Tag Archives: 3.5 stars

Top Gun: Maverick

Genre: Action

Director: Joseph Kosinski

Screenplay: Ehren Kruger, Eric Warren Singer, Christopher McQuarrie

Cast: Tom Cruise, Jean Louisa Kelly, Glen Powell, Danny Ramirez, Jay Ellis, Lewis Pullman, Monica Barbaro, Charles Parnell, Jon Hamm, Bashir Salahuddin, Jennifer Connelly, Miles Teller, Val Kilmer, Ed Harris

Running Length:  131 minutes

Synopsis: Facing an uncertain future and confronting the ghosts of his past, Maverick is drawn into a confrontation with his own deepest fears. Culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it.

Review: Top Gun: Maverick belongs to a rare breed of movies – the ones where the sequel is better than the original. While we can look back at the original Top Gun fondly through the rosy lens of nostalgia, it isn’t that great of a movie in all honesty. Tom Cruise was at the cusp of superstardom at the time, and the film banked very much on his charisma and good looks to carry the movie. The film had very little going for it apart from Tom and the very authentic aerial action sequences, and anyone who had rewatched the film in preparation for Top Gun: Maverick might be surprised to (re)discover how banal the first film was. That said, the film remains a pivotal one for my childhood, having seen it many times on terrestrial TV as reruns, and boasting a soundtrack with songs that have truly withstood the test of time.

Flash forward some 36 years later, and after several delays due to the pandemic, we finally get to see Top Gun: Maverick on the big screen. First things first – this is a movie that needs to be experienced on the big screen, and viewing it anywhere else (for the first time at least) is doing yourself a disservice. Secondly, while anyone who’s watched the first Top Gun (and remember it) will certainly get more out of the movie, with its numerous callbacks and “easter eggs”, it is certainly not a prerequisite. Top Gun: Maverick successfully strikes a balance between selling nostalgia and attempting to appeal to younger audiences who may not even be born when the original film was released.

Top Gun: Maverick is about as classic an action blockbuster as you can get, and there are absolutely no surprises to be had in how the plot unfolds. This is not a bad thing, since a classic blockbuster done well is still a great cinematic experience, and this is definitely the case for Top Gun: Maverick. The aerial dogfights are still grounded in practical effects, and the action sequences in the film are breathtaking and realistic in a way that is very rare in current-day cinema, where CGI reigns supreme. The entire third act of the film is edge-of-your-seat thrilling, and even though it does almost go off the rails Fast & Furious style near the end, it’s still immensely satisfying as a cinematic experience.

With Tom Cruise putting in a much more nuanced and well-rounded performance than in the previous film and still looking fantastic for his age, he is an easy protagonist to root for, and this is easily his best work in years, if not decades (I think it would take a lot for Mission: Impossible to trump what has been achieved here). However, the same dimensionality can’t really be said of anyone else in the cast, since they exist only as plot devices (yes, even Miles Teller’s Rooster and Jennifer Connelly as Penny, the token love interest). There is a great, tender sequence between Val Kilmer and Tom Cruise that is very well-handled, and it’s also refreshing to see that the film’s sole sex scene (if you can even call it that) is one that is grounded in reality and not excessively romanticized like most films do.

While the span of time that has passed between the two Top Gun films will certainly not be in the franchise’s favour, anyone willing to give this film a chance will likely find themselves entirely enjoying the viewing experience. The film has an unfortunately short runway before other summer blockbusters will take over the cineplexes, but this is genuinely one of the best non-superhero blockbusters that have been released in recent years.

Rating: * * * ½ (out of four stars)

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The Batman

Genre: Action, Adventure

Director: Matt Reeves

Screenplay: Matt Reeves, Peter Craig

Cast: Robert Pattinson, Zoe Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Andy Serkis, Colin Farrell

Running Length:  176 minutes

Synopsis: Batman ventures into Gotham City’s underworld when a sadistic killer leaves behind a trail of cryptic clues. As the evidence begins to lead closer to home and the scale of the perpetrator’s plans become clear, he must forge new relationships, unmask the culprit and bring justice to the abuse of power and corruption that has long plagued the metropolis.

Review: It almost feels like a misnomer to call The Batman, the umpteenth reboot for the caped crusader, a superhero movie. Much as it does feature Batman and other characters from the DC universe, it really would be more accurate to call The Batman a serial killer/detective procedural movie that features a superhero (which we can call Detective Dark Knight). Whatever sub-genre you may want to file The Batman under, one thing is for sure – it is one of the best comic book movies ever made, in that it feels like you’re literally watching a comic book unfold on the big screen. It also happens to be a really good Batman movie, coming close to the heights reached by The Dark Knight.

Ben Affleck exiting the production of The Batman as both director and actor meant that this new Batman film, like Joker, ends up in its own Batman universe, instead of being connected to the broader DC Extended Universe. Unfettered by the need to stick to the DCEU canon, Matt Reeves and co-writer Peter Craig managed to craft an excellent film that truly delves into the detective aspect of Batman as a character (he was birthed in the pages of Detective Comics after all), something that has never really been done to this extent before despite the multitudes of Batman films made over the years. Anyone that has been hankering for a movie in the vein of David Fincher’s Se7en and Zodiac would find that itch satisfyingly scratched in The Batman.

Robert Pattinson has had to carry around the weight of the Twilight franchise for much of his career, and despite proving time and again that he’s a much better thespian than the Twilight films would suggest, he’s forever swimming against the current to demonstrate how he’s not just a sparkly brooding vampire. He once again makes this point known in The Batman, and really shines (ahem) in the titular role – given even fewer speaking lines than Christian Bale, Pattinson makes excellent use of non-verbal acting to flesh out his versions of Batman and Bruce Wayne, from the gait he employs while in the suit, to communicating nuanced emotions with his eyes alone. It is a very strong performance and stands toe to toe with Christian Bale’s iconic turns as the Batman.

The rest of the cast are equally strong, with Zoe Kravitz doing an excellent job as Catwoman (possibly my favourite onscreen portrayal of Catwoman thus far) and sharing great onscreen chemistry with Pattinson, and Paul Dano’s Riddler being another highlight, whose performance is genuinely creepy and yet grounded in reality that one can totally imagine a version of his Riddler existing in real life. Colin Farrell is unrecognizable as the Penguin but does more than just be a vessel for make-up and costuming, and Jeffrey Wright is completely on point in his portrayal of Jim Gordon. However, the most memorable supporting character of all has to be Gotham City itself – while we have always seen the city in various aspects, this is the first film where it really feels like an actual living, breathing city, albeit one that is wracked with the disease of crime and decay. I can’t wait to see more of Reeves’ Gotham feature in upcoming projects.

On the technical side of things, The Batman is near flawless. The cinematography by Greig Fraser is stunning, on par with the amazing work he did on Dune last year – the brilliant use of colour, lighting and shadows makes this an incredibly handsome film to watch on the big screen. Michael Giacchino’s massive, percussion-heavy score really adds power to the film especially in pivotal scenes, and this is indeed one of the best Batman scores, very high praise given the illustrious alumni that have worked on prior Batman films that includes Danny Elfman, James Newton Howard and Hans Zimmer. The action choreography is also excellent, and while there are just a handful of action sequences, they are all well-executed, including a nighttime car chase sequence involving a very organic Batmobile that is sheer exhilaration to watch unfold on both a visceral and technical level.

Although The Batman is ostensibly a reboot of the franchise, the film skips over the origin story of Batman and places us in the second year of his crime-fighting career, and it can almost be said that the film is more of a coming-of-age story than an origin story, where Batman attempts to figure out his true purpose in Gotham City. It’s an ambitious attempt, and while it is arguably a little too long and could have done with some more judicious editing, Reeves pretty much nails the landing. I went into the film being rather skeptical about how anyone could still bring something new to the table for Batman, but Reeves has proven me wrong. The film’s success is very much dependent on what audiences are expecting to take away from the viewing experience, but it would be difficult to imagine anyone coming out of the theatres being disappointed by what they’ve just watched, even if they went in expecting a more traditional superhero movie.

Rating: * * * ½ (out of four stars)

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Spider-Man: No Way Home

Genre: Action, Adventure

Director: Jon Watts

Screenplay: Chris McKenna, Erik Sommers

Cast: Tom Holland, Benedict Cumberbatch, Zendaya, Jacob Batalon, J.K. Simmons, Benedict Wong, Marisa Tomei, Jon Favreau, Rhys Ifans, Thomas Haden Church, Alfred Molina, Jamie Foxx, Willem Dafoe

Running Length:  148 minutes

Synopsis: For the first time in the cinematic history of Spider-Man (Tom Holland), our friendly neighborhood hero’s identity is revealed, bringing his superhero responsibilities into conflict with his normal life and putting those he cares about most at risk. When he enlists Doctor Strange’s (Benedict Cumberbatch) help to restore his secret, the spell tears a hole in their world, releasing the most powerful villains who’ve ever fought a Spider-Man in any universe. Now, Peter will have to overcome his greatest challenge yet, which will not only forever alter his own future but the future of the Multiverse.

Review: Note that this review does not contain spoilers beyond what was readily available in the trailers and promotional material, but proceed with caution in any case if you’re totally averse to spoilers.

If you thought one comic cinematic universe was plenty, Sony Pictures’ (and Disney, technically) third installment of Spider-Man in the Marvel Cinematic Universe would like to ask you to hold its beer – bringing back villains and familiar elements from across all prior Spider-Man films (7 live-action ones spanning three different Spider-Men, plus the spectacular Into the Spider-Verse, an animated film that remains the best Spider-Man movie released), and giving multiple characters proper send-offs that they were never accorded previously.

It’s enough to send long-time fans of the masked webslinger into a tizzy, but the true masterstroke in No Way Home is how it never alienates the more casual moviegoer, and the film is a solidly entertaining one regardless of whether your foray into the Spider-Verse commenced during the Tom Holland era, or earlier in the Andrew Garfield or Tobey Maguire eras.

Spider-Man has always been one of the most beloved comic superheroes, and personally I believe that’s because he’s so stubbornly mortal and human despite his superhuman powers. Peter Parker’s mistakes have almost cost him dearly, and yet he infallibly bounces back from them, a little worse for wear but still an eternal optimist. To err is human, and that human aspect makes Spider-Man a very easy protagonist to root for versus many other superheroes.

In No Way Home, this is brought into sharp relief, both because Peter Parker proposes a unique, out-of-left-field solution for the villains from the multiverse that pay him a visit, but also because this is the first film where we see his character grow up and dealing with the very human aspect of grief and loss. It’s rare to say that a superhero movie manages to deal an emotional gut punch, but No Way Home manages to do this multiple times and is a better film for it. Holland has also grown into the role, and this is undoubtedly his best performance yet as Spider-Man (or more accurately, Peter Parker), delivering both the physicality of a superhero and the emotional vulnerability of a teenaged boy progressing into adulthood.

No Way Home also satisfies on all the typical fronts of a Marvel film, with some great action setpieces that while not breaking any new ground, surely scratches the action itch, but also not leaving out the more “friendly neighbourhood” aspects of Parker, including his personal relationships with friends and family, sprinkled with a healthy dose of humour. It is a lot for a single film to handle, and at times No Way Home teeters on the edge of feeling overstuffed despite being almost two and a half hours long (yes, you also need to sit through the entire end credits roll to catch two post-credit scenes). But when a film is as hugely entertaining as No Way Home, it’s easy to ignore the little niggles that one might have.

It’s no secret that Sony and Disney had to wrangle a lot of technicalities to get this third film made, but with No Way Home, Amy Pascal and Kevin Feige have very successfully managed to open up possibilities for Spider-Man to be co-developed with Disney in the future within the MCU, or for Sony to develop films in the standalone Spider-Verse that they own. And if they can be as good as No Way Home, I am all for it.

Rating: * * * ½ (out of four stars)

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Shang-Chi and the Legend of the Ten Rings

Genre: Action, Adventure

Director: Destin Daniel Cretton

Screenplay: David Callaham, Destin Daniel Cretton, Andrew Lanham

Cast: Simu Liu, Tony Leung, Awkwafina, Chen Fala, Zhang Meng’er, Florian Munteanu, Ronny Chieng, Michelle Yeoh

Running Length:  132 minutes

Synopsis: Marvel Studios’ “Shang-Chi and The Legend of The Ten Rings” stars Simu Liu as Shang-Chi, who must confront the past he thought he left behind when he is drawn into the web of the mysterious Ten Rings organization.

Review: One would think that after a decade and twenty-plus movies, that nothing in the Marvel Cinematic Universe would feel fresh, but here we are with Shang-Chi and The Legend of the Ten Rings, which is probably about as fresh as one can get with the MCU. Not only is it a step in the right direction for Asian representation in Hollywood, but also manages to successfully bring into the MCU fold a wuxia/martial arts element that really hasn’t been properly explored prior (of course no one wants to bring up Iron Fist, which essentially imploded on Netflix). Impressively, Shang-Chi ticks off several boxes, delivering not just an action spectacle, but also a film that has both humour and heart. The film also boasts a great ensemble cast, in particular one of the best villains so far in the entire lineup of Marvel films so far, played to near-perfection by the inimitable Tony Leung.

Simu Liu has a great story to tell regarding how he landed the plum role of Shang-Chi, but veracity of the story aside, he’s pretty perfect for the role. While Shang-Chi obviously requires a physicality (that Liu definitely possesses), what’s equally important is a keen sense of comic timing as well as a need for the hero to be likable, and Liu manages to deliver on all fronts. Watching his performance in Shang-Chi is similar to observing Chris Pratt in the first Guardians of the Galaxy, where you literally see an actor previously known more for his comedic roles transform into a bona fide action star. He’s also capably partnered by Awkwafina, who also makes her debut Marvel appearance here, and the two not only share a great onscreen chemistry, but the screenplay also gives her a relatively meaty role that has more heft to her actions than many of the other female co-stars found in the MCU.

However, this movie is as much about its veteran actors as it is of the (relative) newcomers. Michelle Yeoh puts in a dignified, memorable performance as Shang-Chi’s aunt Jiang Nan while still having the ability to show off her action chops, but the pièce de resistance is undoubtedly Tony Leung’s turn as Wenwu, and it’s a pleasure as always to watch the masterful performance of an actor with immense thespian talent. While Marvel villains are generally unremarkable, existing mostly as a literal “necessary evil”, Tony Leung creates one of the most nuanced character studies in the whole of the Marvel universe, and in his hands, Wenwu isn’t just a two-dimensional villain, but a man who’s so consumed by grief over the loss of his love that he is willing to go to any lengths and sacrifice anyone to try to regain what he has lost.

Of course, Shang-Chi is a Marvel movie after all, and in this aspect the film also manages to deliver. There are several excellently choreographed action sequences in impressively varied locations, from close quarters combat in a confined space of a public bus (think Speed on steroids), to a breathtakingly choreographed showdown on a scaffolding in Macau, to balletic fights that pay homage to the wuxia genre that this film clearly draws from. That Destin Daniel Cretton does not allow rapid editing and quick cuts (almost the de-facto these days) to overshadow the action choreography makes it even easier to enjoy the spectacle.

And yes, Shang-Chi is very much a big budget spectacle like most Marvel films, and visual effects across the board are top-notch, from the various CGI creatures to the climactic showdown. Shang-Chi is a film that should be seen on the biggest screen possible (the IMAX presentation is a visual treat), and since it’s the first Marvel film since the pandemic hit to have a theatrical-only release, it will only be available to enjoy on the big screen for now. While Black Widow officially kicked off Phase 4 of the MCU, Shang-Chi feels like the true starter film, setting a decidedly different tone for the MCU after the conclusion of Phase 3 in Avengers: Endgame (and looking to continue with the mystical/outer space themes found in the next few Marvel films – Eternals, Spider-Man: No Way Home and Dr Strange in the Multiverse of Madness). And if this is how Phase 4 starts, I can’t wait for what’s coming up next.

Oh, and as Marvel tradition dictates, stay for the end credits for two post-credit sequences.

Rating: * * * ½ (out of four stars)

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The Suicide Squad

Genre: Action, Comedy

Director: James Gunn

Screenplay: James Gunn

Cast: Margot Robbie, Juan Diego Botto, Peter Capaldi, Alice Braga, Sylvester Stallone, David Dastmalchian, Joel Kinnaman, Viola Davis, Daniela Melchior, John Cena, Idris Elba, Joaquin Cosio

Running Length: 132 minutes

Synopsis: Welcome to hell–a.k.a. Belle Reve, the prison with the highest mortality rate in the US of A. Where the worst Super-Villains are kept and where they will do anything to get out–even join the super-secret, super-shady Task Force X. Today’s do-or-die assignment? Assemble a collection of cons, including Bloodsport, Peacemaker, Captain Boomerang, Ratcatcher 2, Savant, King Shark, Blackguard, Javelin and everyone’s favorite psycho, Harley Quinn. Then arm them heavily and drop them (literally) on the remote, enemy-infused island of Corto Maltese. Trekking through a jungle teeming with militant adversaries and guerrilla forces at every turn, the Squad is on a search-and-destroy mission with only Colonel Rick Flag on the ground to make them behave…and Amanda Waller’s government techies in their ears, tracking their every movement. And as always, one wrong move and they’re dead (whether at the hands of their opponents, a teammate, or Waller herself). If anyone’s laying down bets, the smart money is against them – all of them.

Review: When David Ayer’s Suicide Squad was released in 2016, it was such a mediocre film that it was almost impossible imagining a sequel. However, when James Gunn was temporarily fired from Marvel Studios’ Guardians of the Galaxy 3 and a window of availability opened up, Warner Bros swooped in and managed to give Gunn an opportunity to write and direct The Suicide Squad, which is ostensibly a sequel to that 2016 film (with a few recurring characters) but really can be taken on its own merits. And merit it has in spades – this is the most fun I’ve had in any DCEU movie, and even taken across the two major comic book universes, it is probably one of the most entertaining films in recent years.

Unburdened by the rest of the DCEU as it has no real need to be interconnected with any other title (Harley Quinn remains the only “famous” DCEU character to appear here), plus an unapologetic R-rating means Gunn was able to make The Suicide Squad exactly how he wanted to – ultra-violent action peppered with the signature Gunn humor that made both Guardians of the Galaxy movies (particularly the first) such great films. That the film is filled with “bottom of the barrel” super-villains from the DC universe also meant that Gunn could continually upend audience expectations by killing off virtually any of the characters, which is a pleasant departure from what audiences would generally expect from films of this genre.

While the film runs a pretty long 2 hours and 12 minutes, The Suicide Squad doesn’t really make one feel the length, as there is quite a bit going on at any one time. Not all of it is essential to the film, and one could argue that the frequent flashbacks to the characters’ pasts could have been pared down somewhat, as do some of the subplots in the film (the entire Harley Quinn romance *cough* feels a little extraneous to the proceedings, for example), but it’s all sufficiently entertaining that one can look past how the film could definitely have been under the two-hour mark. I for one also appreciated the no holds barred violence that the R rating allowed, and the pitch black humor found in some of these violent (and occasionally gory) action sequences are some of the most macabrely funny scenes I’ve seen in years.

While there is a huge cast list in The Suicide Squad, it’s clear to see who the main characters are about 20 minutes into the proceedings, and the core ensemble works well together. Margot Robbie is once again perfectly cast as Harley Quinn, and it’s clear why she was able to commandeer what was essentially her own film (though Birds of Prey ended up with middling results at the box office). She also solos one of my favourite action setpieces in the film, where she goes on a one-woman rampage armed with a multitude of weapons (including a javelin, of all things). In fact, it’s clear that the Harley Quinn found here in Suicide Squad actually does more with her character than Birds of Prey managed to achieve, despite this being more of an ensemble movie.

Idris Elba also impresses in his first DC outing as Bloodsport, with a much meatier role than what his Marvel appearances have been, and being able to showcase both his action hero chops as well as a little of his thespian skills. John Cena (who seems to be in every movie these days) is also memorable as the clueless-but-menacing Peacemaker, although a rather flat characterization apart from his physicality and a handful of one-liners does make one wonder how the HBO Max spinoff series would work.

The Suicide Squad succeeds because it’s coloring outside the lines of the typical Marvel or DC movie – not only because of its higher rating and violence quotient, but also because of its subversive, take-no-prisoners nature. James Gunn is undoubtedly the right choice this film, and without the shadow of Zack Snyder’s cynical take on the DC universe looming over him, Gunn manages to prove that DC films can do better when firing on all cylinders. The doubt over The Suicide Squad being a viable franchise is dispelled with this outing, and I’ll gladly catch the Squad in action again for as long as Gunn continues his stewardship of it.  

Rating: * * * ½ (out of four stars)

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Once Upon a Time… In Hollywood

Genre: Drama

Director: Quentin Tarantino

Screenplay: Quentin Tarantino

Cast: Brad Pitt, Leonardo DiCaprio, Margot Robbie, Dakota Fanning, Damon Herriman, Austin Butler, Emile Hirsch, Scoot McNairy, Luke Perry, Al Pacino, Nicholas Hammond, Spencer Garrett, Mike Moh, Lena Dunham, Damian Lewis, Bruce Dern, Kurt Russell, Timothy Olyphant, Zoë Bell, James Marsden, Michael Madsen, James Remar, Brenda Vaccaro          

Running Length: 159 minutes

Synopsis: A faded TV actor and his stunt double embark on an odyssey to make a name for themselves in the film industry during the Helter Skelter reign of terror in 1969 Los Angeles.

Review: It’s been ten years (in my opinion at least) since the last truly great Quentin Tarantino movie (Inglorious Basterds), but with Once Upon a Time… In Hollywood, QT is once again back on top with an excellent piece of filmmaking, particularly so for anyone who considers themselves movie lovers. Given Tarantino’s encyclopedic knowledge and passion of film, it’s little wonder why Once Upon a Time feels so passionate and intimate – this is Tarantino’s love letter to old Hollywood, a sprawling, highly enjoyable cinematic experience that ranks amongst the best in 2019.

It’s hard to actually define Once Upon A Time, because it’s so many things all at the same time. Much of the film is structured like a road movie, following fading TV star Rick Dalton (Leonardo DiCaprio) and his stunt double cum driver Cliff Booth (Brad Pitt) over a weekend in February 1969. There are however quite a number of diversions, the most important ones being two subplots that focuses on Sharon Tate (Margot Robbie) and Cliff’s crossing of paths with the Manson family. For those who are unacquainted with the Manson family Tate murders, it will definitely serve you well to do a bit of reading up beforehand.

Both DiCaprio and Pitt are great in their roles as (essentially) losers, which is about as against type as possible for these two golden boys of Hollywood, but they are so eminently watchable that the at-times long and rambling nature of the film almost ceases to matter. I would say “almost”, because the film will wear thin the patience of any audience member that doesn’t appreciate the general lack of a narrative focus. However, there is usually enough going on at any one point in the movie, with a good number of comedic and surprising moments that it doesn’t ever feel like a slog. In fact, the film is easily one of the funniest this year, and while it defies easy categorization, it won’t be wrong to consider much of the two-plus hour movie to be a comedy. It also helps that the entire cast, from big star cameos to smaller bit roles, are consistently excellent and leave deep impressions regardless of the length of their presence in the film.

However, the true star of Once Upon a Time… In Hollywood is Quentin Tarantino and his production crew. In an era where everything is digital, QT decided to shoot in film instead (sadly, Singapore will not be playing host to either the 35mm or 70mm film prints), and working with master cinematographer Robert Richardson and an excellent production design team, what unfolds onscreen is probably one of the most hyper-realistic depictions of 60’s Hollywood (apart from, of course, actual 60’s Hollywood). Attention has been lavished on every period detail, and the love that QT has for the era is clear and present in every frame.

We must end this review by touching on the final reel of Once Upon a Time… In Hollywood, even though it is something that’s best experienced without any prior spoilers. Suffice to say that it takes a lot to surprise a jaded cinemagoer like myself, but I was well and truly very (pleasantly) surprised by how the final act of the film unspooled. Kudos to Tarantino for having the audacity to execute such a bold denouement – I genuinely cannot think of any other director with both the vision and the ability to successfully pull it off, which pretty much explains why he obtained a six-minute standing ovation after the film’s premiere at Cannes earlier this year.

Rating: * * * ½ (out of four stars)

 

 

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Avengers: Endgame

Genre: Action

Director: Anthony and Joe Russo

Screenplay: Christopher Markus, Stephen McFeely

Cast: Robert Downey Jr., Chris Hemsworth, Chris Evans, Mark Ruffalo, Josh Brolin, Don Cheadle, Karen Gillan, Scarlett Johansson, Brie Larson, Gwyneth Paltrow, Jeremy Renner, Paul Rudd (and many more)

Running Length: 181 minutes

Synopsis: Adrift in space with no food or water, Tony Stark sends a message to Pepper Potts as his oxygen supply starts to dwindle. Meanwhile, the remaining Avengers – Thor, Black Widow, Captain America and Bruce Banner – must figure out a way to bring back their vanquished allies for an epic showdown with Thanos – the evil demigod who decimated the planet and the universe.

While efforts have been made to keep the review as spoiler-free as possible, it’s impossible to calibrate what constitutes a spoiler to everyone. If you’re truly sensitive to any spoilers please do not proceed till you have watched the movie.

Review: And so it ends – an epic journey across 22 films, 11 years and a truly labyrinthine mass of superheroes, characters and plots culminates in what is undoubtedly THE event movie of the year (sorry, Star Wars). Of course this won’t be the end of the Marvel Cinematic Universe (or possibly even The Avengers), but the Russo Brothers have crafted a film that truly feels like an end of an era, and what a sendoff it is.

While last year’s Infinity War felt incomplete, halting at a pivotal point where half the living things in universe turns to dust after Thanos uses the six Infinity Gems, Endgame does not have the same issue. And now, when the two films are viewed together, they finally give a complete picture of the showdown with Thanos, one that bears very real costs to the ones left fighting the good fight. As an added bonus, the fact that Thanos’ Decimation (aka the finger snap) had removed half the superhero roster is actually a good thing, simply because there are less characters to split the narrative over, which was one of the issues that plagued Infinity War.

One would also have expected that there would be even more action set pieces in Endgame, but the Russo Brothers actually buck that expectation, slowing things down and really taking time with the narrative to tie up some of the loose plot threads that have developed over the span of Marvel films. It’s a Herculean effort, but scribes Christopher Markus and Stephen McFeely are largely successful. Did the show really need to run over three hours long? I would hazard to say not really, but given the nature of the film, every single character’s resolution needed to be included, with generous amounts of fan service thrown in, which in turn necessitates the extended running time. Fortunately, there are some very major plot developments that take place, especially in the final hour, that help to make the film feel shorter than it is.

While this is not the first franchise that set out to create a universe of its own, it can now be definitively said that there’s been no world-building that has come close to what Marvel has achieved in this franchise. The truly impressive thing about Endgame is how it manages to thread everything together, particularly in referencing events that takes place outside of the four “official” Avengers movies. Literally the entire MCU shows up in one form or another in Endgame, and even a casual viewer of the Marvel canon would likely find themselves feeling nostalgia over some characters or scenes referenced in the film. For dedicated fans of the Marvel universe, Endgame would probably trigger a desire to rewatch many of the films that came before it.

What truly makes Endgame stand out amongst the Marvel films is that it has a much stronger emotional core and heart than a typical superhero movie, and while there are some potentially tear-jerking moments, it’s also filled with levity and humor, something that’s necessary for a three-hour movie to not buckle under its own narrative weight. Surprisingly, Endgame is one of the funniest Marvel films to have been released in the past few years, and some scenes had me actually laughing out loud, no mean feat given the grave nature of much of the proceedings.

It’s no secret that the OG Marvel crew cannot feasibly carry the franchise to an indefinite end, given the nature of Hollywood contracts and options (and age), and Endgame likely spells the sidelining or end of the road for many of these characters moving forward. It has been clear for years that the mantle is being passed on to newer (and younger) players in the franchise, but it remains to be seen whether they would be able to keep the light of the MCU shining as brightly as before. And while I will not be revealing the fates of any of the superheroes in this review, suffice to say that there is a genuine sense of loss in bidding a proper farewell to these characters we have spent a decade with, something that I had not anticipated going into the movie, and well worth the price of entry on its own.

Rating: * * * ½ (out of four stars)

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A Star Is Born

Genre: Drama

Director: Bradley Cooper

Screenplay: Eric Roth and Bradley Cooper & Will Fetters, based on a story by William A. Wellman and Robert Carson

Cast: Bradley Cooper, Lady Gaga, Sam Elliott, Dave Chappelle, Anthony Ramos, Andrew Dice Clay, Michael Harney

Running Length:135 minutes

Synopsis: A Star is Born stars four-time Oscar nominee Bradley Cooper and multiple award-winning, Oscar-nominated music superstar Lady Gaga, in her first leading role in a major motion picture. Cooper helms the drama, marking his directorial debut.

In this new take on the tragic love story, he plays seasoned musician Jackson Maine, who discovers – and falls in love with – struggling artist Ally (Lady Gaga). She has just about given up on her dream to make it big as a singer, until Jack coaxes her into the spotlight. But even as Ally’s career takes off, the personal side of their relationship is breaking down, as Jack fights an ongoing battle with his own internal demons.

Review: It’s easy to see why the word “Oscar” is being bandied around in almost every review of A Star is Born. While this is the story’s third cinematic iteration, it is easily the best, far outclassing Barbra Streisand and Kris Kristofferson’s take 42 (!) years ago. Retaining the music industry setting of the ’76 film but updating the content to reflect a much more current sensibility, A Star is Born is surprising in first-time director Bradley Cooper’s assured helming. Coupled with excellent chemistry between Cooper and Gaga and equally impressive performances from both, a relatable storyline, and some truly well-produced musical numbers, the film has transformed what seemed like a low-key romantic melodrama with a few familiar faces into a full-blown frontrunner for awards season.

Much of the charm of the film lies in the leads. Bradley Cooper disappears into the role, and while he plays the part of an alcoholic, the performance is restrained and authentic, with minimal theatrics and thus allows the audience to identify with his character easily. Lady Gaga also impresses in her acting debut, giving a heartfelt and believable performance (particularly pre-fame Ally), faring much better than many pop stars that attempt to cross over to the acting world. What’s more important is that the narrative requires the leads to have an almost instant chemistry and connection, and Cooper and Gaga have chemistry in spades.

This being Bradley Cooper’s directorial debut, what he had achieved here is impressive. Not only does he deftly handle the varied elements in the film – big and small musical set-pieces, low key romantic sequences and melodramatic scenes – but not once does he lose control of the narrative, and the end result is a film that’s wistfully melodramatic without ever being over the top. It has also been many years since I’ve seen a film that deals with alcoholism so matter-of-factly, never shying away from the seedier, unsavory aspects that the addiction brings, almost reminiscent of the seminal Leaving Las Vegas.

Music will also make or break a film like this one, and again in this aspect A Star Is Born scores very highly. It’s a given that Lady Gaga would excel in her performances, but surprisingly Cooper can also hold a tune and totally looks the part of a rock star on the decline. There are some very catchy songs included in the soundtrack, which ranges from country-rock to pop, and should see extended airplay.

In some ways, A Star is Born is a movie that feels like a throwback to the older, grander days of cinema, where it doesn’t take much more than a heartfelt story and committed performances from the actors to deliver a film that actually makes one feel something. Little wonder that it has resonated well with audiences, and potentially will stand the test of time (at least, far better than Barbra’s version).

Rating: * * * ½ (out of four stars)

 

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Black Panther

Genre: Action

Director: Ryan Coogler

Screenplay: Ryan Coogler, Joe Robert Cole, based on the Marvel comics by Stan Lee, Jack Kirby

Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker, Andy Serkis

Running Length: 134 minutes

Synopsis: Marvel Studios’ Black Panther follows T’Challa (Boseman) who, after the death of his father, the King of Wakanda, returns home to the isolated, technologically advanced African nation to succeed to the throne and take his rightful place as king. But when a powerful old enemy reappears, T’Challa’s mettle as king – and Black Panther – is tested when he is drawn into a formidable conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people and their way of life.

Review: Just when you thought there’s no possible way to further push the envelope within the Marvel Cinematic Universe after 17 movies, Black Panther is here to prove us all wrong once again. Much like how Wonder Woman managed to break the mould for female superhero movies, Black Panther stands out amidst what has mostly been a white Caucasian superhero universe by featuring an almost all-black ensemble cast, and largely basing the film in Africa (albeit the fictional country of Wakanda). Although the chief villain still has a personal agenda, he also has a politically-driven goal that gives a bit more depth to the villain than usual. If only the conclusion wasn’t so rote, we would have had a superhero movie that fired on all cylinders and be the one to beat for the 2018 roster.

While Black Panther does have enhanced abilities, his arsenal of technology and weapons is what makes the superhero complete, and in this aspect the film almost feels like an installment in the Bond franchise. All the standard superhero action set pieces still apply, and everything one would expect from such a movie – gunfights, car chases, ritual battles (ok this one not so expected) – is present and accounted for. However, it’s a little disappointing to see the great action devolve into a comparatively uninteresting spandex suit versus spandex suit fisticuff in the final reel that’s easily the least involving action sequence in the whole movie, which takes away a bit of the power of the denouement.

Not only does Black Panther feature an almost all-black cast, it’s a very talented cast particularly for the women. If you thought Wonder Woman would be the sole superhero movie that celebrated feminine empowerment, wait till you see what goes on here with the uniformly excellent female cast. Chadwick Boseman and Michael B. Jordan (a Coogler veteran, appearing in all of his movies thus far) are both charismatic young men with a great physicality, though their spotlight is repeatedly stolen by the likes of Lupita Nyong’o, Danai Gurira and even Letitia Wright.

Black Panther also features fantastic costume design and art direction – while it’s not the first colorful Marvel movie (Guardians of the Galaxy and Thor: Ragnarok are equally, if not more colorful), this is the first film where the usage of colors and motifs feel like they bear a greater cultural significance without coming across as pandering. The costumes harken back to African history and tribal culture, yet bear some marks of technological advancements – a truly impressive hybrid, and combined with the other stylistic flourishes like hairstyles, jewellery and tattoos, a feast for the eyes. It’s hard to think of any recent movie as visually dazzling as this one.

One thing that truly sets Black Panther apart from its brethren is its political subtext – I can safely say no superhero action movie thus far have delved into the issues that Black Panther touches on, be it the legacy of colonialism, the argument for and against both pacifist activism and militant action, and the conflict between familial ties and leadership of a country. The screenplay by Coogler and Cole is smart and well-written, elevating the film to a level that few MCU movies manage to attain. This is truly one of the best standalone origin films in the MCU, and given the quality of films thus far in the Marvel canon, is high but deserved praise.

Rating: * * * ½ (out of four stars)

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Thor: Ragnarok

Genre: Action

Director: Taika Waititi

Screenplay: Eric Pearson, Craig Kyle & Christopher L. Yost

Cast: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Mark Ruffalo, Karl Urban, Anthony Hopkins, Benedict Cumberbatch

Running Length:  130 minutes

Synopsis: In Marvel Studios’ Thor: Ragnarok, Thor (Chris Hemsworth) is imprisoned on the other side of the universe without his mighty hammer and finds himself in a race against time to get back to Asgard to stop Ragnarok – the destruction of his homeworld and the end of Asgardian civilization – at the hands of an all-powerful new threat, the ruthless Hela (Cate Blanchett). But first he must survive a deadly gladiatorial contest that pits him against his former ally and fellow Avenger – the Incredible Hulk (Mark Ruffalo)!

Review: Throw your preconceived notions of what a Thor movie is like out of the window. Thor: Ragnarok subverts not just the Thor franchise but essentially almost the entire Marvel Cinematic Universe, and in one fell swoop, manages to dethrone BOTH Guardians of the Galaxy movies to become the singularly funniest, most offbeat movie in the MCU’s (current) 17-film canon. This is no mean feat, and being the first truly mainstream directorial effort from Kiwi director Taika Waititi, this is an even more impressive achievement.

While Chris Hemsworth is firmly in the top echelon of Hollywood heartthrobs, he’s also an actor with excellent comic timing. There have been glimpses of this in previous excursions of Thor (in his own films and in the ensemble films) but only with Waititi’s equally quirky directorial sensibilities does this come to the forefront. And boy, does it get milked for all it’s worth – never mind the fact that Waititi kept some of the best one-liners for himself (he voices a blue Thing-like alien called Korg) – at times it almost feels like the audience has been invited to a comedy club night out headlined by a Norse God. Thor: Ragnarok is quite easily one of the most entertaining movies released thus far in 2017.

The rest of the cast are also very open to hamming it up, none more so than Cate Blanchett’s scenery-chewing turn as Thor and Loki’s vengeful sister Hela, but followed very closely by Jeff Goldblum’s homage to Liberace as the Grand Master ruling over Sakaar. Newcomer Tessa Thompson also impresses as Valkyrie, a sassy female bounty hunter that is haunted by her past. There are also a number of cameo appearances and side plots that do nothing much in terms of advancing the main narrative, which kind of begs the question of whether the film would have felt better in terms of pacing and length if it didn’t cross the two-hour mark (yes, you have to sit through the entire end credits like every other Marvel movie if you don’t want to miss any of the codas).

Fans of the action sequences and CGI-fests omnipresent in the superhero movie genre are not going to walk away disappointed, but it’s apparent that while well-choreographed, these action scenes in Thor: Ragnarok are not Waititi’s strongest suit, and much of it feels rather rote (except when played for laughs). However, the depth of the MCU ensures that even when not at their finest, there is enough precedent setup that the film can coast by with ease. It does devolve into a rather perfunctory final act, but when the lead-up is so strong, it’s hard to begrudge the film’s need to still check off some boxes for the MCU and lead into Thor’s next outing in 2018’s Avengers sequel. While it will be quite some time (if at all) before Thor gets another standalone movie, Marvel has another bona-fide hit on their hands, and the soon-to-follow Justice League movie would likely face an uphill challenge in its efforts to dethrone it as the superhero movie of the year.

Rating: * * * ½ (out of four stars)

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