Fantastic Four - Review

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There isn’t much to be said about this misguided reboot that hasn’t already been said. It really is as bad as everyone has been saying. Fantastic Four fulfils every pessimistic concern that was debated prior to its release and then some, wasting an extremely talented cast on a script that is almost like two films that have been shoved together – neither being anything good or worthwhile – with a diabolical structure, poor pacing and flat dialogue. Worst of all, all the inherent goofiness and brightness of the original comics has been surgically removed, leaving behind a flat, humourless and dull shell of what a Fantastic Four film should be.

All of the much advertised production chaos of the film really shows, particularly in Josh Trank’s script which has been left a muddled mess with questionable writing decisions and dialogue from the beginning. An hour is spent on endless exposition as Reed Richards (Miles Teller) is recruited from his high school science fair to crack the code to inter-dimensional travel, assisted by the rest of the team – Sue (Kate Mara), Johnny (Michael B. Jordan) and future villain, Victor (Toby Kebbell). Despite this lengthy period, these characters are neither developed as individuals or as a team, despite the noble efforts from the cast. Strenuous connections are briefly hinted at, while flashbacks attempt to develop Reed and Ben (Jamie Bell), but these moments are either never elaborated on or have no real relevance to the overall film. This first act isn’t particularly awful though, it's what comes next.

When the group’s transformation finally occurs after a freak accident at the other dimension – nothing really happens except all structure going out the window. The gang remain locked in a facility where their new-found powers are not explored for more than about a minute per hero, until suddenly Victor is tacked on to play the villain and set up a final big CGI battle that is anti-climactic, rushed and poorly thought out with some very ropey visuals. Even the actors seem done with this film by the end of it, making the big ‘team-up’ feel irritatingly contrived and shoehorned in since the film hasn’t previously done any character work to justify it. The other action amounts to about half a scene (which is actually fairly strong though woefully short) as a result of studio meddling apparently having everything else cut despite advertising heavily featuring one of these cut set-pieces.

As a result, this muddled and poorly executed reboot fails at even being an enjoyable trainwreck. It is instead soul-sucking and dull, not even providing great visuals in favour of ‘grittiness’, a laughable angle to approach this franchise with. Ultimately this foundation of grittiness that was pitched from the beginning is what doomed this film from the start, with what director Trank and Fox did after only making it worse. Fantastic Four could have at least been serviceable with the talent it has on board but at the end of the day, any glimmers of potential are neutered by the hot mess surrounding them. 

★½

Mission: Impossible - Rogue Nation - Review

And I'm finally back with a film review. I'm hoping to get back into the swing of regular film reviews, so fingers crossed there'll be a lot more coming. For now though, here is my review of the latest Mission Impossible film!

Mission: Impossible - Rogue Nation 

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It’s nice to have a franchise like Mission: Impossible in a blockbuster landscape becoming more populated with highly serialised ‘cinematic universes’ such as the hugely successful Marvel one. Mission: Impossible seems committed to pulling out thrilling self-contained action flicks that require very little knowledge of each other’s stories to be enjoyed, and Rogue Nation is certainly no exception to this. Director, Christopher McQuarrie manages to maintain the upwards momentum established by the series’ last outing, Ghost Protocol, combining a series of outstanding action set-pieces with a humorous tone along with a set of accessible characters brought to life by an excellent cast.

The main selling point of the Mission: Impossible films at this point tends to be which death defying stunt will Tom Cruise risk his life doing. Rogue Nation fulfils this handsomely by crafting several outstanding action sequences, ranging from a tense-filled and beautifully constructed sequence at the Vienna State Opera to a heart-stopping underwater infiltration to an electrifying chase sequence through Morocco. This is without mentioning the much advertised shot of Ethan Hunt hanging from a plane as it takes off, illustrating this film’s strength as a varied and exciting action flick. However, the final act in London is a step-down from what precedes it as it doesn’t quite keep up the fast pace and spectacle, resulting in a slightly disappointing finale that nevertheless wraps the story up nicely.

The plot and script built around these set-pieces is fairly bog-standard – Ethan and the gang work to stop the threat of the mysterious ‘Syndicate’ shadow organisation and prove their innocence to the CIA after they have the IMF shut down.  There is some intrigue and more sophisticated themes to be seen but not enough is made of them in order to elevate the story past generic territory. Luckily the cast is there to do just that.

Tom Cruise is reliably on-form as leading man, Ethan Hunt and remains one of Hollywood’s best action stars despite now being in his 50s. Out of the returning ensemble members, Simon Pegg as computer genius Benji is the stand out with most of the funniest lines and a winning comradery with Cruise. Jeremy Renner and Ving Rhames as Brandt and Luther respectively are underused and sit mostly on the sidelines but still put in strong work, while Alec Baldwin as the brash CIA head manages to add some flair to his stock character.  As is constant in the Mission series, Rogue Nation struggles to build a particularly effective villain though it succeeds further than most of the other entries thanks to Sean Harris’s menacing and cold performance as rogue agent Solomon Lane. 

However, the real standout was Rebecca Ferguson as undercover agent, Ilsa Faust whose performance is akin to Charlize Theron in Mad Max: Fury Road as she is a perfect match to Ethan and a classic ‘femme fatale’ who rules the film. As an interesting character with constantly twisting loyalties, Ferguson simply oozes charisma, holds her own in the action scenes and has the acting chops to top it all off. It seems a shame that she is the single main female character in the film and I hope that the next entry gives more great roles to women as the series is clearly capable of it.

Overall, Mission: Impossible – Rogue Nation is another winning entry in the MI series, proving it to be one of the strongest series currently running. It combines some of the previous outings’ best assets to create a satisfying summer blockbuster with some really fantastic action sequences, despite a lagging third act. 

★★★★

Hope you enjoyed the review! Please share your own thoughts on the film in the comments! 

My Week in London - Memphis the Musical (Review)

Last week I stayed in London and took the opportunity to see 3 shows in the West End I'd been wanting to see for ages, of which I have now reviewed to share my thoughts of them. The third show I saw was Memphis the Musical and without further ado here is my review!

Memphis the Musical (Thursday 30th July, 7:30pm)

The third and final that I saw last week was Memphis the Musical, the ‘Best Musical’ winner at the 2010 Tony Awards which arrived in the West End last October. And what a show to close my trip with! Memphis is a truly exuberant and engaging musical filled with exciting production numbers, catchy original songs and a truly outstanding cast, led by Beverley Knight and Matt Cardle.

Set in 1954 America where racial segregation and discrimination was still rife, the story revolves around the rise of black rock ‘n’ roll and R&B music thanks to white radio DJ, Huey Calhoun (Cardle) who exposes it to a mainstream audience and attempts to breach the divide. Despite the fun and numerous joyous numbers, book writer, Joe DiPietro still finds time for poignant and genuinely moving sequences that speak to the deep societal issues of this time period, whilst not feeling preachy or in-your-face.

The show’s main pairing and forbidden love between Huey and blues singer, Felicia Farrell (Knight) is brought to life beautifully by Cardle and Knight who have a great chemistry and provide the backbone to the show. Individually as performers, they are even better. Knight was just golden, knocking every number out of the park without breaking a sweat whilst bringing great personality and heart to Felicia. And Cardle in spite of having no acting experience is filled with charm and has impeccable comic timing as the goofy Huey while his “Memphis Lives In Me” brought the house down.

The supporting cast are just as good; Jason Pennycooke and Tyrone Huntley as Bobby and Gator are reliable sources of humour who sparkle throughout and nail their respective solo numbers, while Claire Machin and stand-in, Mark Carroll bring likability and complexity to Huey’s mother and radio head, Mr. Simmons. Rolan Bell is also hilarious as the biting and protective Delray and kicks the show off in style with his bluesy vocals in the infectious song “Underground”.

It speaks to the strength of David Bryan’s music that Memphis was the only show I left wanting to buy the cast recording for. Every R&B-tinged or rock ‘n’ roll tinged number sounds authentic to the era and is unspeakably catchy (and are made even stronger by the sharp direction and vibrant choreography delivered by the talented ensemble). Several show-stopping ballad numbers – including the previously mentioned “Memphis Lives in Me” and “Coloured Woman” (delivered to perfection by Knight I might add) – round out the score and add the essential emotion to the show.

So all I have left to say is, you need to go catch Memphis before it closes in October.  It is filled with humour, heart and unmissable performances that deserve to be seen and applauded for years to come. Don’t miss out on the opportunity to see one of the best shows currently in the West End!

★★★★½

If you haven't already check out my Billy Elliot review and my Miss Saigon review. Thanks for reading! 

My Week in London - Miss Saigon (Review)

Last week I stayed in London and took the opportunity to see 3 shows in the West End I'd been wanting to see for ages, of which I have now reviewed to share my thoughts of them. The second show I saw was the recent Miss Saigon revival and without further ado here is my review!

Miss Saigon (Thursday 30th July, 2:30pm) 

I managed to get one of the last front row day seats for the Thursday matinee of Miss Saigon, one of
the shows I’ve been most eager to see for years. Thankfully I was not disappointed by this extravagant and harrowing production, led by Eva Noblezada’s stunning performance as Kim.

The production values and technical work on this revival is one of the main highlights of the show, as shown through the numerous ambitious set pieces such as “The Morning of the Dragon” and most notably “The Fall of Saigon” flashback, featuring the iconic helicopter sequence. When backed up by Boublil and Schönberg’s beautiful score, the whole show really feels epic. Yet this is not at the expense of the slower, more dramatic numbers and the performances.

Eva Noblezada brought the audience to their feet at the conclusion of the show which speaks for the strength of her performance. Her voice is just gorgeous and any worries in regards to her acting ability based on the show’s earlier reviews were dispelled by her layered performance combining weariness, innocence and ferocity into the tragic young woman.

Jon Jon Briones is excellent as the sleazy Engineer and almost steals the show, while I could barely tell that Richard Carson and Marsha Songcome were in fact understudies as they both sung and acted incredibly as Chris and Gigi respectively.

While I was blown away by the spectacle of the show, I did not feel as emotionally invested in the central romance between Kim and Chris as I felt I should have. The chemistry between Noblezada and Carson was strong but there was still something missing in their relationship, which is what keeps the show from being truly outstanding for me. Nevertheless, Miss Saigon is a thoroughly impressive production that I’d recommend seeing before it bows out of the Prince Edward Theatre at the end of February. 

★★★★

I'll be posting my final review tomorrow! If you haven't already check out my Billy Elliot review and my Memphis review. Thanks for reading! 

My Week in London - Billy Elliot: The Musical (Review)

Last week I stayed in London and took the opportunity to see 3 shows in the West End I'd been wanting to see for ages, of which I have now reviewed to share my thoughts of them. The first show I saw was Billy Elliot and without further ado here is my review!

Billy Elliot: The Musical (Tuesday 27th July, 7:30pm)

Billy Elliot has undoubtedly become one of the West End’s staple musicals and is currently celebrating its tenth year in London. And even after 10 years, it remains an awe-inspiring production filled with breath-taking dance sequences and both heart-wrenching and warming moments.

Even sitting in the Upper Circle at the beautiful Victoria Palace Theatre gave a great view and fully immersed you in the production. The best way to describe the show would be an emotional rollercoaster (cliché I know). Lee Hall’s book and Elton John’s music takes you through a real wide range of emotions on Billy’s journey to becoming a ballet dancer whilst the struggles of the Miners Strike of 1984-85 affect his family and local community, that left me laughing and crying at various parts of the show.

The Billy I saw, Brodie Donougher, was a terrific performer who embodied the character of Billy extremely well and proved to be strong as a singer, actor and particularly a dancer. His Electricity and Swan Lake numbers were jaw-droppingly good and gained rapturous applause from the audience. Other standouts included Deka  Walmsley as Billy’s father, who perhaps emphasized the ‘rollercoaster’ factor the most through his excellent performance channelling the stern, abrasive father who steadily releases his inner love and care for his son whilst maintaining a wicked comic timing (particularly in the ‘Audition’ scene). Wendy Somerville was a more than worthy alternate to Ruthie Henshall as Mrs. Wilkinson, while Gillian Elisa and Chris Grahamson filled out the primary cast terrifically as the rest of Billy’s family.

Elton John’s music goes from being infectious and toe-tapping (Expressing Yourself) to inspiring (Electricity) to greatly affecting (Dear Billy – both renditions) and the show is at its most impressive when merging singing, dance and dynamic choreography into impressive set-pieces (Solidarity). The only struggle was hearing some of the lyrics over the orchestra, particularly in the opening numbers of the show which felt somewhat overcrowded for lack of a better word.

Nevertheless, Billy Elliot remains an electrifying show in the West End that combines great songs, amazing dancing and an extremely talented cast to bring this inspiring and heart-wrenching story to life.

★★★★½

Check out my review of Miss Saigon here and my review of Memphis here! Thanks for reading! 

Mad Max: Fury Road - Review

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Mad Max: Fury Road is quite simply the best film of 2015 so far, and one of the best action films I’ve seen in years. After being dormant for over 30 years, Fury Road marks a long-awaited return to the iconic post-apocalyptic Mad Max series of the 1970s and 80s and re-establishes the series as one of the best there is. No film I’ve seen in cinemas in years has enraptured me so thoroughly and had me in such amazement from the start. Director, George Miller combines so many elements – action, acting, cinematography, effects and even the story - effortlessly and creates a cinematic experience that simply has to be seen. This all may seem like hyperbole, but it truly is this good.

Miller manages to put every CGI-action blockbuster that currently populate the box office to shame, by staging as many of his intense action sequences practically as possible, only adding CGI to enhance shots and to create sequences that are impossible to achieve in real life – for example, the incredible and beautiful sand storm scene. This combined with his sharp direction and the flawless editing by Margaret Sixel makes every action scene as electrifying and audacious as the last, climaxing in the nail-biting final 20-minute car chase where the two sides collide with each other explosively.

Despite the obvious focus on action, Fury Road thrives in the story department as well. Miller and his co-writers, Brendan McCarthy and Nico Lathouris have generated a refreshingly simple plot and a vast world populated by well-defined characters. This time, a traumatized Max (Tom Hardy) finds himself caught in the middle of an ongoing chase while aiding Imperator Furiosa (Charlize Theron) and the oppressed five wives in escaping as they are chased by the leader of the only-known civilisation, Immortan Joe (Hugh Keays-Byrne) who wants his wives back to create children to maintain his rule.

The screenplay constantly subverts expectations, firstly through the fact that most of the character’s backstories and the film’s universe are revealed to the audience solely through implication, relieving the film of the endless clunky exposition seen recently in many action blockbusters. Most significantly, the film arguably makes Furiosa the film’s protagonist, as her actions drive forward most of the film’s story and Charlize Theron completely owns the film and creates an excellent action heroine whose gender is both irrelevant and essential to her motivations and actions as she fights ferociously but in order to liberate the five wives from the oppressive and disgusting treatment they received under Immortan Joe.

This is not to say that Max has been sidelined in the film – as many have suggested – as we see the tortured and almost inhuman Max at the beginning learn to trust and work with others again, somewhat restoring the humanity he once had. Tom Hardy is excellent as the brooding loner, filling the role in a different manner to Mel Gibson’s more charismatic portrayal, while maintaining the intensity of the original character. Nicholas Hoult is similarly superb as war boy, Nux as is Hugh Keays-Byrne as the main antagonist, Immortan Joe, who creates a truly loathsome character to root against.

Mad Max: Fury Road is a film that is not only relentlessly exciting and thrilling in its action, but is also a genuine visual feat – seriously it is one of the most beautiful-looking films I’ve ever seen - and much deeper and subversive in its story and characters than what could be expected. George Miller has created a new benchmark for the 21^st century action blockbuster and it does not look like this can be beat anytime soon. 

★★★★★

Pitch Perfect 2 - Review

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Amongst my particular age bracket, 2012’s Pitch Perfect was easily one of the most popular films in years and perhaps the best received ‘teen’ film since Mean Girls in 2004. Anna Kendrick’s Cups became a viral sensation and the film won most of its audience thanks to its many laughs and catchy songs. Making a sequel to a comedy like Pitch Perfect is risky and often all it dishes up is more of the same but usually in a less appealing manner (Think The Hangover Part II). Other times it pays off and we get a film as good if not better than the first one (Think last year’s 22 Jump Street). Thankfully, Pitch Perfect 2 mostly fits into the latter category.

First time director, Elizabeth Banks delivers solid work in the role, directing the many musical numbers with aplomb – particularly the Car Show number by DSM -  and musically, the numbers themselves are as good as the first films, if not a little less crowd-pleasing. The sequel delivers many great laughs, particularly through Banks and John Michael Higgins who return as acapella commentators and the first film’s breakout star Rebel Wilson. However, some jokes feel fairly uncomfortably offensive (for example: any line from Chrissie Fit’s Flo, whose character begins and ends with ‘immigrant who can do backflips’), others fall flat (most notably, Snoop Dogg’s cameo) and the good ones don’t seem quite as uproarious as some from the first.

With regards to plot, its three years on from the first film and the Barden Bellas crash back to the bottom of the acapella group ladder after Fat Amy (Rebel Wilson) suffers a wardrobe malfunction in a performance in front of the President. This accident gets them banned from competing on a national level and so to get this ban revoked, they seek to win the World Acapella Championships. This forms the main backbone of the film and more or less follows the same trajectory as the first film.

Where Pitch Perfect 2 branches out is everywhere else, where the group of girls are all facing graduation and some are dealing with the uncertainty of their future better than others. Beca (Anna Kendrick) is attempting to pursue her music producing dreams but faces trouble along the way, Chloe (Brittany Snow) seems to be in denial about the whole concept (after all she is a four-year senior)  and Fat Amy is running from commitment when her on-off lover Bumper (Adam DeVine) suggests they enter a real relationship. Meanwhile, aspiring songwriter Emily (Hailee Steinfeld) joins the group, seeking to gain the Bella experience her mother did.  Screenwriter, Kay Cannon mostly succeeds with developing these characters using these subplots, particularly with Becas which provides a really great and natural progression for the character. As a result, Pitch Perfect 2 is far less formulaic and more character driven than its predecessor, a welcome and pleasing development.

The rest of the girls remain the one-dimensional stock characters they were in the first film and perhaps have even less time than they did in the first film, likely to make room for Wilson’s increased role as well as Steinfeld’s character, which is a shame considering the talent amongst them. Beca’s love interest, Jesse (Skylar Astin) and their former rivals, the Treblemakers also have significantly reduced roles, allowing the awesome European champions, Das Sound Machine to fill the screen, who contribute several outstanding musical numbers to the film.

Overall, Pitch Perfect 2 is a blast from start to finish and is in many ways better than its predecessor through its better development of characters and slightly less clichéd plot. Its humour and musical numbers don’t hit quite as many highs as the first one, but they are still good enough to guarantee a thoroughly enjoyable musical experience. Finally, its just very refreshing to see a female-led and female-directed film promoting friendship and success from females in the mainstream film industry and being such a huge success!

★★★½