Star Wars Is Pretty Cool

So this past week I decided to fix a terrible mistake I hadn't got around to fixing; I watched the original Star Wars trilogy. I know: how can I possibly claim to be a fan of films without seeing what is quite possibly the most revered, critically acclaimed sci-fi series of all time? Well, the simple fact is that I hadn't ever decided to sit down and actually watch all three films in their entirely, similar to how I finally checked out Lord of the Rings in 2013 prior to the release of the second Hobbit movie. How did I find Star Wars? It's pretty great, actually. 

Now, you might be surprised to read that. No, I didn't think that they were some of the greatest movies ever put to screen, nor would I watch them all again obsessively. To be honest, I don't even think they're some of the very best sci-fi movies of all time (though The Empire Strikes Back would be the closest to this title). Maybe it's because they've been phenomenally over-hyped by literally centuries of fans, or maybe it's because I've just seen so many other sci-fi movies that I can't help but compare Star Wars to them, but I enjoyed this cult trilogy while it lasted...and I think that's okay. 

Before I get ahead of myself, I should probably clarify why I decided to finally check these films out. As you probably know, the latest teaser to J.J. Abrams' Star Wars Episode VII: The Force Awakens was released just under two weeks ago, and needless to say, I found it pretty spectacular. I'd previously been subjected to the Star Wars universe through the brilliant games that had taken place there, like 2005's Lego Star Wars: The Video Game. Most people, however, praise the Star Wars: Battlefront series as being the pinnacle of Lucasarts' foray into the gaming world, and I'd be inclined to agree. Regardless, I'd say it's more than acceptable for somebody to get sucked into this world without ever watching the movies (like I was). After watching the films, though, I've now got a pretty detailed understanding of the context behind these games - a context which 99% of the population probably had many years before today. 

But back to the title of this article, and how Star Wars is 'pretty cool'. After finishing Episode IV: A New Hope (which was initially just referred to as 'Star Wars'), I found it to be a little slow, in all honesty. I could appreciate the charm of classic sci-fi presentation, and the now iconic transition shots of the screen just sliding from one scene to another, but I definitely wasn't shocked in awe at what I'd just seen. Even fan-favourite Han Solo (Harrison Ford) hadn't fully swayed me into fandom; primarily because of Ford's later role in the incredible Blade Runner, in which he plays a similar character with a disregard for authority. Maybe I left it too late to fully appreciate these beloved classics? 

Maybe. Or maybe it's okay to just enjoy something that everybody else loves. I've no doubt that this year's The Force Awakens will be something special, and with a new Battlefront game coming, we've certainly got a lot to look forwards to. Does me not loving Star Wars mean that I don't like the franchise as a whole? Of course not. It just means that while some people might choose to don their Stormtrooper armour and attend conventions, I'll instead enjoy the movies for what they are: entertaining, two-hour epics that tell an interesting - though slightly drawn-out - story. 

Also, if you haven't yet seen the trailer for Episode VII, you really ought to fix that: 

Avengers: Age of Ultron (Review) - Bigger, Louder...Better?

Let me start by saying this: Ultron (James Spader) is a brilliant villain. His motives are villainous, his appearance is downright scary, and his presence rivals some of the best on-screen antagonists we've had in recent memory. Additionally, he's not criminally underutilised like countless other villains are - there are more than a few scenes which he steals effortlessly. Marvel's excellent Guardians of the Galaxy presented us with a forgettable foe in the form of Ronan last year, and thankfully Age of Ultron manages to avoid repeating this blunder. Does that mean it's the best Marvel film made to this point? Definitely not. 

Now, before you stop reading in anger, let me say this: I really enjoyed Avengers: Age of Ultron. It upped the ante in every possible way, with a nigh apocalypse being threatened by an equally apocalyptic foe. All the favourites return, with a greater focus being put on underdog Hawkeye (Jeremy Renner), most likely in an attempt to elevate him to the same level as Iron Man (Robert Downey Jr) and Captain America (Chris Evans). We're also given more depth to returning characters like Black Widow (Scarlett Johannson), and that's never a bad thing. Basically, Age of Ultron is more in every imaginable factor. There's higher stakes; the characters are more fleshed out; the action is more intense. The problem is that 'more' does not instantly equate to 'better'. Nor does this mean that it's worse than what we've had before. The reason I'm slightly let down with Age of Ultron isn't because it's a bad movie, it's because it delivers exactly what you expect...and that's about it.

You've still got the witty banter between characters, and the moments of emotion shared in private. Seemingly out of nowhere, there's also a blossoming romance between Bruce Banner (Mark Ruffalo) and the aforementioned Black Widow / Natasha Romanoff, but it's hardly the crux of the whole film. If it weren't for the awesome villain Ulton, however, then Age of Ultron would be nothing more than 'just another Marvel movie'. Is that bad? No! Of course not! If you're a Marvel fan, then you'll love the constant action and tone, but there's nothing new that will bring in new fans. And in that lies the issue: it's just more of the same. 

Think of it this way: somebody's playing a song you enjoy, and you enjoy it so much that they feel the need to crank it to 11. You'll still enjoy the song (if be a little deafened), but soon you'll be moving on to another. That doesn't mean you've grown tired of the tune or lyrics, but eventually it'll get over-played to the point of annoyance. Avengers isn't quite at that point yet, but if Age of Ultron is anything to go by, then it's worryingly close. 

Ultron (James Spader)

When it gets it right though, it really gets it right. Some of the action sequences are jaw-dropping, to the point where it feels like you're watching a comic-book unfold before you. The fights between Ultron himself and the Avengers are particular highlights, because they offer a new challenge for the heroes to overcome, and the seemingly unbeatable nature of Ultron makes for some genuinely intense moments. Sure, certain fights drag on for way too long, but this is more a problem of action movies than of Age of Ultron specifically. One thing that does feel a little off about the film is the sometimes drastic swapping between comedy and impending doom. I'm all up for having humour in Marvel movies, and Guardians of the Galaxy provides an excellent example of a film that doesn't take itself too seriously. Unfortunately, there's times when Age of Ultron wants to have its cake and eat it. You can't try and convey that the world is literally ending, all the while having our protagonists cracking jokes like they're just hanging out. Have one then the other - don't try and blend the two. 

Verdict
Avengers: Age of Ultron is a worthy sequel, but one which plays it a little too safe to truly excel. It does its job, and you're entertained for a little over two hours, but doesn't experiment with many new ideas. Marvel have found what works and stuck with it, and why wouldn't they? If I made $1,000,000,000 then I doubt I'd be straying too far from the formula. 2018's Infinity War really needs to switch things up if it's going to keep from going stale, though. 

"You want to protect the world, but you don't want it 

to change. You're all puppets, tangled in strings...strings!"

Daredevil (TV Review) - Justice Is Blind

Netflix's Daredevil provides a refreshingly unique spin on the superhero genre: It takes the 'super' out of the word entirely. Well - for the most part. That's not to say it isn't an awesome show which you should definitely check out the instant you stop reading this. No, what I mean is that it chooses to ignore the overly-dramatic storylines and constant happy endings; instead opting for a much more down-to-earth approach. 

Unlike most Marvel (and DC, for that matter) properties, this Daredevil TV show commissioned by Netflix rejects the notion that all introductions to a character have to begin at square one, and show a basic origin-story. Episode 1 begins with lawyer Matt Murdock (Charlie Cox) already fighting crime in the dead of night, following a tragic childhood accident that left him permanently blind. Instead of losing all will to live, Matt chose instead to hone his skills and play with the cards he was dealt, training his senses to literal super-human capacity. When he's not incapacitating bad guys, Murdock works alongside long-time friend Foggy Nelson (Elden Henson), bringing down criminals in a more 'traditional' sense. After all, justice is blind. 

As the series progresses, we get to see Matt's gradual progression as a vigilante. After a few initial beatings, he's quickly able to dispatch entire rooms of foes in quick succession, usually only suffering a few blows of his own. A sequence at the end of the second episode shows just how perfectly some of this action is captured, with a fight scene that seems uncannily reminiscent of the iconic 'Corridor Fight' in Korean classic Oldboy - complete with a single, unbroken tracking shot. There's several moments like this littered throughout Daredevil: amazing set-pieces shown in a style that rivals a lot of what you'd see at a cinema. 

But how could we have a superhero without an equally iconic villain? Like the choice to call 'Daredevil' Matt Murdock throughout the series, the infamous 'Kingpin' is referred to throughout this 13-episode drama by his real name: Wilson Fisk (Vincent D'Onofrio). Fisk isn't your typical villain, in that he actually possesses an human personality, along with real, complex emotions. Marvel could have quite easily made him nothing more than a sinister, lumbering foe for Matt to go up against, but we're instead gradually introduced to Fisk through hushed conversations and hesitant glances. Hell, initially he's only referred to as "my employer"; leaving you wondering in desperation as to what a man must be like to strike so much fear into the hearts of his enemies. Once we do get to meet the man himself, the character certainly isn't squandered. Fisk is just as complex a man as our hero Matt, and his awkward nature is rivalled only by his furious temper and scarily violent tendencies. Once you've seen a man decapitate somebody with a car door, it's hard to consider him human, and yet Daredevil somehow accomplishes this. Of course, you'd never cheer for him, but you begin to develop a certain empathy towards Fisk's troubled mind, and - though it sounds crazy - you find yourself understanding some of his brutal outbursts. It's definitely not a show for the faint of heart, but Daredevil's shocking violence doesn't seem out of place in such a bleak, crumbling city. 

Wilson Fisk (Vincent D'Onofrio)

In fact, the only real complaint I'd have with the entire series would be the fact it strives to tell such a grounded, believable story, and yet Matt's powers appear so unbelievably...well, super. The show does a great job of conveying the importance of sound to somebody in Matt's position, but some of the things he manages to pull off are far beyond the realm of possibility. Sure, you're able to suspend your disbelief for the most part, but they certainly stretch that to the absolute breaking point. However, there's more than a few occasions that even the scales a little and see Matt taking a beating far greater than what he gives, so I'll forgive this minor problem. 


Verdict
If Daredevil proves anything, it's that Marvel have managed to conquer the small screen just as well as they have the large. Each episode tells a relatively self-contained story, and yet there's always a main-plot which flows effortlessly through everything. On occasion, there'll be multiple events happening simultaneously, but the show manages to mould them into one, cohesive sculpture. Even if you wouldn't consider yourself an avid comic-book fan, this is more than worth your time. And with a second season just announced, now's definitely the time to get on board. 

"I'm not seeking forgiveness for what I've done, Father.

I'm seeking forgiveness for what I'm about to do."

Chappie (Review) - A Disappointing Waste

I really wanted to like Chappie. The third movie by sci-fi director Neill Blomkamp, Chappie tries to tell a story of human corruption and deal with issues such as the ethics of robotics, as well as grand ideas such as humanity itself. Instead, it presents you with a group of detestable characters and expects you to empathise with them, or at the very least, put up with their abhorrent personalities until the mundane climax and inevitable ending. 

The film begins with at least a certain degree of promise. Set in a futuristic South Africa, the film opens with an introduction to the new mechanised police force, who lack the ability to be corrupt or ineffective. After one robot is rendered useless from an explosion, engineer Deon Wilson (Dev Patel) decides to repair it and test out his recently created artificial intelligence, in hopes of creating the first fully-conscious machine. However, Deon is kidnapped by a group of desperate criminals who demand that he hands over the robot in order to use it as an accomplice to their crimes. Held at gunpoint, Deon agrees, but only if he can visit frequently in order to teach Chappie's child-like mind how to think. 

However, rather than showing the development of Chappie and allowing you to marvel in how similar robots could be to humans, Chappie then decides to show two hours of the criminals (played by South African rap-rave group 'Die Antwoord') corrupting Chappie and turning him into one of their own. This wouldn't be so bad if the criminals had any sort of on-screen presence, but they're as cliché as they come. The decision to cast real-life musicians in roles which have them literally playing themselves was a terrible one, as neither of these miscreants have any kind of acting talent, and neither are particularly endearing. Also, many of the scenes in which they feature are accompanied by a selection of their music, which is frankly appalling. The biggest problem, however, is that towards the end, the film then portrays supposedly 'dramatic' scenes in which you're meant to feel sadness towards the violence depicted, but this simply isn't the case. 

In fact, Hugh Jackman plays a rival to Deon who is meant to be seen as the villain, but you're left hoping that he will succeed in wiping the scum off of the Earth. This is definitely not a good sign, and leads to you not caring about anyone in the film whatsoever. If I had to pick one character I warmed to, it would probably be Chappie himself, but even he is let down by poor character development and a lack of good supporting roles. Sure, there's some early scenes where it seems like Chappie may be going a certain path and truly questioning what is right and wrong, but then this is squandered by some terrible acting, dialogue, characterisation, and just general issues. 

If it seems like I completely resent Chappie, that's not quite the case. It is indeed a bad movie, but is far from the worst I've seen. I'm just bitterly disappointed, because it had such a good concept that was thrown aside in favour of a mundane, predictable story delivered by dreadful individuals. There's plenty of films which have the antagonist in a central role, so this isn't why I disliked the film so much. Movies such as No Country for Old Men, for example, have a bitterly evil character at their core, and yet still succeed based upon the performance of said character being excellent. Chappie fails this, and then some. 

Verdict
I honestly couldn't recommend you go and see Chappie, even if you're a huge fan of District 9 or even 2013's Elysium. It strives to tell a meaningful story about humanity and how easily a child-like mind could be influenced, but does it through such inane means that it just comes off as boring and lifeless. After about an hour I was already waiting for the film to end so that I could leave, which should speak far more than anything else. If you're craving some artificial intelligence sci-fi, go and watch the brilliant Ex Machina instead. 

"People are always fearful of something

they don't understand"

House of Cards: Season 3 (TV Review) - Frank's Back...Again

If you had told me that House of Cards would be one of my favourite TV shows back when the first season aired, I probably would have laughed in your face. Sure, it was good, but it was far from spectacular. Now, two seasons later, and I can firmly stand behind this statement. Not only is season 3 of this incredible show the best yet, but it ends on a cliffhanger which is shockingly unfair in the excitement it creates. 

Francis & Claire Underwood
(Kevin Spacey / Robin Wright)

Elevated from merely Mr. Underwood to Mr. President, Francis Underwood is a scarily powerful man. Not everybody agrees with him, and in fact most of this season shows just how controversial of a figure he is, but he's a powerful entity nonetheless. The season begins with Francis (Kevin Spacey) striving to nationalise his 'America Works' programme - a system which plans to raise employment exponentially across the United States. Early on however, Frank is driven to withdraw from the presidential vote in 2016...though this is only a minor setback in the Underwood's grand scheme. Meanwhile, Frank's wife Claire Underwood (Robin Wright) is determined to achieve power of her own, and hopes to do this by becoming head of the U.N. If season 1 was about uprising and 2 concerned treachery, then this instalment most certainly revolves around the absolute corruption of power. 

For anybody who has seen the show before, you'll know what I mean when I say that the previous season began with a fairly brutal episode. It dived head-first into the deep-end, and didn't pull any punches. Now, while this chapter of the Underwood story is definitely anything but slow, it doesn't feature quite the same level of intense suspense found previously. What this does contain, are countless moments of gripping conversation and subtleties which rival any number of scenes depicting high-octane action. Yes, this fuse is a slower burn than before; but it's one which leads to an extremely satisfying explosion at its climax. 

In terms of a television series replicating the same cinematic flair of a movie, House of Cards is easily miles ahead of most other content available right now. The cinematography is beautiful and aptly sinister, the acting is beyond entertaining, and the multiple, intricately linked story lines are as engaging as ever. Obviously, Kevin Spacey's performance as President Underwood is the stand-out for the series, but Robin Wright as Claire has more of a presence this time around than ever before. For every action by Frank, there's an equally interesting reaction from Claire, all of which bubbles to a shocking conclusion setting up season 4 - no doubt to be released this time next year. 

In terms of things I didn't like with this season, they're small but still worth mentioning. Some plot-lines which flow seamlessly in the earlier half of the season eventually dry-out and disappear later on, which is a little disappointing, as they are as interesting as anything else - such as the rivalry borne between Frank and the Russian President, Victor Petrov (Lars Mikkelsen). Also, particular moments which are intended to shock and surprise fail to do so because they're so apparent early on, but the truly sinister twists hit their mark where intended. 

Verdict

Season 3 of House of Cards is an interesting predicament: It's book-ended by episodes which aren't quite as thrilling as the previous instalment's, and yet the chapters within these manage to escalate it beyond anything that has came before. Yes, I believe it to be the best season yet and some of the finest television I've seen, but that's because I have such an investment in these characters after two prior seasons building their characters. For an outsider, the plot of season 3 may seem comparatively weaker to at least the second season, but the brilliant monologues delivered by Frank and the insidious tone maintained throughout still mean that it is well-worth a watch. 

"You wanna know what takes real courage? 

Holding it all together, when the stakes are this high."

It Follows (Review) - Subtle Indie Horror

Another Screen Unseen; another great movie. I've talked about it previously, but Odeon holds an event (usually monthly) at which they show an upcoming, unknown film to an audience who pay a discounted price per ticket. This time, I had the pleasure of seeing a relatively small, low-budget horror movie which looked incredibly original and interesting: It Follows. 

Jay (Maika Monroe)

The film takes place in a non-specified time period - which adds to a feeling of mystery and a sense of urban myth - and tells the story of adolescent girl Jay (Maika Monroe). Jay's infatuated by the romanticised idea of going on a date with a boy, taking a long drive, and inevitably consummating their relationship. What Jay doesn't know however, is that her boyfriend Hugh (Jake Weary) is plagued by visions of horrific figures stalking him at all times, and by having sex with Jay, he has passed this curse onto her. In a frantic explanation near the start of the movie, Hugh explains how 'it' will follow Jay unendingly at all times, but only at a walking pace. If 'it' reaches Jay, 'it' will violently murder her - starting a truly frightening story with an almost eerily simple premise. 

It Follows takes the tired genre of 'teen-horror' and adds a new flair to it, and is all presented in a refreshingly subtle manner. It would have been cheap and easy to have constant screaming girls running away from the camera and demonic forces follow their every move, but this movie just gets it right. There's many occasions when a shot will remain on-screen for an extended duration of time, which will have you scanning every inch of the screen to try and spot an impending figure...but nothing actually happens. Where most movies immediately remove all fear with an abrupt jump-scare, It Follows leaves out these mindless frights in order to sustain a sense of dread for the entire run-time. And it's brilliant. 

Of course, there are a few occasions at which the movie will feature a 'false' jump-scare - such as a ball hitting a window for no reason - but these are rare enough to not burden the film. For the majority of the time, the simple image of a regular-looking person slowly, purposely approaching Jay will have you gritting your teeth in anticipation. It Follows also opts for less gore, which is a nice change from a lot of modern horror movies, and by doing this, it never feels abundantly exploitative; the opening scene ends with a violent, gory conclusion, but this is just one moment in a sea of many.

It would be a crime to talk about It Follows without making reference to the amazing soundtrack which runs throughout the film. Sounding often like a creepily synthesised ode to classic horror themes, the music within the movie is an entire character of itself. Building dramatically at moments and then insidiously waiting in the background, it's probably one of the best horror accompaniments I've heard. 

But despite all its praises, It Follows does still feature a few pitfalls which prevent it from true brilliance. The majority of the characters do their job, but Jay's friends all feel slightly clichéd and expendable; a trope which burdens countless films within the genre. Also, and arguably less important: the film has been criticised by some for its preachy, glaring messages about how sex is wholly negative and will, quite literally, result in your death. I don't agree with this in the slightest (though the nature of the 'curse' is a little odd), and think that this is a claim which doesn't really have any true ground. It's something to bear in mind.

Verdict

While It Follows is no horror masterpiece, it's still a truly unsettling movie which never really gives you time to relax. Some of the characters are forgettable and it unfortunately still retains the stereotypical features of modern horror, but it does manage to present an original idea in an entertaining package. Even if you're only going to hear the mesmerising soundtrack - it's still a movie which is well-worth your time. 

"This thing...it's gonna follow you. 

Somebody gave it to me, and I passed it to you."

Kingsman: The Secret Service (Review) - James Bond With An ASBO

Well that was certainly a nice surprise, wasn't it? It's very rare that you'd go into a film expecting a 5, and come out with a solid 10. Quite unexpectedly, Kingsman: The Secret Service manages to accomplish just that. 

Harry Hart / Gallahad (Colin Firth)

The film begins by introducing us to your typical, chavvy adolescent. Gary 'Eggsy' Unwin (Taron Egerton) had so much potential growing up, only to be squandered by a life of substance abuse and crime. After the death of his father however, Eggsy is introduced to the enigmatic Harry Hart - a mysterious figure operating under the alias 'Galahad' (Colin Firth). Harry's a member of the elite, eponymous spy group The Kingsman, and soon begins training Eggsy up in order to welcome him into their prestigious team. 

Gary 'Eggsy' Unvin (Taron Egerton)

Predictable? Kingsman wrote the book. But the film wholly embraces this, and is one of the most fun, self-aware movies I have seen in years. If you cross Kick-Ass with James Bond and crank up the swearing and violence, you're halfway there. At no point, however, does this become even remotely close to a problem; not even when the characters openly discuss the preposterous nature of the movie before your very eyes. In an interaction between Galahad and the villainous Valentine (played spectacularly by Samuel L. Jackson), the two characters reminisce over the classic spy movies of their golden age, and how they're "too serious for my liking". This should give you a pretty good idea as to what you're in for: a blisteringly-fast action film with comedy to rival even the funniest of movies. 

And talking of action: Kingsman: The Secret Service has it in spades. A particular stand-out segment takes place in a church which erupts into one of the best action-scenes I've ever seen in a film - all accompanied by the pacey song 'Free Bird'. It's utterly ridiculous and if you stop to think about it - which you won't - it may even seem a little too absurd, but the film flies along at such speed that you just enjoy it for what it is and forget about silly little things like realism. 

Valentine (Samuel L. Jackson)

As far as faults are concerned, Kingsman's are few and far between. Eggsy's potential love-interest Roxy (Sophie Cookson) seems to exist only to amp up the tension for certain parts of the movie, and Samuel L. Jackon's lisp is occasionally a little unbelievable, but the minuscule size of these criticisms should tell you all you need to know: this is a seriously good movie. 

Verdict
I sincerely wish that all future films that I go and see with so-so expectations end up being half as good as Kingsman: The Secret Service. The 15 certificate allows for some fairly brutal violence and frequent swearing, which only adds to the brilliantly juvenile tone the film tries to - and most certainly does - achieve. If you were on the fence about seeing this due to the trailers not seeming quite that good, I urge you to reconsider. If you're desperate for a fun time in the cinema, this movie most certainly has you covered. 

"If you're prepared to adapt, you can transform"