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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Justice League

Genre: Action

Director: Zack Snyder

Screenplay: Chris Terrio, Joss Whedon

Cast: Ben Affleck, Henry Cavill, Gal Gadot, Amy Adams, Ezra Miller, Jason Monoa, Ray Fisher, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons, Ciarán Hinds

Running Length:  120 minutes

Synopsis: Fueled by his restored faith in humanity and inspired by Superman’s (Henry Cavill) selfless act, Bruce Wayne (Ben Affleck) enlists the help of his newfound ally, Diana Prince (Gal Gadot), to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes – Batman, Wonder Woman, Aquaman (Jason Momoa), Cyborg (Ray Fisher) and The Flash (Ezra Miller) – it may already be too late to save the planet from an assault of catastrophic proportions.

Review: Where to start…? Justice League commits mistakes on so many levels that it’s hard to pinpoint exactly where it starts to unravel – is it the choice of a bland, generic supervillain? Or the whiplash-inducing changes of pace, probably due to the replacement of Zack Snyder (who quit the show due to a family tragedy) with Joss Whedon, who allegedly reshot 15% – 20% of the movie? Or that the narrative is confused and lacks any coherent focus? Or the decidedly subpar CG visuals (made worse by a very insipid 3D presentation – please stick to 2D for this one)? While it remains a serviceable action film and should make pretty good bank at the box office, the writing is on the wall: the DC Extended Universe is in deep trouble if this movie represents the real trend, and Wonder Woman but a mere anomalous bright spot in what looks like an increasingly untenable franchise.

One of the biggest problems faced by the DCEU is that of tardiness – there’s no denying that Warner Brothers is playing a desperate game of catch-up, being only five movies deep into the DC cinematic mythos, while their Marvel counterpart is far ahead with 17 films already done and dusted. The fact that Justice League is coming before most of the characters’ standalone films (if they even materialize) is a sign of this, and the Justice League film itself suffers narratively because of this. With the need to set up the backstories of multiple superheroes in this ensemble film, the first hour of Justice League moves at a snail’s pace, punctuated only by the occasional murkily choreographed fight sequence that does not feel like central to the plot (see: the battles at Themyscira and Atlantis). Overall, the storytelling in Justice League is a huge, ungainly mess, because it needed to do so many things that nothing really worked.

This is exacerbated by the fact that the buildup of getting the team in place ends up being inconsequential, as the unmemorable Steppenwolf (in a rare feat, Ciarán Hinds’ performance is expensively motion captured and yet looks like a cheap render from a B-movie) is portrayed as being so powerful that it requires a literal deus ex machina to overcome, rendering much of the team-building process moot. That the deus ex machina segment actually is one of the high points of the movie is one of the many little ironies that pervade Justice League. Fortunately, the cast all put in passable performances and exhibit sufficient chemistry with each other, barring Affleck whose turn as an aging Batman is rather insipid and generic.

While it was clear that the pitch-black treatment that Snyder applied to the DC Extended Universe was a wrong move, the reparative actions taken to steer Justice League in the other direction fails to fully convince. It’s clear that Whedon is the one that injected the comedic moments into the film, and while these are fun to watch in silo, it simply does not jibe with the rest of the film. The result is a tonally fragmented film that requires a lot of patience to wade through, and feels like an eternity despite being just two hours long.

Now that Justice League is finally a done deal and likely to be a critic-proof box office hit, Warner Brothers can hopefully finally take some time to let the DCEU develop and steer entirely clear of the shadow Snyder had unfortunately managed to cast on the entire franchise. If the Aquaman movie in 2018 is more akin to Wonder Woman, then at the very least we have some hope that the DCEU will eventually shape up to be a worthy contender to the MCU. That Justice League 2 is still in development without any announced cast, crew or release date is actually good news.

Rating: * * (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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War for the Planet of the Apes

Genre: Sci-Fi, Action

Director: Matt Reeves

Screenplay: Matt Reeves, Mark Bomback, based on characters created by Rick Jaffa, Amanda Silver

Cast: Andy Serkis, Woody Harrelson, Steve Zahn, Karin Konoval, Terry Notary, Amiah Miller, Judy Greer, Max Lloyd-Jones, Devyn Dalton

Running Length:  140 minutes

Synopsis: In War for the Planet of the Apes, the third chapter of the critically acclaimed blockbuster franchise, Caesar and his apes are forced into a deadly conflict with an army of humans led by a ruthless Colonel.  After the apes suffer unimaginable losses, Caesar wrestles with his darker instincts and begins his own mythic quest to avenge his kind.  As the journey finally brings them face to face, Caesar and the Colonel are pitted against each other in an epic battle that will determine the fate of both their species and the future of the planet.

Review: Who could have anticipated that the best summer blockbuster this year would belong to the simians, rather than the superheroes that have come along thus far? But here we are, three movies deep into the second Planet of the Apes reboot, and it’s easy to give War for the Planet of the Apes the crown because it’s so starkly different from everything that has come before it this year. Trumping even the excellent Dawn of the Planet of the Apes (also directed by Reeves), the only thing working against the movie is its serious tone – not every moviegoer would like to be preached to by Reeves on his soapbox, especially midway through the Summer blockbuster season – but audiences who do make the decision to give War a try would likely find themselves well rewarded.

Ostensibly the last prequel film in this reboot trilogy (though there’s now a fourth movie planned), the events in War would logically lead up to what transpires in the original Planet of the Apes, and there are throwbacks (throwforwards?) to the characters found in the 1968 movie. While there’s no necessity to have seen the original movies, War does presume that the audience is familiar with what has been covered so far in the 2011 and 2014 films – any moviegoer that watches this film “cold” would likely find themselves quite lost indeed, so consider this fair warning.

While the film is not without flaws, War for the Planet of the Apes is quite simply, a very well-made movie. CGI is usually peripheral to the plot of a movie, but in this case, without the bleeding-edge CGI, there very simply would not have been a movie at all. The franchise has progressed to not just rendering one hyper-realistic chimpanzee, to a literal army of various simians. Andy Serkis is at the top of the motion capture acting game, and his performance of Caesar quite simply transcends any description – it’s still shocking to see the depth and nuances of emotion that can flicker across Caesar’s face as a fully rendered character.

War is also a movie that doesn’t shy away from a complex plot, and while it may get a bit preachy at times, kudos must be given to any summer blockbuster that is willing to take the risk of alienating a group of audience members who do not expect to be mentally taxed. That’s not to say War isn’t entertaining – not only is there plenty of well-choreographed, riveting action to be found, there’s even a character that seems to be inserted purely for comic relief purposes.

Matt Reeves has proven his capabilities in the two Apes movies he has directed, and War in particular feels almost like a loving homage to some of the best war movies (think Apocalypse Now, The Great Escape and The Bridge Over River Kwai), except with apes. It’s a beautifully lensed film, though each scene is so meticulously constructed there’s almost an artificiality at times. While it’s a rather heavy-going movie, there’s no denying that each Planet of the Apes movie has managed to outdo its predecessor, and it’s easy to see War for the Planet of the Apes ending up on many Top 10 lists come the end of 2017.

Rating: * * * ½ (out of four stars)

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Wonder Woman

Genre: Sci-Fi, Action

Director: Patty Jenkins

Screenplay: Allan Heinberg, from a story by Heinberg, Zack Snyder, Jason Fuchs, based on DC’s Wonder Woman created by William Moulton Marsto

Cast: Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Danny Huston, David Thewlis, Said Taghmaoui, Ewen Bremner, Eugene Brave Rock, Lucy Davis, Elena Anaya

Running Length:  141 minutes

Synopsis: Before she was Wonder Woman, she was Diana, princess of the Amazons, trained to be an unconquerable warrior. Raised on a sheltered island paradise, when an American pilot crashes on their shores and tells of a massive conflict raging in the outside world, Diana leaves her home, convinced she can stop the threat. Fighting alongside man in a war to end all wars, Diana will discover her full powers…and her true destiny.

Review: With Wonder Woman, audiences have finally received the DC Extended Universe movie that they deserved – a stark departure from the dank, monochrome, Debbie Downer movies helmed by Zach Snyder, that reached a new DCEU low with Batman v Superman last year. Patti Jenkins’ Wonder Woman is a far more optimistic and colourful movie, bolstered by 2 very good lead performances and a generally positive vibe that finally bodes well for the franchise. Gal Gardot may not be the most iconic Wonder Woman of my time (Lynda Carter’s incarnation will forever hold a special place in my heart), but she certainly does an excellent job here, and establishes a tone that hopefully the subsequent DCEU films will be able to adopt.

In the tradition of superhero movies, this first Wonder Woman film (discounting her extended appearance in BvS) is an origins story, but unlike the somewhat similarly set Captain America: The First Avenger, the entire film essentially transpires in the early 19th Century, during WWI. There’s great attention to period detail here, and this is a film that is not afraid to get its fingers dirty – while the tone is lighter, it also does not shy away from depicting the horrors of war, from a mustard gas attack on a village, to an attack on a fortified German position in the frontline of war. In fact, these scenes are impressively choreographed and shot, almost being able to stand toe-to-toe with dedicated war movies – this is something new for the superhero movie genre, and Jenkins and her crew ought to be commended for achieving what they have here.

Both Gal Gadot and Chris Pine are well-cast in their roles here – Gadot is a very beautiful, elegant woman that can convincingly emote and kick ass, which makes her iteration of Wonder Woman a near-perfect one (except perhaps, the few scenes in which she somehow seems to suffer from a bad hair day). Chris Pine brings the right amount of bravado and charm to his Steve Trevor despite playing the thankless (and for once, male) role of the love interest in distress, and the strong, playful chemistry between the two helps to lend more emotional impact to the film versus most superhero movies.

While the finale drops the ball a bit and ends up being too much of a CG-fest (which comes across as being a little shoddily done, strangely) and leans to the cheesy side of things, the entire movie remains entertaining, and the decision to lighten the mood with the occasional wisecrack or fish-out-of-water gag, as well as developing a romantic subplot, really helps to balance out the film despite its 2-plus hour running time. This is the most Marvel-like DCEU film yet, which may sound like an insult to fans of the DC Universe, but is actually quite high praise, given the high watermark that the MCU has set.

Rating: * * * (out of four stars)

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Guardians of the Galaxy Vol. 2

Genre: Sci-Fi, Action

Director: James Gunn

Screenplay: James Gunn

Cast: Chris Pratt, Zoe Saldana, Bradley Cooper, Dave Bautista, Vin Diesel, Michael Rooker, Glenn Close, Karen Gillan, Sylvester Stallone, Pom Klementieff, Kurt Russell, Elizabeth Debicki, Nathan Fillion, Tommy Flanagan

Running Length:  135 minutes

Synopsis: Set to the all-new sonic backdrop of Awesome Mixtape #2, Marvel’s “Guardians of the Galaxy Vol. 2” continues the team’s adventures as they traverse the outer reaches of the cosmos. The Guardians must fight to keep their newfound family together as they unravel the mystery of Peter Quill’s true parentage. Old foes become new allies and fan-favorite characters from the classic comics will come to our heroes’ aid as the Marvel Cinematic Universe continues to expand.

Review: The first Guardians of the Galaxy was such a breath of fresh air in the world of superhero movies that it was nearly impossible to begrudge despite some rough spots. In the three intervening years, however, there has been a number of entrants into the genre that sported similar characteristics – most notably Deadpool, which took the irreverence found in Guardians to an extreme and yet delivered admirably. It also helped that most moviegoers went into Guardians of the Galaxy with little or no expectations, and most would walk away feeling it was time and money well spent.

Guardians of the Galaxy Vol. 2, however, will not get a similar free pass. Although everything that made the first movie good still remains – the great chemistry amongst the lead actors, the excellent soundtrack, the eye-popping visuals, the laidback humour, the heart – there’s also an unshakeable feeling of sequelitis, where everything old doesn’t really feel new again. That’s not to say it’s not a good movie; in fact Vol. 2 still manages to (barely) sit amongst the best in the MCU, but it simply can’t measure up to the original, and not from a lack of trying.

One of the most problematic aspects of Vol. 2 is that James Gunn decided to one-up the first movie in every imaginable way, and the result is a film that honestly feels a little bloated. Despite not having to delve into each character’s backstory, there’s almost no real plot development until almost halfway through the movie, and even then the central plot feels a little underwhelming (true to its predecessor, the villains continue to remain the movie’s weakest link). This results in the film feeling just a bit tiresome at times, and I found myself glancing at my watch more than once throughout the movie’s 135-minute running time.

There’s quite a bit of unresolved plotlines and unexplained cameos (Sylvester Stallone literally does nothing in his cameo appearances here), ostensibly to set the stage for the inevitable sequel, but they figure so peripherally into the actual film that editing them out of the film is actually a rather compelling argument. The same applies for the five (!!) post-credit codas, which manages to up the ante of the first movie in serving up pointlessness

Fortunately, there’s still much left to like about Vol. 2. Baby Groot is inexorably adorable if a bit overused, the slapstick moments are still delicious nuggets to savor, and Chris Pratt still impresses with both his physicality and impeccable comic timing. While visuals for modern day sci-fi movies are all nearly without reproach, Vol. 2 still boasts a rather unique, nearly psychedelic visual style that impresses (but is also rather tiring in 3D). And the joyous soundtrack gets one star of its own even for an eclectic, ear-friendly selection almost on par with the first movie’s. And much like the first movie, there’s even a scene that would touch even a jaded moviegoer like myself. There’s no doubt that Guardians of the Galaxy Vol. 2 would do terrifically well at the box office, but if Vol. 3 doesn’t address the franchise’s weaknesses, it will assuredly end the trilogy on a low note, which would be a waste.

Rating: * * * (out of four stars)

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Underworld: Blood Wars

Genre: Action

Director: Anna Foerster

Screenplay: Cory Goodman

Cast: Kate Beckinsale, Theo James, Lara Pulver, Bradley James, Tobias Menzies

Running Length:  92 minutes

Synopsis: The next installment in the Underworld franchise follows vampire death dealer, Selene (Kate Beckinsale) as she fends off brutal attacks from both the lycan clan and the vampire faction that betrayed her. With her only allies, David (Theo James) and his father Thomas (Charles Dance), she must stop the eternal war between lycans and vampires, even if it means she has to make the ultimate sacrifice.

Review: The seemingly ageless Kate Beckinsale reprises her role as vampire assassin Selene for a fifth time in Underworld: Blood Wars, and while she looks none the worse for wear, the same cannot be said of the Underworld franchise. Most audiences would have ceased to care about what happens between the vampires and the lycans, and Blood Wars would not make anyone sit up and take notice either.

Although the film is clearly targeted at existing fans of the franchise, new director to the series Anna Foerster (also the series’ first female director) puts in a fair number of flashback sequences to help the uninitiated along. However, these flashbacks actually drag the film out much more than they should, and the film sags under the weight of unnecessary exposition – after all, everyone is here for Selene and the action sequences, and the plot is really more of an afterthought. Even so, some of the writing in Blood Wars is laughably bad, especially anything that involves the hokey albino vampire coven that looks literally ripped out of Game of Thrones.

Unfortunately, even the action sequences do not do the franchise much justice. It’s very clear that Blood Wars was made with a smaller (much smaller) budget, but even basic wirework looks and feels clumsily executed. CGI looks clunky and unpolished as well, often so poorly executed that the film would have done better with less.

That the film ends abruptly without any real resolution and clearly signals a sixth film (which Beckinsale has already signed up for) is just adding salt to the wound. The mystery around Selene’s (now missing) daughter remains almost entirely unresolved, and Selene’s only character development is unbelievably limited to frosted hair tips and a new fur coat. Even for fans, Blood Wars is a tough sell.

Rating: * ½ (out of four stars)

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