Man of Steel

Superman has always been a tough nut to crack. How do you make a man who is indestructible, who’s not even a man, relatable? How do you make a character that has been around since the 30s relevant to a modern audience? The title, Man of Steel, gives a clue as to this movies approach. Ditch the Super, focus on the Man. Having successfully utilised this approach with the 2005 film Batman Begins, Christopher Nolan produces this film, with a script penned by his partner in crime on the Dark Knight movies David Goyer. Directing duty is taken up by Zack Snyder who has brought has films like 300, Watchmen and the much less enjoyable Sucker Punch. Often praised for his fleet handling of action scenes but criticised for his poor handling of character, (Nolan often being praised for the strength of his characters but seen to struggle directing action) the studio was obviously hoping to combine the strengths of both.

Man of Steel opens big; the lengthy first act is set on Superman’s doomed home planet, Krypton. We are introduced to the hero’s biological parents; Russell Crowe gives a fantastic performance as his father Jor-El. Also introduced is the villain of the piece Zod, played with an understated menace by Michael Shannon, as well as a whole host of other Kryptonians and an impressive array of technology. This part of the film is probably the most original and visually arresting with some fantastic visuals and action. There’s a brilliant fight, a robotic butler, an ancient council of elders, an attempted coup and Russell Crowe riding a giant dragonfly. What’s not to enjoy?

The next part feels very reminiscent of Batman Begins as we see a bearded Clark Kent roaming around as a drifter and are treated to flashbacks from his younger years. This part of the film is simultaneously its strongest and weakest. The adult Clark, searching for answers about his heritage is fairly uninteresting. The story moves ahead slowly and there’s nothing to help us connect to him. A big part of this is down to Henry Cavill’s performance, who seems to be unable to portray anything other than anger convincingly. The dialogue is similarly wooden and big moments like the introduction of Lois Lane, her first meeting with Clark, Clark learning of his roots and the reveal of the iconic costume all feel rushed and lack any emotional impact. Where this section does shine is in the flashbacks. This is helped is no small way by fantastic performances from Diane Lane and Kevin Costner as Martha and Jonathan Kent, Clark’s adoptive parents. There are some fantastic moments, including Martha consoling a young teary eyed Clark, and Jonathan urging Clark to keep his gifts hidden from the world. This is where Man of Steel shines.

The final part of the movie is a similarly mixed bag. The reintroduction of Zod and his followers as the protagonists is handled well and the threat the Kryptonians pose feels menacing and ominous, their giant ship looming over Metropolis as Zod delivers a chilling ultimatum to the people of Earth. This is shown best in a super powered brawl in Smallville, where Superman gets his ass handed to him by Zod’s right hand woman Faora (Antje Traue who also kicked all kinds of ass in Pandorum). It’s a shame then the movie gets other things wrong, most notably the relationship between Clark and Lois which feels awkward and forced, despite Amy Adam’s best efforts as Lois. Her Lois feels flat and this is not down to her acting, rather some poor dialogue and handling of the character. Other characters suffer too, such as Perry White (Laurence Fishburne) and most of the other characters end up being forgettable. The finale is an unoriginal CGI fest, culminating in a drawn out slug fest between Superman and Zod.

While action packed and visually impressive, Man of Steel lacks originality and a sense of humour. You’ll be entertained, but there’s not enough character development for you to really invest. Lacking the warmth that made the original Superman movies so beloved, fans and general viewers are likely to leave Man of Steel feeling cold.

Iron Man 3

Iron Man 3 blasts onto the screen to the sounds of cheesy pop hit Blue (Da Ba Dee). You know this is gonna be fun. Shane Black, whose last work with Robert Downey Jr. Brought us the brilliant Kiss Kiss Bang Bang, takes over directing duty from Jon Favreau. Thankfully he brings his humour, creativity and talent for subverting genre clichés to Iron Man 3. This is the first of Marvel’s ‘Phase Two’ movies, in the wake of the wildly successful team-up movie, The Avengers. Next on the cards is Thor 2 this year and Captain America 2 next year, building towards The Avengers 2 which should be released by 2015. The challenge of making and Iron Man movie in a post Avengers world are met with enthusiasm by Black, opting for an admirably scaled down and more personal story. What we get is the simultaneously darkest and funniest Iron Man outing and easily the best of his solo movies.

This time around, Tony is plagued by insomnia, bad dreams and anxiety attacks after his experience with ‘Gods, aliens and other dimensions’ in the Avengers and has been obsessively building new suits. The most prominent of these is the Mark 42, which can attach itself him piece-by-piece and can be remote controlled by thought.  New threats arrive in the shape of terrorist leader The Mandarin, an army of genetically modified super soldiers and the man who created them, Aldrich Killian.

Robert Downey Jr. has always been excellent as Tony Stark movies and Iron Man 3 does more with the character than any other movie has so far. Gone is his brash bravado as we see him vulnerable and afraid for the first time. We finally get to see him tested and pushed and to see a quieter, more likable side to him (his arrogance while his defining characteristic could get grating at times). For a large part of the film, he has to manage without his armour or high tech gadgets and the stakes are more personal and far tenser. That’s not to say this movie resorts to naval gazing, as there’s plenty of fun and humour, delivered mainly through one liners and Tony’s back and forth exchanges with Rhodes. The scenes with the two of them together will delight any fans of the buddy cop humour of the Lethal Weapon movies (which Black wrote). There is also a bucketful of creative actions scenes which more than deliver the required adrenaline expected in a film like this. The most impressive of these is the ‘Barrel of Monkeys’ sequence involving Iron Man saving people falling from a plane, done impressively by a stunt skydiving team rather than CGI. Gwyneth Paltrow has far more to do as Pepper Potts in this film as does Don Cheadle as Rhodes and both are solid in their roles. Ben Kingsley is the stand out of the cast, with a fantastic performance as the super villain, The Mandarin. The movie makes a smart decision on how to handle the character and his chameleonic acting goes hand in hand with his mischievous character development.

Like our hero, the movie has its flaws. The biggest of these is the pacing, as the films sometimes lingers on scenes that are unimportant and frustratingly speeds through scenes which are vital to the story. This leads to the movie sagging in parts, particularly the second act which also includes an annoying child character. It also leads to some characters feeling underdeveloped and motivations left  unclear. This is particularly the case with Guy Pearce’s character, Aldrich Killian, and Maya Hansen played by Rebecca Hall, both of whom are incredibly important to the story. The super powered henchmen get no character development at all. The third act is quite rushed, evidenced in the late inclusion of the Vice President, who again is important to the story but barely talked about.

Overall though, the flaws aren’t enough to detract from the great fun that’s to be had here. While people who weren’t fans of the previous Iron Man movies are unlikely to be swayed, there’s plenty of humour, action and drama to keep fans entertained and it will surely go down as the best Iron Man movie. If this is the last solo outing for the ol’ shellhead, then it’s a fitting ending.

If you like this try: Kiss Kiss Bang Bang (2005), Lethal Weapon (1987)

Les Miserables (2013)

Tom Hooper made a name for himself with lavish historical drama The King’s Speech and continues with this emotionally charged adaptation of the stage musical inspired by Victor Hugo’s historical novel, Les Miserables. The story centres on Jean Valjean, (Hugh Jackman sporting mutton chops that would make Wolverine jealous), an ex-con who is pursued relentlessly police official Javert (Russell Crowe) after skipping parole. He is joined by a host of other miserable characters, most notably Fantine (Anne Hathaway) and Cosette (Amanda Seyfried). The story, which spans 17 years, is played out against the backdrop of the French Revolution and is told entirely through song.

Some may be put off by the continuous singing, but the songs and music are the films strongest points. The singing is almost uniformly brilliant, perhaps with the exception of Russell Crowe. The actors all sing live in front of the camera, rather than miming to recorded tracks and this adds to the visceral emotion of each performance. You can hear every breath and sigh as voices break and tears fall naturally which really adds to the impact of each song. Anne Hathaway’s short supporting role is fantastic and her rendition of ‘I Dreamed a Dream’ will shake you to your core and forever banish memories of Susan Boyle.

The first half of the movie, where we introduced to Valjean, Javert, Fantine and her daughter Cosette moves forward at a fast pace and is completely engaging as we Hugh Jackman’s character transform from a bitter man to a kind soul who agrees to care for Fantines daughter, Cosette. The second half of the movie is the weak part, as it starts to drag under the weight of its two hour and forty minute run-time. Here the characters take back seat to some historical warfare as the revolution becomes the focus, with only a paltry love triangle involving Cosette, a young revolutionary and his childhood friend provide the drama (of which there is sadly little to be had. Even what should be a heart wrenching scene lacks much emotional impact and the battles which should be grand and epic, feel sadly as though you are watching them unfold on stage rather than on film.

There’s excellent supporting turns from Sacha Baron Cohen and Helena Bonham Carter (who always seems to play bad women with bad hair) as a dastardly innkeeper and his conniving wife who provide the only comedy in an otherwise dour affair. Anne Hathaway gives the stand out performance of the movie and Hugh Jackman is solid and believable as salt of the earth good guy Jean Valjean, selfless to the last. Russell Crowe even does a good job of making heartless bastard Javert somewhat likeable.

Overall, Les Miserables is a thoroughly downbeat and depressing tale, worthy of its title. The film adaptation is sure to delight fans of the stage musical and ensnare those who have never seen it as well. 

If you like this try: The Phantom of the Opera (2004), Anna Karenina (2012)

Killing Them Softly

Brad Pitt stars in ‘Killing Them Softly’, the new movie from Australian director Andrew Dominik, best known for his last collaboration with Pitt for the slow-burning elegiac western, The Assassination of Jesse James by the Coward Robert Ford. Eschewing a return to the old west, Dominik decided instead to adapt a 70s crime novel called ‘Cogan’s Trade’.  The story revolves around a high stakes poker game organised by mobster Ray Liotta which is robbed my masked assailants. Jackie Cogan (Pitt), a mob enforcer, is called in to investigate and clean up the ensuing mess.

The whole affair is decidedly 70s. In a post-Tarantino world of fast snappy crime thrillers, Dominik slows the action and the dialogue to a crawl, favouring a style reminiscent of classic gritty thrillers  like Get Carter and Scorsese’s early work on movies like Mean Streets. As a result, Killing Them Softly can be slow at times, requiring a great deal of patience from the audience as it’s slow to pick up at the start. Scenes of violence are few and far between, but when they arrive they pack a punch and are shot in painstaking detail. Again like Get Carter, the violence here has consequences which permeate throughout the story.  While the films is visually arresting, Dominik tends to rely on one thing throughout the movie. In almost every scene, there are TV and radio broadcasts of President Bush and the then Senator Obama, as the film is set during the 2008 election. We are treated to comments on the state of America and mainly its financial system and the financial crisis. Indeed the whole film could be seen as a parable for the financial crisis, with words like ‘collapse of confidence’ thrown around a lot. While the films ambition to make a political statement is admirable, the message is muddled at best, and the talking heads distract from what’s happening in each scene and quickly grow tiresome. Had they not been so overused, the message could have been more powerful. That said, the films decidedly quiet and anticlimactic ending, does deliver a brilliant tirade from Pitt’s character, comparing America to nothing more than a giant corporation, giving us what deserves to become one of those classic, often misquoted lines.

Overt political messages aside, the story itself is simple but layered, as one screw up after another give a sense that the whole mess will never be fixed. The main strength of the movie is the acting. Brad Pitt delivers what is probably his best performance since Jesse James, recalling the laconic slow drawl and world weary demeanour of his western anti-hero. Here he manages to make his character surprisingly likable despite little back story; he has a dislike for violence, preferring to kill people ‘softly’.  Ray Liotta gives a great performance as the shaky mobster at the heart of the mess and James Gandolfini delivers a memorable turn as an overweight alcoholic hit man, ruminate over past lover affairs.

Overall, this is a mean, well acted, violent slice of crime cinema. While its doesn’t have much new to say about America and is not as meaningful as it would like to think it is, it’s certainly  stylish and entertaining enough for fans of crime movies, who like a film which doesn’t feel the need to rush to its conclusion. While by no means a classic, Pitts performance is worth the admission price alone.

The Dark Knight Rises

It’s been four years since Christopher Nolan raised the bar for superhero movies and indeed summer blockbusters in general with the critically acclaimed hit The Dark Knight. He’s since treated us to the dream heist movie, Inception and cemented his position as the premier purveyor of smart, engaging action movies in Hollywood. Nolan has now returned to the Dark Knight series to give us what he is insistent is his final chapter in Bruce Wayne’s story, The Dark Knight Rises.

   At the start of the movie, we’re shown a Gotham City which has enjoyed 8 years of peace since the Joker’s rampage, because of a new law passed , the Dent Act which has afforded the police stronger powers to fight organised crime. Batman has not been seen since the night of Harvey Dent's death; having taken responsibility for Dent’s crimes as Two-Face and has since become a hated figure. The two men responsible for the lie this peace is based upon are both damaged men.  Bruce Wayne is physically disabled and needs a walking stick. No longer Batman, his life has lost all purpose and he’s since become a recluse. Gordon is haunted and unable to enjoy the success of a crime-free Gotham. When new villain Bane, played by Tom Hardy, threatens the city, Bruce is forced out of his self imposed exile, back into action as Batman.

   Tom hardy is certainly the stand out among the new cast members of the film as the nefarious bane. With his face covered and his voiced muffled by a cumbersome mask, he’s able to portray terrifying menace with his eyes and his physical presence and performance is brutal. Indeed you do feel as if batman has met his match and it’s hard to imagine someone else in the role. Hardy swaggers his way through the film, breaking necks and growling some of the film’s most memorable lines. Anne Hathaway also joins the cast as Selina Kyle/Catwoman and she brings the necessary grace and class required of the role and gives Nolan film what his others have lacked, a powerful female character. This film has two of these, with Marillon Cotillard playing Miranda Tate, a smart businesswoman, and board member of Wayne Enterprise’s board. Joseph Gordon Levitt is on fine form as John Blake, a young beat cop, who comes to play a big role in the fight against Bane.

   The returning cast members are all excellent too. Gary Oldman again brings gravitas and sincerity to his role as Commissioner Gordon, able to portray a good man suffering under the weight of the secret he’s kept for years.  Morgan freeman is reliable as ever Lucious Fox, Batman’s resident gadget man, providing him with new toys including a flying vehicle he dubs ‘The Bat’. Michael Caine, whose Alfred is often credited as providing the emotional heart of these films, is bound to jerk a  few tears.

   Much has been made about the potential political message of this movie and Nolan’s whole Dark Knight trilogy. Obvious allusion to post 9/11 America and the war on terror have run through these movies. This time there’s are shades of the global financial crisis and the Occupy movement. Some think the 99% are portrayed as villains here, but Selina Kyle and John Blake are both representatives of the 99% as well as the revolutionary Bane and his army of devotees. The 1% hardly gets a flattering portrayal, shown as arrogant, greedy and plain clueless throughout.  I don’t think Nolan  sets out to hammer home any political message, but rather raise points for discussion, leaving it up to the viewer decide. Of course each person will read into it, with their own personal politics in mind. The image of an American flag in tatters is symbolic of an America damaged by war. If the theme of Batman Begins was fear and The Dark Knight was about escalation, then the theme of this movie is consequence. Characters throughout the film are faced with the consequences of their actions. The false myth of Harvey dent, the law passed after his death (a stand in for the Patriot Act) and the war justified by a lie drives home the film’s most important message about truth.

   The story of this film harkens back to Batman Begins rather The Dark Knight, many plot points tie back to the first movie and bring the series full circle nicely without repeating what’s been done before. The first 45 minutes of the film are a little slow, covering Bruce’s journey to once again don the cape and cowl. Batman’s return is handled incredibly well and from there on in the pace picks up, as does the action, and it doesn’t disappoint.  Spectacle has always been Nolan’s strong point and he’s gone all out for the finale to his magnum opus.  There’s some terrific fights and chases, the flying ‘bat’ adding a new dimension to the action. The destruction of the football field seen in the movies trailer is staggering on the big screen.

   However, this film lacks the tension of The Dark Knight, which kept you on the edge of your seat with an atmosphere of constant dread. It also drags a little, bound to happen with a film almost three hours long. Also, for a Batman film, it doesn’t feel like you see enough of Batman. This could be seen as a weakness or strength, as the focus this time, as was in Batman Begins, is on Bruce Wayne. Bruce Wayne is what has always made Batman interesting and relatable and Christian Bale’s quiet performance is terrific. He’s able to make us feel for this man as he overcomes physical injury and faces the demons that have been plaguing him his whole life. It’s hard not to be stirred when the Dark Knight truly ‘rises’ again. The finale of the film is suitable action packed, if a little unoriginal, but what this film lack in thrills or tension it makes up for in heart, with emotions running high throughout. This doesn’t let up until the fantastic ending, which had the crowd up on their feet and applauding by the closing credits.

   This is satisfying conclusion to a great franchise and it’s bound to entertain and keep fans guessing right until the very last scene.  It doesn’t quite reach the heights of The Dark Knight, but that was a tall ask. To paraphrase, it’s not the films we deserved, but the film we needed.

The Dictator

It's been three years since we last saw Sacha Baron Cohen on screen as gay Austrian fashionista Bruno. After the huge success of mockumentaries Borat and Bruno, hes reunited with director Larry Charles to go for a regular comedy with The Dictator, ' the story of a dictator who risked his life to ensure that democracy would never come to the country he so lovingly oppressed.' A daft premise, but one rich with comic potential.

Those expecting the shocking laugh out loud moments of Borat and Bruno should proceed with caution; this film falls somewhere between crude romantic comedy and political satire. We are introduced to the latest creation from Cohen's imaginations, Admiral General Aladeen, supreme ruler of Wadiya and easily the most likable despot you'll see on film, who , runs in his own Olympics, mourns for his fallen fellow dictators , let's Osama Bin Laden hide out in his guest house and just wants someone to cuddle. The first act of the film introducing us to Aladeen and his cohorts, including his uncle played by Ben Kingsley, is one of the funniest and most effective introductions to a character I've seen in a long time. Aladeen's penchant for execution provides some great moments, especially as what appears to be an innocent game on the Wii turns out to be something far more sinister and hilarious. Unfortunately, the start of the movie is also the funniest part of the movie, but there are still laughs to be had throughout.

After we are shown Aladeen's glamorous lifestyle that would make a Saudi Prince jealous, we are jetted off to America, as the heroic autocrat has to address the U.N. to save his country from missile strikes after its discovered he has been developing nuclear weapons. After being double crossed and replaced by a double, its up to Aladeen to prevent his beloved oppressed kingdom becoming a democracy. This second act is the weakest part of the movie and feels like a disconnected collections of sketches, with awkward attempts a love story thrown in. Some of the jokes here fall flat and feel like attempts at recreating the fish out of water comedy that made Borat great. Ben Kingsley and Anna Faris are both criminally underused.

The final act sees the film pick up pace and ends with a fantastic speech by the fictitious dictator to the U.N. which showcases Baron Cohen's talent for pointed barbed satire, which is glimpsed throughout the film but only flourishes at the end. The Dictator is a good comedy, which is bound to make you laugh, the satire is not too heavy, but present enough to lend weight to the humour and Sacha Baron Cohen is hugely enjoyable to watch when he's having this much fun. The crude, lude humour that made his previous films successful makes this a must watch for his fans and new comers alike, provided you're not disgusted by the thought of man losing his phone in a pregnant woman's vagina...