Tag Archive: Chris Evans

Avengers-1Phase Two of Marvel’s Cinematic Universe has been a bit of a mixed bag. Proceedings kicked off well enough with some trademark subversive Shane Black wit with Iron Man 3 (which doesn’t quite hold up on repeat viewing), but that was quickly followed by Thor: The Dark World, which proved to be (for me, anyway) the weakest Marvel entry to date. Those woes were soon put to rest with the one-two release of Captain America: The Winter Solider and Guardians of the Galaxy, two of the studio’s smarter and more unique entries. Of course, all of this was working up to yet another end game, an Avengers 2.0. While there has been a great degree of anticipation, it would be far to say that the mood surrounding this one hasn’t been quite as giddy as it was back in 2012. Would writer/director Joss Whedon be able to pull off such an intimidating project yet again? It would seem he has struggled. What we have here is a film in which its director seems to be struggling to reconcile his own creative desires with the desires of the powers that be in the MCU, a tension which is more prevalent than you may expect.

With the HYDRA clean-up going smoothly following the disintegration of SHIELD, the members of The Avengers seem to be facing a time in which they may not have to be called upon quite as much. Tony Stark (Robert Downey Jnr) seems adamant to fast-forward this process, and feels he may have found the answer hidden within Loki’s Sceptre, which conceals the secret to unlocking Artificial Intelligence. However, Tony’s meddling soon presents The Avengers with their biggest threat yet, as he unwittingly creates Ultron (James Spader) a malevolent A.I. who soon comes to the conclusion that the human race would be better served if they were all extinct. Teaming with two super power twins, Pietro (Aaron Taylor-Johnson) and Wanda (Elizabeth Olsen) Maximoff, Ultron leads The Avengers in to a fight that puts the fate of the world, and their friendships, on the line.Avengers-2

Maintaining a Cinematic Universe can hardly be an easy task. With a number of different filmmakers being involved in both directing and writing capacities, it is the producer who holds the most significant creative power when it comes to what each individual feature should and should not contain. That figure for Marvel is Kevin Feige, a man who has done very well in regards to selecting his film-making talents, pleasing many fanboys when he managed to sign Whedon on for the first movie. But Age of Ultron marks the first time in which it is clearly noticeable that a creative voice as unique as Whedon’s has struggled against the weight of serving the movie universe as a whole.

Whedon has many plates to spin, even more so than last time, as he has to introduce his new antagonist, as well as firmly establish three new super-powered beings, all the while keeping the focus on the team that audiences fell in love with to the tune of $1.5 billion three years ago. Whedon’s strength, as was the case in the first one, lies within the quieter moments between the bombastic action scenes, moments which allow him to have the characters interact and test each other. These strengths are demonstrated in the early party scene in the Avengers Tower (I would quite happily have a whole movie of these characters mingling at a party) and in the scenes in which our heroes are forced to confront or reveal fears and facts about their lives (Jeremy Renner’s Hawkeye benefits greatly from this). The visions invoked by Olsen’s Scarlett Witch also provide the film with strong character-driven moments, as well as allowing for a much more sinister tone.Not all of it pays off; the romance between Mark Ruffalo’s Banner and Scarlett Johannson’s Natasha is unconvincing, while more could be made of the friction between Stark and Captain America (Chris Evans). However, the Whedon wit remains, with most (if not all) of the one-liners landing very well, delivered by probably the most charismatic cast that Hollywood has to offer.

Avengers-3While Whedon clearly relishes the chance to write for these characters again, he demonstrates a great deal of affection for Ultron, giving James Spader plenty of opportunities to purr with charming malice. However, despite some brilliant lines of villainous dialogue and impressive performance capture, Ultron himself feels a little inconsequential, coming to stand as more a means of introducing Paul Bettany’s Vision than with providing The Avengers with an iconic antagonist. Bettany as Vision, though, is another success, exuding wisdom and grace, as well as delivering some of the best Whedon-isms that the script has to offer.

The action sequences on display benefit from the best effects that money can buy, but Whedon seems to have revealed all of his action tricks in the first instalment, as he once again relies on an unchained camera and whip pans to follow the action. Some of it becomes a bit incoherent as we become over-whelmed in rubble, and it does all just yet again amount to fighting a hoards of disposable henchmen sent out by the main villain, which our heroes have to contend with whilst ensuring the safety of a city. It does remain a joy, however, to see these characters fighting together in a much more fluid style, now that they have had time to coordinate each others strengths in to a strategy. It is also very refreshing to see these moments of spectacle taking place on a more international stage rather than on the avenues and corners of New York City.

I enjoyed Age of Ultron a great deal, it is a fun blockbuster which does hold character work in high regard, but there was something just a little off about the whole proceedings that can’t allow me to praise the film as highly as I would like to. The problem lies in the inconsistencies both within itself and in regards to its position within the Marvel Cinematic Universe. Whedon does very little to convey much of an awareness of the preceding films which make up Phase Two of the MCU, the biggest issue being the fact that there is no acknowledgement of Tony’s apparent Avengers-4retirement at the end of Iron Man 3. It is also very clear that Whedon becomes frustrated when he has to sew in seeds for the future. A sub-plot involving Thor (Chris Hemsworth) and a search of a pool of visions feels rushed and tailored only to tease Thor: Ragnorok, while there seems to be a great deal of reluctance to address the upcoming Civil War. Whedon also doesn’t seem all that concerned about the future he is sending his characters into, and this may be because he doesn’t like the future that Marvel has planned for them (think about it, he does seem to be wanting to run away from MCU as soon as the Press Junket is complete).

What this all means for the future of these heroes remains to be seen, but Age of Ultron ultimately fails where the first film succeeded, and that was in creating a sense of palpable excitement for the future adventures of these characters. We are introduced to a new roaster of Avengers come the final moments, but the abrupt cut of the ending (as well as the lazy post-credits scene) seems to suggest that Whedon doesn’t care as much as he did at the beginning. He has made a perfectly enjoyable film, but it only stands as a fairly middling Marvel entry, a step back from the studio heights of Winter Soldier and Guardians. Thank you, though, Joss, it was fun while it lasted.

3/5- While perfectly enjoyable, Age of Ultron represents the work of a creative voice fighting against a pre-determined Cinematic Universe, something which invades the tone despite moments of excellent character work and comic-book excitement.


My Top 10 Films of 2014!

Seasons Greetings to you all! This countdown post must of course begin with an apology, as it has been sometime since my last posting, with many reviews falling to the way-side in favour of University work (which I am still very much in the clutches of). As a result, I have chosen to reveal my top 10 in a different manner to previous years. Instead of punching out one long article, I have chosen to reveal my favourite films of 2014 one-by-one, culminating with number one being revealed on New Years Eve. This is in the hope that each instalment will only take 10-15 minutes out of my day, as well as building a lot more anticipation as we count down to my top spot. So, be sure to check back everyday until New Years to see which films have come to stand as my favourites of the year that has been 2014. That time, has now come.

HONOURABLE MENTIONS: The Lego Movie, Nightcrawler, Captain America: The Winter Soldier, The Raid 2, 12 Years a Slave 


10. Edge of Tomorrow (Dir: Doug Liman)

I always make a case in point of putting my favourite summer blockbuster in my top ten (Pacific Rim held that honour last year), and this year Doug Liman’s return to blockbuster film-making holds the honour. Edge of Tomorrow was marketed quite terribly, with the trailers not making enough of what marks this Sci-Fi actioner as something other than simply another Tom Cruise movie, leading to disappointing box-office returns. EofT has plenty to offer beyond the expectations of a Cruise-action picture. It has incredibly sharp humour, inventive thrills, engaging performances, a fun central concept, and an acute reverence for a certain blockbuster spirit of a by-gone era. Essentially Groundhog Day with a Sci-Fi tinged, EofT sees Cruise’s cowardly Bill Cage re-living the same day in a futuristic war being fought on the beaches of Normandy. With the help of ace soldier Rita Vrataski (Emily Blunt), he sets out to be rid of his ailment, and to find the means of defeating the alien race that looks set to claim the Earth. The coupling of Cruise and Blunt leads to an endlessly watch-able pair, allowing for EofT to (ironically) become a film that holds up incredibly well on repeat viewings. Aside from an ending which is most definitely the worst any of the three credited screen-writers could have thought of, this feature stood out amongst the crowd in a cluttered summer season as one of the more refreshing outputs from Hollywood in 2014.


9. Paddington (Dir: Paul King)

One of the most heart-soaring surprises of the year came in the form of the big screen update of Michael Bond’s lovable furry critter from deepest darkest Peru. Once again, the marketing did little to stir my interest, deciding to focus on the more slapstick elements of the movie. What the trailers failed to reveal was quite how brilliantly Paddington Bear has been updated for a 21st Century audience, allowing for fans both old and new to easily embrace this new adventure. Following the young bear (voiced by Ben Whishaw) as he tries to find a home in London, the endlessly inventive script has all the classic elements of the character blended with moments of humorous slapstick, gently placed emotional beats, and a welcomingly unexpected allegory concerning immigrants trying to find a place within British society. Having such a message of tolerance is incredibly important to feature in a children’s film, particular in a modern Britain in which such a party as UKIP gains a worrying following. This careful, yet well articulated allegory allows Paddington to stand up as a film that is as important as it is entertaining. And boy, is it fun. The film pops with vibrant life; feeling like a brightly coloured story-book brought to energetic life. Paul King, one of the creators of The Mighty Boosh, makes his comedic voice heard, all the while delivering the comforting family vibes expected of a film such as this (particular in the Christmas season). This is aided by the spot-on cast; Hugh Bonneville is affable, Sally Hawkins is utterly adorable, while Nicole Kidman has the most fun she has had in years. Yet it is the voice-performance of Whishaw that will win your heart, his naive and optimistic tones bringing the stunningly rendered CG Paddington to life in quite perfect fashion. All in all, Paddington stands as one of the most successful updates of a classical character in recent memory, with King et al delivering a film that is as welcome as a Marmalade sandwich (a snack one must always keep under their hat in case of emergencies).


8. Inside Llewyn Davis (Dir: Joel & Ethan Coen)

Apologies for no postings the last two days, Christmas eating and drinking took priority. I hope you all had a wonderful, gluttonous Christmas Day, and allow me to present you the gift of three entries in my countdown of my favourite films of the year. Coming in at number 8 is a film that I initially didn’t particularly warm to, Inside Llewyn Davis, the latest offering from the Brothers Coen. The reason being that it is very much a film with an affable asshole at its lead, who seemingly cannot help being self-destructive in nearly evey aspect of his life as he bums around from couch to couch trying to make it in the Folk scene in New York’s Greenwich Village, circa 1961. But upon numerous re-visits, Llewyn Davis may very well stand as one of my favourite Coen Brothers movies, for its moddily beautiful cinematography, perfectly placed and selected folk tunes, and for arguably the best ensemble cast they have worked with. Oscar Issac delivers one of the most naunced performances of the year, doing the impossible by making us care a great deal about an individual who only has himself to blame for most of the failings in his life. Inside Llewyn Davis stands as the film that I have revisited the most this year, and each time I have come to appreciate it for its simple ambition and quite excellent production. It has also deemed a place for the fact the soundtrack has come to be present in many moments of my life this year, be it commuting, listening whilst working, or with a group of friends and a guitar; Inside Llewyn Davis has earned itself a place in this list due to the nature of its re-watch-ability and the Coen’s undeniably impressive craft.


7. Calvary (Dir: John Michael McDonagh)

If you have seen John Michael McDonagh’s first feature, The Guard, you will be very aware of the sharp comedic voice and style he is very much capable of. Yet, his second feature is an entirely different beast. While it occasionally falls into the ‘pulpy’ genre quirks hat chraracterised The Guard, Calvary stands as a much more mature and incredibly vital piece of cinema. Taking the the burning matter of Irish Catholic guilt concerning the actions of certain Priests and the ensuing scandals that have disgraced the church and shocked its patrons, Calvary is a film of great courage, relevance, and importance. Brendan Gleeson plays Father James, whose life is threatened during a confessional, giving him a week to set his affairs in order and continue to try and be a symbol of control and wholesomeness in a town that has very much lost its way into darkness. McDonagh’s second feature is nothing short of a triumph. Mixing the deathly black comedy that played more broadly in The Guard with a hard-hitting social commentary, as well as a gallery of oddball characters, the film shifts through different tonality’s and a wide variety of themes with grace and a biting sense of a very dark reality. Larry Smith’s cinematography builds a bleak atmosphere, not as stylish as his work on Only God Forgives, but equally vital to establishing a sense of location and a gradual sense of devastation. That coupled with a sweeping score allows the subject matter of Calvary to truly resonate as something incredibly vital and pivotal to not only an understanding of the Catholic Church, but of our own opinions to religion and how the actions of individuals can affect the image of a certain group. With Gleeson also delivering the best performance of his career, Calvary is one piece of work this year that demands your utmost attention.


6. Snowpiercer (Dir: Bong Joon-Ho)

With seemingly no UK theatrical release date in sight, it would seem Snowpiercer is destined to become a true definition of a cult movie; that high concept film which deserves a great audience, yet was never given the chance to do so. I was lucky enough to catch this movie in the summer, and have been eagerly awaiting the news of a UK release, but as it stands, VOD seems to be the only answer. Bong Joon-Ho, who is perhaps best known for the glorious B-movie, The Host, brings the French graphic novel to the screen with great flair, grit and style. Within this dystopia, the world has been plunged into a relentless Ice Age, making survival impossible on the surface. The last of the human race survive on a globe-spanning train which never stops. ON board this train, the last of the human race has established hierarchy, in which those at the back end of the train live in poverty, with those at the front living in frivolity, with little care for those at the back. Cue the revolution. Snowpiercer is an absolute marvel of production design, with each carriage of the dystopian train, which range from either being drenched in oil and dirt, or being bright, illustrious and glamorous. With a knowing sense of humour and satire, Joon-Ho creates a film of potent allegory, a rich text that I’m sure many BA undergrads will mine in the future. It is a dark and violent world in which mankind has been pushed to its very limits, making revolution an inevitability. Leading that charge is a brooding Chris Evans, the Captain delivering a suitably moody performance in a turn which reminds you that he is more than just a Marvel poster boy, he is an actor capable of delivering a performance of great depth and menace. The ensemble cast all deliver fine performances, but the stand out (as is often the case) comes in the form of Tilda Swinton’s Yorkshire bred Minister Mason. If you only come away from this list intending on only watching one of these recommendations, then make that choice Snowpiercer, a film as original as it is entertaining, and as thought provoking as any piece of pivotal science fiction of the past century.

Her poster

5. Her (Dir: Spike Jonze)

In the time that lasped across the earlier part part of the year, Her stood as my favourite film for the best part of the year. An affecting tale of man and machine, constructing a unique love story along the way, Spike Jonze’s Oscar-winning screenplay is a modest piece of genius, filled with his usual doff-beat humour, yet driven by a melancholic sense of longing to connect in a society in which communication has become somewhat limited in a technologically driven age. Joaquin Phoenix plays recent divorcee Theodore, who downloads the latest OS on his computer. This being a new breed in Artificial Intelligence, the OS called Samantha (voiced amazingly by Scarlett Johansson) exhibits the intelligence and initiative of a human being. The lines between human and machine blurred, Theodore soon begins to develop a deeper, more intimate relationship with the A.I. With Phoenix exhibiting a sweeter side than we have come to expect from him, the story of Theodore and Samantha becomes rather hard not to fall for yourself, despite the ever-knowing inclination that this is not something entirely normal. The production design brings this near-future to colourful life, as we are brought into a world in which hipsters have taken over, while the atmosphere is effectively forged through the swooning and moving score courtesy of Arcade Fire. What marks Her as an important film for our lifetime is its concern for contemporary issues, namely that of the effect of technology on communication, and how ‘wired’ in a generation we truly are. It is as much about the now as it is about the future, meaning that it will more than likely become more relevant as time passes, perhaps marking Her as a timeless product of our modern times. It may be too early to claim such a thing, but the emotion and fresh design mark Her as at least one of the most important and affecting films of the past year.

GoneGirl4. Gone Girl (Dir: David Fincher)

We all like to humour our dark side from time to time, and when I myself fancy delving into something more macabre, I often visit David Fincher in order to get my fix. Be it the mind bending twists and turns of The Game, or the seedy unseen horrors of Seven, Fincher has often conjured tales of the darker side of human nature. Gone Girl, the adaptation of Gillian Flynn’s best-selling 2012 novel, can stand with some of Fincher’s best work, thrusting you into a twisted marriage and mystery and laughing devilishly as you squirm in your seat. The marriage of Amy (Rosamund Pike) and Nick Dunne (Ben Affleck) is the focus, as Amy goes missing, throwing Nick under the media spotlight as more and more evidence puts him in the frame as the man responsible for Amy’s rather sudden disappearance on the day of their fifth wedding anniversary. While it may not be his best feature in his illustrious filmography, Gone Girl proves to be an example of a director who is a true master of his craft. He lashes the proceedings with humour, wrings career best performances from Affleck and Pike, and has complete command over Flynn’s screenplay. He clearly revels in the twisted relationship of the Dunne’s, as well as the vampirism of news media and the personalities often found within that industry. The editing is slick, the cinematography stylish, the music fittingly atmospheric; it is simply a flawlessly mounted film, demonstrating the meticulous nature of its director. Gone Girl is an intoxicating rumination on the notion of never knowing what is happening within the minds of those closest to you. A compelling thriller made by a true master, Gone Girl effortlessly holds a high ranking place in my countdown for 2014.


3. Whiplash (Dir: Damien Chazelle)

Perhaps a bit of a cheat this one, as it does not come out in the UK until January 16th, but has indeed screened numerous times across the Autumn/Winter festival season. I was lucky enough to catch it at a screening at the Barbican last month as part of the London Jazz Festival, and seeing as it has been on theatrical release (for quite sometime I might add) in the States, I believe I can justify giving Whiplash a place in this Top 10. And plus, it’s really fucking good. Portraying a battle of wits between a promising young music student drummer, Andrew (Miles Teller), and his hard-ass and ruthless conductor, Fletcher (J.K. Simmons), Whiplash is one of the most exhilarating and pulse-pounding cinematic experiences of the past 12 months. Chazelle’s tight direction and rhythmic editing help to aptly convey the sheer pressure of playing in an orchestra, and how that pressure increases exponentially when put on the spot by the conductor. I should just be thankful that in my time playing for an orchestra I never came across a figure as intimidating as J.K. Simmons’ Fletcher. With his bulging biceps and unpredictable anger, Simmons gives his all for a performance of a life-time. His treatment of Andrew disgusts and repels, particularly when Andrew begins to sacrifice other relationships in his life in order to improve as a drummer. It is an enthralling conflict between the two, made unpredictable by Simmons, yet driven by Teller’s commitment, blood, sweat, and tears. Much has been said about Simmons (and he deserves every award coming to him), but Teller’s contribution cannot be under-sold, as he also gives 110% to convey the desire and frustration of the clearly skilled young music student. With a damn fine jazz soundtrack, unpredictable turns, and a final confrontation as tense as anything in the finest sports movies, Whiplash is a cinematic experience that will leave you sweating in your seat and screaming for more. Be sure to catch it in January.


2. Boyhood (Dir: Richard Linklater)

A film which has topped many critics and magazines lists this year, Boyhood is undoubtedly one of the greatest successes of 2014. Quite unlike anything else produced in cinema, Boyhood was shot over the course of 12 years with the same cast. It is quite an unprecedented feat of film-making that will stand in cinema history as one of the most triumphant and enriching texts concerning everyday human life. It is utterly crazy that Linklater managed to pull it off, even more impressive when you consider he still found the time to make the likes of A Scanner Darkly, School of Rock and the concluding parts of his similarly ambitious Sunset Trilogy across the years. Hard to describe in terms of plot, Boyhood is a film better described in regards to its thematic concerns, as we experience the joys, pitfalls, and anxieties of growing up through the eyes of Mason (Ellar Coltrane) over the course of 12 years. With popular songs from the likes of Family of the Year and Goyte as some of our only indicators of time placement, as well as strangely predictive pop culture discussions, Linklater’s script is effortlessly human and moving, relying on big moments of drama very sparingly in the hope that more genuine emotions are forged between his characters and his audience. It helps that the cast is quite effortless in conveying a very natural relationship with one another. Patricia Arquette is particularly impressive, while Ethan Hawke proves that he is never better than when he is being directed by Linklater. Yet, the whole film rides on the shoulders of its young, un-tested lead, and Coltrane strides through on his cute naivety in the early years, which soon develops into a laid back charm which is very easy to engage with. While Boyhood is concerned with the tribulations of a young boy’s puberty, there is something for absolutely anyone to connect with. If you’ve ever been a sibling, a mother, a father, heck if you’ve ever been a child there are emotions and moments of experience that you can liken to your own. Perhaps what stopped Boyhood taking the top spot is its universality; it’s a very hard film to dislike and those that find flaw must really be willing themselves to nitpick. It seems odd to say, but Boyhood is a hard film to call my personal favourite of the year because it seems to belong to EVERYONE. Boyhood is a piece of cinema that we are unlikely to ever see again, a pure shot of lightening in a bottle, whose top has been carefully wound tighter over the course of its 12 year production. Just take a minute again to consider that. Consider the perseverance and commitment (and damned good luck) that Linklater managed to complete his ambitious project. Linklater deserves every accolade that is sure to be coming his way, as Boyhood confirms an inkling that many of I’m sure already had in our minds; that Richard Linklater is one of the most important, varied, and talented film-makers of a generation.


1. Interstellar (Dir: Christopher Nolan)

Now bare with me on this one. I am very aware that Interstellar is a film that has been on the receiving end of a very mixed reaction, and that is one of the main reasons as to why it has worked its way to the top of the list. It helps that I adore it, but the fact that it has proven so divisive, giving so many people the passion to defend or rile against highlights one of the simplest pleasures of cinema. All art is subjective, and all art is made for discussion, and Interstellar proved, for me at least, to be the film where I was engaged in most debates, both with others and with myself. I was initially cautious following my first viewing (in 60mm IMAX I must add) due to the over-whelming nature of Nolan’s ideas and imagery, particularly those which arise in the course of the final act. I immediately wanted to see it again. And I did. Twice. There are films on here that I have seen many times since release, but no film quite demanded a re-visit with quite the same immediacy. Christopher Nolan had something to prove to me (and I’m sure many others) with Interstellar following his Batman trilogy closure. The Dark Knight Rises, while certainly more cerebral than common Hollywood blockbuster fare, remains a disappointing, frustratingly scripted franchise closer. Perhaps my trepidation into Interstellar aided me, but there is no denying that Nolan’s 9th feature film comes accompanied with some of his most startlingly beautiful images, that can be at once awe-inspiring and haunting, striking the sublime chord in quite an impressionistic fashion. Interstellar wears its inspirations on its sleeve, evoking Kubrick (it would be stupid to avoid mentioning the K-word in any discussion of Interstellar) through its mix of science-fiction and philosophical questioning, while it is also easy to detect a dash of Spielberg through the family dynamic on display. Reacting to his critics (which is something more directors should practice), Nolan attempts to devote more time to emotion and character, and truly does succeed in crafting an operatic adventure which is grounded in raw human emotion, namely that of a relationship between a father and his daughter. This is in no small way aided by the performance of McConaughey, who grounds the action by always ensuring that his character, engineer and pilot Cooper, keeps what is at stake front and centre as he embarks on a mission to save mankind through finding a new world at the other side of a wormhole. Interstllar may well be one of the most flawed films on this list, flaws which are almost endearing rather than frustrating in the grand scheme of the text. Its powerful cinematography, soul-shuddering score bring to the screen an adventure that only the cinema can bring to life and take you on. Despite the complex physics and theories involved, no other film quite matched up for me in terms of the epic nature of its journey, nor did any other film quite demand you to seek out the biggest screen possible in order to experience it. Interstellar stirred a passion and a wonder within me concerning space and cinema that I had not felt since Apollo 13 first inspired me to hold my thumb up to the Moon and ponder on what was to be found in the far reaches of space, I am always grateful to a film for stirring such a curiosity within me, and I am truly grateful and impressed that Interstellar managed to allow those sensations to return. It is this emotion, this feeling, this thrill, that allows Interstellar to deservedly hold the top spot of my countdown this year.

So there you have it, the count-down is complete and we can all say a fond good-bye to 2014 and look forward to the cinematic ventures that await us in 2015. I wish you all a very Happy New Year, enjoy your celebrations tonight, and all the best for the year ahead.

Enjoy this Cinematic Retrospective, courtesy of Nikita Malko.

ISnowpiercer-1t is possible that many of you may not have heard of Joon-ho Bong’s Snowpiercer. Why would you have done? Aside from a limited release in the States before moving on to VOD, the film has only screened at the Edinburgh Film Festival on these shores, and still has no set UK release date. Whether it will ever hit our cinema screens remains to be seen, but hopefully this film will receive the exhibition it deserves, as Snowpiercer stands as one of the most stylish and wholly original pieces of Science Fiction in recent memory. So, of course it doesn’t receive the distribution it deserves.

The Earth has been plunged into a new vicious Ice Age following a failed experiment to combat climate change.  No living soul can survive on the surface of the planet without freezing to death in a matter of seconds. Those that survived the deep freeze have found shelter within a large train that travels round the globe via a perpetual-motion engine. Aboard this train though, social hierarchy has once again reared its head among the contained survivors. The lower-class reside in squalor at the rear of the train, while the upper-class up at the front indulge, with little care for the remaining few thousand human beings that occupy the back of the train. Yet, in the wake of cryptic messages being sent down to the end carriage, a revolution begins to unfold, reluctantly led by Curtis (Chris Evans). Leading a band of the repressed, Curtis aims to end the class struggle aboard once and for all. But, is everything as it seems aboard the Snowpiercer?snowpiercer-2

Adapted from a French graphic novel of the same name, Snowpiercer is a unique Sci-Fi; it feels huge in scale, yet is very contained, has style to spare despite only having a $30 million budget, and features big name actors who feel no need to showboat. It is a film in which its effects, both practical and digital, offer personality rather than offer a carbon copy of dull, faceless American Sci-Fi movies. Joon-ho Bong, who is perhaps best known for The Host, manages to put every dollar on the screen in a wonderfully efficient and visually varied way, allowing each section of the train to have its own distinctive and lasting visual identity.

The arse-end of the train is exactly that. A suitable level of grime, dirt, and oil oozes and stains Bong’s camera. Yet, as we move further up the train and the people’s souls become more ugly by way of their ignorance and self-absorption, the colour palette becomes brighter, more vivid, more extravagant, and in a way, more alien. We enter various worlds whilst aboard this self-propelled vessel of human survival that we almost forget that this film is merely contained within oh so many carriages. Bong brings these various pockets of dystopian society to such glorious life that one can not help but gaze in awe at the level of creativity on screen.

It is such a glorious feeling to stumble across a work of originality such as this in modern cinema, particularly when it comes to Sci-Fi. Whilst it is easy to think that Sci-Fi is perhaps the easiest genre to create original stories within, they still remain fair and in-between. I am a great appreciator of (decent) Hollywood cinema, but I will be the first to admit that Hollywood Sci-Fi is incredibly interchangeable, and rarely does it operate outside of franchise installments. Perhaps what puts Snowpiercer head and shoulders snowpiercer-3above Hollywood genre pictures is in its mixed pedigree of International cinema and literature (if you’re of the camp that classes Graphic Novels as literature).

Featuring a cast made up of American, English, and Korean actors, with a predominantly Korean crew, the film obtains a personality that allows it to transcend the confines of any particular form of national cinema. Granted, it can be read as Boon’s attempt to  appeal to a more Westernised audience (it does star Captain America), but this is not particularly a star vehicle, or a film that compromises its uniqueness in order to be more appealing to a certain market. This is a dark future-scape in which human beings have been contained and pushed to levels they never expected to explore in civilized society. The society on display here, from the proletariat and up, is both satirical, a tad farcical, yet peppered with words of warning. It works largely in metaphor, with some of the logic not particularly holding up well as you dwell on the film. It will take several viewings for me to truly gauge exactly how successful I feel its messages are, but Snowpiercer has great potential for heated discussion and debate concerning what we can gleam from this certain dystopian, which clearly owes much to Orwellian sty-lings.

For those who look more for thrills rather than intellectual pondering on class struggles, Snowpiercer also fully delivers. Bong has lost none of his visceral ferocity, allowing for the action sequences within the train to rattle and impress. Surged by the power of Marco Beltrami’s thundering score, the action pits you in the heat of the revolution. The film can also stand as the only comic-book adaptation this year that boasts Captain America slipping on a fish. The action dials down in favour of social satire as more and more of the train is revealed to us, before building to a climax that is not quite as bombastic or as revelatory as you’d expect. Instead, it is in quieter moments that the more devastating features and details of these characters are revealed to us.  Snowpiercer-4

When original pieces of Sci-Fi struggle to obtain distribution, it is largely due to a C-List cast leading the charge. This is not the case with Snowpiercer. With a brilliantly subdued Chris Evans, and the star power that he should attribute, it seems strange that this struggled for a wider release… particularly in Britain. Much of the supporting cast is made up of recognisable and rather adored British talent. Tilda Swinton comes via the Yorkshire hills to add a touch of sickly malice. Jamie Bell adds a touch of eager naivety, while John Hurt brings his trademark old school class as Gilliam, Curtis’ mentor.

Snowpiercer is experiencing a nice degree of success on VOD across the pond, be it from the star pull of Evans or the strong word of mouth that the film has quickly attributed. As for its fate in regards to UK distribution, that is a matter still as of yet undecided. Should this one day hit UK cinemas, hopefully within the next year, I shall be one of the first in line. Snowpiercer has come from a unique place in Sci-Fi cinema. It plays with familiar concepts in a unique and refreshing way, and also manages to provoke thought among-st its thrills through effective satire, metaphor and design; a feat many films fail to achieve.

5/5- An astonishing achievement of design and execution, Snowpiercer is the best kind of Science Fiction; exciting, thought provoking, and wholly unique. Seek it out.

Fury was eyeing up Black Widow's wind machine. If only he has the locks to flow.This weekend, the Marvel Cinematic Universe became the highest grossing film franchise in domestic U.S. history. This was helped in no small way by the $96 million opening weekend of Captain America: The Winter Soldier. The latest adventure for Cap was by no means guaranteed that level of success. While Avengers Assemble hit the huge numbers, the first outing for Cap (Captain America: The First Avenger) was only a modest success, with very few people admitting to liking both the film and the character all that much. I, personally, found Joe Johnston’s film to be the strongest in Marvel’s Phase One, establishing my favourite Avenger (yeah, I said it) with style, warmth, and old-fashioned Hollywood charm. Cap’s next solo outing simply had to show the versatility of his character, in regards to the multitudes of genre’s he can work in, and what an interesting individual he truly is. I am happy to report that  The Winter Soldier is up to the challenge, rising to and beyond the call of duty.

Captain Steve Rogers (Chris Evans) is busy adjusting to his new found life in the 21st Century. Working as a SHIELD operative, the Captain soon begins to become somewhat unsatisfied with the work that he is being asked to do, believing that this arm of Global Security and Intelligence cares little for the values he fought for during World War Two. He is soon forced to question his loyalties even further with the arrival of the mysterious Winter Soldier (Sebastian Stan), an assassin of unknown origin and motive. With it becoming clear that no one can be trusted, Cap goes AWOL in order to discover who is pulling the strings and simply do what he has always done; fight for what is right.

Foreshadowing much?

The Winter Soldier takes aspects of the much-beloved Ed Brubaker material and origins of character who is ‘The Winter Solider’, while also managing to construct a superhero movie that is very much coloured in the shades of a 1970’s conspiracy thriller. Further enforced by the presence of one Robert Redford in the cast, the script laces mysterious characters, issues of loyalty and government corruption into the superhero hijinks, positioning Cap in a genre well known but rarely seen in this current climate of cinema. Focusing its concern on the involvement of government agencies in surveillance and the private lives of normal everyday citizens, the film also carries with it an acute social awareness that has been lacking somewhat in the Marvel Cinematic Universe since the ‘war on terror’ heavy Iron Man. It amounts to a film that feels intelligent, well conceived, and thoroughly thought out through every step of production, a quality lacking in the last Marvel effort, Thor: The Dark World.

Cap 2, then, is an entirely different beast in regards to the Marvel Cinematic Universe. It is, above all else, a genre picture that just so happens to have a character called Captain America in it. But with the inclusion of The Winter Solider subplot, the film manages to provide both comic-book fans and casual film-goers with enough thrills to satisfy both comic and action cinema needs. The Winter Soldier himself may not have much to do with the proceedings come the twist in the third act, but he supplies dramatic heft to the story of Captain Steve Rogers, allowing for more emotional investment and a vast sense of jeopardy within the action. What is also exciting is that the writer’s do not try to bloat the movie by exploring too much about the character of The Winter Soldier, avoiding the pratfalls of a two-dimensional comic-book villain. There is enough here to make him intriguing, but it is the teasing of what the character’s future in this franchise could be that makes him and his potential truly exciting.

CAPTAIN-AMERICA-75Directing duo Anthony & Joe Russo are most famous for directing a great many episodes of Community, as well as the Owen Wilson comedy You, Me, and Dupree. Perhaps not the first people you’d expect to be called up for a socially aware superhero flick. But Marvel have always enjoyed taking risks with their directors, and you can mark the Russo Brothers as another success. Much of the humour you feel is as a result of their contribution, but it is their surprising skill at mounting action that truly astounds. The fights and action sequences within The Winter Soldier stand as some of the best seen in the Marvel Cinematic Universe. Cap’s combat is slick, brutal, and fist-pumpingly awesome, while their more grandiose set-pieces feature excellent visual effects, with some of their key action scenes refreshingly opting for the use of practical effects over the convenience of CGI. Their action scenes are tense, well-paced, thoughtfully placed, and high in terms of the emotional and narrative stakes.

The impressive cast are also a great deal of fun, with both new and old characters proving themselves able to craft memorable characters amongst the sensational action. Chris Evans is impeccable as Cap; earnest, dependable, and emotionally complex, as well as thriving in the opportunity to engage in kick-ass combat. Scarlett Johansson proves easy on the eyes once more, but also emerges to be one of the film’s funniest characters in her third turn as super assassin Black Widow. Samuel L. Jackson as Nick Fury is given much more to do this time around, even having an action scene to call all his own. New additions to the cast include Anthony Mackie as Sam Wilson/The Falcon (famous in comic history as being the first African-American superhero), who is simply spot on as Cap’s new ally and friend, while Redford provides gravitas and an old-school vibe as SHIELD Senior Leader Alexander Pierce. captain-america-winter-soldier-scarlett-johansson-2

The Winter Soldier is a five-star superhero movie. This does not mean I think it is as good as the like of 12 Years a Slave. It simply means, as a genre picture, I find it to be near-perfect. It manages to succeed where many superhero movies fail. It provides enough to satisfy fans of both comics and cinema, while sporting the smartest screenplay yet seen in the MCU. Marvel have proven here that they are still capable of surprising their audience, as the climax of this movie is bound to have huge ramifications as to the very fabric of their expertly conceived universe. At a time where some doubt may have been beginning to seep into our minds, The Winter Soldier has come to re-install faith in a franchise that has quite literally no end in sight. It is the way it needed to be, and trust Captain America to be the one to do it.

5/5- The best Solo-Marvel outing to date, The Winter Soldier boasts a smart screenplay, exhilarating action, a charming cast, and plenty of surprises to boot. If any other blockbuster can match these heights this Summer then, boy, are we in for one hell of a season.