The Goddess of War: Review of Wonder Woman

Wonder Woman

Director: Patty Jenkins

By Alex Watson

After suffering the wrath of critics, Batman vs Superman definitely wasn't the dawn the Justice League was looking for. Nor was the equally mauled Suicide Squad. Wonder Woman is the film that threatens to give this franchise fresh hope. Scene stealingly brilliant in her brief appearance in Dawn of Justice, her first feature film is an experience to remember. A tough, strong and smart heroine like Diana is the ace this movie needs. Director Patty Jenkins delivers a thoroughly entertaining and surprisingly moving action flick which leaves us wanting more.

Diana (Gal Gadot) is a Princess on the island of Themyscria who has been living peacefully among her Amazon tribe. After American soldier Steve Trevor (Chris Pine) crash-lands in the ocean, Diana is swiftly thrust into the fog of war. Unwilling to let countless lives be lost, she sets off for Europe which is being ravaged by WW1. German General Erich von Ludendorff (Danny Huston) and masked scientist Dr Isabel Maru aka 'Dr Poison' (Elena Anaya) have some dastardly plans to draw out the war.

Wonder Woman like Captain America before it benefits by setting this origin story in the past. Beginning on sunny Themyscria- we see Diana as a wannabe warrior princess who is discouraged by her Queen mother Hippolyta (Connie Nielsen). Though under the command of her aunt, General Antiope (Robin Wright) she soon becomes well-versed in the art of combat. Tapping into the Greek mythology, the side story of her people being enslaved by man and corrupted by the God of War Ares sets up later events nicely. When it comes to Steve's arrival, gives this film a fun role reversal. Steve might be the war veteran, but Diana very much is the hero. His mission success relies entirely on her involvement and without her strength, he cannot hope to succeed. The chemistry between the two is what makes this adventure so poignant. Borrowing notes from Richard Donner's Superman, Steve like Lois Lane has fallen hard for a God- but how can their relationship blossom amongst so much carnage?

The backdrop of WW1 is one area that may divide fans. There are some funny and charming early scenes as Diana enters the real world and stumbles her way around cluelessly. Seeing men for the first time touches upon some big trust issues and Steve here carries her hopes of potentially finding Ares. Some visual are jarring such as viewing the wounded and shell-shocked soldiers returning from the hell of no man's land. This section is also one that opens up Diana's eyes to the corruption, brutality and sexism the world carries. She cannot comprehend how a race of people can turn against one another or why so many people have been lost- but this only fuels her desire to save all she can. In the villain department, Ludendorff carries a flat taste and has little else to do than skulking around looking devious. Elena Anaya does have fine moments as the disfigured and gas loving Dr Poison, she alone could have made a compelling nemesis.

Wonder Woman's trump card is most definitely Diana herself. A ballsy and battle ready vixen- this woman carries the movie's spirit. Her steadfast commitment to being guardian of the earth is what draw us to her. Sprinting fearless across no man's land dodging bullets, Diana is the protector that the human needs. Her trust issues are another area where the picture excels, coming from an all-woman nation of good and honest people, these men and their war continually test her intentions. Even Steve and his rag-tag crew of misfits (Ewen Bremner, Said Taghmaoui and Eugene Brave Rock) are not far from her suspicions. While the movie might fall down with a hard-hitting but predictable ending, Patty Jenkins has created a character who truly is a wonder.

Gal Gadot is the glue that holds this film together and her brave turn is simply magnificent. A smart and deep character, Diana is a woman compelled to save despite her misunderstanding of humanity's savage nature. Beautiful, battle born and capable of heavy emotional lifting, few woman will make a bigger splash than Gadot in 2017. Chris Pine makes full use of all his Captain Kirk charm and rings in a fine supporting turn as Steve Trevor, An 'above average' human, his romance with Diana is one that will capture hearts. A man dedicated to his mission even when trapped in the 'Lasso of Truth' Pine once again has a fine presence in a big blockbuster.

Many DC Universe fans might have feared the worst- but fear not because Wonder Woman is the first great movie this summer has to offer!

Get Rich Or Die Trying: Review of Hell or High Water

Hell or High Water

Director: David MacKenzie

By Alex Watson

After being screened 'Un Certain Regard' at Cannes this year, David MacKenzie and writer Taylor Sheridan have come up with a thriller that packs a punch. One on the hand a heist movie and on the other a deep story of brotherhood, Hell or High Water is a picture with both brains and brawn. While the story at the centre may take some time to wrap your head around, MacKenzie, in the end, gives us one of the strongest pictures of 2016. 

Toby (Chris Pine) and Tanner (Ben Foster) are brothers who have resorted to robbing banks to wrestle much-needed funds. When word about a series of robberies gets out, soon to be retired Texas Ranger Marcus (Jeff Bridges) is soon on their trail. Throughout it becomes apparent these brothers are just targeting any banks, they are going after the same branch. Toby is not only desperate to save his families land, but he is also thinking of what it could bring in the future too. 

Hell or High Water starts with a breathlessly calm opening where Toby and Tanner rob a bank early morning but are forced to wait for the manager to arrive. They only take small bills and hit another bank shortly afterwards. The principle reason for their heists is a smart one as Toby has inherited his families farm land but the bank is threatening to take it due an unpaid loan she took out. This land is potentially worth a lot of dough due to oil being discovered. Toby is desperate to hand this land over to his children in a trust, Tanner as a career criminal is able to assist him. Through their treks crossing the scorched Texas' plains, the brother's relationship is one that is always on the verge of exploding. Ex-con Tanner is very much the firecracker of the duo, the burden of his brother's life who will go off with the slightest jolt. Divorced Toby is the calmer and smarter of the two and his lack of criminal activity makes him the perfect sidekick. 

The moment that impending retiree Marcus gets on the trail, MacKenzie is able to inject a newer sense of comedy into proceedings. Faced with a retirement he doesn't want, Marcus scene with his Native American co-worker Roberto (Gil Birmingham) are an endless array of witty quips as he remains unafraid to tease his ethnicity. In the midst of everything so serious, MacKenzie is able to find moments that both shock and delight like when the pair finds a grumpy old waitress who demands they only eat steak and grumbles about a New Yorker who once ordered Trout in 1987. At first along with the two Rangers we are mystified about the reasons for pair hitting the same branch of banks. When the big reveal is shown, the real genius of Sheridan's script is revealed and as their lawyer, Billy Rayburn (Kevin Rankin) says "It doesn't get much more Texan than that!" Gilles Nuttgen's gorgeous cinematography of the harsh landscape makes this feeling a journey into the nether region of the soul.

The final act of Hell or High Water is a chest tightening one as Marcus closes in on the two boys. The scene watching Toby attempt to reconnect with his estranged son is awkward but for this type of drama very realistic. The real emotion comes not from their botched final robbery attempt (seriously never piss the locals off!) but from Tanner's acceptance to his final fate. All the way through their dedication to each other is nothing short of miraculous, just watch Toby happily beat some wannabe gangsters making thinly veiled threats while Tanner just sleeps nonchalantly. He may have been despised by their mother and wasted his life with all his stretches in the pen, but when it comes to protecting his kin- Tanner is exactly the brother you need. Combined with a belting original score by Nick Cave and Warren Ellis, MacKenzie's movie shines brightly. 

Chris Pine again shows just why he is fast becoming one of the stars of 2016 and as Toby, this is his strongest work. Showing a maturity and brains on screen never seen before, Pine convinces well as a desperate man looking to save his family legacy. Jeff Bridges is always electric whenever he comes on screen and his dedication to go out on top causes him an inner conflict that is glorious to watch. Unwilling to retire quickly, Marcus' dedication to the chase is often mocked by Roberto, but it's his work during the final act that really hits home as his carefree attitude is tested. Ben Foster might be an actor who doesn't always hit the mark but as Tanner his hair-trigger performance is wonderful. A man who will lose his shit at a moments notice, Foster give his character a calm yet horrifyingly casual approach to violence. 

Hell or High Water is a possibly one of the best pictures you will see in 2016 with a trio of sizzling turns and gives proof that MacKenzie and Sheridan are two of the strongest hands possible at the moment. 

The Final Frontier: Review of Star Trek Beyond

Star Trek Beyond

Director: Justin Lin

By Alex Watson

Star Trek Beyond is a fun and entertaining ride, but nonetheless, there are bumps during this voyage. After the backlash of Into Darkness, new director Justin Lin along with co-writers Simon Pegg and Doug Jung have paid close attention to fans criticisms. Confining the action mainly to the Enterprise crew being stranded on an uncharted planet stays true to the origins of Roddenberry. Director Lin has been a fine replacement for the departing Abrams and shows his flair for the exciting during the fine set pieces. The Enterprise may stray off course in places, but such mistakes can be forgiven.

James T Kirk (Chris Pine) is still debating his place in the world and his lengthy time in space makes him wonder if he still wants to be captain? When the Enterprise receives a distress call from deep space, the crew are suddenly ambushed by the vengeful Krall (Idris Elba), a creature who is out for Federation blood. Stranded on a foreign planet in the Nebula, Kirk and crew must navigate carefully to ensure their safety.

Star Trek Beyond is just a slice of good fun, it doesn't concern itself with overthinking its sometimes sloppy plot and just seeks to entertain. One major plus is that Lin gives the adequate screen to time to Spock (Zachary Quinto), Bones (Karl Urban) and Scotty (Simon Pegg) who each have given this franchise its humour and heart. Reduced to being little more than cameos in Into Darkness, in this installment, they show just how vital they are to this ship. Spock and Bones, in particular, make a fine double act when facing unstable odds together. Facing certain death together, Spock suddenly is teleported cue the doctor grumbling "Well that's just typical!" To a degree, this picture is all about characters wrestling with their demons, Kirk is still haunted by the memory of his late father and is pondering his next move. Spock is considering abandoning Star Fleet due to the death of someone particularly close to him- his loyalty conflicts with his determination to serve his fallen Vulcan's.

However, despite this being a thrilling outing this picture loses points due to a rather flat and underwritten villain. Krall looks the part and his cold-blooded and ruthlessness does excite during his daring first attack. Watching the Enterprise trying every manoeuvre in the manual to try and get away is vintage Lin and the resigned look on Kirk's face as he watches his beloved ships plunge into the depths is heartbreaking. Before long, the inconsistencies in Krall's character show through and this is the one place where Pegg and Jung's script becomes unstuck. We get that he hates the Federation, but for what reason exactly? When the big reveal happens our reaction is more one of confusion that shock. Also, this will lead to a series of questions about how precisely does he keep changing his look? Krall might have some fine monologues, but he lacks any plausible threat.

The action taking place in Star Trek: Beyond makes this worth the price of admission. One sequence guaranteed to thrill is during Krall daring attack on Star Fleet base Yorktown. Without giving too much away- Sabotage by the Beastie Boys is guaranteed to be featuring on many iPods on the way home. The addition of Nebula native Jaylah (Sofia Boutella) works wonders during the movie's middle sequence as her tech wizardry gives us the movies stand out sequence. Seeing Kirk riding an old style bike gives us a Great Escape style nostalgia as through Jaylah's clever device they execute a bold rescue on Krall's camp. Lin's picture might not be perfect, but he has recaptured the wit and the joyful feel that made the 2009 reboot so memorable. Kirk is firmly back in the captain's chair again and hopefully, any kinks will be fixed for the next installment.

Chris Pine once again is the standout and he has come to be the perfect choice as the conflicted Kirk. Showing us a cocky boy who has grown into a tough and assertive man, Kirk may still be a restless soul, but Pine gives him so much charm it is hard to notice. Zachary Quinto again show us just what depth he can add to Spock, here we see his more human side coming through as he feels regrets coming through and begins to wonder if his future lies with his friends? As Krall, Idris Elba is utterly wasted in a flat bad guy role. An actor able to conjure up menace at the drop of a hat (his voice alone in Jungle Book was terrifying), Elba is given little to do other than giving threatening speeches. Krall should have been a more physical and clever monster, instead, we are given a creature whose intentions make no sense.

Star Trek Beyond picks this franchise right back up, hopefully, Justin Lin will be there for any future outings because this is one commander Enterprise desperately needed.

In The Heart Of The Sea: Review of The Finest Hours

The Finest Hours

Dir: Craig Gillespie

By Alex Watson

If you are looking for a middle of the road rescue thriller then The Finest Hours may just be the picture you are looking. This picture is a solid effort from director Craig Gillespie that offers some decent thrills to mask its lack of depth. The efforts of four men to save dozens in a little known but frankly remarkable rescue make for a great subject, it's just a shame it's in the wrong hands. Although it entertains well, this picture will be unlikely to stick in your mind after the credits roll.

Bernie Webber (Chris Pine) is a member of the Coast Guard in Chatham, Massachusetts but he is soon brought into an event that could have fateful consequences. The oil tanker 'The Pendleton' has been split into two in the rough ocean and the surviving crew led by Ray Sybert (Casey Affleck) are clinging on for dear life. Despite feeling a reluctance, Bernie along with other crewmen Richard Livesey (Ben Foster), Anthony Fitzgerald (Kyle Gallner) and unprepared Seaman Ervin Maske (John Magaro) go forward into the great unknown.

The need for survival is one aspect that is made obvious in The Finest Hours and smartly Gillespie opts to keep his heroes low key. Bernie is an ordinary and slightly nervous guy who is set to marry his sweetheart Miriam (Holliday Granger) but by Coast Guard Regulations he has to ask permission. Sadly although we like the guys in the boat, we never properly get to know them. There is a talk of a failed rescue mission that put strains on several community members but full details are never really disclosed. Likewise with the men of the Pendleton, Sybert and co fit the usual ship stereotypes with the unsocial leader and the gruff and tough veteran (Graham McTavish). Gillespie fails to understand that to connect with a drama like this we need to our crew.

After a lot of back and forth huffing by commander Cluff (Eric Bana), the crew is sent out into hell, despite the locals assurance that they will not return due to the harsh conditions. The men's bravery is something to admire and as Bernie denotes "They say you have to go out, they don't say you gotta come back!" Gillespie invests too much of the movie back on land watching the men spout their nautical speak when the picture is crying for something larger. The men of Pendleton, however, have an equally bleak task of keeping a heavy ship from sinking below. Gillespie's enthusiastic camera work glides through the different layers of the ship and we get the sense that time is being borrowed.

At sea is where The Finest Hours feels most comfortable and the action here gives events a real spark. Heading into choppy waves and surrounded by 60 MPH winds, the task seems impossible but through the excellent cinematography by Javier Aguirresarobe, it gives sufficient thrills. Their tiny boat battles continuous rolling waves while the Pendleton struggles to keep their heavy wreck afloat. Even though they keep getting told to give up, Bernie and co show a strength that is heartwarming. It seems incredible that a 36-foot boat was able to achieve such a task when on other days it could have perished. Gillespie keeps us well entertained but this kind of heroism deserves more fitting treatment.

Chris Pine again proves to be a capable and likeable lead as Bernie Webber, although this time he is free of the cocky heroism we have to expect from him. Playing his character as a troubled but coping sailor, Pine is able to stamp his characters authority when most needed. Though this role doesn't feel like one that tests his ability. As the emotionally vacant Sybert, Casey Affleck is by far the standout performer. Unattached from his crew because he needs to act not argue, Ray resorts to erratic measures to assure safety for his men and through Affleck he feels most believable lead of the bunch.

Craig Gillespie does a solid job on The Finest Hours but unfortunately, he is unable to raise this past being the standard Disney thriller. In places, this story entertains but it is not one of the memorable efforts you will see in 2016.

Why Hollywood Needs More Train Disaster Movies

Who doesn't enjoy a couple of hours of big and silly action? Well some people probably... but the rest of us who sometimes like to disengage our brain and enjoy are always right at home with a train disaster film. What makes this kind of movie so great is that there is always an against the clock feel that pushes the story along. For those of us who grew up with Thomas the Tank Engine and his group of other talking friends (before CG ruined it!) we are accustomed to things going wrong on the rails.

Sadly this type of film is only seldom seen these days, which is a shame because it makes for a explosive feel as a pair of brave men struggle to keep the old girl on the rails. Here are some examples of what makes this genre so great.

Runaway Train (1985) 

Under the stewardship of Russian director Andrei Konchalovsky, this 1980's effort still ranks as one of the most under-rated and thrilling action movies of the decade. The story revolves around notorious and violent criminal Manny (Jon Voight) escaping jail along with naive accomplice Buck (Eric Roberts). When they board a departing train, all seemed to set succeed only the old engine pops his clogs immediately upon departure- with no way of stopping the train! The impending disaster succeeds in elevating our sympathy for this pair of unlikeable characters and until the bitter end we are sat tensely in our seat.

Unstoppable (2010) 

One of the final movies of the well loved Tony Scott's careers, this movie saw thrills and spills by the bucket load. When a reckless rail employee (Ethan Suplee) lets a 39 car train speed onto the main line, it is left up to veteran engineer Frank Barnes (Denzel Washington) and newbie conductor Will Coulson (Chris Pine) to chase it down before it heads for disaster! Ridley's brother never always wowed critics, but his movies always provided get actions and this effort was one his fans could be proud of, particularly the closing stages as Engine 1206 speeds off in reverse to prevent lives from  being taken.

Bridge on the River Kwai (1957) 

While not strictly a train disaster movie, David Lean's classic movie is essential a big countdown clock until the major event. The allies are planning to blow up the bridge that the conflicted British officer Colonel Nicholson (Alec Guinness) has toiled to build. The moments before the explosion hits are still heart stopping to this day as all manner of unseen obstacles seem to get in the way. But the demolition sequence is still a visual wonder and as we see the engine plummet to earth, you still have the urge to cheer loudly! And to think... the production team spent 8 months building it!