aggrandising romantic with a soft voice and stolid resolve. Jared Leto can be seen in one of the aforementioned short films as Niander proposes a new take on the Replicant race, as can Dave Bautista’s Sapper Morton. An android who must hide his humanity. Mackenzie Davis is Mariette, a sex worker that looks eerily like Daryl Hannah’s acrobatic Pris – when she was first cast I thought it must be for some sort of flashback involving Pris. Sylvia Hoek’s Luv; Wallace’s right-hand woman, is a revelation. Frighteningly subservient and with a penchant to prove herself. All these bold, full characters and I haven’t even mentioned Harrison Ford. I’ll say little other than this might be his most nuanced and aching performance on film. ‘Career best’ is a term that could be attributed to everyone involved in Blade Runner 2049.

Art Style and Direction was the means by which the original initially captured the imaginations of its audience. The imagination of Philip K Dick was transported from the pages of Do Androids Dream Of Electric Sheep – a classic of the Science Fiction genre and one of my personal favourites – into film reel with Ridley Scott at the helm of Blade Runner. A painstaking process of artistic design for logos, products, vehicles, weapons, people, androids and the world in which they all inhabit was treaded as designers breathed life into Los Angeles of 2019. The sheer scale of the world boggles my mind on every viewing of the original but 2049 somehow expands upon what was to create a gargantuan setting primed to swallow any who look upon it. We have a larger view of a world that is dying. Whilst we spend time in the darkened cityscape of LA, we get to view the larger area, granting a deeper perspective as to the eco/sociological state in which android and humankind inhabit a shrinking Earth. Yet one that is sparser than we are led to believe as the fabled Off-World is where most hope to ascend.

Art Direction wasn’t the only subliminal vortex which immersed the audience in Blade Runner for Vangelis’ score is as iconic as Roy Batty’s monologue or the steaming streets. Vangelis hasn’t returned for 2049 (Villeneuve common collaborator: Johan Johansen, was set to compose but Villeneuve decided to go with something closer to Vangelis’ original tone) but on board is Benjamin Wallfisch (recently scaring cinemagoers with his violent tones in IT) and the omnipresent Hans Zimmer. As such, the score is a delight, capturing the old in a haunting, impactful way whilst evoking K’s tumultuous journey in a different time. Prepare the soundtrack for the car journey home from the cinema.  

Blade Runner 2049 has a substantial runtime of 163 minutes but there isn’t a wasted frame. Roger Deakins has created a picture of such visceral beauty and vivid iconography that with such grandstanding aplomb he has cemented himself as the favourite for the hailed Best Cinematography Oscar. The lighting of the original film is thin and searching, adding tension as it passes over the key players in an accusatory manner. The lighting of 2049 is godly and ever changing. A presence in itself. Whether it be the light of dancing water in Niander Wallace’s HQ or the ethereal burnt orange hue of a deserted landscape that can be seen in the trailers and posters, light morphs and shapes the locales of 2049 into dystopic art installations. Not one of which is disposable to the aesthetics nor the narrative.

The pace of 2049 may be a slow crawl but you can be sure it is meant to be that way. There isn’t shock and awe manipulation of plot but there is plot enough that is shocking and awe-inspiring. It doesn’t ask for nor demand your attention as much as it rewards it on a titanic level for a little intellectual insight. There is a ponderous air to proceedings, allowing for time to digest the subtlety in the story. It’s scale and ambition are mighty and whilst I am speaking in hyperbole, it is hard not to gush about a story so important and integral to the genre and medium. This is a masterpiece that somehow honours and builds upon the humanistic themes of the book and the original film, all the while exploring the morality of a new generation.  It penetrates so deep as to scar your bones.

Blade Runner 2049 is a romantic, ponderous picture about the beauty and brevity of life. It showcases poetry and prose through its narrative and radiates imagery and sound that envelops and intrigues. Sitting and experiencing it for the first time, I knew that I was witness to a cinematic milestone, as I know I will be in every subsequent viewing. This is a child that had no right to be what it is and yet defied expectation in every conceivable way, a metaphor for what artificial life can achieve within the world on show. I think even Roy Batty wouldn’t believe what he has seen in Blade Runner 2049.

 

Written by Aaron Farrell.

Alien:Covenant – Film Review.

Synopsis: The crew of the Covenant; on a mission to colonise a habitable planet far away from the cradle of Earth, intercept a distress beacon from another habitable planet close by and choose to investigate the call and the planet. They stumble upon more death than life on the down below and as such try to get back aboard their ship parked just above the atmosphere.

 

A work of art and purity.

 

The hieroglyphics morph on screen to form the films title as they did nigh on forty years ago. Jerry Goldsmith’s original ode rattles the senses. This is the first of many references and nods to the series that started aboard the USCSS Nostromo. Covenant is a film of shifting themes and motives, a greatest hits of the Alien anthology including the frightening highs and jarring lows.

 

Ridley Scott is a director that surpasses genre and transcends tropes, his body of work defies labels and often, expectations. And with all that said, Alien: Covenant is a Pick ‘N’ Mix of Scott’s back catalogue. Besides the obvious influences of Alien and Prometheus, I feel some of The Martian’s irreverence and visual flair is present along with The Counsellor’s Fassbender uttering slick lines combining philosophy with telling metaphors, Black Hawk Down’s frenetic action sequences show up and last but not least, Blade Runner and the grandiose theme of creation and humanity. When you have a legacy this great, why not dip into it? I feel the only problem with this taster tray of film feelings is that it is just that, an appetiser, when many are showing up at the cinema for a main course in terror like the 20th Century Fox marketing team are promising. This double-edged sword is tough to hold for as soon as Covenant takes a turn for one particular atmosphere or idea it’s often shifted onto the next before you can settle into being unsettled.

 

Whilst this all may sound like a tarnishing, it isn’t, only an observation and a desire for a more lived in film. Covenant’s biggest problem is it doesn’t exude the atmosphere that an Alien movie (or horror movie, for that matter) should. Alien and Blade Runner both sit staunch in my ever shifting Top 10 Favourite Movies Of All Time. Besides their obvious merits as absorbing narratives and visual pieces of filmic art, along with scores that have defined the Sci-Fi genre for the past forty years, both movies have a palpable atmosphere full of meaty, established landscapes and characters that suck me in from their opening frames. I didn’t feel that kind of vacuum here in Covenant. I did even in Prometheus which I entirely accept as a different beast albeit one aboard the same ship as the Alien franchise as a whole. Sure, the lazy man could claim that Covenant is one part Prometheus and one part Alien but I feel that is an unfair comparison, one however that would be plastered all over the Blu-Ray case as a selling point. Covenant is a juggling act of ideas, characters, plot and world-building but at times I merely felt that I wanted to get a real glimpse at each ball before it was thrown back into the air.

Say it don’t spray it mate.

The characters on show here are a ragtag crew much like the ensembles of every other Xenomorph featuring movie. Though where Prometheus(for the record I love Prometheus, I actually prefer it over Aliens, Alien 3 and Resurrection. Also for the record, I totally count Alien:Isolation as an integral and thrilling part of the series) asked us to buy into the character’s motives and idiosyncrasies, Covenant merely presents them as they are and lets the viewer take their pick of who to root for. There are characters who are token and their deaths are as sure as an alien showing up or a character screaming from terror but Scott doesn’t beg for your sympathy only demand your cringe reflex. That said, the main characters in Katherine Waterston’s Daniels, Danny McBride’s Tennessee and of course Michael Fassbender’s David -and dually, the other synthetic Walter – all have exposition material in the film’s substantial marketing campaign, the former two in The Last Supper short that was released a few months ago and the latter in The Crossing which shines a light on whatever happened to David and his crew member of the Prometheus, Elizabeth Shaw. I am not one for watching too many trailers however as in the current movie climate, most studios seem to give up most of the goods on the first date, which to me, as a chivalrous gentleman, is undesirable. I want my ohh’s and ahh’s in the cinema not on my phone months prior to the films release. I digress, I was unable to contain myself when it came to both of these shorts as they were billed as prequels and as such I got involved. But after seeing Covenant, I really wish they had been shown on the big screen before the movie started as, to be honest, I had forgotten some of what had gone on in them since and would have liked their viewing to have been mandatory. I imagine many of my fellow cinema goers however may not have caught onto these prequel shorts and after re-watching them since my afternoon viewing of Covenant, I think they both help support the overarching narrative, along with helping establish the crew and their dynamics and partnerships. I think I may watch them once more and head straight to the cinema for a second viewing of Covenant just to get the timeline right. One thing that has me pondering as to what the home release of this movie will look like is the amount of footage in trailers and teasers that simply does not show up in the film. Was this premeditated? It isn’t unheard of for a director to shoot scenes solely for a trailer to appease the studio but my bigger question is one of a Director’s Cut. Does this abundance of extra footage (which looks glorious by the way) mean Scott may have had to streamline the theatrical cut. We all know the man loves a Director’s Cut or Final Cut or even a George Lucas Ain’t Got Shit On Me Cut but I’m sure we’ll find out soon enough after the worldwide release whether we fans will be seeing a version of the movie closer to Ridley Scott’s true vision. Some of the other more notable characters do fall a little flat with forced, out of context dialogue that does nothing but jar. I felt Aliens was guilty of too much of this kind of chatter.

 

From a visual standpoint, Alien: Covenant looks glorious, combining the vast world views of Prometheus and the dazzling equipment at hand for the titular ship’s crew but also the lived in feel of Alien which gave Sci-Fi a new landscape of a worn and tired future of struggle and strife. Scott can’t shoot an ugly movie and Covenant is testament to that. Spaceship hallways dazzle and also frighten in the claustrophobic confines. The functionality of the equipment whether that be on board or handheld or otherworldly are all impressive and detailed. Not to forget the grander views of space and its emptiness or a planet and its titillating topography inducing awe into the viewer. And the star of the show, the Xenomorph, is no longer a tall dude in a suit awkwardly clanging about – as ghastly and terrifying as that was – but a creation of CGI though one that is ultra detailed and hyper-realised. When the Xeno is revealed in full and it’s movement and predatory efficiency are shown full tilt, it is a sight to both behold and back away from. CGI creatures have never looked more pure, and I for one, admire purity.

 

Jed Kurzel does an efficient job at reiterating the iconic themes of Jerry Goldsmith that haunt the backdrop of the film now and then. He also utilises the magnanimous and rousing track Life by Marc Streitenfeld who scored Prometheus in curious and creative ways. He also sprinkles in some of his own flavour which is a more contemporary but nonetheless unsettling sound set. As for sound design, this is an Alien movie so expect a lot of tics and twangs to upset your auditory senses.

 

All in all, Alien: Covenant has it thrills, spills and kills which is enough to satiate the thirst of the hungriest xenomorph but perhaps not the promise of Alien relived. Expectations lead to disappointment and that’s why I never judge a book by its film and vice versa. I can accept something with the same name as being entirely different or that a series can and will deviate course from its prime objective. This is why I love Prometheus for challenging the viewer with the question of life and its creation and meaning. It didn’t need the Xenomorph popping up gratuitously. Here however, Covenant is all the better for playing to the strengths of the entire series and is a hearty filler in the sandwich of this trilogy that will eventually lead up to the adventures of Ripley and Jones the cat. It may miss some of the dripping atmosphere that’s come before but this is a strong entry in the series that I think will right the (unjust) wrongs of Prometheus to many ‘fans’. This is Farrell, last survivor of the Covenant, signing off.

 

Thanks for reading.

Avengers: Age Of Ultron

Avengers: Age Of Ultron.

“There are no strings on me”

There is a scene in Avengers Assemble where the camera pans around said Avengers with each character giving a trademark signature before taking on a horde of Chituari. This is the climactic final battle for New York. Within the opening moments within Age Of Ultron we see a similar money shot where the Avengers vault in unison toward a battalion of bad guys. This is a perfect analogy of the pace, structure and character development that has Hulk-leapt toward an even better film than it’s awe-inspiring predecessor.

Synopsis: Upon a raid at a secret HYDRA base The Avengers reclaim Loki’s sceptre. The powerful device that caused a lot of trouble first time round. In using the Mind Gem which gives the sceptre its power, Tony Stark with the reluctant help of Dr Bruce Banner creates Artificial Intelligence that will ideally  “put a suit of armour around the world”. Ultron is created with the sole mission being to protect Earth, which he sees in danger from the threat that is humanity.

Joss Whedon is the king of geeks. Even way before he created a team of superheroes that come together to fight off gods and aliens he gave us Buffy, Angel, Firefly on the TV. A great run on X-Men in within comics,  Serenity in film and Dr Horrible’s Sing-A-Long Blog on the net.  Whedon revels in writing ensembles, creating interwoven lives in the way of mismatched surrogate families and everything that creates. Arguments, conflict, tenderness, team work, humour always feature by the bucket load. Age Of Ultron whilst being a similar beast to what came before is gargantuan in scale and vision(not yet, he comes later).  Age Of Ultron is a juggling act of epic proportions. How this many colourful, well drawn and heartfelt balls are in the air at any one time is a testament to Whedon’s genius execution and some razor-sharp witticisms amongst the needed expository dialogue.

There could be an official role call for the sheer scale of the cast within this movie. The original Avengers are back and more fully-formed than ever before. The biggest new additions other than Ultron are Elizabeth Olsen and Aaron Taylor-Johnson as the Maximoff twins.  HYDRA experiments gone right. Pietro has accelerated metabolism and everything that goes with it. He’s really fast.   Wanda has reality altering powers along with telekinesis. She’s weird. Wanda is the real trouble maker for the Avengers giving each of them a vision into their own darkest fears and setting in motion the series of events preluding to Ultron’s lunacy.
So the titular antagonist Ultron. A Frankenstienian machine created to save us which poetically is why he tries to wipe us out.  James Spader brings Ultron to life with real menace, empathy and omnipotence.  Spader’s wispy drawl brings Ultron’s thoughts and plans to the fore with witty, condescending speeches. Since seeing the genius use of the Pinnochio – “There are no strings on me” line used in the trailer I’ve been very excited to see a new big bad for the Marvel Cinematic Universe.  He’s does not disappoint. His view on destroying humanity is a fair one for we are destroying earth. His quips always sting which is fitting for anyone who’s father is Tony Stark. His menace is frightening within our modern times.  Ultron lives within the Internet.  So do piano playing cats and Twilight fan fiction but Ultron is even scarier than both those combined.  A megalomaniac you can relate to, appreciate and fear is a rare and beautiful thing.  Spader must feel no intimidation as he delectably cuts down this team of actors and heroes that have come together over the past decade.
Back to the Avengers and the sheer number of them it’s heartening to see Whedon has concentrated on the ones who haven’t had at least 2 solo films.  That’s not to say Cap, Iron Man and Thor are forgotten or underwritten but Hulk, Black Widow and Hawkeye are given the time and care they so deserve.  There’s a budding romance between the big green monster and the smaller but no less deadly black monster (Johansen has a superb flashback to her Russian spy training showing an even darker shade to the Black Widow).  Renner who has been criminally underused up until now is the cohesive glue that binds the bickering team together.  He may not be Super or made of Iron but his power lies in his heart of being a good Man.  Within the trailers we’ve seen shots of Vision.  This would of better been a surprise in being kept for the film for he is a lesser known hero but one that has a great impact.  Vision is a certified bad-ass. Excellently brought to life by Paul Bettany who has voiced J.A.R.V.I.S since the very first Iron Man film.  He may also feature in what is, out of limitless amounts of awe-inspiringly cool moments, the biggest laugh/cheer in the film.

This being a Marvel movie that ties into a bigger universe obviously features a ton of cameos and plenty of universe-expansion.  With many nods and winks towards to the bigger picture and some tantalising set up for the next few films Marvel have on their gamma-radiated roster it had the prospect of being just another set up movie but no.  Whedon balances the what’s gone before, what matters now and what’s yet to pass with an uncanny magic that would have me struggling to think of a better director in the galaxy to have given us 2 great Avengers movies.  Age of Ultron is the first summer blockbuster movie. The last one is the 3rd highest grossing Box Office film of all time.  This has monumentally big boots to fill and fill it does.  In such a mainstream movie it also rewards you for paying attention and even more-so for being a geek.  Many times I smirked at the mention of another element from the comics.
Age Of Ultron is a spectacle to behold.  A bigger, darker and more important film than Assemble but it still delivers the giddy fanboy moments of Thor hammering Cap’s shield toward bad guys or Stark double suiting in the Hulkbuster armour to tackle a maddened green rage monster.  With a charismatic ensemble this big and to leave feeling wholly satisfied is a dream for fans and an achievement to be noted.  Age Of Ultron is an event movie and say what you will about the franchising of movies with the cinema industry but Marvel are the forefathers of that movement and boy do they do it the best.  Inspired casting, fan-pleasing storylines, visually-arresting scenes, heartfelt characters, contemporary themes and so much more. Like with this film there is so much more to delve into before I even hit spoiler territory.  But for the sake of pacing and patience, something Age again gets top marks for I’ll shut up.

I saw a young boy in the screening I went to dressed as Iron Man.  A blissful feeling of happiness coursed through me in being able to share this spectacular event with mini Iron Man.  In having flashback of my own costume wearing days (those days are not entirely over) it encapsulates what these movies do. They unify a diverse community in sitting together and taking in a visual feast.  Whilst Avengers:Age Of Ultron may not be art house cinema it is nonetheless art in cinema. A tantalisingly fun, rewarding and perfectly paced piece of art which is the absolute sum of its many parts.  This is what a sequel should be. This is what a summer blockbuster should be. This is what a superhero movie should be. This is what cinema is.  A boy in an Iron Man suit collecting memories.

READERS ASSEMBLE!

Words and fanboyism by Aaron Farrell.

Ex Machina – Movie Review.

Arigato Ms Roboto.

Ex Machina delivers a tense, taut and terrifying film about testing our nature to create and assess artificial intelligence through whilst never undermining the viewers intelligence. It opens up philosophical questions of the meanings of our views on life via some terrific acting and an excellent directorial debut.

Synopsis: Young IT whizz kid Caleb (Domhnall Gleeson) wins a competition to spend a week with the founder of the company he works for,  Blue Book – the world’s most used search engine. Arriving at the reclusive retreat of his boss Nathan (Oscar Isaac) Caleb finds that he’s wanted as mediator in an experiment to test the limits of the world’s first seemingly sentient robot AI in Ava (Alicia Vikander).

Alex Garland has written some of the most original Sci-Fi scripts in recent years. 28 Days Later re-imagined the zombie and horror genre. Sunshine gave an original space mission movie with exploratory themes and some serious thrills. Ex Machina tops all as the best British Sci-Fi film of the past few years. First and foremost we have a script that challenges the viewer to both ask and answer questions poised to them through the three main characters and their unique viewpoint whilst narrowly dodging some would-be melodrama via a left-field Ghostbusters reference or a satirical slap to the senses (of humour). Garland has then created a claustrophobic atmosphere akin to The Shining’s Overlook Hotel in this reclusive, aesthetically neutral but tech heavy home. With scenes of the two male leads (who will share a screen again this year in a Galaxy Far, Far Away) having a battle of wits and morals like some of the best Hitchcockian thrillers. There’s also a good measure of Mary Shelley’s theme of creator and created that runs through Frankenstein. All of which are no bad influences to adapt and utilise.

Oscar Isaac’s Nate is the kind of unpredictable, self-righteous and manipulative bastard we’ve come to expect from a Bond villain. But not quite. Nate always seems to be three steps ahead in his foresight of Caleb’s actions with his oft patronising manner and air of arrogance. Isaac has enough dominance and charisma to bring the untrustworthy and scary but then sides it with the clink of a beer and a funny remark to disarm Caleb and the viewer.  Gleeson brings the nerdy intellect along with a certain self-awareness to give him a genuine feel whilst not being played off as just a dumb instrument in the Turing Test of Ava. He can certainly hold his own in the battles of wits with Isaac’s Nate which gives us some electrifying conversations between two great characters from two equally great actors. The whole movie’s concept and the audiences ability to buy into this being a thought-provoking study of plausible AI rests steadily on Vikander’s meshed but quaint shoulders. Her performance encapsulates the viewers interest a 100% from the moment you see her tender gaze. Whether admiring the outstanding look of the robotic skeletal structure with a human face, hands and feet tacked on. Or you’re trying to assess her ability of sentience through her sessions with Caleb. You’re thoroughly gripped by her beauty, her innocence and her intrigue into her own life.

The way Garland has written for the three characters is beautiful. Each has a history, a sense of self-awareness and a soul. It’s in the way though that Ex Machina is shot that we feel a part of this test/study into Ava and her capabilities. I found myself inside the character of Caleb during his time with Ava. I was sucked into his mind in his observation of this machine who’s growth of intelligence is exponential and ultimately believable.

I’ve tried to only discuss the first act of the story for Ex Machina is full of surprises and continually sucks you further down the rabbit hole with every minute that passes. Avoid the trailers if possible as again, like in modern movie marketing it gives too much away. As much as I loved Ex Machina I know I would have enjoyed it that little bit more having not seen any footage. Major points are given away flimsily just to garner a prospective audience.  Please Hollywood stop with the damn expository trailers and let us enjoy a film without any precursor to its points!

This is a Sci-Fi film that doesn’t just feel but is, important. So, so many films nowadays are not even questioning your intelligence and understanding but are insulting it. Ex Machina (which derives from the ancient Greek phrase “Deus Ex Machina” – “God from the machine”) is presenting questions and giving enough answers to be a superb film but also leaving enough of these questions directed at the viewer to take away and digest. This is a film that doesn’t leave you as soon as the credits roll. It stays bouncing around in your head begging to be discussed with your cinema buddy. Artifical Intelligence is something that is very possible within this lifetime and the questions of creating this gives us not only a god complex but a possible problem of machine vs man. Although a leather clad Arnie straddled to a motorcycle is no where to be seen Machina still offers that provocation of thought involved in the beginnings of machines that can think.

Ex Machina could be the best and most original British Sci-Fi movie since Moon. It raises the bar of engagement for the audience and challenges us with questions of “What is it to be alive” and “Why should we be able play God”. Big questions that leave you pondering far into the night. Alex Garland shows that he had the prowess to not just write but direct in a smart and understated form with an eye for the post-modern gleam of computing, technology and circuitry and the question of circumstance.  Our future Jedi/Sith/Stormtroopers/Hutts (!?) In Oscar Isaac and Domhnall Gleeson make for intriguing sides to an intelligent coin and Alicia Vikander will surely be chased by all who want a beautiful actress who can channel poignancy, intrigue, heart, soul and mind into a character. Ex Machina looks, sounds and feels equal parts stunning, eerie, chilling and captivating. It’s what Sci-Fi is all about. It challenges and guides through a spectrum of philosophy and wonder. There’s nothing artificial about the intelligence on offer here.

Thanks as ever for reading.

Aaron Farrell.

Whiplash – Movie Review.

Drumroll please.

Whiplash on paper sounds god awful. Luckily we found out as a species we could put things on film and congregate around a screen to watch said filmed things. Because on a movie screen Whiplash is a spectacularly executed thrill ride of tension, tenacity and some beautiful jazz music.

Synopsis:  Andrew(Miles Teller) is an aspiring jazz drummer at a prestigious college who earns a shot to play for the college band under the tutelage of Fletcher (JK Simmons at his ranting, raving best). Fletcher wants the utmost from his band and s,o whilst Andrew feels he’s giving his all, they clash heads.

A film about a boy drummer and his shouty teacher has absolutely no right right to be this good. Somehow Damien Chazelle has hit the ball out of the park. He’s created two very deep and flawed characters which makes for an ever shifting love/hate relationship. He’s written a script that is as snappy as, well, JK Simmons mouth. He’s made a thriller out of a drama that’s some how a sports movie about music.

Miles Teller is flawlessly flawed as cock-sure Andrew who knows he’s good but who mistakes effort of the uppermost percentile for musical infamy. Willing to sacrifice anything toward his pursuit of a career as ‘one of the greats’ he’s not the most personable. Totally fine in being friendless he believes being truly great will be worth it all. One family dinner gives an insight though into why Andrew may be trying so damn hard, swimming against an ever increasing tide of carelessness and ridicule from the wave that is family. JK Simmons is terrifyingly brilliant as Fletcher who is willing to scrap every rule written on how to nuture talent. He stares, he shouts, he slaps and he slings (chairs,drums etc) all in the name of garnering effort which will convert into talent.  He’s a kamikaze of insults, one liners and expert advice that you can’t help but respect his craft as you sure as shit wouldn’t question his authority. Teller and Simmons are sublime in playing their parts so perfectly that an argument between the two can leave you shaking in your seat but more so not knowing who to root for as you just couldn’t pick a side and neither should you.

Chazelle has given a script in which Simmons thrives on with his barking mad man shtick holding more substance and menace than usual. Teller is on for big things in the future(Mr Fantastic in the reboot of Fantastic Four already in the bag) and he’s earned every bit of attention that will come his way giving literal tears, sweat and blood to the audience via his drum set. Simmons and Teller should build a new shelf for the imminent awards season.

Whiplash is exciting. The drama never dipping into the melo kind. This plays like a thriller with the camera bounding around the studios capturing every nuance of performance from the entire jazz band , nerve shredding stare – offs that you’ll crave to let up and a cacophonous amount of human error for you to wince at. A deft thriller then with not a gun or explosion in site. Whiplash truly showing that masterful work comes from hard graft and real talent.

The jazz score that plays atop Andrews’ shaky percussions is superb. I like jazz but am by no means an authority on its intricacies. Nonetheless I can appreciate all that’s on offer here. Which is a lot. It’s a building culmination of soundtrack and music flowing out from the scenes that pops every now and then until it colourfully explodes in the final act.  I’ll be playing this soundtrack for a long time.

Whilst at parts you feel crushed by Andrews inability to perfect an intro or tragedy closing in on Fletcher, Whiplash is an inspiring film that realistically shows that working hard at what you’re good at can get you somewhere if not everywhere. But expect life to shit over you every now and then. Fletcher’s teaching methods are an analogy for this but I felt maybe the director is leaving a subtle message of what our spoon fed society has become. Not wanting to face adversity opting to have our hand held toward the finish line. Well thankfully, realistically, you won’t find any of that here.

Do not be afraid if you feel you don’t know your snare from your hi-hat or have never really indulged in jazz music. As with the best films and film makers Whiplash takes what is, quite abstract, and makes its available to all to enjoy. You have to only have an interest in being entertained and enjoying a great film to be able to do just that with Whiplash. See it for the thrills, the tantrums, the music, the inspiration and the two stellar leads who own it. Then demand an encore and see it again.

Thanks as ever for reading. Any feedback or discussion on my reviews are welcome and appreciated.

Aaron Farrell.

The Two Faces Of January

Despicable Three.

Synopsis: A glamorous couple in the form of the Macfarlands – Viggo Mortensen and Kirsten Dunst as Chester and Collette respectively – are seemingly holidaying in Greece when they meet Oscar Isaac’s tour guide/small time con artist. Chester’s shady past catches up with him (Mortensen fans don’t think this is ‘A History Of Violence’ sequel) it sets in motion a series of unfortunate events.

This is a well executed, tightly wound thriller that excels at points and slumps a little at others. There we are review done. Thanks for read…
I joke as there’s a lot to delve into with this film. I think first and foremost this is a character drama and then a thriller. 

The characters are a trio and as you might have guessed from my “Despicable Three” tagline none of these characters are heroes. Yes to look at they each have that star quality look of film heroes and heroines but past the beauty their are some ugly morals. Viggo’s Chester is slick but sly man who’s made his money from tricking others out of theirs. Oscar Issac’s Rydal is a charmingly devious bastard who uses his looks, knowledge and many languages to fool the fools who let him guide them. Colette is the weakest link of the trio, possibly as she has the biggest moral compass and possibly because she’s not given as much to do. Colette accepts Chester’s deviant and has decided to marry him. Shallow or naive or possibly both. I would have liked someone other than Kirsten Dunst as Colette as these two men are having a battle of wits over her affection but I couldn’t really see why. She’s a little token at times. She’s not the magnificent woman I imagine the book describes her as.

That’s about as much as I can go into for the characters as they do grow and develop as the film goes on and that’s part of the mystery of the film. As a whole the film is a little understated as I think it needs to be. The actors, especially the two male leads do good jobs at using their madtery of the craft to portray their characters feelings and desires.

This is equally down to the director Hossein Amini.  Using his actors abilities to leave the camera lingering a second too long on a sinister stare or thoughtful ponder which really adds to the mystery and thrill of the story. At times the tension is palpable. Especially in the 1st act where we are getting to know the facade of the characters and a surprising turn of events. Then with the 3rd act the dynamic is changed bravely and the truth we long for about these characters gets exposed. The 2nd act isn’t bad just not quite as interesting as the aforementioned 1st and 3rd.   

The filming on location is another masterstroke from the the first time director. Greece looks like it’s meant to be on camera.  From the stunning backdrops of sunrises and sunsets to the authentic feel of the worn Greek buildings and cafes.  Hossein obviously didn’t build a time machine to get the authenticity but he and his crew must of had a hell of a time scouting locations and creating the 60’s contemporary of an ancient country.

I cannot delve into the film anymore for fear of spoiling it for you lovely readers. It’s worth the snappy 90 minute runtime for fans of great acting, a tension filled character drama and a hard-to-find mix of style and substance.  This is a finely crafted  and promising directorial debut from the screenwriter of the excellent ‘Drive’ which delivers suspense, intrigue and a satisfying thriller once the credits roll. Which can be hard to find this close to summer blockbuster season.

Thank you for reading.

Stay Classy film lovers.

Aaron Farrell