Review - Crimson Peak

From the offset, Crimson Peak puts itself in it's place. "Ghosts are real – this much I know...". This is the voice of young Edith Cushing, played by Alice in Wonderland's Mia Wasikowska. In the first scene we see Edith as a child, in bed, afraid of a banging outside of her bedroom. The incredibly well CGI-ed ghostly figure that haunts her is that of her late mother, coming to warn her of "Crimson Peak". 

We then skip to Edith, a young, headstrong woman from Buffalo who's aspirations are only to become a successful writer. Surrounded by the pressures of finding love at an early age and settling down, she brushes such pressures aside and acclaims herself as a strong individual, whose own goals come before that of any man. In comes Thomas Sharpe (Tom Hiddlestone - Avengers), a charismatic baronet who seeks the financial backing of none other than Edith's father, Carter Cushing (Jim Beaver - Supernatural, Dexter). Despite her desperate attempts, Edith succumbs to Thomas' charms. Her father though is wary, after refusing investment to Thomas' plans, the two share an unwelcome chemistry. 

And so to Crimson Peak, the household to Thomas Sharpe and his creepy sister Lucile (Jessica Chastain - Mama). After an untimely and frankly brutal loss in the family, Edith moves in with Thomas and co, unaware of her new surroundings' chilling secrets. As well as rotting walls and strange siblings, Crimson Peak is also home to a host of very familiar looking ghosts. 

Edith can't help but explore her new home, and quickly comes across some extremely dark corners to Crimson Peak. New ghosts haunt her wherever she roams, and it seems the undead don't mean to scare Edith, but to warn her, just as her late mother did all those years ago.

Charlie Hunnam (Pacific Rim) joins the star-studded cast as Edith's friend and young doctor, Alan Michael. He acts as a parachute for Miakowska's Edith, always there should her strong sense of character not pull her through; which nine times out of ten, it does. He also adds as another red herring to the ever-growing plot line. 

Aside from the brilliant storytelling and the nothing-short-of stainless acting, Del Toro and his team have created a visually stunning and encapsulating thriller. The house itself feels alive, the way it seems to breath as a gust flows through it, and the way it seems to bleed as the snow falls through its rotting ceiling onto the velvety clay-sodden ground below.

At the heart of the movie is a tale of horror, but not one set by the dead souls that haunt Edith. It's the twisted tale of her new husband and seemingly-deranged sister Lucille (who Chastain creates fantastically) that makes it's mark. The final showdown is one of graphic brilliance, and really shows off Del Toro's already established film making genius. 

Crimson Peak isn't your standard horror or thriller, it's more a gothic romance. Nonetheless, it's brilliant. It contains some killer performances, awesome set design, and plot twists that'll make you think twice about ever dreaming of Tom Hiddleston again.

Review - Legend (2015)

Don't be fooled, this isn't just a 1960's gangster movie, full of violence and cockney slang. This adaptation of the famous Kray Twins rise to crime lord status is much more than that, its deeper, darker and also much funnier than any take before it.

Although it feels like an American gangster movie, Legend is a biopic on an exuberant scale. Undeterred by the fist fights and dodgy dealings, it's a very clean film, a pleasure to watch. The 60's looks cool, old Ford's shining in the streets and music stars starring in the clubs. The soundtrack isn't one to be missed either, rivalling the coolness of Guardians Of The Galaxy, only with more Burt Bacharach.

Helgeland skips the boxing years of the Kray twins youth, and instead moves straight to the jumping 1960's. With Reggie already a self-proclaimed prince of the East End and Ronnie controversially being released from a mental institute.

As well as being the movies narrator, Frances Shea (Emily Browning, Sucker Punch) also becomes Reggie's love interest, and gives a backlight into Reggie and Ronnie's relationship as the film progresses. Although a key figure, and ultimately a catalyst in the Kray's crime-fuelled experiment, Browning's Frances is overshadowed by what can only be known as yet another stupendously delivered fantastic performance by Hardy.

His Reggie is an arrogant yet charming "businessman", madly in love with Frances and madly in love being (but never admitting to being) a gangster. His Ronnie is a paranoid schizophrenic, a violence-fuelled family man who's love for his Mother's tea is overpowered only by his love of young men. Ronnie is a theatrical character, brought back down to earth by either Reggie's way with words, or Reggie's right fist.

At times it's hard to take this movie seriously. Scenes of graphic violence are sandwiched between Ronnie in a near Little Britain-esque comedy sketch and Reggie in an endearing love scene (be it in prison or not). That being said, its entertaining, from start to finish, and climaxes with a conclusion that can only be taken seriously.

In the final third of the movie Browning comes to life. Frances becomes a stronger woman and with it  Browning becomes a stronger actress. Although Hardy's delivery is nigh-on impossible to criticise, she stakes a fantastic claim for herself in a supporting role.

Hangeland has landed on his feet with Legend, producing a fine script with a fine host of actors to see it through, two of which, are Tom Hardy. Humour weaves itself around the script from top to bottom, smoothing a softer edge on an otherwise tragic love story. Hardy amalgamates into two actors in a effortlessly seamless double-headed production, and undoubtably steals the show.

Review - Ant-Man (2015)

Earth's Tiniest Hero. He doesn't exactly size up to the usual host of blockbuster superhero's, but Marvel have indeed once again created yet another brilliant element to their ever-growing Avengers ensemble.

For those who are unfamiliar with the story of Ant-Man, listen in, it's fairly simple. It's 1989, Hank Pym (Michael Douglas - The Game, Wonder Boys) is a scientist who has invented the necessary means to control the "space between atoms", or in our terms, the ability to shrink stuff. Guess who wants this revolutionary technology? SHIELD. But Pym isn't selling, due to fears of the suit falling into the wrong hands, he creates his own company and hides the suit from the world.

Jump to the present day and Pym's company has not only grown, but has been taken over by his once "loyal" assistant, Darren Cross (Corey Stall - House Of Cards). After years of being kept in the dark over Pym's previous technological advances, Cross is closing in on the final stages of replicating the science behind the once hidden Ant-Man suit.

Pym is desperate, not wanting Cross to complete his advances in shrinking technology, and so reaches out to Scott Lang. A Robin Hood-esque cat burglar who once stole from a millionaire, only to return the money to the people who it was once belonged to. Played by the always amusing Paul Rudd (Role Models, Anchorman), Lang teams up with Pym to become the Ant-Man, and to stop Cross.

Lang doesn't fit the bill of a superhero as we know it these days. But after doing jail time, struggling for work, losing his once true love and access to his daughter, he's relatable. Not in every aspect but at least enough for viewers to like him, to want him to succeed.

Sarah Finn has once again excelled herself in casting for this movie, and being part of Marvel's team since Phase 1, its hardly surprising. Rudd is brilliant as always, and partnered alongside Michael Douglas, the two of them create a father-and-son like synergy that flows well with Edgar Wright's script. Rudd gives the humour, Douglas brings us back to earth, but lightly. Evangeline Lilly (The Hobbit Trilogy) plays as Hope Pym, Hank's daughter. She brings emotion to the table. Having lost her mother at a young age and having not seen much of her father since, she distances herself from him, blaming him for her difficult childhood yet works alongside him all the way, as she too understands the severity of what is at stake. Despite being three completely different personalities, the trio bounce of off each other throughout the movie to create an easy yet engaging story. Corey Stalls portrayal of Darren Cross is spot on. Ruthless yet somewhat misguided, his character is strong, but as with many superhero movies these days he doesn't quite get the screen time to give us a fuller understanding of his alter-ego's motives.

Ant-Man is closer to Guardians of the Galaxy than it is to The Avengers. This is a good thing. Both are light-hearted and humorous, but have a deep story that leaves viewers feeling for it's characters and wanting more. The Avengers can verge towards dark and serious at times which is perfect for those epic blockbuster moments, but not for an origin story like this one. Ant-Man works well as a standalone movie, as well as tying itself neatly into an ever-expanding Marvel Universe that ceases to amaze. It's relatable, it's full of action, and it's funny. Rudd is just as great as Stan Lee's obligatory cameo's.

Review - The Divergent Series: Insurgent

Shailene Woodley returns as Tris Prior in her continuing battle against a strict faction-based system into which she is welcomed in none. Her initiation into this dystopian society didn't quite go as planned, as the hi-tech sorting hat failed to find her compatible with any of the five given houses.

We find the gang just a few days after their flee from Dauntless faction and the explosive shootout against the Dauntless army, as they now hold sanctuary in peace-loving Amity. Tris, her lover Four, part-time enemy Peter and Erudite runaway brother Caleb, are having a hard time trying to nail down their emotions in such a tranquil environment and soon find themselves on the run again as Divergent-hater Jeanine Matthews (Kate Winslet) closes in.

The movie, unlike its predecessor, does not follow the book's plot as well as before. Veronica Roth's successful trilogy is bound to have attained hardcore followers who may be left disappointed with Insurgent's somewhat lack of loyalty.

Some star-studded cameos feature in this movie also, Octavia Spencer (The Help) and Naomi Watts (The Impossible) are introduced by sadly don't stick around for long and neither play roles which reflect their respective abilities. This paired together with an overall storyline that fails to connect all of the dots, makes for some hard-to-follow filmmaking. Scenes lead to climaxes which are well-thought out but only to often are they predictable. Seldom did I find myself "ahh"-ing at a twist that I didn't see coming.

Although I don't like to, it is difficult not to compare The Divergent Series with The Hunger Games. Being released on the big screen first gives Jennifer Lawrence and co the upper hand. But this hasn't stopped Woodley and the gang from putting up a fight. The Hunger Games' district system is simpler and so flows better within a film, allowing more focus on characters and storyline. The Faction system is complex, and requires more film reel to get to grips with the society. As protagonists go, theres not much to complain about, both Lawrence and Woodley have now proven that they can carry a movie which would have otherwise struggled without them.

All this being said, I enjoyed it. The dynamic clash of Tris and Erudite leader Jeanine leads to some of the better sequences in the movie. Tris' constant dip into virtual reality shows off some impressive CGI and again gives Woodley the chance to blossom in an otherwise methodical journey. As good as the the first? Probably not. But it's not a bad build-up to what I have been told, is a pretty neat ending. 

Review - Chappie

Following Neil Blomkamp's 2009 debut film District 9, his 2013 feature Elysium contrasted in a way that was somewhat disappointing in the way in which it was produced. I'm not saying I didn't enjoy it, it's just that it felt more like a Hollywood blockbuster, as oppose to the raw and edgy adventure that was District 9. I'm happy to say though that Chappie brings the best of both worlds together beautifully.

Set in near-future Johannesburg, where an iRobot-like system of AI law-enforcement patrols the streets. Crime is down to a record low and cop deaths have been reduced, yet robot-cop inventor Deon Wilson (Dev Patel - Slumdog Millionaire) sees more to his android army than just clean streets. 

Deon is working on something new, an artificial intelligence system that can not only think, but can feel emotion and create it's personality. The result of his prototype computer program and a set-to-be destroyed faulty police robot, is Chappie. 

With the body of a thick-skinned machine and the brain of a developing and highly

impressionable small child, Chappie and creator Deon are hijacked and taken to the derelict underbelly of Johannesburg. Here they are confronted by criminals Ninja and Yolandi, a pair of gang runaways played by electroclash duo Die Antwoord. 

Sharlto Copley once more plays a major part in the South African directors creation, voicing Chappie in a charming and delightfully humane fashion. You'll leave the cinema wanting a Chappie, and wanting to cuddle it like a baby until he falls asleep and starts calling you Mommy. 

As Deon attempts to nuture Chappie's infant brain slowly, Ninja sees the opportunity to turn him instead into his car-jacking ninja-star throwing sidekick. Chappie learns quickly and soon becomes a foreboding figure in the underground crime scene. 

Thrown into the mix too is Deon's co-worker Vincent Moore. Played by a mullet-laden Hugh Jackman, Moore sees Deon's successful police units as the reason behind his own crime-fighting invention, "The Moose" failing to find a willing customer. 

The story moves inevitably towards a gunfight between Moore in his Moose and Chappie and co. The fight scene serves a purpose as a conclusion to the film in a CGI-heavy encounter, bringing a somewhat easy end to Jackman and the human factions involvement. 

Blomkamp's third directional outing is an enjoyable and infectious journey that leaves you wanting more Chappie. It asks big questions concerning what's right and what's wrong with overly-developing AI technology yet it doesn't necessarily answer these questions, rather it leaves it to us to ponder. 

  

Review - Big Hero 6

Coming off the back of their seemingly everlasting success with Frozen, Disney Animated Studios have drawn directly from Marvel's chest of treasures to bring us 2014's highest grossing animated movie, Big Hero 6. Voiced by Scott Adsit (30 Rock, Robot Chicken) Baymax and co come together to create a visually dazzling and highly loveable superhero spectacle for the whole family. 

Set in the streets of a fictional amalgamation of America and Japan, San Fransokyo (it's as cool as it sounds), this lesser known Marvel story brings together 14-year-old scientific inventing prodigy Hiro Hamada, and his brother's own robot creation Baymax. Initially designed to care and aid for those in need, Baymax is slowly transformed by Hiro from an inflatable-latex version of Mrs Doubtfire, into a full body-armoured fighting machine. 

Comedy runs throughout with Baymax stealing the show, basic slapstick jokes are meticulously timed and innovately reimagined to make uproariously funny scenes from the simplest of concepts. Alongside coloufully epic visuals and technoloigcally advanced animation, Disney have created a movie with enough cross-generational flavour to make this a contender for movie of the year. 

Baymax is brilliant, his Siri-like response tone and adorably cute natured mannerisms make him a loveable and hilarious character. He is overly-attentive like a loving parent, but at the same time is completely oblivious of his surroundings like a small child. Baymax's character manages to dilute fast-paced action scenes with his gentle nature, scenes which would have otherwise been alarming for kids. 

Whilst investigating the death of Hiro's brother and Baymax's creator, Tadashi, the pair come across a Kabuki-masked, black cloak wearing figure who has turned one of Hiro's scientific creations into his own personal weapon. But the duo aren't alone, teamed with Tadashi's college buddies and Hiro's keen eye for inventing brightly coloured and incredibly advanced superhero costumes, the six of them set out to avenge Tadashi's death and uncover the man behind the mask. 

The film's plot is basic, but has been fleshed out well with clever twists and turns and characters that are instantly loveable and gags that will be long remembered. The ever growing relationship between Baymax and Hiro though is the core of this high-flying adventure. The early stages bring together Hiro's teenage attitude and Baymax's child-like naivety, while the latter of the movie is both heartwarming and heroic. 

And of course, it wouldn't be a Marvel movie without an appearance from Stan Lee now would it?