Shang Chi and the Legend of the Ten Rings

 

Year: 2021

Genre: Comic Book 

So 'Avengers Endgame' happened. Then the Coronavirus pandemic happened. 

The dust is slowly settling on what has been an incredibly unsettling couple of years. I've visited the cinema a couple of times since the end of lockdown, and both were mediocre outings at best. I was beginning to loose faith in the big screen experience, but that was until today when we went to watch 'Shang Chi' at the Light Cinema in Walsall. Let me explain why. 

'Legend of the Ten Rings' is the first real phase four Marvel film that's been released that isn't a prequel set prior to the events of 'Avengers Endgame'. 'Black Widow' felt a bit limp. You already knew the fate of the protagonist, and the vehicle Scarlett Johansson was given to drive home the plight of her character felt like it was permanently stuck in second gear. Here however, we have a film that is set post Endgame, honestly an era I thought I had very little emotional investment in or desire to learn about. People know of Thanos. People know half of the population dissapeared.I felt like Marvel was done and dusted, and that was it. Today however, I felt an uncanny connection with the characters who talked about 'the time before', as they referenced their lives before Thanos and I remembered how I watched 'Endgame' before the pandemic happened. Yes, a bit melodramatic I know, but only being honest here. 

This film honestly restored my faith in the popcorn cinema experience and the Marvel universe post Covid-19. Where can I start? 

Well, the first thing I want to mention are the fight scenes of the first and second act. As an observation of modern cinema, authentically choreographed martial arts films seem very much a product of the 1970's and early 1980's. Here we have the first big screen Marvel outing post Corona. About half an hour into the film, the audience are gifted with one of the best actions sequences I've seen in a very, very long time sat in a cinema chair. It was at that moment the film sucked me in, and I knew Marvel studios were back to their best. They're once again injecting fresh content into their films whilst not straying too far from their tried and tested formula of big screen spectacle blended with characters you actually care about. 

'Shang Chi' is the Asian audience members 'Black Panther'. Honestly, I cannot emphasize that enough.  Throughout the film, there were themes I have noticed that are specific to Asian film making, in particular that of the overbearing parent and the pressure to succeed in life from your elders. Not only were there socialogical themes, visually the film contained so many references to Chinese popular culture at one point the protagonist rides around on the back of a dragon lifted straight out of your local takeaways 2021 calendar. I kid you not. 

I have mixed emotions regarding the films final act. The choreographed fight scenes take a back seat, and Marvel goes down the smashy crashy CGI laden final big battle, much as in 'Endgame' but on a lot smaller scale. While at the time I realised on an emotional level this is something I had REALLY missed about the cinematic experience, looking back on it I wish they had toned down the CGI at bit, and kept the emphasis on the fight scenes. They felt incredibly fresh, like something you don't get to see very much of these days with so much CGI in modern popcorn cinema. 

Characterization is also a mixed bag, but I'm only nit picking at this point. Both Simu Liu, and Awkwafina are honestly excellent in this film, I couldn't fault their roles. Liu provides the melancholic moments and his costar provides the comic relief. When they are both on screen, it's the perfect package. For some reason however, there's this really awkward shoehorn of a character (I won't mention who it is) that's REALLY shoehorned in for extra comic relief, and it doesn't work. It really doesn't. But that's nit picking. The rest of the casting is perfect. 

Overall, an exellent return to form for Marvel studios, and it felt good to once again experience proper popcorn cinema after such a long draught. Five stars. 

A Quiet Place 2

 

Year: 2021

Genre: Horror

For me, John Krasinski's 'A Quiet Place' was a genre defining horror film. Never before had I been in the cinema and witnessed a whole audience go completely silent within ten minutes of a film starting. It was a film that simply HAD to be seen as a cinematic experience. The dramatic effect of the films core theme of silence would have been completely lost in a viewing at home. Everything about the film was the completely opposite of the 'quiet quiet BANG' jump scare approach mainstream horror seems to have adopted nowadays and at the time, this was new territory. 

It would have been so easy for Paramount to jump on the bandwagon and release this film on streaming platforms, but I am so glad they didn't. Originally slated for a March 2020 release (I even remember buying tickets in advance) the film has been released over twelve months later, and it was the first film I've seen at the cinema post pandemic. I'll be honest, walking through those doors and up the stairs to my seat definitely felt nostalgic and almost felt surreal. 

'A Quiet Place Part 2' opens with a bit of back story explaining where and how the aliens from the original came to be. Although this satisfies the curiosity of the audience, it immediately takes away the 'where and how' element they had in the original. We now know where they came from, and as a result, they kind of loose the element of mystery associated with them that we felt watching the original. 

After a small amount of back story, the sequel then fast forwards back to where the original ended. With Krasinski's character dead, Emily Blunt is left to fend for her children on her own, and the film seems to borrow heavily from themes of AMC's 'The Walking Dead' with Blunt and her family hoping to track down remaining survivors and ultimately find a possible utopia where humans have settled and live in peace. 

So how does the sequel compare to the original?

Don't get me wrong, this is an excellently directed film and clearly shot on 35mm. The performances from all involved are nothing short of stellar (in particular Millicent Simmonds character of Regan Abbott.) I can't fault the CGI, I can't fault Marco Beltrami's soundtrack, I cannot fault any of the set pieces. 

The question I have to ask myself, is did I feel the same level of suspense I felt watching the original? 

Well, the short answer is no. The feeling of isolation the family unit felt is gone. The unknown origins of the aliens are gone. The sheer helplessness tone of the original, is gone. 

That's not to say this by any means a bad film, but in trying to move the plot forward, in my opinion Krasinski has forgotten about many of the themes that made his original so successful. The element of staying silent is still very much at the forefront, but there were other subtle facets of the original that made it work so well for me that are not present, sadly. 

This was good, but I won't remember it as fondly as I did the 2018 original. 

3.5 stars. 

Star Wars Episode IX: The Rise of Skywalker (in 4DX) CONTAINS SPOILERS

Year: 2019

Genre: Sci Fi

We have to get one thing straight before we say anything else. The weight that this film carried on its shoulders is nothing short of staggering. It is intended to be the culmination of something that started way back in the 70's, has gathered a global fan base of one in three people who use the internet, and is quite probably the most popular science fiction franchise in the world. 

No pressure there then...

I'd went into this after watching several lukewarm spoiler free reviews on YouTube expecting the worse, but secretly hoping for the best. I walked out of it pleasantly surprised. It's nowhere near as bad as the fanboys will have you believe. It does however, suffer from some huge continuity problems that I will elaborate on in this review. 

The core problem with the sequel trilogy is consistency of character arc. 'The Force Awakens' was Disney's Christmas present to the fans after buying the rights from George Lucas, and they played it completely safe with a film that was almost a carbon copy of  'A New Hope' in terms its themes. JJ Abrams walks away with a big pay cheque, the film makes billions, and the fans get something close to chasing that first ever Star Wars high. 

Along comes Rian Johnson, who disagrees with every decision Abrams made in 'The Force Awakens', and makes a film that divides fans the world over. I for one didn't think 'The Last Jedi' was a bad film, I just really didn't agree with what Johnson did with the character of  Luke Skywalker. As this was a core theme of the film, I can see why someone passionate about Star Wars on a level much higher than me didn't like it either. 

So what happens now? Top Disney brass see how much hate their second film gets, and decide that they need to pay JJ Abrams even more money to direct the final film of their trilogy. What you're left with, is a film that contains even more fan service than 'The Force Awakens', but simply cannot undo the continuity problems caused by Rian Johnson's decisions in 'The Last Jedi'.

The most obviously staggering problem is Emperor Palpatine. Put quite honestly, I felt like he was shoehorned into the film because Johnson killed off Snook. We all know he was killed off in 'Return of the Jedi', but his return is never explained to the audience, and we are just led to believe he has been somehow resurrected by means unknown. I really didn't like what they did with his character. I know he has huge dramatic effect in the saga, but he was killed off nearly 40 years ago.

If they'd done something different with Luke in 'Last Jedi', and perhaps built up Snook a bit more not killing him off, this would have been a completely different review.

Contrastingly, the character of Kylo Ren has an excellent character arc, and I really liked what they did with him bar the kiss right at the end of the film. I can't quite put into words why, but that just seemed so out of place and unexpected, that I felt it was also shoehorned in for dramatic effect.

As you would expect, as far as cinematic spectacle goes this is probably the best thing you will see this year. I couldn't fault the CGI, and I honestly felt that this was John Williams best ever work in terms of scoring a film. It was like listening to his greatest hits. Trust me, you simply won't get the same feeling being a cheapskate watching a CAM copy of this at home on a tiny screen, and I'm really glad I didn't.

So what is 4DX, and would I recommend it ?

It was my first ever experience of it, and I'm not sure how I feel about it to be honest. Trying to focus on 3D is difficult at the best of times, and it's made even more difficult feeling like someone is stood behind you rattling your chair. Early on, I honestly felt physically motion sick trying to concentrate, but got used to it after half an hour or so. Jets of air blow on the back of your head, but it just feels like someone is stood behind you at McDonalds blowing through a straw. At times, you'll feel a kick in your chair, but this just feels like the person behind you is giving you the boot. I'd like to experience a horror in 2D 4DX, but I won't be rushing back anytime soon.

In short 'The Rise of Skywalker' is a valiant attempt where everyone involved did a stellar job, but just couldn't undo the continuity problems Rian Johnson caused in his fan hated sequel. Disney should have had a plan before they set out. I recommend you go and see it. You'll enjoy it, but if you're my age you'll wonder where the Emperor suddenly appeared from too.

3.5 stars.

Joker

Year : 2019

Genre : Comic Book 

After seeing Christopher Nolan's 'The Dark Knight', there were many (including myself) that felt there wasn't an actor on the planet that could top Heath Ledger's performance as the Joker. He brought something completely new to the role, and it was a fresh spin on a character that was more often than not a rehash of how Cesar Romero felt the character should be played in the 1960's TV series. I include Mark Hamill's voice overs, naturally.

I went into 'Joker' reserving judgement.

I'd also read that the film played fan service to the likes of James Holmes. He was the shooter who killed / injured over seventy people in Colorado after a screening of 'The Dark Knight Rises' in 2012.

Again, I reserved judgement until after watching the film.

We went to see it at Star City in Birmingham, courtesy of Cara's old man buying me a cinema voucher. Three weeks after release, and it was still packed to the rafters. The media reporting that it's STILL the number one film in the USA isn't an exaggeration, trust me !!!

Make no mistake, Phoenix's portrayal of a man descending into madness is an Oscar worthy performance. It really is excellent, and right from the outset the audience knows that this is a man who is on a knife edge. There have been comparisons with Scorsese's 'Taxi Driver', which I think Phoenix deserves.

Would 'Joker' inspire another Colorado shooting ?

My honest answer would be to say yes. As much as Joaquin Phoenix has denied it in interviews, this is the study of a loner who essentially rises to fame by killing the bullies and oppressors in his life. The character is a slowly simmering pressure cooker just ready to blow, and the film plays fan service to that on several occasions. This isn't a criticism of the film though, this essentially, is the nature of the beast playing a character who put quite simply, loses the plot.

Is Phoenix a better Joker than Heath Ledger ? You can't compare the two roles. Batman plays no part in this, and as such it's more of character study. Phoenix is really only the Joker for the last twenty minutes of the film, so essentially, comparisons are odious.

I recommend this film as a Joker origins story. It easily stands against Nolan's 'Batman Begin's' that was the Batman origins story, but I worry it plays fan service to the hoards of loners who will lap up a loner relishing in crowds worshipping an anti hero.

Four stars.

Footnote from Cara....

I have slightly different thoughts on this film. In no particular order...

• The first hour is a total snooze fest and I was disappointed The Joker wasn’t featured for longer. It only really hots up when The Joker comes into being. 

• I felt an element of sympathy for Arthur - he is a survivor of childhood abuse and struggles to cope with adult life. One could argue he is a victim of the failing society that is Gotham. Conversely, he then goes on, as The Joker, to become a driving force behind that very same failing society. 

• The Joker meets a young Bruce Wayne. This scene has great significance and I found it the most interesting part of the film, but... what type of age difference is there between these characters?! This led me to ponder the possibility that time travel exists in Gotham; perhaps Superman left Metropolis and flew around the planet anti-clockwise to turn back time. Or perhaps Arthur really is 3 decades older than Bruce. Who knows, eh. 

• The thing I appreciated most about this film is that Arthur had ‘normal’ teeth. Hollywood and America are obsessed with dazzling pearly whites and, as someone with less-than-perfect nashers myself, it made a refreshing change. I suspect deliberately giving him imperfect teeth is a visual representation of his imperfect character (in the way classic baddies are portrayed deformed or ugly or dressed in black), but I liked it. Normal teeth brought a subtle element of believable realism to the character. (Ray the scavenger in Star Wars take note!) Normal teeth FTW!

Overall, nowt to write home about. 2 stars. 

Captain Marvel

Genre : Superhero

Year : 2019

You only have to take a look of the balance of genders in Marvel's 'Avengers' series of films to see that in the main, female superheroes are the exception rather than the rule. Throughout their existence, comics have primarily featured male protagonists, probably because the target audience is male and the males who read them can't relate to a female protagonist. After 2004's 'Catwoman' infamously won the worst film award at the Razzies in 2005, and 2005's 'Electra' was a huge flop, women have always played second fiddle to the men when it comes to playing superheroes on the big screen.

That all changed however with DC's 'Wonder Woman' in 2017. Here was an alpha female in a film whereby the men played second fiddle to an incredibly strong female lead, and the film was a huge commercial success. Marvel knew they had to match it, but didn't really have anything to match it with.

Then along came Captain Marvel.

Honestly knowing very little about the main character, other than she is what Joe Public would term a 'B Lister' when it comes to comics, I had little or no expectations walking in this other than the odd review online saying it was just ok and I shouldn't expect much from it. I must admit, during the first act, I began to see where these negative reviews had come from, as the pace is very slow, and little or no explanation is given as to why Brie Larson's character is where she is to begin with. The audience are thrown into a run of the mill sci-fi scenario, which without wanting to sound overly sexist,  I can honestly see alienating many females early on who had gone to see Marvels answer to Gal Gadot.

Captain Marvel is essentially an origins story, and during the 2nd act, the audience are drip fed the reasons for her powers. The sci-fi element of it however, still strongly prevails throughout, and lacks the humanitarian element of Gadot's Diana Prince in the backdrop of the first World War. Aliens and spaceships play a huge part in 'Captain Marvel', and I can't help but think Marvel studios missed the boat on appealing to the female members of the audience by focusing on this.

It isn't until the third act that Larson's character really comes into her own. Marvel does a spectacular job of showcasing this character as essentially the female equivalent of Superman, and it shows. It was great to see Larson's character fully suited up in her official Captain Marvel rigalia and I really look forward to seeing the character later this month in 'Endgame'. 

Those of you who who's seen Gareth Edward's 'Rogue One' will know that replacing actors with CGI replacements can be a very ropey affair. Special mention in this case, has to go with the team that have recreated a younger Samuel L Jackson and put him on the big screen. Essentially, the character is CGI throughout the film, and it's done way better than anything the Star Wars universe has thrown at us up until now. While not quite perfect, it's nowhere near as bad as the recreation of Peter Cushing, and entirely commendable. 

I enjoyed 'Captain Marvel', more than I thought I would. That's not to say it will appeal to females like Gadot's Diana Prince did, purely because sci-fi, space ships and aliens are core themes. 

Nevertheless, come the end of the film, she really is a force to be reckoned with. 

I give it four out of five, only for the slow paced beginning. 

The Meg

Year : 2018

Genre : Action / Sci Fi / Thriller 

I could count the list of Summer blockbusters this year on one hand. It's been an incredibly quiet one really, and with the exception of Infinity War and MI Fallout, audiences haven't really been treated to much in terms of cinematic spectacle. It stands to reason that given this drought, it wouldn't take much to satisfy an audience that is hungry for leave your brain at home fodder, and this is kind of why 'The Meg' has luckily landed on its feet. Current opening weekend box office takings stand at $32 million, hands down beating  Dwane Johnson's 'Skyscraper' which was released only a few weeks ago, had a similar target audience, and earned comparatively less. 

The plot, as it is, follows a group of scientists who encounter a prehistoric 25 metre long Megalodon shark beneath what was previously considered the deepest part of the ocean, the Mariana trench. Disaster ensues, and as luck would have it, Jason Statham is the only man in the whole of the Far East capable of rescuing their submarine. What follows is a schlocky, tongue firmly in cheek B-movie that knows full well it is a B-movie, and pretends to be nothing else more than that.

It is startling obvious from the outset that Chinese media company Gravity pictures, having invested heavily in the films production, engineered 'The Meg' towards an Asian audience. While there's an argument to be had that the film is simply Speilberg's 'Jaws' on steroids, it's huge monster from the bottom of the sea roots lend themselves far more to Japanese pop culture Gojira aka ‘Godzilla’ than anything that tried to gobble up Richard Dreyfuss in the mid 70's. It is no coincidence that Jason Statham was chosen for the male lead, as bald men are assumed to have high testosterone and be alpha male types in Asian culture. Themes that are important in Asian culture are evident throughout. High achievement and appeasing one's parents play a part in one of the protagonist’s character arcs, and such themes wouldn't even see the light of day in a completely American funded production. There is even a character that has a hairstyle lifted straight out of the Anime series ‘Gundam Wing’.

None of these observations are criticisms, and they make for a refreshing change having not seen much original Asian cinema.  

Driving home following our Sunday afternoon screening of this film, there were a couple of things I felt unhappy with. Statham does his best with what is essentially a very weak script, but the Chinese actors were incredibly wooden, and made no effort whatsoever to raise their game. Whether this is intentional given the nature of the film, or whether they simply can’t deliver performances in anything other than their mother tongue is unclear. I am inclined to think however, it is the latter.

Secondly, and I know this is a bit unfair, but some of the set pieces really do require the audience to suspend disbelief.  Yes, I get that this film isn’t supposed to be taken seriously, but throughout the film’s final act, I sat there thinking that Director John Turteltaub had taken things from the moderately believable, to the ridiculous, to the utterly utterly stupid. If you go into it expecting Jaws with better CGI, you will leave disappointed.

Niggles aside, this is perfectly watchable, and the CGI is particularly impressive too, noticeably better than 2016's 'The Shallows', where although the Spielbergian suspense was there, the CGI let the film down badly. 

Any film where Statham has the chance to punch things is a winner in my book, and 'The Meg' is no exception to the rule.

No Sharknado, but no Jaws either. Three stars.

Ready Player One

Year: 2018

Genre: Science Fiction

HIS opinion

Most of us forget (or had no idea) that virtual reality is in it's second iteration. Technology that was originally released in the very early 90's has had a second bite at the cherry and although it's come on huge leaps and bounds, is still 'not quite there yet'. Much like big screen 3D it still has it's limitations, but we all know that one day technology that completely and utterly immerses the user in another world will be commonplace. 'Ready Player One' envisages that day. 

You'd be forgiven for assuming that Spielberg had moved on from making the crowd pleasing popcorn fests of the eighties and early nineties. Most of his recent work has been heavily politically influenced, and although 2015's 'Bridge of Spies' and more recently 2018's  Oscar nominated 'The Post' have received critical acclaim, you could hardly place them in the same genre as 'Jurassic Park', or 'Jaws'. One glimpse of the Struzanian influences on the poster for 'Ready Player One' though, and the audience knows they are in for a completely difference type of  fairground ride. 

Based on Earnest Cline's 2011 novel and set in 2045, 'Ready Player One' is set in a world I personally found very reminiscent of Neill Blomkamp's 'District 9'. The population has resorted to escaping the desolation of these slum-like cities by engaging in the virtual reality world of the Oasis, a sort of massive multiplayer online world where users have their own avatar and gamer tag. In this world there are three secret keys, coded by one of the original developers and the gamer who finds them gains full ownership of this world combined with a rather large amount of money in the form of company shares. The film's protagonist, Wade Watts, tasks himself with finding these keys and along the way battles a company intent of monetizing the Oasis and profiteering from it's users. Right from the outset, the films sucker punches modern publishers and their drift towards micro transactions will not be missed on the gamer portion of the audience. 

As a purely visual form of entertainment 'Ready Player One' is a success. If there was one regret I would take away from the film it would be that I didn't see it in IMAX 3D. It is simply stunning to look at, and the colour palette it utilities is vast. Start chipping away at the ground breaking CGI however, and cracks start to appear. Character development is almost none existent, and the films protagonist goes through emotional changes that happen so quickly they are comically unrealistic. 

As you may have seen from the trailer, one of the big draws for the film is the number of nods to other franchises it contains. I must admit, this was one of the aspects that drew me towards it as well. The problem with this however, is that Spielberg tries cater for the younger AND older audience members, and what you're left with is references to contemporary Japanese Anime mish-mashed together with films and game consoles from the mid 1970's. It becomes confusing, and the films wanton desire to throw every single character license it could afford at the audience looses it's appeal, very very quickly. 

Over reliance on CGI and lack of focus on character development is sadly the Achilles heel of this film and it really is a shame. We know that it's not that Spielberg can't do it, but in 'Ready Player One' he just seems to want to dazzle younger audience members with cultural references whilst older audience members sit there feeling puzzled. Spielberg need look no further than James Cameron's 'Avatar', a thematically very similar film to see that ground breaking visuals and good character development can, and have gone hand in hand in cinematic history.   

Not disappointing, but a hardly jaw dropping 2.5 out of 5. 

HER opinion

Spoiler warning: plot/ending discussed. Read at your own risk!!!!

I spent this entire film thinking WTF. I knew before watching that I wasn't the target audience, but this turned out to be the biggest understatement ever. In contrast, my teenage nephews - right up their street. I can imagine them talking about it with friends at school for days!

I felt like I was watching a film written for teenagers which wasn't quite sophisticated enough to appeal to a non-video gaming adult audience. I found the storyline hugely predictable, it was almost like watching an episode of Scooby Doo where a gang of kids follow clues to nail the baddie. Especially one of the final scenes involving a police car (trying hard not to drop any spoilers here folks, but it's so predictable you can probably guess what I mean anyway). I almost expected the baddie to utter the immortal 'I'd have gotten away with it if it wasn't for you meddling kids'. In fact he should have - the film missed out on a killer pop culture reference there!!

At times it was cheesy, corny and one huge cliche. I actually groaned at the cheesiness a few times and it brought to mind '50 Shades' - and that's saying something! The big baddie was almost a pantomine villian, especially his corporate-looking avatar and unbelievable password. Oh and don't get me started on one of the other characters - a homage to Garth in 'Wayne's World'?! Hilarious in the 1990s, not quite so in the current day. And what was with the random 'The Shining' scenes??? Isn't 'The Shining' an 18-rated film? Yet 'Ready Player One' is rated 12a, so I don't quite get the mix there. Is the target audience expected to understand the Garth and 'The Shining' references? Or are they aimed at the parents taking their kids to see this at the flicks?

There is a section in the film where characters discuss the possibility that gaming avatars may not be an honest representation of who the players are in real life. But low and behold! Yes, the real people behind the teenage avatars do indeed turn out to be teenagers. Hmm. I understand the film's reluctance to visit the seedy underbelly of this topic, but not quite sure the importance of this mindful messsge will actually stick with the millions of kids watching.

Now, let's find some positives; Couldn't fault the costumes or the cinematography. Very stylish and swish, as expected from a Speilberg blockbuster. And believe it or not, I liked the original premise that the future is distopian so people 'live' in VR instead. I just felt the storyline, script and incessant pop culture references were a little OTT for my liking. The only snippet which held my interest was one character sacrificing themselves and making a hand gesture as they fell. (I am a sucker for self-sacrifice, every time. Whether it's in 'The Walking Dead' or 'Titanic' - you name it, it gets me.)

The ending conveys a message about spending too much time living in video games. Commendable. But somewhat ironic considering the audience has just spent two hours watching a computer game rather than a film. 

I wish I could be more positive about Ready Player One. This review is just my feeble little opinion, after all. I suspect millions will love it and it'll be a rip-roaring success at the box office. It is just not my cup of tea.

Edit - I have just watched the review podcast by BBC film critic Mark Kermode. He said he laughed often, felt uplifted & was emotionally involved with the characters. Humph. I'm obviously missing something here. Shall I give it another chance to win me over? Not on your nelly.

1/5

PS. I feel bad writing such a harsh review. I'm usually an advocate of 'if you can't say anything nice then don't say anything at all'. Honestly

Peter Rabbit

Year: 2018

Genre : Kids 

I had to twist Mark's arm to see this film and now that we have - I'll be honest - I have mixed feelings. Prepare for a pompous review...

GOOD: 

1. Ignoring the Beatrix Potter heritage, this is an enjoyable stand-alone film in its own right. 
2. The mix of animated and live action characters blends well. No naff or awkward special effects as there are in some of these types of films. 
3. It is funny enough to hold my attention and I chuckled quite a few times. 
4. All but one of the animal voiceovers fit well and sound 'believable'.
5. The bunnies are cute and pigeons are featured. (An underrated bird I always feel gets a raw deal in life.)
6. I enjoyed seeing other BP characters in background cameo roles. A nice touch.

BAD:

1. To link this film to the wonder that is Beatrix Potter's work is such an abomination it is almost blasphimous. The only resembalance is the name of the characters and that Peter Rabbit is naughty. Oh, and Mr McGreggor has a garden. All similarities end there. The story line strays far from the source material, which disappointed me. 
2. There are frequent scenes of (comedic) violence, hardcore partying and even one snippet of a character appearing to be stoned! None of these behaviours ever cracked a mention in any of BP's stories. (Note - I have yet to read the recently-discovered BP story 'Tale of Kitty-in-Boots', so I may be wrong on this. Perhaps I should reserve judement on this point!)
3. The word 'evil' is used a few times, too. I don't think such a strong adjective ever featured in BP's vocabulary.
4. The voiceover of James Cordon is not as well suited as the other animal voiceovers. However, after a while it blends in. It just didn't say 'cute-but-naughty-bunny' to me. 
5. Plus, it felt just plain weird and profoundly wrong seeing PR portrayed in a different illustrator's hand. 

CONCLUSION:

An enjoyable film in its own right if you disregard any BP-related expectations. The film tried too hard to be contemporary and thereby lost the innocence which is the true essence and beauty of BP's stories. And in my opinion, this is why it doesn't match the brilliance of Paddington 2. 

3.5 out of 5

Stephen King's IT

Year: 2017

Genre: Horror 

The original adaption of King's 1986 novel was released in 1990 as a two part television series and eventually became a huge sleeper success on VHS as a three hour movie. The biggest reason behind it's huge cult following was Tim Curry's portrayal of Pennywise the dancing clown. Were you to strip away Curry's charisma and charm from the film, it would probably have never been the run away success that it was back then, and never achieved it's high placing in the annals of horror movie mythos. 

Having been in development since 2009 it makes sense that the producers held back on Pennywise's return for twenty seven years because it ties in with his return in the novel. The trailer was released back in March of this year, and many fans on social media (myself included) took to their comment boxes to vent their anger about Skarsgard's Pennywise . This is not unusual, as it's human nature to resist change. I for one, instantly took a dislike to the character's redesign, but were willing to throw caution to the wind until I had seen the film at the cinema. Have I changed my mind now I've seen it? Well yes, and also no. 

The film opens with an almost scene for scene identical recreation of Georgie's boat going down the storm drain and Pennywise offering to give it him back. This was good, because the audience gets to see the character they've paid money to see very early on in the film. First impressions? Make up looks good, CGI is adequate, and then Skarsgard gives you his interpretation on how Pennywise should sound... 

It was at that point the film lost me. What comes out is Skarsgard doing an impression of Yoda, interlaced with mannerisms VERY reminiscent of Heath Ledger's Joker from the Dark Knight. Gone was Curry's charisma and wit, and you're given a out of the box character that is unoriginal, and has none of the traits that made Curry's interpretation so iconic amongst horror fans and alike. It's not that I found his character dislikable, I just found him uninspiring and bland. I was dissapointed early on in the film, and this wasn't a good sign. 

Second to Curry's portrayal of Pennywise, the coming of age theme that was core to the first half of the novel and 1990 original was another reason I enjoyed the film first time around. Very much a fan of Rob Reiner's 'Stand by Me', taken from King's 82 novel 'The Body', I knew the film could still partially win me over if that part of it worked. Thankfully, the chemistry between the child actors was perfect, and in particular the final act reminded me of Speilberg's 'The Goonies' and more recently the Duffer Brother's 'Stranger Things'. The child actors are the films strongest asset, and the bring it up from what without them, would be a very generic, scare free, made for the masses horror.  

This was my other gripe with Muschietti's interpretation of the first half of King's novel. It just isn't scary. It has intentionally been given a considerably darker tone than the 1990 version, but it just throws generic scares at the audience. There's nothing in here that the audiences haven't seen a million times before (including a haunted house and a soaked in blood shower scene). Granted, this is lifted directly from the novel, but the way they are filmed is made for the masses, and will disappoint horror fans who are looking for a little bit more than run of the mill scares. 

Taken as a coming of age film, the 2017 interpretation of  'IT' is a success. It benefits from extra scenes that weren't in the 1990 iteration, that explain plot holes to people who have never read the book will be glad to see. It's scored excellently, and the performances from all of the child actors really do shine. 

It just isn't scary. It's supposed to be Stephen King, it's supposed to be scary. It just really, really isn't. 

I'm gonna give it three stars. I wish I could give it more. 

Get Out

Year: 2017

Genre : Social Thriller

I first heard about 'Get Out' on IHorror.com a couple of months back when there were some very loud noises coming out of the States on it's release regarding how good it was. It seem's to have had a very limited release over here the UK, and as it wasn't showing at our regular haunt the Light Cinema, we headed over to nineties haunt Showcase Walsall to see if it actually lived up to the hype. 

'Get Out' opens with black actor Keith Stanfield being followed by a car in a middle class American suburb late at night. As the car slows down, Flanagan and Allen's 'Run Rabbit Run' can be heard coming from inside, and the audience almost instantaneously know that race relations are going to play a big part in the film. Shortly thereafter, the film moves onto introducing the films protagonist Chris Washington, and his 'butter wouldn't melt in her mouth' girlfriend played by Allison Williams. Chris and his other half pay a visit to her parents house during the annual family gathering, but Chris can't help but notice that black people working for her parents, they are unusually submissive in nature and almost robotic in the way they conduct themselves on a day to day basis... 

I honestly can't write anything else about the plot without giving away an absolute bucket load of spoilers. Sorry...

Make no mistake, newcomer to the director's chair Jordan Peel has really pulled out all the stops with 'Get Out' and for a first effort, this is an outstanding piece of cinema. It's not a horror film in the traditional sense of the word, even though it produced by the same guy that was behind 'Insidious' and 'Ouija'. There are no haunted houses here, and I think I counted but one single jump scare. Also, unlike what I call 'made for the masses' horror films, 'Get Out' is broken up with some very funny comedic moments that are a welcome break from the underlying sinister tone of the rest of the film. In terms of structure, this film ticks all the boxes.

At it's core 'Get Out' is a social commentary about the post Obama covert racism of middle class America. Director Peel is fully aware that as well as the 'out and out proud to be white' Deep South Trump voters, there are swathes of middle classes who although do not openly profess to being racist, still strongly believe that black people are inferior to white, and to this day, belong on a plantation or serving dinner to the liberally racist middle class Trump voter of the Mid West. 

I really enjoyed this film. Its ideas were original, it was unsettling but not a traditional way, and it serves as food for thought for the rest of the world looking in on modern America. An easy five stars, and my favourite film of the year so far. 

Logan

Year: 2017

Genre: Comic Book

There's large contingent who honestly feel that 2016's 'Deadpool' was the Marvel's Studios answer to the hoards of fans growing tired of films aimed at the younger generation. In the media, 'Deadpool' is widely regarded as Marvel's attempt to appeal to the older members of the audience, those tired of the endless CGI skyscraper smashing squeaky clean superheroes that serve no other purpose other than to fill the already bulging bank account coffers of studio executives and alike. Granted, the character of Deadpool swears a lot, but Marvel still played it safe and CGI was still a big part of the third act of the film. Before Logan, and when compared to Christopher Nolan's vision in 'The Dark Knight' trilogy, Marvel had yet to release a film that wasn't a generic crowd pleasing fairground ride, and do something a little different.

Then along came Logan.

It's been seventeen years since Bryan Singer's original 'X-Men' graced our screens, a film that is generally accepted as the seed that planted the tree which became the Marvel Studios behemoth of modern cinema. As time has passed, pretty much all the actors from the original trilogy have been replaced with the exception of one - Hugh Jackman's incarnation of Wolverine. In very much the same way Christopher Reeve was born to play the lead role in Donner's original 'Superman', Jackman has made the character of Wolverine his own. Forever the anti hero, Jackman's Wolverine shuns the conventional stereotype and is perhaps the only Marvel character of recent times to have any sort of depth of personality. The fact he hasn't been asked to play the role head to toe in lycra gives the character an element of humanity that isn't seen in any characters Marvel have churned out in recent years.

'Logan' is set several years after the most recent 'X Men Apocalypse' against a backdrop filmed in the American Deep South. The only surviving members of Xavier's school for gifted youngsters are Xavier himself, and Wolverine. They are holed up in a remote area of Nevada, hidden away from authorities who believe that Xavier, now showing signs of suffering from Alzheimer's, is a weapon of mass destruction and must be brought into custody. Patrick Stewart returns to the role, and his Shakespearean roots really begin to flower with a convincing performance of someone suffering from dementia. Once their hideout is discovered, a chase ensues across several states right up to Canadian Border in North Dakota where the final epic battle between Wolverine and the authorities takes place.

Right from the outset, the first thing that strikes you about 'Logan', is the sheer brutality of the fight scenes. Make no mistake, this is in no way targeted at a younger audience and if anything, should be kept away from one. Claws impale skulls, enemies are beheaded, limbs are severed, and all within ten minutes of the opening scene. The violence has been ramped up several notches, feels bone crunchingly real, and is on a level never seen seen in any Marvel film since the studios inception in the late 1990's. This is Marvel listening to it's critics, and this is Marvel stepping outside of it's comfort zone. Somewhat ironically, it's main critics were the fans of DC Comics who said Marvel didn't know how to do melancholy and always played it safe. 'Logan', is exactly what older comic book fans have been asking for, it's hit the bulls eye, and gives a huge sucker punch to an already out for the count DC Comics following their 2016 critical mauling by cinema audiences.

Is there anything to find fault with it? Well if I'm being brutally honest, I felt the middle section of the film quietened things down for a tiny bit longer than they needed to be, and could have done with being a bit shorter. Initially, I felt Stephen Merchant was an odd choice, but he turned out to be a likable character. My main gripe was with Marco Beltrami's score, which I personally felt was very weak and didn't benefit the film in any way whatsoever. It's an area Marvel need to improve on going forward and really look at how Hans Zimmer's scoring of Nolan's 'Dark Knight' trilogy and perhaps go back to Danny Elfmans 'Batman' aswell. I know Marvel Studios aren't really famous for their choice of composer, but they need to appreciate that a good score can elevate the audience's emotional investment in a film tenfold. Food for thought.

Overall, I give 'Logan' four and half stars. Hugh Jackman gives the performance of his career, and it's a more than sufficient send off for a character audiences have grown up with and will miss dearly.