Hammer Time: Review of Thor: Ragnarok

Thor: Ragnarok

Director: Taika Waititi

By Alex Watson

After the underwhelming sequel, 'The Dark World' many Thor fans were left wondering where the Thor could possibly go next? Getting Taiki Waititi in the director's chair was the smartest move imaginable. Thor: Ragnarok is a sharp and funny ride that finds its humor in very unlikely places. Unlike previous director`s, Waititi is given free reign and the success of the movie comes from his lack of reliance on action scenes.

When estranged sister Hela (Cate Blanchett) aka the Goddess of Death returns, Thor (Chris Hemsworth) finds himself in a tricky situation. Exiled the garbage planet of Sakaar, he finds himself forced to fight as a gladiator for the Grandmaster (Jeff Goldblum). However, while on this planet he finds himself reacquainted with his old buddy Bruce Banner (Mark Ruffalo) and once more facing off against troublesome brother Loki (Tom Hiddleston).

After showcasing his unique brand of funny in his acclaimed movie `Hunt for the Wilder People`, Waititi was an unusual candidate for Thor: Ragnarok. He proves to be an inspired choice because he is the first director to really channel the comic gold this character has. Watching a dangling Thor slowly enraging villainous demon Surtur (voiced by Clancy Brown) during a threatening monologue immediately sets the tone. In other hands, the mashed together plot involving usurping, past murders and slavery could have been a messy affair. Waititi makes it seems like a breeze and keeping the focus on comedy makes this a much better viewing experience.

When Thor literally arrives with a bump on Sakaar, much of the comedy is found here. Grandmaster is the most Goldblum role that Jeff Goldblum will ever play. A smooth-talking tyrant with his fingers in many pies, Thor's entry into being a gladiator couldn't have been worded more nicely. The showdown in the arena between Odinson and the Hulk gives us a hilarious verbal and physical battle. This also lasts outside the walls as the pair squabble throughout, including a brilliant reaction by Thor to seeing the Hulk's green dick. Waititi, also plays the scene-stealing rock gladiator Korg, in his soft-spoken voice he provides the bulk of belly laughs. There's also the added problem of Loki being around. Morally ambiguous at every turn, once more his brother makes it hard for him. In this installment, sibling rivalry is present but almost takes a backseat. Although we do learn how they play the game 'Get Help' (recommended for all to try at least once).

As a villainess, Hela feels like Thor: Ragnarok's weak link. Although central to the plot she just comes across as just a moody and bitter relative. Banished from Asgard after her genocidal desires outgrew her father's, Hela has the potential to have a cold, malevolent presence. While she physically matches Thor, she lacks any kind of real threat. Although there is a fine supporting turn from Tessa Thompson as a former Valkyrie. Scarred by her past encounter with Hela, Valkyrie has resorted to heavy drinking and slave capturing to get by. Getting her on board to protect Asgard is a major hurdle and she makes Thor work for it. The emotional content of this movie also makes Ragnarok creak slightly. Waititi effortlessly blended heavier content with a light touch in Wilder people but for a picture like this, it feels unnecessary. When a movie crams so much into one film, they can't all winners, unfortunately. Aside from this, there are few grips to be had and Waititi is welcome back to tickle our ribs anytime.

Chris Hemsworth has molded Thor so well it fits him perfectly. One of the few action movie stars capable of both great depth and sheer comedy, Hemsworth once more stands out. Tom Hiddleston again makes a great love/hate figure. His facial expressions alone make his character impossible to pin down and Hiddleston is clearly loving every minute. Cate Blanchett should have been a fine nemesis but finds herself stranded in a one-note role. Mark Ruffalo is also able to find his funny side as Banner. Hilarious neurotic and forced to wear Tony Stark's tight pants, he is barely keeping his green friend inside. Anthony Hopkins in one very brief scene still shows just why he is one of few remaining greats. In a single monologue, he can conjure up feelings of remorse, fear and ultimately hope. It's a shame the central pairing didn't get more time alongside him.

Thor: Ragnarok is very much the strongest of the trilogy so far. Taika Waititi proves he can handle the big-budget pieces and let's hope the Marvel Universe brings him back for the next installment.

Ape-A-Popping: Review of Kong:Skull Island

Kong: Skull Island

Director: Jordan Vogt-Roberts

By Alex Watson

As Warner Bros works its way towards an ultimate showdown between Kong and Godzilla- Kong: Skull Island makes for a decent start. While not as faithful or eye opening as Peter Jackson's most recent version, director Jordan Vogt-Roberts makes King Kong a real presence. Moving the action to the end of Vietnam war does work surprisingly well, but this movie is let down by some poorly written characters.

As Vietnam draws to a close, government official Bill Randa (John Goodman) leads an expedition to an uncharted island in the South Pacific. Randa believes this system contains creatures never seen by humanity. Along for the ride are tracker James Conrad (Tom Hiddleston), notable photographer Mason Weaver (Brie Larson) and Lt.Colonel Packard (Samuel L Jackson) whose Sky Devil's squad is providing escort. Once on the island, they will come face to face with one particularly large ape who is less than pleased with their arrival.

Although Kong: Skull Island provides thrills in abundance, it's also lacking in several areas too. Jordan Vogt-Roberts shows us a magnificent new Kong who from the moment he is introduced, chaos rains down. Ascending out of a hellish storm, the helicopters are greeted by a lush and breathtaking landscape. While they play their rock n roll music and carelessly drop their explosive  'scientific instruments' an ungodly sight will soon roam into view. Within moments of his arrival, the full force of Kong is unleashed. This eye-opening introduction is literally like watching the wrath of God and the movie revealing its trump early is a very smart move. This Kong comes off as the deepest personality in this jungle after his real motives are revealed. Vogt-Roberts also literally makes him bigger than ever before. Protecting his realm with a furious passion, this giant ape is one we definitely cheer for.

In this adventure, Kong is not the most dangerous creature lurking. Giant spiders, squids and gigantic insects are just a few of the threats that stand in their way. The biggest danger of all comes from the Skullcrawlers, an almost dinosaur-like creature whom Kong has been brawling with for years. Coming from deep beneath the earth, the human's arrival has lead to them being awakened and Kong becoming pissed! They may look innocuous at first but soon their threat is made clear. Vogt-Roberts' movie might be a glorified run through the jungle (Yes that Neil Young song does appear) but it makes the most of the thrills offered. This edge of your seat stuff makes this a better movie and anyone just wanting a dosage of dumb fun will feel right at home.

Packard's desire for revenge does add some colour to proceedings. Bloodthirsty after watching his men fall to Kong, he threatens everyone's chance of survival. Vogt-Roberts does well to cling to the B-movie origins in the movie's final third and there is a pure joy watching him scrap with Skullcrawlers. Although it lacks the depth and emotion of Peter Jackson's version, it isn't any less entertaining. This picture is merely a warm-up act for the main act and once WB and Legendary get there, that's when things get interesting. Kong: Skull Island might have some misfires, but it is nonetheless still a solid piece of work and the big ape has never looked better.

Part of the issue with this movie is that the characters on display are rather drab. Conrad is an ex-SAS soldier who spends the movie just making plans.Tom Hiddleston has a great presence but is given little to work with.  Brie Larson's Weaver is a character clearly meant to fill the old Fay Wray mould, but instead merely comes off as blank and uninteresting. Samuel L Jackson comes off as the movies strong link as after the death of several of his men turns him into a vengeful Captain Ahab figure. Marooned WWII veteran Frank Marlowe (John C Reilly) adds some needed comic relief to proceedings and his guidance proves key to survival throughout.

Kong: Skull Island might be lacking a few key areas but for sheer enjoyment, it is a great start. Sit back and enjoy Kong, nothing else required.

Ivory Tower: Review of High Rise

High Rise

Director: Ben Wheatley

By Alex Watson

Although the anger and the socially divided filled world of JG Ballard still dazzle on screen, Ben Wheatley cannot make High Rise the memorable effort we desire. His depiction of a high rise building divided by class does fester with a wonderful malevolence but feels confused as to what approach he really desires? The wonderful ugly/beautiful cinematography of Laurie Rose both arrests and horrifies the eyes and this one world we are sucked into with no escape in sight.

Dr. Robert Laing (Tom Hiddleston) has recently moved into a luxurious high rise complex where its inhabitants are buying a piece of the future. He makes fast acquaintances with the residences such as the flirtatious Charlotte (Sienna Miller), the fiery Wilder (Luke Evans) and the wealthy Anthony Royal (Jeremy Irons). Soon it becomes apparent there is a growing tension within the building and soon a violence threats to break apart this pristine society.

While High Rise, for the most part, is a well acted and immaculately produced work, it is not able to move into classic status. Wheatley is faithful to Ballard's and takes us into a world which is shiny and new on the surface but rotten to the core underneath. Foreseeing all the greed that was to come during the Thatcher era of Britain, this building gives us a group of well to do individuals obsessed with status right down to the car they drive. The way that Laurie Rose shoots this dazzles us early on and leaves a disturbing ambience which becomes the stuff of nightmares. In particular, a bizarre sequence when Laing is booted out of a fancy 18th-century party hosted by Royal.

Early on it becomes apparent this building has a social hierarchy that is causing a few issues. Power outages, garbage chutes blocked are just a few of the triggers that lead men like Wilder is cause a fuss. While Royal and his snobby wife Ann (Keeley Hawes) look down on the residence from their penthouse, the whole places is shaking with a barely contained anger. When it erupts the images are so striking it is impossible to tear our eyes away. Moment simple moments such as Evans crashing a pool party or a paint covered Hiddleston are so beautifully conveyed it like a hypnotizing nightmare. This might interrupt the flow of the story, but even if a Wheatley film isn't complete it always keeps us watching.

High Rise's story is the real source of the problem because while the novel is still relevant today, Wheatley and co-worker Amy Jump are unable to give it a smooth transfer to the big screen. The story never quite grasp its premise and moving into thriller territory knocks it off balance. The idea that people are buying the future but cannot shake their lower past is fascinating and the eventual decay of social order is excellently presented. However, the plot has a tendency is walk all over the place and never firmly snaps itself into place. Those who have read Ballard's novel will agree this is a difficult novel to pace and Wheatley deserves credit for taking this far. But no end of visual feasts can distract this picture for feeling slightly lost.

Tom Hiddleston does prove to be a perfect choice to bolster this tough piece and his slick yet troubled Dr. Laing is the perfect face for eventual destruction. Using all the charm we have seen in his priors like The Night Manager or Crimson Peak, Hiddleston is a morally complex man who lives the high life but fears to do so. Sienna Miller's unrepentant mistress is a sly and attractive look at the blaze view of corruption. Luke Evans is the real star of the piece and hot-tempered Wilder is a thumping presence. Wonderfully capturing the frustrations of the people in the floors below, Evans is the very of what will come to be.

Ben Wheatley's biggest budget piece by far, he does manage to pull off a tough act but those hoping for one of the great movies of the year might need to lower expectations. High Rise is a luscious bad dream which will make the descent into mayhem look glorious.

This Ole House: Review of Crimson Peak

Crimson Peak

Director: Guillermo Del Toro

By Alex Watson

After some hit and miss efforts, Crimson Peak is the movie that finally makes the North American transition that Guillermo Del Toro fans have longed for. The Mexican maestro doesn't go for a conventional gothic horror tale and for some tastes this might not suit. However on design and creepiness alone, Del Toro scores big and gives his fans a very unusual Victorian romance. 

Budding American novelist Edith Cushing (Mia Wasikowska) finds herself quickly falling in love with British baronet Sir Thomas Sharpe (Tom Hiddleston). Moving to their residence Allerdale Hall, she finds his sister Lady Lucille Sharpe (Jessica Chastain) less than welcoming. Soon it becomes clear that this house has more than three residence and some ghostly spirits are issuing a warning to her. But just what is the danger that Edith faces? 

From the moment the Sharpe's enter Crimson Peak, it becomes apparent that all around them except Edith have an uneasy feeling about them. Del Toro gives us the typical set up, innocent young woman is swept off her feet by a dashing yet suspicious man and soon things go south. It isn't until we reach the dilapidated and sinking Allerdale Hall that we realize the true risk Edith faces. Sitting on top of a mountain of red clay, the stuff seeps through the floor boards like the spilled blood of the past. Throughout the spooky corridors there is a haunting and surreal atmosphere where blowing wind and creaking pipes make us squirm Lucille appears less than thrilled at the new addition and both have a hidden agenda. 

The ghosts given to us are ones that are both very unique and truly unsettling. Del Toro gives a wonderful gothic feel to events and it feels like a nod to the old Hammer horror films. Watching a mangled red skeleton ghost emerge wailing from the floor boards is just one of the jumpy moments we have in store. Never once is there a malevolent feel to these spirits and they act more as a guides than vengeful beings seeking their eternal reward. These creatures enhance our suspicions that the Sharpe's aren't in this marriage for love alone and we wonder precisely how Sir Thomas' fancy digging machine fits into everything? 

Crimson Peak's later act may descend into what is a rather campy and OTT finale, but not once does it feel ill-suited. Thanks to some marvelous production design, this old Victorian mansion captivates us each minute we spend between the walls. Stranded in the middle of a Cumberland moor, Edith has no escape and the hopelessness of this situation adds needed suspense that slowly builds like the rising red clay. 

One of the principle strengths is having a cast that is on point and Mia Wasikowska again proves she can anchor a film well. Playing against the typical helpless heroine, the Australian actress gives her character a hard resolve and a brain that is forever ticking. Tom Hiddleston gives a performance that has become second nature to him. As Sir Thomas he is impossibly charming but underneath the façade Hiddleston shows us a scarred and ultimately complex being that is wrestling with the choice he  has made. Jessica Chastain shows us a side of her we are unaccustomed to seeing. A forbidding and malicious presence, Chastain makes a room feel icy cold when she enters. There is also a sense of control that she has asserted over Sir Thomas, but how deep does it go? 

While it may not match up to his superior early offering such as Pans Labyrinth or The Devil's Backbone, Crimson Peak is undoubtedly Del Toro's best North American picture so far. More unsettling that terrifying, GDT take us into a world where love is forgotten and cries of forgotten souls lurk on the air.