Hello Darkness My Old Friend: Review of Batman vs Superman: Dawn of Justice

Batman V Superman: Dawn of Justice

Director: Zack Synder

By Alex Watson

On paper, this super-fight mash-up sounded like a win-win for all involved, sadly Batman V Superman: Dawn of Justice is frankly a false dawn. While it has brief moments that thrill, the continually dark and gloomy edge leaves the movie empty at its core. Zack Synder seems more focused in dazzling us visually rather than allow this movie to be a fun experience. What follows will likely leave you asking a number of questions when the end credits role.

Superman (Henry Cavill) is currently being hailed as both hero and villain after saving Metropolis in the last installment. Preventing Zod almost left a heavy cost to human lives and deeply affected one Bruce Wayne (Ben Affleck). Wanting vengeance on the Man of Steel, Batman is also facing a bad rap from the media due to his excessive revenge crimes. Lurking in the shadows is one Lex Luthor (Jesse Eisenberg) who seems a little too interested in examining some found Kryptonite.

Batman V Superman: Dawn of Justice is a picture that feels too drawn out despite Synder's best intentions. The principle issues seems to be the favour of talk over action and like all VS installments, it takes it sweet time. Beginning during Superman's previous finale, Synder gives us a Roland Emmerich-style opening which sees Bruce Wayne frantically try to save his employees. This section does give an early thrill and it plants the bitter seed of conflict within Wayne as he seeks for survivors amongst metropolis wreckage. Batman in this piece is a paranoid, sociopathic wreck that brands his victims. Morally the man is suffering and his dreams are haunted by nightmares of giant flying bats. A new spin on his childhood is a pleasant change as it is shown to begin in 1981 (look for an advert for Excalibur). Jeremy Irons also fits in well as the new Alfred and is given a more in depth part than Michael Caine;s surrogate father. The hatred built up between the two men is justified, but sadly this feels like a lightweight affair.

Supes has also been hitting bad press and despite saving the planet, his seeming lack of conscience for human lives has alerted public conscience. "He is a man who answers to no-one!" cries one survivor to Senator Finch (Holly Hunter) and for once this movie does question his hero status. Scott McNairy appears a man who has been wrong by Superman and is keen for revenge. This side note does give us one very unexpected twist, but it doesn't really affect the picture.  On the other side, Clark Kent doesn't seem to be too fond of the Dark Knight's tactics. When finally together in the same room, it just doesn't conjure up that sizzling feeling required. Then along comes Lex Luthor, who in this picture is a floppy haired and tortured wiz kid who comes off more like a manic Energizer Bunny than a bad guy. His plotting fails to spark any interest and his schemes appear to be not thought through.

When the showdown finally hits, Synder lets his two leads run riot as they do battle in the slums of Gotham. Fists fly, walls crumble, krypton grenades blast and for a brief time we smile. The entertainment factor is decidedly low throughout so this injection of adrenaline keeps it on life support.However, this effect does not last due to the overuse of CGI and yet another air battle (what is it with superheroes and midair?) Synder soon sends this finale into a more bland and familiar territory. The long delayed big screen debut of Wonder Woman (Gal Gadot) gives us possibly the strongest character throughout and this warrior is gutsy to the bone. Her impact in this one might by limited, but it does tickle the interest as to what she can do in a full feature. Essentially this piece will begin to feel like an extended trailer for the Justice League by the climax.

Ben Affleck might not have been the fans favourite choice, but he does convince as Bruce Wayne. Unfazed by his failure as Daredevil, Affleck gives his Batman as a twisted logic and does well keep his characters thirst for payback suppressed. Henry Cavill does the best he can as Superman but is given precious little to work with. Had the writing been deeper then this could have been a great character study on his feeling beneath the cape. Instead Cavill is forced to feast on the generic scraps he is fed. Jesse Eisenberg comes off worst of all as Lex Luthor and his performance is very much a love/hate thing. Giving a very hammy overtone, Eisenberg lacks any sense of immediate threat and you have to wonder why either hero doesn't kill him within seconds of meeting him?

No doubt one of 2016's biggest misfires, Batman v Superman: Dawn of Justice should have been the first dose of summer fun. Now they will have to contend with the angry message board comments. Let's hope any errors get fixed for Justice League.

Deeper Underground: Review of 10 Cloverfield Lane

10 Cloverfield Lane

Director: Dan Trachtenberg

By Alex Watson

Many had no idea that 10 Cloverfield Lane was even coming until a surprise trailer was revealed early in 2016. Many previously had expected another found footage picture with more people running from the monster. Well, this picture may have been a shock but doing it as a straight story bring us one of the tensest movies of the year. Refusing to just provide outright scares, debut director Dan Trachtenberg, and producer JJ Abrams make the unknown a far more frightening concept.

Fleeing from a relationship in New Orleans, Michelle (Mary Elizabeth Winstead) is involved in a horrific car accident. When she awakens she finds herself in a fallout bunker owned by Howard (John Goodman) who tells her that the world is under attack. Recuperating and also fearing for her life, Michelle becomes acquainted with the other male taking residence Emmett (John Gallagher Jr). Has the world gone to hell? Or is something far more sinister involved?

In spirit 10 Cloverfield Lane is a successor to its predecessor but it also succeeds by itself as a genuinely unnerving and smart thriller. A more up close and smaller effort than Cloverfield, the use of limited special effects is a wise one as they allow the story to be the selling point. Trachtenberg makes good use of silence as Michelle wordlessly leaves her relationship with her ex (voiced by a famous A-lister). Driving into the dark night, the moment her car crash occurs it has a big jump factor. Waking up in an empty room hooked up to a drip, Howard's introduction is a booming and ambiguous one as he bluntly informs her "No one out there is looking for you!" The opening act is all about Howard being elusive with information and it only when Michelle attempts an ill-advised escape it becomes apparent not all is right.

The ambiguity is that drives this picture, is Howard really telling the truth? Or is he just some conspiracy nut who has driven over the edge? At first, we assume that there is no physical danger and generally this guy wants to protect them. However, when certain red herring rear their head Trachtenberg fills the air with a wonderful unease. Seeing Michelle crawl through vents is surprisingly claustrophobic, particularly as it leads to revealing something that suggests she might not have been the first woman to share this bunker. Emmett is a reluctant participant in all this who goes from being thankful for shelter to finally agreeing there is something shady about Howard's past.

A third act hiccup is a forgivable mistake because it does lead to shocking yet expected outcome. This post is a spoiler free land so my advice is to learn as a little as possible and to make up your own mind. In the bunker things reach boiling point in a magnificent way as all suspicions and frustrations come to a head. Howard throughout has been a hulking and ticking time bomb and when he explodes it is quietly terrifying. Michelle is a well-written heroine and watching her use her brain in the third act gives her a strength we didn't think possible. There is no monster destroying towns in its wake and no Statue of Liberty head flying into sight. Keeping things low key gives Trachtenberg's picture a more cold and biting feel.

Mary Elizabeth Winstead gives a fine performance which the film builds itself around. Going through every emotion in the spectrum, Winstead is both mesmerizing at her most frightened and gutsy when called upon. Michelle is an example how female characters are beginning to anchor these types of films and we hope to see her back. John Goodman gives one of his most showy and cold-blooded turns as Howard. Those who are used to him in his cuddly family roles such as The Flintstones might be in for a shock. Fans of Barton Fink will know precisely how much can turn up the creepy factor on command!

10 Cloverfield Lane is a great surprise and firmly pushes most Trachtenberg and Winstead into the light. Sequels are already being discussed, for once I hope these two come back for seconds.

Five Great Racing Movies

Senna (2010 Dir: Asif Kapadia)

The life of Ayrton Senna was no ordinary thing and in 2010 British director Asif Kapadia finally shed light on one of F1's finest. Treading a fine line, Senna shows its subject as both hero and villain who although one of the finest drivers of his time was at times one of the most stubborn. Best of all, it goes deep into the Brazilians psyche and undercovers a deeply conflicted soul. Possibly the finest movie that motorsport will ever produce.

Rush (2013 Dir: Asif Kapadia)

Winner of this blog's Film of The Year in 2013, Ron Howard finally succeeded in bringing an excited F1 movie into the 21st century. Replaying the sheer drama and chaos that was the 1976 season, the battle between playboy James Hunt (Chris Hemsworth) and calculated Niki Lauda (Daniel Bruhl) was captivating. Effortlessly capturing the drivers vastly different persona's, it also brought forward the painfully recover of Lauda after his fiery crash at the Nurburgring. Live action racing has a front runner.

Le Mans (1971 Dir: Lee H Katzin)

Steve McQueen's love of Le Mans was well known throughout his life, so who better to star in a motion picture version. Story wise there is little other than McQueen looking his trademark cool self, but on the track is where the picture really sizzles. Driver Michael Delaney is still guilt-ridden over the death of a rival but the thriller of racing is still an addiction. Drawn into a battle with rival Erich Stahler, the pair of do battle on for the crown of sportscar racing.

Grand Prix (1966 Dir: John Frankenheimer)

Before Rush, this picture was considered the pinnacle of F1 films by director John Frankenheimer. Demonstrating the kamikaze feel of racing in the 1960's, star James Garner makes for an interesting centerpiece as American Pete Amon. A former star who is fading away, Amon has competition from world champion Jean-Pierre Sarti (Yves Montand) and recovering team Scott Stoddard (Brian Bedford). Featuring cameos from greats Stirling Moss, Juan Manual Fangio and Graham Hill, Garner was the real star as he did all his own driving which drew admiration for many drivers.

Days of Thunder (1990 Dir: Tony Scott)

Tom Cruise and Tony Scott's second outing together may have unimpressed critics, but the action on the track is still great. This may be Top Gun in a Chevrolet but together Cruise and Scott make you want to attempt Daytona on impulse. The early action scenes between hot shot rookie Cole Trickle and underhanded champ Rowdy Burns (Michael Rooker) set up the late drama. However, it is his rivalry with cocky new boy Russ Wheeler (Cary Elwes) that provides the real interest. Try watching the final Daytona 500 sequence with grinning from ear to ear.

Animal Farm: Review of Zootopia

Zootopia

Directors: Brian Howard and Rich Moore

By Alex Watson

A story that only Disney could have brought to life, Zootopia is a the kind of fun experience we only get once a year. Setting the story in a world where animals reign supreme free of human interaction is more than just a novelty effect. Directors Howard and Moore have the cute factor pinned down easily, but it is a thoughtful piece about problems that can arise from having predator and prey co-existing. This is a Disney movie with a big heart and an animal instinct.

Judy Hopps (Ginnifer Goodwin) is a small town rabbit who dreams of becoming a police officer. Overcoming the pessimism about her dreams, Judy does achieve her goals and becomes the first ever rabbit police officer. When she reaches the city she realizes that things will be tougher than she could ever imagine. 14 animals have been captured in recent weeks and Chief Bogo (Idris Elba) is keen to have them solved. When Judy begins to investigate, she gets the help of con artist fox Nick Wild (Jason Bateman) who she has previously encountered.

Wonderfully both Howard and Moore don't allow Zootopia to completely revolve around its central concept and focus mainly on the central duo of Judy and Nick. Funny and smart from the very beginning and its animation is a glorious experience. Having the animals walk and talk like humans is a neat touch, as well is have the city is divided into different sectors such as tiny Little Rodentia.  There is also a wonderfully silly feel and co-writes Jared Bush and Phil Johnson have a ball with creating a variety of zany moments. From a painfully realistic DMW run entirely by sloths to a rodent mafia boss, there are laughs to be found everywhere.

Ever since childhood, Judy's less than enthusiastic have trodden on her dreams and encourage like her parents to farm carrots. Through some sheer pluckiness, Judy manages to prove the doubters wrong. When she arrives in Zootopia, Judy is immediately by grumpy buffalo Chief Bogo. The reality of her struggle sets in and she begins to lose hope. Meeting Nick is, at first, a heartbreaking experience for her because due to his trickster nature he turns what a kind act into something horrific. Constantly mocking and second guessing Judy, enlisting his help is a risk as foxes are mistrusted heavily. Together this unlikely pair works likes a charm and as they begin to work together a genuinely sweet and trusting friendship is born.

What is smart about Zootopia is the issues it tackles underneath such as racism and stereotyping. Predators and prey have existed peacefully for a long period of time but there is still an air of mistrust hanging in the air. Nick himself has become a con man due to some horrific prejudice growing up while Judy is pigeonholed as the typical 'cute bunny' by her co-workers. These heavy tones are handled with care and by subtly sliding them into the plot it makes the central mystery all the more stronger. Without giving too much away, the big reveal close to the end is thought provoking one and makes us think twice about this animal kingdom Disney has created.

The voice pairing of Ginnifer Goodwin and Jason Bateman is a dream and together they are movies core. Goodwin makes good use of the saccharine likeability of Judy but also gives her a hard shell that protects her from the blows of the world. Bateman makes good use of Nick and makes him into the most slippery friend/nemesis you could wish to have. The perfect flavor of sugar and spice, the pair makes this journey through this amazing world even more memorable. Idris Elba also raises a laugh as the continually soured faced Bogo, especially when secretly playing the app created by singer Gazelle (voiced by Shakira).

One of 2016's most worthwhile experiences and Disney has created something truly special. Sporting some stunning CGI and address some important points, few animated movies this year will match this.

Touch The Sky: Review of Eddie The Eagle

Eddie The Eagle

Director: Dexter Fletcher

By Alex Watson

Celebrating a truly heroic failure, Eddie The Eagle is a movie that will make your heart soar. Although it is basically a by the number numbers heart warmer, the formula works perfectly for director Dexter Fletcher. It seems impossible to comprehend that a man such as Eddie Edwards dared to dream back at the 1988 Olympics, but although it takes some missteps this picture will still melt even the coldest person.

Eddie Edwards (Taron Egerton) is a young man with Olympic dreams, the problem is he lacks any talent at all. After some success at on the British Ski Team, he booted off by snobby chairman Dustin Target (Tim McInnery). However, after learning that Britain has no ski jump team, Eddie's hopes shift considerably and he travels to Germany to attempt to train. While there he meets alcoholic ex-ski jumper Bronson Peavy (Hugh Jackman) who attempts to dissuade him. Eddie's never say die attitude will not only win over Bronson but millions of fans worldwide.

Yes Eddie The Eagle is a very thinly veiled attempt at schmaltz, but if you approach this picture with an open mind it is a far smoother ride. His early pratfalls (one of many) raise a laugh as he goes from woefully misguided misfit to stealing the heart of the nation. Continually put down by his plasterer Dad (Keith Allen) Eddie is someone who just wants to succeed at anything. What he lacks in ability he makes up for in sheer determination and when he meets the drunken Peavy it is anything but encouraging. His mentor was once a highly rated talent by legendary coach Warren Sharp (Christopher Walken) who lost his chance due to his own arrogance.

When the action shifts to his life changing training in Ausberg, Germany it is by far the picture most entertaining section. Eddie nearly kills himself on many occasions while attempting jumps often to the mocking contempt/concern of more established competitors like champion Matti Nykanen (Edvin Endre). As Bronson grudgingly takes a shine to him, his fortunes begin to change (cue a training montage to Hall and Oates). This relationship between the two is what gives the movie its drive and despite Eddie's numerous accidents we year for him to make that jump. His real stroke of luck comes from the fact he is running unapposed for a place on the British team so all he has to do is achieve something modest and a place is his.

The finale of Eddie The Eagle takes place during the 1988 Calgary Olympics and here the movie takes on a more mushy feel. Featuring Jim Broadbent as an old school BBC commentator it does capture the euphoria that surrounded his presence. After making a disappointing jump, Eddie still breaks the British records and his wild celebrations make him an instant celebrity. There is a foreboding sense that Bronson worry about him simply being a novelty act is coming true. Journalists are more interested in his antics that how far he has come, Making a possibly suicidal choice to do the 90m jump has out hearts in our mouths. What follows is a finale of Cool Running type joy that will have you leaping for the underdog.

Although Taron Egerton is a young choice to play the real Edwards, he nonetheless convinces well. Showing his likeability that his role in The Kingsman brought, Egerton is very much the movies soul. Capturing Eddie's refusal to back down and his will to triumph, the young Welsh actor brings a true champion to life. Hugh Jackman fits well as the forever drunk Peavy but this is a role that tests him in any way. Give the movie a big name and Hollywood credibility goes a long way though and Jackman makes for a wonderful other half. Perhaps the only misfire was the bizarre inclusion of Christopher Walken who although adds a veterans touch, doesn't feel completely necessary.

In short, Eddie The Eagle is a movie that is good silly fun and for those wanting a reason to believe again this will be a good choice. Though be careful hitting the slopes afterward.

Adrenaline Junkie: Review of Whiskey Tango Foxtrot

Whiskey Tango Foxtrot

Directors: Glenn Ficara and John Requa

By Alex Watson

Those hoping for a light hearted war journalism satire might be surprised at the borderline serious tone of Whiskey Tango Foxtrot. Smartly directors Glenn Ficara and John Requa (the duo behind Crazy Stupid Love) find humor in the most bizarre of places. An impressive performance from Tina Fey also suggests that the comedian could maybe graduate to more serious roles in future. Though the most potent aspect of this picture is the portrayal of how living in the danger zone can be an addiction.

Kim Baker (Tina Fey) is a copywriter for an unnamed news outlet who is suddenly informed that she has been selected to be sent to Afghanistan to cover the war. At first struggling to adapt to the different set of ways and learning the ropes of journalism, Kim establishes friendships with reporters Tanya (Margot Robbie) and Iain (Martin Freeman). Soon her stories begin to gain more traction and she quickly becomes obsessed with getting a bigger story. However, in a land filled with danger, her desire will lead her into some dangerous paths.

Whiskey Tango Foxtrot isn't a movie written for laughs per minute and despite a slightly uneven tone, it gives a realistic depiction of life in wartime. Kim, at first, is disappointed to be sent to the 'forgotten war' as all big news outlets are covering Iraq. Particularly as she was selected because she one of the unmarried and childless staff. When she arrives in Afghanistan she is assigned a fixer Fahim (Christopher Abbott) and a Kiwi bodyguard Nic (Stephen Peacoke). There are usual awkward fist stumbles such as dealing with the blowing wind whilst attempting to conduct an interview. The moment she is taken on her first detail commanded by General Hollandek (Billy Bob Thornton), she become hooked on covering the war by watching Marine engage in a firefight with insurgents.

The fellow journalists she meets are quick to aid her and amidst the grimy halls where the journalists party and drugs and alcohol flow some charming deep bonds are made. Being one of the few females among the burned out veterans makes her a 'serious piece of ass' according to Tanya.   The battle for affections between Scot journalist Iain and buff bod Nic makes for an interest side plot. Thankful this isn't a story of self-discovery and the risks that Kim takes are of great concern to many. One scene sees her going to tremendous lengths to film one cleric denouncing television, only to discover moments later she at a men-only meeting. Fahim is the voice opposition to her growing thrill seeking as he is a newlywed who is frightened of consequences.

While Whiskey Tango Foxtrot might score points for originality, its lack of political agenda combined with its unclear tone makes it less memorable. At times, there are moments of The Hurt Locker type tension which aid the film early on as Kim goes from desk jockey to the front line. Aside from some excellent individual pieces, Ficara and Requa are not able to find the solid ground needed. This picture opens well but is hindered by a severe lack of depth. Also, it suffers from what is an entirely unnecessary rescue mission ending scored to 'Without You' smacks of corny. The depiction of the challenges Kim faces a female journalist in Afghanistan is commendable, shame the rest of the film cannot follow suit.

Tina Fey shows a new side of her acting skills here and along with Margot Robbie's excellent turn the pair make for a lively central duo. The early scenes of Tanya showing her new colleague the ropes feel genuine and how funny vibe to them. Fey, in particular, demonstrates that a future in serious cinema might not be a foregone conclusion. Martin Freeman makes for a unique suitor for Kim's affections but makes the most of his characters arrogance. Billy Bob Thornton steals the supporting honors with a wonderful turn as the terminally bored General. He is a man more concerned with a trooper firing an $80,000 missile than successfully completing the target. Each time his appears Thornton is breath of fresh air.

While it might miss the high aim it had for itself, Whiskey Tango Foxtrot is still a funny and engaging look at war. It may not connect on an emotional level but the ideas along with the performances are still worth a look.