TL;DR – This is a film filled with wonderful characters, fantastic action, and some of the best banter in the Marvel Cinematic Universe.
Score – 4.5 out of 5 stars
Post-Credit Scene – There is a mid and post-credit scene
It feels like it has been an eternity since Thanos snapped his fingers and
destroyed the world in Infinity
War. Since then we have been wondering wanting to know what happened,
however, in the closing seconds of the film Fury (Samuel L. Jackson) pulled out
a pager and sent out a signal calling
someone to help. Well, today we get to
see just who had that pager, and just who is behind the red and blue.
So to set the scene, we open with Vers (Brie Larson) asleep on the Kree homeworld. She rarely has a restful night’s
sleep because her dreams are punctuated with wars she cannot remember. Well, there is one way to get over a lack of
sleep and that is to wake up your commanding officer Yon-Rogg (Jude Law) and
have a good old-fashioned sparing session. Well as old fashioned as one can be
when you are on an alien planet, have no memories from before six years ago,
and oh you can shoot fire out of your hands. The
Kree are fighting a losing war against the Skrull, a race that can mimic anyone
down to their DNA, who infiltrate worlds and work their way up until they can
take them over from the inside out. After training,
she is finally brought to the Supreme Intelligence (Annette Bening) the AI that
runs the Kree Empire and given her first mission. With the rest of the
Starforce including Yon-Rogg, Korath (Djimon Hounsou) and Minn-Erva (Gemma Chan) they are to infiltrate a
planet that has just fallen to the Skrulls to extract an undercover agent as
Ronan (Lee Pace) provides cover fire with an orbital bombardment. Well, that’s the plan but plans rarely quite work out as nicely as we would like.
TL;DR – Of this films many, many failings, is the fact that you can see a kernel of a good idea here, that they refused to commit too and thus made it a film about nothing.
Score – 1 out of 5 stars
Post-Credit Scene – There is no post-credit scene
Oh wow, and I mean wow, how do you stuff this up as badly as you do here. For a lot of people, there is this annoyance that film companies keep going back to these public domain properties because it is just a cheap option, and I get that. But because these stories are so well known, you can use them as a basis for doing something novel or even experimental. In years past, we have gotten the full-on epic with Robin Hood: Prince of Thieves all the way to the absolute farce that is Robin Hood: Men in Tights. However, there was room for another film to take the mythos in a new direction … well, this is not that film, which somehow fails at being both a re-telling of the original myth and also an abysmal attempt at modernising the story for a new audience.
TL;DR – This film is so thirsty for you money with that nostalgia dollar, but like most mirages, there is not an oasis at the end, just a barren wasteland
Score – 2.5 out of 5 stars
Post-Credit Scene – There is no post-credit scene
Well, um, well, that was very much a film, and it is a film that both fascinating to watch, yet also deeply hollow. It was honestly weird to see a film with so many contradictions, made by one of the best filmmakers of our time. However, it feels in many ways like a lot of the throwaway faff that we see on screen all the time, completely without substance. So just a quick aside, with today’s review I can’t really comment on how well this is an adaption of the source material because I have never read it. As well as that, unfortunately, this does mean that I can’t tell you if this movie does not work because of the directions that they took in the adaptation, or because the source material just gave them not much to work with. With that in mind, let’s take a look at a film that launched a thousand top 10 lists.
TL;DR – A beautifully realised look at the world of British politics on the onset of WW2, but it loses some of its impact with an unclear portrayal of its central protagonist.
Score – 3.5 out of 5 stars
Post-Credit Scene – No
Well, today we are looking at our third Dunkirk related film in the last year. Dunkirk (see review) looked at the retreat on the ground, sea, and air, Their Finest (see review) looked at how Britain used the retreat to mobilise the populace, and now Darkest Hour looks at the politics behind it all. Today we are exploring the rise of Winston Churchill from being an outsider of the political spectrum to a wartime ruler facing the might of Hitler and his European blitzkrieg. So in today’s review, we are going to look at the acting and how it captured that moment in time.
TL;DR – A bit of a mess at times, but any complaints I have are overridden by the strongest ending in the franchise’s history.
Score – 4 out of 5 stars
So here we are with Star War’s first attempt at a standalone film (a film set in the Star Wars universe, but not one of the main numbered entries) and a prequel no less, by any measure this was a risky gambit for the Mouse House, because the last thing you want to do to your $4 Billion investment is damaging the brand with a bad movie. Now this coupled with extensive reshoots in a year where extensive reshoots have led to mediocre films like Suicide Squad and outright failures like Fantastic Four had a lot of people concerned, is the prequel curse going to continue? Well, I am happy to say those reshoots must have only improved the movie because Rogue One is a blast. Now is it a perfect film, oh no, it has some real problems, but any issue I could have with it is blasted away by some quality filmmaking. Now we will be discussing the story later in the review, so I’ll put a Spoiler Warning out before that, but I feel with a property like this, it is important to say, I will be discussing aspects of the film and the characters and you may find that to be spoilery, so you have been warned to continue with caution.