Reviews by PvtCaboose91

"You're different. You don't fit into a category. They can't control you. They call it Divergent. You can't let them find out about you."

Based on the novel by Veronica Roth, 2014's Divergent is yet another attempt to adapt a young adult novel series for the big screen, following in the shadow of Twilight and The Hunger Games. But rather than a promising opening instalment in a potential franchise, Divergent is a total misfire, crippled by an air of utter blandness all the way through to its core. It's perhaps marginally more watchable than the apocalyptic disaster that this reviewer had anticipated, but that's hardly a ringing endorsement. Although the seeds of an interesting story are here, director Neil Burger fails to give adequate life to the material, resulting in a lethally dull, plodding, agonisingly overlong sci-fi effort featuring a cast of wooden underwear models.

In the aftermath of a devastating nuclear war that crippled the world, humanity is reborn into a tightly-ordered society split into five factions: Abnegation, Amity, Candor, Dauntless, and Erudite. As children reach adulthood, they are compelled to choose their faction, undergoing a test that recommends their destiny. An Abnegation native, Beatrice (Shailene Woodley) is tested and deemed to be Divergent, meaning her personal drive goes beyond the factions, and she cannot be controlled. Covering up the truth in fear of lethal repercussions, Beatrice chooses Dauntless as her new faction, rechristening herself under the name of Tris as she commences a gruelling training regiment designed to weed out the weak. Immediately, Beatrice stands out to leader Four (Theo Games), who offers warmth as she struggles to find her place and keep her secret hidden. Added to this, Erudite's ultimate plan for Dauntless is gradually revealed, which compels Beatrice to take action.

Out of all the Y.A. adaptations from the past few years, Divergent is the most formulaic, right down to its structure and messages. Comparisons will immediately be drawn between The Hunger Games and Divergent, as both are sci-fi stories set in a dystopian society featuring a strong female protagonist determined to lead a rebellion against a corrupt government force, and there's romance in the air to boot. The story also adheres to the well-worn formula of using a conventional fantasy/sci-fi setting as a metaphor for the American high school system, and the fact that Beatrice/Tris is different is just an obvious allegory for adolescent problems. After all, Tris doesn't feel that she can fulfil the adult world's expectations of her, and she abhors the society of crushing conformity in which she cannot fit in. So, basically, Tris' experience is what's known as being a teenager, allowing the target demographic to believe that all of their weird personality traits and self-centred angst actually makes them The Chosen One. See how easy and trite all this hogwash truly is? Wasn't this stuff already covered well enough in Twilight? Harry Potter? The Hunger Games? Sure, originality is borderline impossible in this day and age, but would a bit of innovation be too much to ask, especially since these stories are always about standing out from the norm and not conforming?

Divergent is in dire need of a more judicious editor, as it drags on and on for the better part of 140 minutes. While the runtime might seem necessary to flesh out the characters and the story, a lot of flab could easily be trimmed, as the movie feels punishing rather than rewarding as the finish line approaches. Indeed, there are at least four or five climaxes when the movie seems to be on the verge of ending, only for another complication to arise. There's no sense of tension to the build-up, with a large chunk of the runtime dedicated to humdrum training sequences ripped from the likes of Starship Troopers and Ender's Game, while Tris forges relationships with thankless supporting characters who won't matter until the sequel. Scene after scene falls flat, in need of zippier pacing and a sense of momentum that should accompany this dystopian panic.

Despite decent production values, Divergent feels more like a television show pilot as opposed to a big-screen epic. Hell, some sci-fi shows like Almost Human actually have more grandeur than what's glimpsed here. Perhaps one of the film's biggest issues is that this futuristic vision is not engaging or exciting in the least - it's painfully generic, and there's not enough flair to Burger's direction to compensate for the monotonous visual scheme. The Hunger Games at least bothered to green-screen the cast into some type of vision of the future; here, Tris and her pals run around cheap sets and bland ruined city locales. Admittedly, the enterprise does grow more interesting as the action-oriented climax approaches, and Burger handles the shootouts with some competency, but the experience up until this point is too numbing and ponderous that it doesn't matter much in the grand scheme of things.

Although Woodley has proven talent, she's an unremarkable protagonist here, paling in comparison to Jennifer Lawrence. It's unclear whether the blame falls on Burger or Woodley, but Beatrice/Tris is shockingly one-note from start to finish, showing no palpable growth as she develops from meek girl to determined revolutionary. Not to mention, the completely contrived love story between Beatrice and Four gains precisely no traction - rather than a relationship that grows organically, the subplot feels awkwardly shoehorned in for the sake of formula. The rest of the actors are utterly personality-free, and there isn't a bad-looking specimen in sight - the casting call must have explicitly stated "abs required." Theo James is simply one of those Channing Tatum types who's destined to become confused with ten other actors, while Woodley's The Spectacular Now co-star Miles Teller displays the acting prowess of a fire hydrant. Tragically, the proven actors of the cast are mostly relegated to thankless supporting roles. Maggie Q has maybe ten minutes of screen-time with no action moments, while Ray Stevenson achieves precisely nothing and Kate Winslet sleep-walks through a flat villain role. Meanwhile, Ashley Judd does what she can with the material, but watching her run around playing action hero only provokes unintentional hilarity.

The Hunger Games truly found its footing and soared for its 2013 sequel, Catching Fire, and it would be a satisfying surprise to see the planned Divergent sequels attain similar success. As it is, this opening entry is a stillborn, and it's difficult to become at all involved or interested in all the on-screen malarkey. It might work for unfussy viewers as it's watchable from time to time, but there's so much wasted potential here.

4.2/10

"Everyday I wake up knowing that no matter how many lives I protect, no matter how many people call me a hero, someone even more powerful could change everything."

Although 2012's The Amazing Spider-Man earned a healthy $750 million at the worldwide box office, it was a missed opportunity all-round, a careless reboot that fell short of the Sam Raimi-directed trilogy that preceded it. Hoping to persist with a sprawling Spider-Man franchise to compete with Marvel, The Amazing Spider-Man 2 manages to correct several of the issues of its predecessor, as it's a smoother ride that benefits from superior technical execution. Unfortunately, this follow-up is still burdened by a tremendously messy script - it's overstuffed and tries to do far too much throughout its agonisingly prolonged 140-minute runtime. The cameras did begin rolling for this sequel barely six months following the release of the 2012 film, which is not exactly a sign that the writing process was deemed to be overly important in the grand scheme of things. The result may be mildly watchable as a summer blockbuster, but it's not a keeper by any means - it's a forgettable, half-baked mishmash of the comic book's greatest hits, without much in the way of emotional heft.

Now a high school graduate, Peter Parker/Spider-Man (Andrew Garfield) is struggling to maintain his relationship with girlfriend Gwen Stacy (Emma Stone). Still haunted by the death of her father, Peter finds himself conflicted, realising it might be better for Gwen's wellbeing if he simply left her alone. Meanwhile, geeky, socially awkward Spider-Man fanatic Max Dillon (Jamie Foxx) is involved in an after-hours workplace incident at Oscorp, turning him into Electro and giving him the ability to manipulate electricity. Peter also attempts to reconnect with old friend Harry Osborn (Dane DeHaan), who's reeling from the death of his father Norman (Chris Cooper). Learning that he will ultimately die from his father's disease, Harry begins seeking a cure and hopes that Spider-Man's blood might bestow him with the ability to self-heal. But the unstable Harry is thrown over the edge when he's fired from his father's company, leading him to enlist the help of Electro in order to get what he wants.

While bits and pieces of The Amazing Spider-Man 2 do work, the narrative as a whole is a huge mess; a collection of scenes and set-pieces without a proper through-line. The plot is ostensibly about Peter working to defeat Electro while dealing with his relationship complications, but the majority of the narrative tracks Peter playing Sherlock Holmes as he endeavours to figure out what happened to his parents. As a consequence, Electro feels like a real wasted opportunity, as he develops into too much of a fringe threat when he should be the primary focus. Worse, the mystery of Peter's parents still leaves questions to be answered in future instalments, and the arc feels utterly incomplete. But perhaps the biggest insult is the ending - the film continues beyond its logical closure point, ultimately cutting to black in the middle of a skirmish that will lead directly into Film 3. It's the equivalent of tagging the first ten minutes of The Dark Knight onto the end of Batman Begins. The Amazing Spider-Man 2 basically feels like a trailer for The Amazing Spider-Man 3, rather than a compelling standalone story.

Unfortunately, villainous motivations are entirely lacking here. Max's transformation into the Big Bad Guy™ is half-baked and slipshod - he's established as a stereotypical loner who opts to use his powers simply to get himself noticed by his peers, but Max's decision to attack the city and kill Spider-Man has no motivation behind it. Harry's characterisation is similarly slipshod - he becomes the villainous Green Goblin simply because the script demands it. Raimi's films might get flack in hindsight, but each of the villains in his trilogy was given sufficiently believable reasons to turn to villainy, and some even saw the error of their ways. It would seem that the script here relies on the flimsy comic logic of "superpowers = villain," but this rocky justification clashes with the serious tone. The Twilight influence is still very much in evidence here, too - the on-and-off relationship between Peter and Gwen is ripped directly from New Moon, with the characters wanting to be together but Peter realising he's putting his girlfriend in jeopardy.

The Amazing Spider-Man 2 also continues to distance itself from the Raimi trilogy by changing up aspects of the mythology, but again most of the alterations are outright wrong-headed. As it turns out, Peter was more or less destined to become Spider-Man, a moronic decision which completely erodes Peter's status as an accidental hero. Added to this, Oscorp is basically behind everything that happens throughout the film - the creation of Electro, Harry's transformation to the Green Goblin, and even the construction of all the tech that will be utilised by future villains. And just for good measure, pretty much everything else is linked to Oscorp - Gwen and Max are both employees, Peter's father also worked for Oscorp and was killed whilst on the run from them, and so on. It's far too convenient, and, like I said in my review of the previous movie, it makes a sprawling universe of possibilities feel small and riddled with coincidence. Worse, it feels as if various cosmetic changes were made simply to distance this film from the Raimi trilogy, rather than feeling organic to this new franchise.

To his credit, Webb is beginning to find his feet as a blockbuster filmmaker - The Amazing Spider-Man 2 is a livelier flick than its predecessor, adopting a more colourful look as opposed to the desaturated visuals of the 2012 movie. The action beats are more competent for this go-round as well, and anyone seeking conventionally "cool" summertime entertainment will likely walk away satisfied. Unfortunately, though, Webb leans on the slow-motion stuff way too much, and the overly digital look of such moments completely takes you out of the experience. There's a bold occurrence late into the climax which almost manages to generate emotion, but Webb mostly mucks it up by using gratuitous slo-mo, excessive CGI, and plenty of distractions to make it look "awesome," reminding us that this is a blockbuster engineered to appeal to ADHD-inflicted teenagers. On a more positive note, the dramatic moments do work much better, and the pacing is more sure-footed. The script gives Peter some amusing moments of smarminess amid the action, which do work more often than not. The 3-D is an improvement over the last movie, though it's still mostly underwhelming and disposable.

Garfield's confused Peter Parker interpretation returns for this instalment. It's an inconsistent performance, and the script still can't figure out who this character is beyond a generic Edward Cullen clone. It's once again Stone who runs away with the entire film, showing that she's both a perfect Gwen Stacy and an ideal female lead. It's just a shame that the material is far below Stone's immense talents. Meanwhile, in the role of Max/Electro, Foxx is almost a total bust. As Max, his verbal bluster is over-the-top and the character is too exaggerated to be believable, while as Electro he doesn't own the screen like a primary villain should. Furthermore, there's no continuity between Max and Electro, as he turns into an entirely different person after the accident for no good reason. Paul Giamatti also shows up as a criminal who will presumably take centre stage in the next sequel, but it's hard to take the character seriously - he's a cartoon through-and-through, clashing with Webb's insistence on a realistic tone. It doesn't work. Likewise betrayed by the material is DeHaan, who pretty much replicates his performance from the superior Chronicle, only without the depth and consistency. The movie also wastes the chance for a Stan Lee cameo, squandering him for a completely forgettable one-scene role.

Ultimately, much like its predecessor, The Amazing Spider-Man 2 is more concerned with looking towards future films than it is with providing a cohesive, satisfying standalone motion picture. It keeps shuffling forward, deploying more characters who won't mean much until the next one (Mary-Jane Watson was in the movie initially, played by Shailene Woodley, but her scenes were cut in post-production) and hinting at what's going to happen in further sequels. While this type of set-up might be acceptable in a television series with a new episode each week, such content is completely unsatisfying in major motion pictures, as they're a far scarcer commodity. Marvel Studios tease future instalments in their movies, sure, but said features have their own individual stories to tell, mostly saving the teases for post-credits scenes. Iron Man 2 was the only Marvel movie that blatantly existed to set up The Avengers, and it's widely regarded as one of the studio's weakest efforts. Look, The Amazing Spider-Man 2 is an enjoyable mess, but it's a mess nevertheless. Peter doesn't undergo much of an arc throughout the story, and the movie isn't really about anything - it plays out as an expensive toy commercial without any thematic relevance, humanity, or depth. We deserve better.

5.0/10

"It will be a few months. You can't know where I am. And I can't be seen anywhere near you."

Sequels to hit motion pictures are always a dubious proposition, especially action sequels which very rarely live up to their predecessors, let alone surpass them. 2014's The Raid 2: Berandal is one of the rare exceptions to the rule, however. Written and directed yet again by Gareth Evans, this sequel to 2012's The Raid: Redemption confidently raises the bar for contemporary action movies, with astonishing scenes of martial arts that most likely will never be topped. Whereas its predecessor was a small-scale action fiesta, Berandal is closer to The Departed (or Infernal Affairs, the Hong Kong film which spawned it) as it's imbued with a denser story and it's much bigger in scale. Nevertheless, it feels like an organic continuation, and it delivers the type of bone-crunching fights and breathtaking action beats that the niche audience expects to see.

Picking up mere hours after the events of the previous flick, police officer Rama (Iko Uwais) is recruited to take part in a covert undercover operation that hopes to expose the city's corrupt police. Sent deep undercover as a prison inmate, Rama wins the trust of Uco (Arifin Putra), a pretty-boy gangster whose father heads a powerful crime family. Rama serves two years behind bars, after which he's accepted into the Bangun crime family alongside Uco. Rama's incredible fighting skills render him a valuable asset, and, before long, he's at the centre of the family's criminal machinations, struggling to maintain his integrity along the way. As a war burgeons, Uco becomes increasingly unstable and unpredictable.

Berandal actually started life as an original film, intended to be produced not long after Evans' 2009 feature Merantau. However, after funding fell through, Evans opted for a smaller project which became The Raid. Subsequently, Evans possessed the clout that he needed to finally produce Berandal, retooling the screenplay to follow on from The Raid, therefore justifying the movie's existence beyond mindless cash grab. It's a massive credit to Evans that Berandal is as smooth as it is. There's a dense narrative at play here, with plenty of story to work through over the gargantuan two-and-a-half hour runtime, yet the film at no point feels like homework. Evans perpetually maintains a glorious pace, deploying action sequences when necessary to give viewers a jump-start before boredom can set it. Even more laudable is that it's surprisingly easy to keep tabs on the sizeable ensemble, ensuring that you'll never mistake one character for another. It is a bloated effort, and at least one or two subplots feel indulgent (especially one minor character who's given his own subplot for no compelling reason), but the movie nevertheless comes together and works well enough.

Despite the bigger scale, Berandal is permeated with the same tone and style as its predecessor, with similar digital photography and grimy locales. Without the constraints of a single building, the action feels unconfined, allowing for plenty of hand-to-hand combat in a variety of settings, and there's even a stunning car chase for good measure. Production for this follow-up was ongoing for the better part of eight months, with the final fight scene alone reportedly taking up to six weeks to choreograph and shoot. As a result, Berandal contains arguably the greatest scenes of martial artistry in cinematic history, stylishly photographed by cinematographers Matt Flannery and Dimas Imam Subhono. To be sure, the camera movements are a bit on the jittery side as fists, blades and feet fly, but it's easy to discern what's going on, and the style results in heightened intensity. Evans employed dozens of talented fighters and put every single one of them to good use. There is not a single punch or kick that looks fake, and there are so many painful falls and brutal deaths that one must wonder if any of the stunt guys landed in the hospital as a result.

Berandal is a vicious movie, convincingly earning its R-rating before the five-minute mark with the image of a shotgun blast obliterating a human head. Also outstanding is a lengthy kitchen brawl in which Rama goes toe-to-toe with a fighter of almost equal ability, resulting in violence so visceral and merciless that you'll be on the edge of your seat the entire time. Evans likely used minor digital effects to depict various wounds as he did with the original movie, but once again it's more or less seamless. Berandal also benefits from a stellar cast, with Uwais showing himself to be both an awesome fighter and a solid leading man. However, it's Putra as Uco who dominates the movie, coming across as a suave, psychopathic villain. Other outstanding new additions include Julie Estelle and Very Tri Yulisman, who play a brother and sister duo with incredible fighting abilities. Estelle wields dual hammers in ways that make Oldboy look tame, while Yulisman uses an aluminium baseball bat to hugely painful effect. It's spectacular.

Although there's no denying the jaw-dropping competence of the fight scenes, a number of the conflicts do grow repetitive, and more variety to the action could've catapulted the movie into the stratosphere. Sure, there is a breathtaking car chase, but shootouts are all too rare, which is completely baffling considering that these gangsters should have an arsenal of guns, and it'd be a lot easier for them to just shoot Rama when he engages in fisticuffs with them. This aside, The Raid 2: Berandal is a home run that doesn't fall victim to usual sequel pratfalls. It may be bigger and better, but it doesn't lose sight of what made The Raid a cult success in the first place.

7.8/10

"The prophecy is made up, but it's also true. It's about all of us. Right now, it's about you. And you... still... can change everything."

The Lego Movie is a blast of pure awesomeness, an infinitely enjoyable animated feature that lives up to and surpasses its hype. Masterminded by Phil Lord and Christopher Miller (21 Jump Street, Cloudy with a Chance of Meatballs), it's a strikingly original piece of cinema, on top of being perhaps the boldest motion picture of 2014 so far. Here is a computer-animated movie with deliberately rocky animation to emulate the look of a YouTube stop-motion effort, and it's so infectiously funny and creative that it frequently feels like a devilishly goofy fan film. With an immense sense of energy and plenty of imagination, The Lego Movie is snappy and amusing, and it's difficult to wipe the smile off your face as you watch it.

In the land of Bricksburg, Emmet (Chris Pratt) is a completely nondescript construction worker, with no distinguishing characteristics to make him stand out to his colleagues. Running the city is President Business (Will Ferrell), who brainwashes the public into a carefree life of routine, encouraging them to watch cell-deadening TV shows like Where Are My Pants? and buy overpriced coffee. When Emmet stumbles upon a centuries-old red brick known as the "Piece of Resistance," he's identified by the mysterious Wyldstyle (Elizabeth Banks) as the "Special" - the chosen one expected to fulfil a prophecy maintained by blind wizard Vitruvius (Morgan Freeman). With President Business and his minion, Good Cop/Bad Cop (Liam Neeson), determined to reclaim the Piece of Resistance, Emmet sets out with Wyldstyle and Batman (Will Arnett), seeking to evade capture and prevent Business' nefarious plans.

The Lego Movie's opening moments are utter perfection, establishing the world inhabited by Emmet while effectively displaying the movie's snowballing tone. The tour of Bricksburg is a joy, with sly visual touches and even a sequence of Emmet's colleagues motivating themselves throughout the workday by perpetually singing Everything is Awesome, a song so insanely catchy that it's destined to become a pop culture staple.

For the majority of its runtime, The Lego Movie is an absolute hoot, providing nonstop laughs and quirkiness as it lurches from one uproarious, creative set-piece to the next at a breathless pace. It feels like the type of narrative that many of us would concoct as kids while playing with toys before we were restrained by annoying notions of reality. Although an entire feature consisting of such sequences would be fun enough, Lord and Miller go above and beyond the call of duty, dabbling in Pixar levels of maturity for the final act. The story takes an unexpected left turn, leading to a jaw-dropping reveal about the true nature of the existence of this universe. From there, the movie provides a poignant rumination on the wonders of childhood and the importance of playtime which may move some to tears. The Lego Movie not only features Lego prominently, but it's also an affectionate love letter to the toy brand, and it ponders Lego's place in the modern pop culture canon. Who on Earth expected that?

Practically everything in The Lego Movie is made of Lego. The people, the buildings, the fires, the landscapes, the explosions, the water - there is not a single frame of animation that's not comprised of Lego pieces. The movie never tries to hide this fact, constantly calling attention to its artifice in a playful fashion, wanting us to buy this as some homemade stop-motion film. There are plenty of wonderfully quirky touches for the nerds in the audience, from the various uproarious piss-takes and movie references, to the variety of Lego-built kingdoms that the characters tour through. Also impressive are the various cameos, giving the flick an enchanting sense of spontaneity and surprise. Suffice it to say, it would be borderline criminal to spoil any of the pleasures to unearth here, but rest assured it maintains attention almost effortlessly.

The Lego Movie could almost be watched without sound due to the lush visual presentation, but to do so would be to miss out on all the wonderful jokes that are sold with top-flight comedic timing. The goofy dialogue rarely lets up, and the script is peppered with side-splitting wordplay. Not to mention, the vocal performances all-round are spectacular, particularly Liam Neeson who has a ball as Good Cop/Bad Cop. It's also wonderful to hear Morgan Freeman's distinctive voice amid the chaos, while the likes of Pratt and Banks hit their marks beautifully. But surprisingly, one of the movie's biggest assets is Arnett as Batman. The portrayal of the Caped Crusader here is magnificent, with Lord and Miller gleefully skewering the dark, brooding, gravelly-voiced portrayal of Bats that we've been subjected to over the past decade.

If The Lego Movie wasn't masterminded by Lord or Miller, it would have been exactly the type of bland, safe, paint-by-numbers distraction that the project sounded like in the first place. Even though the movie is basically a 100-minute commercial for the world-famous building bricks, it's marketing pulled off in an inspired and satisfying manner. From start to finish, the picture is a through-and-through hoot, a genuine masterpiece that will likely wind up in the year's top 10. And even better is that it has arrived so early in 2014 after a disappointing year of animated movies, setting the bar extremely high. Kids will be in heaven, while adults will appreciate it on various levels. You will also be left wondering just how Lord and Miller were able to smuggle this borderline-perfect gem into cinemas.

9.5/10

"Captain, in order to build a better world, sometimes means turning the old one down... And that makes enemies."

Marvel doesn't have the best track record with second instalments, with Iron Man 2 and 2013's Thor: The Dark World both paling in comparison to their respective predecessors. But whatever curse once existed has now faded with the release of 2014's Captain America: The Winter Soldier, a sequel that not only improves upon its satisfying predecessor but also emerges as perhaps the best Marvel feature to date. Whereas 2011's Captain America: The First Avenger was an old-fashioned WWII thriller, this follow-up is a modern spy potboiler with a fresh identity, taking the franchise in new and exciting directions. Helmed by Anthony and Joe Russo, The Winter Soldier is intricate in its plotting, character development and political satire, yet also boasts some of the best action sequences in the Marvel canon to date, making this a hugely enjoyable sit that doesn't require a temporary lobotomy prior to viewing.

While on a dangerous assignment to foil the pirate takeover of a mysterious ship, Steve Rogers, a.k.a. Captain America (Chris Evans), develops suspicions that S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson) and colleague Natasha Romanoff/Black Widow (Scarlett Johansson) are keeping him uninformed on potentially important matters. He's disillusioned by the possibility, but he's forced back into duty with the arrival of the fearless, powerful assassin known as The Winter Soldier. When one of Rogers' friends is gunned down by the formidable foe, it becomes clear that S.H.I.E.L.D. has been compromised and nobody can be trusted. With high-ranking S.H.I.E.L.D. official Alexander Pierce (Robert Redford) wanting Rogers captured, the Captain goes on the run with Romanoff seeking to get to the bottom of the conspiracy. Also lending a hand is war veteran Sam Wilson (Anthony Mackie), who's experienced in using a special wing-controlled jetpack.

Written by Christopher Markus and Stephen McFeely, The Winter Soldier benefits from a crackling story that allows room for action, pathos, and the opportunity to comment on America's current political affairs. Added to this, the screenplay further develops Rogers as a character - The Avengers barely scratched the surface of Cap's assimilation into modern society, but The Winter Soldier shows the WWII veteran endeavouring to get a handle on the 21st Century and catch up on what he's missed. But it doesn't take long for the rug to be pulled out from underneath him, leaving Rogers to come to grips with the bleak reality of contemporary warfare full of high-tech surveillance and complex tactics, rather than good old-fashioned derring-do. Added to this, there are hefty twists at play throughout the story with huge repercussions, reintroducing unexpected characters and making a huge impact on the Marvel Cinematic Universe at large. Indeed, the ramifications of the proceedings here will reverberate throughout Marvel's other properties forever. The Winter Soldier is a bold movie, and it feels like the work of an auteur with a vision (or, in this case, two auteurs with a shared vision) rather than a committee of soulless studio executives.

The Russos were perhaps not the most logical pair for a Marvel blockbuster - their last film was the lackadaisical Owen Wilson comedy You, Me and Dupree, and they have a long track record in television. Yet, they prove their worth from the first very frame, forging a distinct cinematic aesthetic that's gritty without being dour. Similar to Shane Black's Iron Man 3, the Russos infuse The Winter Soldier with a unique identity, approaching the material not as a standard comic book affair but as a twisty, intense, character-centric espionage thriller. The directors endeavoured to achieve as much of the movie as possible with practical effects, and it shows, with grounded action sequences and suspenseful gun battles which are far more involving than the overly digital set-pieces that have become the norm in comic book flicks. The tone is more restrained, as well, harkening back to '70s thrillers as opposed to its superhero brethren. There are also some amusing little touches here and there, including Cap's list of cultural touchstones he wants to investigate, and a sly Easter Egg on a tombstone towards the film's end.

The action sequences of Marvel productions are mostly built around ray guns, monster punches and magic hammers, but the set-pieces in The Winter Soldier almost exclusively involve blades, bullets, fists and bombs. This is easily Marvel's most violent screen outing, with a gargantuan body count and plenty of shootouts. It retains its coveted PG-13 certificate by keeping blood and viscera out of frame, but it's nevertheless brutal. The Russos also foreground hand-to-hand combat, staging hugely impressive fight scenes boasting superb choreography. Most pulse-pounding is a sequence featuring Rogers battling an entire security team in a crowded elevator, taking them out with astonishing speed and skill. It's all photographed gorgeously by cinematographer Trent Opaloch, while Henry Jackman's accompanying soundtrack is perfection. As with all Marvel movies, The Winter Soldier eventually climaxes with a large action sequence ladled in CGI, but it feels almost obligatory and clashes with the movie's tone. Still, it's not enough to ruin the effort, as the Russos make the battle hugely exciting and even find time for emotion amid the pyrotechnics.

This is Evans' third screen outing as the noble, kind-hearted, muscular Captain America, and he remains absolutely spot-on, infusing his performance with a lived-in quality and coming across as a believable boy-scout type. This particular story asks for Evans to display more pathos than usual, and he confidently rises to the task - he conveys his guilt over the loss of his best friend Bucky Barnes (Sebastian Stan), effectively emotes over the difficulty of seeing his beloved Peggy (Hayley Atwell) as an old woman, and even looks uncomfortable about the Captain America legacy when he visits his very own exhibition at the Smithsonian museum. And, top of being a confident hero, Evans charmingly interacts with Johansson and Jackson, with the former being allotted a larger role in the proceedings. Suffice it to say, Johansson is an utter delight, dispersing an array of snappy one-liners and handling the athletic action scenes like a champion.

As Alexander Pearce, Redford is a magnificent addition, providing weight and gravitas to help sell the movie as the '70s political thriller that it is. Redford absolutely kills it, and also makes us believe his power and authority from the very first scene in which he appears. Another welcome newcomer is Mackie, who plays a Rocketeer-type with plenty of charm and appeal. And it almost goes without saying that Jackson remains an effortless badass as Nick Fury. Furthermore, the Winter Soldier himself is a remarkable villain - he's strong, fast and physically intimidating, not to mention the story behind him (which will likely extend into the next movie) is one of the most interesting things in the Marvel franchise so far.

Captain America: The Winter Soldier is a genuine game changer, both in the Marvel Cinematic Universe and the superhero genre in general. It may clock in at over two hours, yet not a single scene feels unnecessary. It will almost undoubtedly stand as the finest constituent of Phase Two of Marvel's cinematic world-building effort, and it manages to build anticipation for both the next Avengers and the third instalment in the standalone Captain America series. As always, be sure to hang around until the end of the credits for two additional scenes; one in the middle of the credits, and one after the credits. Let's just say that fans are destined to leave the cinema salivating.

8.7/10

"Not one single person noticed I'd been replaced by an evil criminal mastermind?"

Despite its shortcomings in terms of pacing and character focus, 2011's The Muppets was a delightful revivification of the ailing Muppets franchise, making Jim Henson's iconic creations feel relevant once again. Striking while the iron's hot, 2014's Muppets Most Wanted retains director James Bobin and co-writer Nicholas Stoller, who actually improve upon their last endeavour, providing more laughs and plenty of inspired silliness, not to mention a superb selection of original songs. Whereas its 2011 predecessor was fundamentally the ultimate fan film, Muppets Most Wanted aims to get back to Muppet basics as if the gang never left. Thus, this new outing follows the template set by the original Henson-era trilogy, introducing a flimsy plot that blatantly exists as an excuse for gags, antics and songs.

The Muppets was imbued with a very meta-narrative, chronicling the Muppet gang getting back together and setting out to reclaim their popularity. Muppets Most Wanted is just as meta, with the little furry guys wondering what they should do for a sequel. Kermit (Steve Whitmire) and his friends are soon approached by manager Dominic Badguy (Ricky Gervais), who talks the gang into embarking on a tour of Europe. Meanwhile, evil Russian frog Constantine (Matt Vogel) escapes from a Siberian prison run by Nadya (Tina Fey), promptly swapping identities with Kermit to send the famous amphibian behind bars while he takes control of the Muppets. Using the tour as cover, Dominic and Constantine begin pulling off heists across Europe, stealing artwork and artefacts which will lead them to a larger fortune. In prison, Kermit tries to adapt to his new lifestyle, eventually collaborating with his intimidating inmates (including Ray Liotta, Jemaine Clement, and Danny Trejo) to stage a talent show. Added to this, a bumbling Interpol inspector (Ty Burrell) teams up with C.I.A. Agent Sam the Eagle (Eric Jacobson) to investigate Constantine's burglaries.

There's quite a lot of story to work through in Muppets Most Wanted, but Bobin manages to juggle the ensemble quite effectively. All the Muppet characters are given a proper look-in - including Fozzie (Jacobson), Miss Piggy (also Jacobson), Animal (Jacobson again) and Gonzo (Dave Goelz), not to mention Walter (Peter Linz), the protagonist of the last film who's part of the gang this time around. And, of course, the inimitable Statler and Waldorf also show up on a few occasions to wittily heckle yet again. Although the flick is overlong at almost 110 minutes, it has a snappy pace and ample momentum, deploying plenty of amusing moments and uproarious set-pieces. Added to this, there is heart, mainly in Kermit's character arc - the subplot involving Kermit feeling underappreciated by his friends and rediscovering his mojo by staging the prison talent show is utter gold.

It would be easier to create the Muppet characters digitally, but thankfully the makers of Muppets Most Wanted avoided the temptation, relying on old-school puppetry while only using CGI to erase rods and puppeteers. Hence, the spirit of the Muppets is retained, and it helps that the movie recaptures the meta disposition of earlier endeavours. Just like 1979's The Muppet Movie, the Muppets are all perfectly aware that they're in a motion picture, to the extent that the flick even opens with the troupe singing a song called We're Doing a Sequel in which they acknowledge the difficulties of attempting a follow-up. More than that, Muppets Most Wanted literally begins where 2011's The Muppets left off, showing the crew wrapping their work on the previous endeavour and discussing where to go next. The movie is playful and fun from the very first frame - there's even a reference to fan criticism of the last film.

As with all Muppet features, Muppets Most Wanted is one step away from being a full-blown musical. Fortunately, the selection of toe-tapping tunes is of a high standard here. Only a few songs from the last picture were memorable (including the Oscar-winning Man or Muppet), but every musical number here is a winner. Written by Bret McKenzie (who was also involved with the 2011 film), the song list is absolutely fantastic, with several instant classics that'll prompt you to rush out and buy the soundtrack. On top of the insanely catchy original ditties, there's also a new rendition of Together Again (from The Muppets Take Manhattan). Plus, Muppets Most Wanted continues the great Muppet tradition of celebrity cameos. It would be unwise to spoil the surprises within, but rest assured there are plenty of recognisable faces, amplifying the sense of fun.

Luckily, Muppets Most Wanted returns Kermit and Miss Piggy to the fore where they belong. Both Jason Segel and Amy Adams stepped away for this instalment, but you honestly won't miss them. All of the Muppet performers give it their all here and still have wonderful singing voices. Of course, one still misses the vocal talents of Frank Oz and Jim Henson, and some of the roles never sound quite right, but it's easy to overlook this aspect and enjoy the ride. The human factor is also solid here, with the likes of Gervais clearly having a ball playing alongside the ironic felt creatures. But Fey is the standout, espousing a cartoonish Russian accent and filling her performance with enthusiasm. Meanwhile, Burrell is amusing as the Clouseau-esque Interpol agent, making for a perfect companion for Sam the Eagle. Amusingly, Sam is actually the straight man here to Burrell's bumbling Frenchman, whose behaviour frustrates the American bird to no end.

Purists may continue to complain about Frank Oz's exclusion, as well as the fact that Muppets Most Wanted has a few trivial similarities to The Great Muppet Caper and even climaxes with a wedding between Kermit and Miss Piggy even though they ostensibly married in The Muppets Take Manhattan. Yet, Oz's exclusion was his choice alone and it's no fault of the filmmakers. Plus, the story isn't anything like The Great Muppet Caper at all, and the wedding in Manhattan was just part of a show. Besides, since when was continuity ever a big deal in this franchise? Kermit and Fozzie were identical twin brothers in The Great Muppet Caper, after all.

Muppets Most Wanted is small-scale, good-natured and light, which is good enough. It's funny and the songs work, which is what matters the most in a Muppet movie. Best of all, it's a family film suitable for kids which also works for adults and franchise fans. Bobin and Stoller have truly found their groove for this instalment, creating plenty of madcap antics for the Muppets while sustaining love and respect for the long-standing entertainers.

7.8/10

"I hate to be rude, but we're trying to do a movie here..."

From the very early stages of 1981's The Great Muppet Caper, it's clear that the picture is in good hands. Opening with a bang, this second feature-length Muppet endeavour begins with a hilarious meta conversation about the opening titles, followed by some uproarious Muppet-style antics and a joyous musical number. Fortunately, this high standard is retained throughout, as the sense of fun and wonderment seldom slows down across its 95-minute duration. The Great Muppet Caper is actually the only Muppet feature to be directed by the late Jim Henson, and it remains a wonderful cinematic relic of the Henson years. While not quite as good as 1979's The Muppet Movie, it's a worthy successor, full of enough inspired moments of hilarity to please hardcore fans and provide a fun time for the uninitiated.

In this story, Kermit the Frog (Henson) and Fozzie Bear (Frank Oz) are "identical" twin brothers who work as newspaper reporters for the Daily Chronicle with Gonzo the Great (Dave Goelz), but they're almost fired when they miss an enormous scoop. To redeem themselves, the trio travels to London to investigate the theft of several precious jewels from wealthy fashion designer Lady Holiday (Diana Rigg). Low on cash, they're forced to stay at the dilapidated Happiness Hotel which is also home to many other Muppet characters. During their investigation, Kermit also meets Miss Piggy (Oz), Lady Holiday's new secretary who manages to convince Kermit that she's actually Lady Holiday.

As with its forerunner, The Great Muppet Caper gets plenty of mileage out of meta jokes, with the Muppets all firmly aware that they're in a motion picture. For instance, Lady Holiday at one stage gives Miss Piggy the movie's entire backstory, justifying herself by saying that the plot exposition needs to be put somewhere. Later, Sesame Street's Oscar the Grouch shows up for what he himself describes as "a very brief cameo." And this is to say nothing of the barrage of amusing one-liners and set-pieces scattered throughout the movie, making this an effortlessly amusing sit for kids and adults alike. However, the movie is not as strong during its final third - Henson struggles to maintain the furious momentum of the first two acts, and there are fewer laughs. Still, the madness is often enjoyable, and though it meanders a little bit, the movie is never a drag.

No Muppet feature is complete without musical numbers, and The Great Muppet Caper fulfils this requirement with confidence. The film is predominantly a homage to old-school screwball comedies and detective capers from the '30s and '40s, but there are also big musical numbers in the vein of Busby Berkeley. For instance, there's a magnificent sequence in which Miss Piggy swims in sync with other elaborately costumed girls while Charles Grodin (who's dubbed in an obvious, hilarious way) croons in a direct parody of Berkeley's movies. There are other wonderful songs as well, and it's hard to wipe the smile off your face during sequences involving the whole Muppet gang. The sense of joy rarely lets up.

Celebrity cameos are another staple of this franchise, and The Great Muppet Caper has a few nice surprises up its sleeve. Former James Bond girl Diana Rigg is a joy as Lady Holiday, while the perpetually brilliant John Cleese pops in for an amusing cameo, starring alongside Joan Sanderson who also appeared with Cleese in an episode of Fawlty Towers. However, the movie is not packed to the gills with cameos like most Muppet productions, and more guest stars would've amplified the movie's sense of fun. On a more positive note, the Muppet performers are as good as ever, and it's always nice to look back on the bygone era of the infinitely talented Henson and Oz.

Although The Great Muppet Caper suffers from uneven pacing and a lack of heart, it's still a great entry to the Muppet canon. It's bigger and grander than its predecessor, and at times feels like a James Bond-esque espionage movie, albeit one that also finds time for some slapstick comedy and a few Busby Berkeley-style musical numbers. It's essential viewing for Muppet fans, while casual movie-goers will no doubt be enraptured by the colourful visuals and the healthy sense of humour.

7.7/10

"My father said that one day, if man continued in his ways, the Creator would annihilate this world..."

In spite of what Paramount's marketing campaign would have you believe, 2014's Noah is not Darren Aronofsky selling out with a dumb mainstream blockbuster. On the contrary, this was a long-gestating passion project for the filmmaker, and the product is unmistakably an Aronofsky effort. Incredibly audacious and ambitious, it's a magnificent realisation of the well-worn story of "Noah's Ark," though it's definitely not for all tastes. Noah will become one of 2014's most polarising films (this reviewer witnessed a number of walkouts), as Aronofsky's vision is bleak and brutal - it's much too dark to be confused with a children's fairy tale. Trailers have been selling an entirely different motion picture, with Paramount foregrounding the blockbuster-ish moments as much as possible, of which there is maybe ten minutes' worth in the movie's entire 140-minute duration. Trust me, you don't need to be religious to get swept up in this involving drama which stands as one of Aronofsky's finest achievements.

The last descendent of Adam's good son Seth, Noah (Russell Crowe) lives in fear of the current state of the Earth, doing his utmost to protect his wife Naameh (Jennifer Connelly) and their three sons. Meanwhile, Adam's sinful son Cain has beget evil across the world, leading many to assume that God - referred to as The Creator - has long abandoned the world. Experiencing a vision of Earth consumed by water, Noah concludes that God plans to destroy the world, hoping to start afresh and wash away the filth of humankind. Travelling to confer with his grandfather Methuselah (Anthony Hopkins), Noah is given clarity for his task, setting out to build an ark on which he can survive the flood and save two of each animal. For the gargantuan task, Noah enlists the help of a group of fallen angels known as The Watchers, who are trapped in the form of rock monsters. The family also adopt orphan Lla (Emma Watson), who maintains a relationship with Noah's son Shem (Douglas Booth) but feels uneasy about starting a family. As the ark takes shape, Noah is presented with a problem in the form of Tubal-cain (Ray Winstone), who plots to steal Noah's vessel for his large army of sinners.

Aronofsky does something remarkable with Noah: he turns the utterly unbelievable biblical tale (Ricky Gervais has famously pointed out how far-fetched it is) into a palatable, plausible story. Although there are religious overtones and many of the proceedings hinge on the belief that God exists, Aronofsky keeps the picture strangely grounded and answers several queries about the feasibility of this story. For instance, the ark is predominantly built by The Watchers over the course of a decade, making the feat seem oddly possible. Plus, God actually sends the animals to the ark, and they hibernate while on-board to prevent the need for food.

Christians may try to deny it, but the bible was far crazier than many of us remember, and Noah embraces this insanity. Fallen angels become personified in stone giants, and Aronofsky pulls no punches in his depiction of this period. Early reports suggested that Noah was to be an R-rated version of the biblical story, and it certainly feels so. The trailers severely whitewash the movie's content, as Aronofsky never shies away from delving into the ugly side of human nature. Some trimming may have been conducted to ensure a PG-13 rating, but it's astonishing how much the movie gets away with in its current form (and how it got a 12A from the BBFC is a mystery). There is savage violence here, with visceral sprays of blood and gory killings, including the image of a young girl being trampled to death. And the horror of the flood is by no means downplayed, as the soundtrack becomes filled with the terrified screams of those not aboard the ark. It's haunting stuff.

It's frankly astounding that Aronofsky was able to smuggle a motion picture like Noah into cinemas, especially bearing in mind the narrative's thematic undercurrents and messages. Indeed, Noah has a lot to say about the dangers of blind faith, about God's ferocity, and about the wickedness of humankind. Christians will no doubt find the movie utterly offensive, as the central message is that mankind's continued existence today was an act of defiance against God. Rather than an uplifting story, this is a heavy drama, and it delves into the harsh choices that Noah is forced to make. Noah survives the flood as a broken man racked with guilt, and he goes to such dark places along the way that it's often hard to relate to him as a protagonist. Even though the flood is the production's centrepiece, the chaos is all over by the 100-minute mark, leaving the final half-hour to work through a gripping psychological thriller routine aboard the ark. It admittedly feels a bit overlong by the end, but the story is nevertheless wrapped up in a glorious fashion, leading to a satisfying conclusion that doesn't feel like a cop-out.

Noah is positively epic in scope, with massive sets and vast locations. The special effects range from excellent to merely passable, with some of the CGI beasties looking a tad too obvious on occasion. Nevertheless, Aronofsky's filmmaking is predictably solid. The arrival of the flood is downright gripping, made all the more nail-biting due to the patient character development that preceded it. It's at least ten minutes of non-stop chills, and it's impossible to tear your eyes away from the screen. Furthermore, Noah is beset with Aronofsky's idiosyncrasies, with creative time-lapse sequences and a stunning vision of Adam and Eve. The movie also opens with a brilliant retelling of the Book of Genesis, with gorgeous CGI and brisk storytelling bringing us up to speed and giving motivation for God's wrath upon the Earth. Just as impressive are Noah's visions of the impending flood, which are incredibly disturbing.

Noah is also gifted with a magnificent cast, led by the Oscar-winning Crowe who's a perfect fit for this vision of the age-old character. On top of being tough and physically imposing, he additionally sells the deeper aspects of this role, nailing Noah's vulnerability and clearly conveying the ordeal's psychological effects on him. It's wonderful to see Crowe doing something like this after the tremendous misfire of Les Misérables. Connelly is just as strong, while the always-reliable Hopkins is charming and believable as Noah's grandfather. Perhaps the biggest surprise is Watson, who confidently handles the complex emotions that are asked of her. It's the type of role that she needed to move on from her Harry Potter image. Meanwhile, Winstone is a very memorable bad guy, and he has the right physicality to match Crowe in a brawl.

Paramount test-screened alternate versions of Noah without Aronofsky's knowledge or consent, which is understandable. Since this is an Aronofsky movie through-and-through, the executives likely shat themselves upon seeing the filmmaker's bleak vision take flight in the editing room, and knew it would be a tough sell to the mainstream. Reportedly, Aronofsky was granted final cut, which is very fortunate indeed. It's hard to imagine Noah being overly successful at the box office, but we can forever be glad that this motion picture exists. Take it from a devout Agnostic with no interest in religion: Noah is a visionary masterpiece of immense power. It sticks with you long after the end credits have expired. We have never seen an epic like this before, nor have we ever seen such a gritty retelling of this story.

8.5/10

"I'll be there... around every corner... in every empty room... as inevitable as your guilty conscience..."

For Universal Studios, The Shadow was intended to be the beginning of a new cinematic franchise, as the marketing machine was put into overdrive, hyping this 1994 flick through merchandising and trailers. Unfortunately, it landed with a thud, receiving unflattering reviews and utterly flopping at the box office. Yet, it has deservedly gathered something of a cult following on home video, though it still remains a painfully underrated superhero endeavour which deserves a lot more credit than it gets. The Shadow is best described as a hybrid of Indiana Jones and Tim Burton's Batman, and it's every bit as awesome as that description implies. A slice of pure matinee fun, The Shadow is utterly delightful, a tongue-in-cheek comic book adventure which embraces its silliness, with one-liners, over-the-top villains, hammy plotting and gaudy characters. It's easily in the same league as similar productions like Dick Tracy and The Phantom.

A former American soldier during World War I, Lamont Cranston (Alec Baldwin) has given over to madness, residing in Tibet where he has established himself as a ruthless crime lord. However, he is offered the chance to redeem himself by becoming The Shadow, a telepathic hero who can cloud minds and exert incredible psychic influence over his victims. Returning to New York City, Cranston seeks to use his newfound gifts to clean up the streets, along the way developing an ever-expanding society of sidekicks and allies, including his loyal driver Moe (Peter Boyle). The Shadow is presented with a unique challenge, though, with the arrival of powerful psychic warrior Shiwan Khan (John Lone), who's determined to destroy the Big Apple unless the city bows to his rule. As Cranston sets out to stop Khan, he also meets a strong burgeoning telepath named Margot Lane (Penelope Ann Miller), whose scientist father (Ian McKellen) is under Khan's control.

The Shadow started life in the pages of pulp magazines back in the 1930s, and later in a radio serial with Orson Welles. The character predates Batman, and it would seem that he influenced the Caped Crusader in a number of aspects. The source material never revealed The Shadow's origins, compelling screenwriter David Koepp (Jurassic Park) to construct a former life for Cranston before he donned the cape. Without weighing down the narrative too much, Koepp's brisk exploration of Cranston's origins is spot-on, finding him as a brutal warlord and opium kingpin in post-WWI Tibet. It deepens Cranston's character by giving him a villainous back-story, as he is repenting for his sins by acting as a vigilante and working to remove the criminal element of NYC. There's a rich, detailed world at play here, and the movie takes advantage of the characteristics which make The Shadow a unique hero. The movie also maintains the character's dark edge, as he does not baulk from killing.

With the 21st Century begetting comic book movies like Spider-Man and Iron Man, it's refreshing to witness a superhero movie which differs from the "origins story" template. Although Cranston's dark past is established in the story's early stages, The Shadow subsequently flashes forward a number of years to find Cranston fully established as The Shadow. Origin tales are usually the least fun, as such franchises never really take off until the second instalment, hence The Shadow gets credit for diving straight into the fun stuff. More recent comic book movies are either too soft or too "dark and gritty," but this is a reminder of a different era, when filmmakers simply took the material with the sincerity it deserved (see also: The Crow). Director Russell Mulcahy's old-school approach is to be admired, and there's plenty of atmosphere, not to mention the film noir disposition renders it a unique beast in this day and age. Koepp's script is also peppered with amusing dialogue, setting out to recreate the witty, razor-sharp bantering of old screwball comedies.

The Shadow is a visually spectacular motion picture, supported by elegant production design and gorgeous period-specific costumes. Jerry Goldsmith's flavoursome score is a superlative accompaniment; it's one of his most overlooked works, and now the soundtrack recording is a hot commodity among nerds and collectors. Prior to The Shadow, Australian director Mulcahy was recognised for films like Razorback and Highlander, and this project had the potential to establish him as a blockbuster filmmaker. Although its failure has led to an uneven career for Mulcahy, his handling of Koepp's script is spectacular, as the production is full of exciting action set-pieces, and the cinematography by Stephen H. Burum is both effective and artful. Admittedly, some of the special effects look comparatively dated, but there is a certain charm to seeing matte paintings and optical effects which were executed on the very brink of the digital revolution. The Shadow is an enjoyable sit, and the competent craftsmanship is one of its many benefits. It may seem a tad on the cheesy side, but such cheesiness is endearing, not to mention accurate to the source material.

There is a genuinely impressive cast driving The Shadow, led by Baldwin who's ideally suited for the role of the titular superhero. His scowl and gravelly voice is a natural fit for The Shadow, while his tremendous movie star charisma makes him believable as the wealthy playboy Lamont Cranston. Penelope Ann Miller provides the requisite eye candy as Cranston's love interest, while the rest of the roles are filled by such great actors as Peter Boyle, Ian McKellen, Tim Curry and John Lone. The late great Boyle is particularly good (he has always been adept with comedy), while Lone makes for an excellent villain.

Unfairly maligned and overlooked, The Shadow remains a top-notch example of a superhero flick which does justice to the dense source material while also having fun along the way. And, unlike all of today's numerous comic book movies, it exists to tell a standalone story and establish this universe, rather than leaving tonnes of loose ends to set up sequels. On top of being flat-out fun, it is also a well-made blockbuster which tells a coherent story and contains a solid amount of character development. It's a shame that things didn't work out for the film, as further adventures of The Shadow would be an enticing prospect indeed. There might be a few storytelling and pacing issues, but The Shadow is pure popcorn entertainment which is often enjoyable and features a kaleidoscope of colourful supporting characters.

7.8/10

"The mountain will kill us all!"

2014's Pompeii is perhaps the first major Hollywood blockbuster that feels like the low-budget "mockbuster" version of itself. Indeed, if a none-the-wiser viewer ever stumbled upon this schlock while channel-surfing, they would likely assume that it was produced by the SyFy Channel or The Asylum. In theory, a filmic retelling of the Pompeii disaster with modern visual effects and a $100 million budget should be an easy home run, but this project was overseen by Paul W.S. (Waste of Sperm?) Anderson, late of The Three Musketeers and multiple Resident Evil movies. The movie founders right out of the gate, with woeful scripting and an uninteresting story destroying any potential for this to be the next Titanic. Running at barely 90 minutes, Pompeii is mostly concerned with bland political turmoil and a forced love story, reducing the volcanic destruction to a mere footnote. Unfortunately, none of the story elements can gain full traction under Anderson's watch.

As a boy, Milo (Kit Harrington) witnesses his parents being murdered by powerful Roman senator Corvus (Kiefer Sutherland), who decimates Milo's village in the process. Forced into slavery and raised to be a gladiator, Milo winds up being sent to Pompeii to participate in the local gladiatorial games which are actually overseen by Corvus. Bonding with fellow gladiator Atticus (Adewale Akinnuoye-Agbaje), Milo also catches the eye of beautiful noblewoman Cassia (Emily Browning), the daughter of Pompeii ruler Severus (Jared Harris). Unfortunately for Milo, Corvus has eyes for Cassia as well, seeking to coerce her hand into marriage and have Milo killed in the games. As the drama unfolds, the nearby Mount Vesuvius begins to erupt, threatening to destroy the city and kill everyone, causing mass hysteria.

Unfortunately, the script wastes too much time on scenes of forced conflict and a love story which makes precisely zero sense. Literally, Milo and Cassia only fall in love because the screenplay demands it. Titanic made it clear that Jack's adventurous, spontaneous spirit endeared him to Rose, but here? Milo and Cassia spark with each other when he takes a dying horse out of its misery. Okay then. Moreover, since both characters are so underdeveloped and one-dimensional, it's impossible to believe the romance, let alone become invested in it. Pompeii labours through countless subplots, hoping that all the interminable build-up will result in fully-rounded characters, but Anderson fumbles it up. (In fact, Milo and Atticus are a far more entertaining on-screen pair than Milo and Cassia, and Pompeii would have been infinitely more interesting if there was no romance and the story simply involved the exploits of the two gladiators.) Rubbing salt in the wound is the ending, which aspires to be powerful but fails to earn the right. Instead, it's laughable.

Pompeii wants to be a merger of James Cameron's Titanic and Ridley Scott's Gladiator, but Anderson is neither Cameron nor Scott - rather, he's a boorish director incapable of understanding basic cinematic principles like nuance. Whereas Titanic carefully examined the mayhem aboard the ship as it sank, scenes of Pompeii's destruction are in very short supply. It takes over an hour for the eruption to begin, for crying out loud. There's maybe five minutes of footage of panicked denizens being obliterated by the mountain before Anderson shifts focus to yet another gladiatorial conflict and an uninteresting chase through the fiery city streets. Such scenes are utterly tedious compared to the volcanic fury that movie-goers would expect to see in a flick called fucking Pompeii. And while most of Anderson's cinematic output is R-rated, Pompeii is a PG-13 endeavour, a decision that harms the entire experience. Although the destruction is violent enough within the restraints of its MPAA certificate, the majority of the movie is about bloody gladiator battles, none of which are particularly exciting or even coherent due to herky-jerky photography and awkward editing. Bleeding seems to be optional for characters, as well, and the whole enterprise would be far more entertaining if the matches were closer to Gladiator in terms of violence.

Despite its budget, Pompeii feels astonishingly cheap on occasion. Admittedly, there are a number of impressive money shots once Vesuvius awakens, but it appears that the entire budget was saved for the half-hour of volcano mayhem, hence the preceding two acts look oddly low-budget, more like a television production than a major motion picture. It certainly doesn't help that Pompeii was shot digitally, and even lacks the polish of something like Game of Thrones, which looks far closer to cinema quality than this malarkey. It's a shame, as filming on 35mm could've given the production a far more expensive feel. Making matters worse is the woeful acting right across the board. Harrington seems to be from the Sam Worthington school of nondescript action heroes (and yes, I'm aware Harrington is great on Game of Thrones), while Browning is an utter blank slate. The pair are supposed to represent the movie's heart, but they're complete dullards who share more of a sibling connection. Sutherland, meanwhile, is a special kind of terrible, though Akinnuoye-Agbaje is at least fun.

Pompeii is a tremendous wasted opportunity. In the hands of a superior moviemaking team led by a genuine visionary, we could have been given the definitive cinematic portrayal of the eruption of Mt. Vesuvius, but instead, we're left with this disappointing tosh. It's clear that Anderson wanted Pompeii to be a change of course for his directorial career, but he can't bring it together in a substantive way, with rushed storytelling and insufficient breathing room for proper dramatic growth. A few minutes of halfway impressive spectacle are simply not enough if the rest of the movie is as drab as this. In the end, this is a bad movie which would've been a lot more fun if only it were worse. See, because of the PG-13 rating, it feels too tasteful when Anderson should have ramped up the sleaze and the violence. That sort of approach would've resulted in at least a guilty pleasure rather than the boring cheese-fest that we're left with.

3.8/10