Little Big Man: Review of Ant-Man And The Wasp

Ant-Man and the Wasp

Director: Peyton Reed

By Alex Watson

Set right before Infinity War, Ant-Man And The Wasp is a Marvel movie that deals with family affairs than global destruction. While it might not be as strong as the first outing, there is still fun to be had with this tiny crusader. The sheer charm of Paul Rudd easily elevates this picture and we often forget what a good everyman character Scott Lang really is. However, a slightly flat story lets down what could have been an impressive sequel.

Two years after aiding Captain America, Scott Lang is under house arrest. Attempting to live a normal life with his daughter while also running a security business with friend Luis (Michael Pena). After a strange occurrence, Scott finds himself thrust back into lives of Hank Pym (Michael Douglas) and Hope (Evangeline Lilly) once more. Things are then complicated by the arrival of a vengeful stranger Ghost (Hannah John-Kamen) who seems to have a serious vendetta against Pym.

Ant-Man And The Wasp is a picture that has a good carefree feel to it. Director Peyton Reed once again lets this picture feel most at home during any number of creative action set pieces. The real problem comes from the story's motivation and the lack of a main villain doesn't set up any crucial showdown. We first see Scott living his bored slacker lifestyle and just counting the days until he can remove his ankle monitor. His speed drumming and home adventures with his daughter does make this picture have a breezy feel early on. After his trip to the Quantum Realm, Hank has taken a leaf out of his comrade's book and along with Hope they have developed a Quantum Tunnel to attempt reaching his long-lost wife Janet (Michelle Pfeiffer). To achieve success, they inevitably need Scott's help. This reunion is a far from happy one as the duo are still upset at Scott for going rogue two days prior.

As a character, Ghost that feels drastically underwritten- as we learn her backstory, her intentions are perfectly understandable. But we never get a true chance to get to know her as spends 90 per cent of her time doing kicks and running through walls. There are also a number of side characters who feel like last-minute additions. We all love Laurence Fishburne but as Bill Foster- Hank Pym's old nemesis he feels completely wasted. Likewise with Walton Goggins- who always make the perfect movie asshole! His southern snake Sonny Burch is a calculating and potentially slippery villain who unfortunately is given precious little to do outside of being a dick. The relationship and banter between Scott, Hank and Hope are really what makes this picture sparkle. Now treated as an outsider, Scott has to win back the trust of his former friends. Hank throughout wins verbal duals by sounding almost like a perturbed father scolding his kid.

Thankfully, the fun element of Ant-Man And The Wasp does not disappoint. An exciting car chase throughout San Fransisco is the high point as cars shrinking, biggen and crash all in good measure. Plus we get a gigantic Hello Kitty Pez dispenser flying through the air- although Thomas is still the clear pop culture winner. Part of the joy of this movie is how they balance the various shrinking gimmicks- such as Hank's building that can be shrunken to the size of a suitcase. This is by far the most enjoyable Marvel character so far because Scott is just a man who wants to make things right. The Wasp by far has the most enjoyable onscreen and finally allowed to let loose by flying, blasting and fisticuffs- she narrowly outranks our hero in terms of ability.

Paul Rudd is again the beating heart of the Ant-Man franchise and few heroes are as identifiable as him. Making full use of this heroes lovable loser persona, Scott is once more on the backfoot in life. You have to feel that in any other hands but Rudd's there would be far less heart shown onscreen. Evangeline Lilly gives the picture its tough feel and as Hope she once more a woman afraid to trust our hero. In the more tender moments, Lilly is also unafraid to show the more vulnerable side to this character which gives it a surprisingly deep feel. Michael Douglas is again champ of the supporting honours and his Hank Pym is a dry-humoured yet constantly quick thinking leader. Hannah John-Kamen was an interesting choice for Ghost but doesn't get near enough material to make an impact.

Compared to the more heavyweight Marvel outings this one might not be in that division. But in terms of light entertainment, this be just the right size.

All Aboard: Review of Murder on the Orient Express

Murder on the Orient Express

Director: Kenneth Branagh

By Alex Watson

Agatha Christie has never looked so stylish. Kenneth Branagh gives his audience an enjoyable ride in Murder on the Orient Express. Showing some neat visuals and generating some lovely moments of mystique on board the cramped rail coaches. But despite sporting a wonderful heavyweight cast- we can't escape the fact that the needed tension is disappointingly absent. Branagh adds style and finesse- but this fails to really add anything new to an already well-covered story

After successfully solving a mystery in Jerusalem, world-famous Belgian detective Hercule Poirot (Kenneth Branagh) decides to take a mini holiday on board the Orient Express. While onboard, suspicious American businessman Samuel Ratchett (Johnny Depp) is stabbed to death. Although wishing to stay out of it, Poirot is the only man on board who can find the killer. This will be his most challenging case yet because all the passengers seem to have their own past demons.

Murder on the Orient Express is a very beautiful looking movie- thanks in part to the colorful and scenic photography by DP Haris Zambarloukos. Branagh definitely has the look of the era down and he is clearly having a ball playing the egotistical but brilliantly minded detective. Nailing down the more tricky aspects of his persona (including his obsession with having two perfectly symmetrical eggs)- Poirot is a nemesis for any criminal. When the passengers are loaded onto the train in Istanbul, the tension begins to build wonderfully. Ratchett emerges as a rather crass and bullying figure who is beginning to fear for his life. The passengers nervous and scornful looks they pass at each other give sparks of mystery.

When the big moment hits- the air seems to go out of the picture. The suspense seems to feel flat and although the legendary reveal is still clever, in this adaptation it just feels predictable. The cast that Branagh has assembled is wonderful to watch, but great names such as Judi Dench, Derek Jacobi, Daisy Ridley, Michelle Pfeiffer, Penelope Cruz, Josh Gad and Willem Dafoe are confined to bit parts. As the mystery unravels there are some fine moments of emotion on display. Josh Gad, in particular, comes up with some fine acting which gives depth to a complex character. Poirot already seems to have an idea of who the killer is, but knows he must tread carefully. The claustrophobic setting of the train carriages is still nerve-wracking in places. With the train derailed by a snow drift, Poirot knows every step he takes could be dangerous.

Classic mysteries like Murder on the Orient Express are rarely seen in today's film world. Although Branagh still gives us a great middle of the road thriller, you can't help feeling that this tale feels dated. Already well adapted for film and television, Branagh is unable to bring any new to proceedings. Any newcomers to this story will be able to guess to the big finale from a mile away- partly because Poirot gives red herrings throughout. Although there are some missteps its a picture that still entertains and on the visuals and star power alone, this is a good journey onscreen.

Kenneth Branagh does an interesting new spin (and new mustache) as the famous Belgian Poirot. A more physical version of this character, Branagh is unafraid of doing more heavy lifting that sitting around. He wonderfully shows the more quirky side to this character and is unafraid to give light to his arrogance. However, TV's David Suchet remains the perfect Poirot. In the supporting ranks, we are given some performances to savour. Michelle Pfeiffer, in particular, is glorious as the conflicted Caroline Hubbard. Derek Jacobi still shows he has a presence that few veterans as the tricky Edward Masterman- his character alone deserved more screen time.

Murder on the Orient Express is a mystery that is still rightly regarded as a classic. However, despite Branagh's best efforts, it doesn't feel any newer on screen.

This Mother To You: Review of mother!

mother!

Director: Darren Aronofsky

By Alex Watson

To say, Darren Aronofsky's new feature film mother! has had a polarised reaction is an understatement. Branded 'The Worst Film of the Century' by some movies goers, this is an outing that definitely doesn't cater to all tastes. Aronofsky has never been one to go easy on his audience (who here can easily sit through Noah again?) and his usual narrative trickery once more cause our brains to wander in several different directions. I can safely say this definitely is NOT the worst movie of 2017! Although it will probably prove to be the most frustrating to review.

A young woman, Mother (Jennifer Lawrence) lives in a peaceful and tranquil countryside home with her poet husband Him (Javier Bardem). Keen to finish renovating the house they share, Mother's hope of starting a family are being interfered with by Him's chronic writer's block. Their ideal surroundings are soon threatened by the arrival of a mysterious guest (Ed Harris). After being allowed to stay for the night, his wife (Michelle Pfeiffer) arrives which further concerns Mother. Soon a chain of bizarre events will change the couple forever.

So what precisely is mother! all about? That question I cannot possibly describe in word form, so I will sum it up as best as I can. A story heavy on biblical undertones (Jennifer Lawrence has pretty confirmed the themes here- DO NOT READ UNTIL AFTER VIEWING), Aronofsky shows a paradise which is slowly invaded by serpents. Be prepared to come of this picture with a number of different questions which don't all get the needed answers. Starting with an eerie quiet, you sense this is an existence that is too good to last. For once, Aronofsky opted against a musical score and this choice only makes the silence more disturbing. From the moment that their male guest charms his way into the home, you can feel the first domino hit the ground.

From this point, things slowly spiral into every woman's worst nightmare. Coming off as a bizarre mash-up of Michael Haneke's 'Funny Games' and Polanski's 'Rosemary's Baby', things gradually become more and more hilariously absurd. Him's overly enthusiastic hospitality to their rude and inconsiderate guests is nothing short of maddening to our Mother. With a look of barely concealed frustration, anger, and shock, she simply wants these people out of her home. Aronofsky shows her as a woman trapped in her own personal hell, she is never allowed to leave her home and even when surrounded by beauty all she can feel is isolation. The strain on their relationship is apparent and the couple's arrival does little to bridge that gap. Him comes off as the typically clueless man with saying that are rubbing our heroine the wrong way. The guest's wife plays the role of antagonist ranging from her continual backhanded compliments to outright hostility.

Aronofsky leaves us little red herrings to the eventual fate of mother! which range from bizarre to curious. What is that yellow potion Lawrence keeps drinking? What's with the bleeding floorboards? Just why are their guests so fascinated with the piece of Crystal that Him keeps in his study? However, despite Aronofsky excellently building the suspense and intrigue and some wonderful grainy photography by Matthew Libatique, the movie's third act will divide many many fans. As Him finally achieves his desired fame, the movie descends into complete chaos. Bloody, brutal and horribly mind-jarring, this section almost borders on bad taste as we see just how savage humanity can be. Expect huge crowds, bloodstained floors, cannibalism, random soldiers appearing and a violent crescendo to appear all when you least expect. Then again, any fans of Darren Aronofsky will know he is all about pushing cinematic buttons and ever since the graphic posters were released, you knew this piece was never intended to be easy on the eyes.

Jennifer Lawrence proves that she is an actress who can make a role work, no matter how vague the material might be. Through her wide-eyed horror, she brilliantly conveys a woman drowning in loneliness and despair. Frequently reduced by her husband to play the role of party pooper, Lawrence's growing exasperation is wonderfully performed. She also excels during the movie's difficult finale and she manages to keep her when all around is her collapsing. Javier Bardem is as close as the movie has to a villain, but wisely he is never made out to be one intentionally. As the fame-obsessed writer, throughout he plays closer attention the strangers in his home than to his own wife's needs. Bardem plays his character which such charm that we want to forgive his misdeeds, only he keeps making harder for both us and Mother. Michelle Pfeiffer also gives us a reminder of what great presence she still has and her boozy and confrontational wife frequently lights the fire of hatred within the home.

mother! is an experience that definitely is not for everyone, those who are squeamish or easily startled might want to steer clear. A Darren Aronofsky film is never the same experience as the one before it, who knows what he has in store next time?