Punch it, Chewie: Review of Solo: A Star Wars Story

Solo: A Star Wars Story

Director: Ron Howard

By Alex Watson

The filming of this production made as many headlines as the release did. Due to numerous creative conflicts, original director's Phil Lord and Chris Miller were dismissed and Ron Howard was brought into the steady the ship. As a Lucas disciple, Howard was the perfect man to bring Solo: A Star Wars Story to life. This picture is a fun prequel with an impressive cast to boot which provides a must needed dosage of Star Wars fun. However, fans may find themselves asking whether this picture adds anything new to this universe?

Han Solo (Alden Ehrenreich) is a talented but undisciplined pilot. Forced to flee the slums of his home planet of Correlia and abandon his lover Qi'ra (Emilia Clarke), Solo sets about reclaiming what he has lost. Gradually, he finds his way into the company of criminal Tobias Beckett (Woody Harrelson) who shows him the ropes of making serious money. Soon he will find himself boarding a ship named the Millenium Falcon and meeting his furry friend Chewbacca (now played by Joonas Suotamo).

Solo does a great job of reminding us of the scallywag charm that this scruffy looking nerfherder possesses. His early days of being a 'scrumrat' under the thumb of worm looking crime boss Lady Proxima (voiced by Linda Hunt) show a young man with barely any restraint. An impulsive yet forward-thinking rogue, his potential never fully blossoms until he encounters Beckett. This man frequently remains morally ambiguous throughout but Han treats him like the brother he never had. Tacking on a galactic heist theme could well have sent the plot spinning- but in the hands of Howard, it is utterly thrilling. Watching a gutsy heist on top of a speeding train is just one of the well-executed set pieces. The script by Empire Strikes Back helmer Lawrence Kasdan and his son Jake does tend to veer off the rails at points- in particular, its tendency to produce underwritten characters for extremely brief screen time.

From a nostalgia point of view, this story will satisfy tastes and due credit to the Kasdan duo who from very little have produced a believable backstory for our hero. It effectively answers any remaining questions Star Wars may have had before viewing. His alliance with Chewie is one that is excellently conveyed. At first, the pair are locked in combat, but they crawl out of the mud as reluctant partners. Ever wondered how on earth Han could understand this giant walking carpet? Well now's your chance! Lando Calrissian (Donald Glover) is also another resounding success and thanks in part to a silky yet pedantic performance from Glover, this smooth character breathes life into this prequel. Qi'ra however, doesn't quite succeed and this is mainly down to the character's having a severe lack of chemistry. We cannot feel any longing or connection whenever the pair appears onscreen and this is a love that is key to the plot!

While Solo succeeds on thrills, its script get knotted up with constant twists and double-crosses towards the film's climax. The unfortunate thing here is that we can see them coming from a mile away. The main cast produces a tandem of excellent characters who help carry this film on their shoulders. Sadly, there are a bunch of supporting characters who fail to hit the mark! Phoebe Waller-Bridge's continually griping L3-37 fails spectacularly at the comic relief aspect. What really lets Solo down is a lack of a convincing villain. Paul Bettany's crime lord Dryden Vos has presence but outside of looking threatening, he adds little to proceedings. Despite these minor glitches, there is still promises for these stand-alone adventures in the Star Wars universe. Who knows what they will cook up for the upcoming Boba Fett feature?

There are few actors who would have been a better choice to play Han Solo than Alden Ehrenreich. After impressing in the Coen Brother's Hollywood satire 'Hail Caesar', Ehrenreich has the gusty charm that Solo badly needs. Showing his trademark roguish smirk and carefree recklessness, Ehrenreich has captured the spirit of a legend. Woody Harrelson once more shows that he is Hollywood's go-to man when it comes to complex supporting characters. Beckett is a tough character to bring to life, but Harrelson manages to make his confusing morality seem plausible. Donald Glover nearly steals the show from under Ehrenreich but unfortunately, he isn't given nearly as much screentime as he deserves.

Solo is a movie that despite its problematic production is a much-needed dosage of Star Wars joy that will conquer our addiction until Episode 9 comes around! Resist the urge to hug the screen and yell "HOW YA DOIN' YA PIRATE?"

Sign O' The Times: Review of Three Billboards outside Ebbing, Missouri

TIFF EXCLUSIVE

Three Billboards outside Ebbing, Missouri

Director: Martin McDonagh

By Alex Watson

Walking home with the Viewer's Choice prize at the 2017 Toronto International Film Festival, Martin McDonagh's Three Billboards outside Ebbing Missouri was a worthy winner. Blending some wicked dark humour with such raw emotion makes this an unforgettable experience. A stand-out cast lead by the amazing Frances McDormand brings this tale of small-town vengeance brilliantly to life.

Mildred Hayes (Frances McDormand) is a grieving mother whose daughter was previously raped and murdered. Angered at having no arrests made over seven months since the murder, Mildred resorts to a drastic action. She arranges to have three billboards advertising her disgust at the police's lack of effort towards finding the killer. Doing this immediately increases tension in the town, particularly for Chief Willoughby (Woody Harrelson) and dim-witted officer George Dixon (Sam Rockwell).

Three Billboards outside Ebbing, Missouri is an experience so unique that it's difficult to describe. Anyone who has watched McDonagh's first two features 'In Bruges' and 'Seven Psychopaths' will be aware just how skillfully he blends sheer belly laughs with heartbreaking realism. Mildred Hayes is what drives the movies rage, a mother simply out for vengeance in a cruel world. The whole case and the apathy surrounding it has driven her to her last nerve. There was no DNA and no witnesses so the case when cold pretty fast. McDonagh's script is excellently written and those expecting a straightforward affair are in for a surprise. The identity of Angela's killer is the furthest thing on the mind of this film. Channelling her anger into standing up for herself amidst town rage, Mildred is just hoping to keep her daughter's fate in the public eye.

It has to be said, McDonagh is a master when it comes to expressing character flaws. Mildred is our heroine but she never once attempts to play herself as likeable. A cussin', punch throwing and permanently furious woman, messing with her is ill-advised. Then there's the added problem of her abusive ex-hubby Charlie (John Harkes) whose new 20-year-old mistress is a never-ending source of amusement. Willoughby while an honest down to earth man is also nursing an inner torment that will soon become a life and story changing turn. There is a sense of injustice to her targeting this man personally as he cannot physically make her killer appear. However, there is a wonderfully blunt scene in which he confesses his big secret, only to be hilariously shrugged off. Dixon is the movie's ticking time bomb, an incompetent and homophobic officer, the writing is on the wall from the moment we meet him. Constantly harassing local ad-man Red (Caleb Landry Jones), you can sense that soon enough he will do something dumb. Continually browbeaten by his domineering mother, McDonagh superbly switches character arcs midway and turns this dumb cop into an unlikely hero.

Continually throughout Three Billboards outside Ebbing, Missouri we find ourselves questioning what we see. Are the actions Mildred takes really the right ones? Should she just let this one go and leave town? Is George really the big jerk that we imagine? What about the cold and sinister stranger who pays a visit to Mildred's shop? This movie is one where we are never sure whether to laugh or cry, McDonagh invests such a poignant feel in this picture but it also hits upon some bitter truths. Life isn't fair and each character feels they've been hard done by in life. All the petty squabbles to get even only increase the tension and hilarity. What would have happened if Mildred hadn't said her fateful last words to her daughter? Every time we think we know a character, McDonagh smartly blows out the water again. In this town, no one is free from sin but no-one is below settling scores either.

Frances McDormand emerges as the front-runner for the best actress Oscar. After this kind of performance, few others will be able to deny her. A whirlwind of suppressed rage, only McDormand can play angry this brilliantly. Her tongue is so acid it would probably make a Xenomorph from Alien retreat- during one brilliantly acted scene she savagely cuts her local priest down to size. McDormand shows just why she is one of Hollywood's elite talents and this kind of role is her bread and butter. Woody Harrelson equally deserves credit for his quiet brilliance as the frustrated Willoughby. Few actors can stare someone down quite like this man, but it's how he masks his characters inner fears that marks him out. Sam Rockwell is a revelation as the drunken and impulsive George Dixon. A man who truly hates how his life has turned out, Rockwell somehow finds charm among the hostile and casual hate this character spews. His transformation in the movie's final act is nothing short of remarkable.

Three Billboards outside Ebbing, Missouri is one of those films that makes you fall in love with cinema again. Martin McDonagh is a director who never fails to make us sit up and pay attention. It may have beaten I, Tonya and Call Me by Your Name to the big prize but no other film deserved this honor quite as much. 

This is the End: Review of War for the Planet of the Apes

War for the Planet of the Apes

Director: Matt Reeves

By Alex Watson

Closing out a trilogy can often be tricky but Matt Reeves gives Caesar and his band of apes a triumphant finale. War for the Planet of the Apes is continually thrilling third instalment but Reeves also injects a heartfelt touch where it is needed. The previous outing Dawn only hinted what this franchise could achieve. Together apes truly are strong and few could have expected a final act quite like this one.

Set two years after the previous events- Caesar (Andy Serkis) and his followers have located to a place deep in the woods. Desperate for peace and for his people to be left alone, Caesar issues an ultimatum. After an attack by a vengeful Colonel (Woody Harrelson) leads to tragedy for their leader- war between man and apes is declared.

Rarely taking a breather during a hectic first act, Matt Reeves plunges War for the Planet of the Apes in battle mode early on. Opening on a horrific firefight by soldiers and apes- the 'leave us alone' message is made violently clear. Caesar has become a weary and war fatigued leader who is haunted by visions of his friend Koba (Toby Kebbell) whom he killed in Dawn. Nothing is more gut wrenching than the sneak attack the Colonel issues soon afterwards. In the blink of an eye, his peaceful intentions are torn to shreds and his lust for revenge becomes overpowering. Unable to shift his anger, Caesar sets off to settle scores- but not without taking his loyal friends Rocket (Terry Notary), big lug Luca (Michael Adamthwaite) and his voice of reason Maurice (Karin Konoval) along for the ride.

The actual war part of this picture involves little actual warfare, Reeves wants to get to the heart of his characters rather than giving his audience 'Free Fire' with apes. The emotional content is decidedly heavier and even the biggest of fans will be questioning Caesar personal motives. Along the way, the apes show glimpses of being more human than their enemies. Picking up a mute human girl (Original Apes movie purists should look out for clues), Maurice forges a tender father-daughter bond with her. Our nameless Colonel, however, is an entirely different story. Shaving his bald head from his tower up high in his graffitied compound- his soldiers worship him like Kurtz in Apocalypse Now. One smart touch the movie makes is how perceptions of him shift rapidly throughout. At first, the wild eyed mad-man with who wants apes eradicated, soon we begin to clue in that certain events have influenced his fears of humanities eventual decline.

During a lengthy sequence when the apes are rounded up and used as slave labour to build a giant wall (wonder where this idea came from?) Reeves resists the urge to go full rebellion. Instead, he gives things a more thoughtful and considered approach. The smarts of the ape's plan and how well it is executed brings back memories of The Great Escape. Caesar emerges as a true cinematic hero during all this, particularly when willingly allowing himself to be flogged. Finally, when Reeves releases the much-anticipated fireworks, the result is surprisingly deep. Questions of differences between humans and apes surround War for the Planet of the Apes. "Look at your eyes, almost human," says the Colonel to Caesar at one point. Rather than letting the bullets fly and pleasing the popcorn audience- Caesar's final revenge is shown with great emotional depth. The complexities between the two leaders show the pain and suffering the comes with command.

Andy Serkis confirms his status as one of the most under appreciated actors of his time. What he achieves with his motion capture of Caesar is truly remarkable. Every little gesture rings true and the variety of expression and conflict from just using his eyes deserves big credit. Were there any justice, Serkis would be a multiple Oscar nominee by now. Woody Harrelson mixes in some great stir-crazy as the Colonel. At first, a pure antagonist intent on causing havoc, our opinions are forever changing whenever he appears. As the layers come off, Harrelson shows us a highly conflicted soul. Always a tall and looming presence, Harrelson plays the villain role well. Steve Zahn also impresses as the childlike Bad Ape- a coat and bobble hat wearing chimp. Showing an innocence and charm to this picture, Zahn shows a truly human side to these creatures.

War for the Planet of the Apes is the mighty finale this impressive series deserved to go out on. If Hollywood ever (and quite likely) reboots this again- good luck surpassing these movies.

Flame Out: Review of The Hunger Games: Mockingjay Part 2

The Hunger Games: Mockingjay Part 2

Director: Francis Lawrence

By Alex Watson

Finally the adventures of Katniss Everdeen are given a skillful end by Francis Lawrence. After the misfiring Part 1 installment, The Hunger Games: Mockingjay Part 2 delivers the thrills. Injection a sense of neat tension into the mix, Lawrence ensures that final assault on Panem is one to remember. These adventures have become one of the cornerstones of the young adult genre and with a hard-nosed heroine like Katniss they are impossible to dislike. 

The stakes are no longer just for survival in District 13 and Katniss Everdeen (Jennifer Lawrence) realizes that she will have to kill President Snow (Donald Sutherland) to unite this world. Her feelings are conflicted between old friend Gale (Luke Hemsworth) and tortured former lover Peeta (Josh Hutcherson) whose had his mind warped by Snow previously. However there is a still the question about the motives of President Alma Coin (Jennifer Lawrence). 

"It's so frustrating when she goes rogue" smirks Plutark Heavensbee (Philip Seymour Hoffmann) as she once again deserts to join in an attack. The audience however will disagree because Katniss' rebellious streak is what keeps Mockingjay Part 2 alive. This young woman is not the chosen one by any means but is no the less continually willing to put her body on the line. Unwilling to play along to the tune of her unofficial handlers Coin and Heavensbee, Katniss revels being on the front line as is unafraid to talk to her audience directly and icily convince them to lay down their arms. The fine line between politics and good storytelling has been a highlight of this franchise. In this installment it is no exception. 

Katniss in some ways has become disillusioned with her fight and seems aware that the cause she is fighting for is potentially a losing one. Alma Coin was a mysterious figure whom our heroine forged a tentative alliance with in the previous installment. Her motives have always been ambiguous but in Part 2 it becomes clear that she perhaps isn't so far removed from Tyrant Snow after all. This mission has the odds going for it, Capitol is currently struggling to keep up with the rebel advance. But although each player pulls their own weight such as propaganda director Cressida (Natalie Dormer) the end cost will be one that is brutal. 

The set pieces add the most excitement into Lawrence's last installment, there is an almost horror film feel as the encounters 'The Mutts' into sewers of Panem. Prepare to jump in your seat as the team runs, dodges and sets things on fire. One sequence sees them attempt to advance on a block of abandoned buildings only to encounter the pods the enemy has place to stop them. Moments later a surging black liquid causes them to literally run for their lives. In the end lives are altered and by the time they reach Snow's mansion one final act will firmly blur the lines of right and wrong leadership. However, it is all worth it to see the venomous glint in Snow's eye as Katniss stares him down for the final time. I won't give away too much here but expect to have a rug pulled from under your feet. 

Jennifer Lawrence has made the Hunger Games series her own and as Katniss Everdeen she has made for a ballsy but heartfelt heroine. Lawrence has given this woman a bold feel over the four installment and this has been one of the key steps towards her cement her A-List status. Josh Hutcherson and Woody Harrelson also deserve credit for bring to life two conflicted souls in Peeta and Mitch. The pair have been irreparably shaken by their outings and are attempting to get back to what they are. Donald Sutherland has perhaps stolen the show during his time as President Snow and with great relish he has bought this Machiavellian villain to life. A true adversary who is both smarter and unafraid to play dirty, he has proven an obstacle to climb! 

So it is with great regret that we say goodbye to the fine franchise and Mockingjay Part 2 has been a send off that fans should be proud of.

Top 5 Modern TV Opening Sequences

Breaking Bad

Lasting less than 20 seconds, the title sequence to Breaking Bad is a masterclass in short and effective. The moment we see the swirling yellow smoke, the dark music that follows has set the tone for five seasons of unmissable TV!

True Detective

By far 2014's best opening credits work. Designed by studio Elastic, this unforgettable imagery becomes more apparent as the series deepens. Accurately foreshadowing the events, people and life changing experiences that will later effect detectives Rust Kohle (Mattthew McConaughey) and Martin Hart (Woody Harrelson). All the while it simultaneously capturing the mythical feel of a Louisiana land where it seems God has long since departed in the gritty drama. 


Damages

Sound-tracked to 'When I Am Through With You' by VLA, the legal world that is ruled with an iron fist by Patty Hewes (Glenn Close) comes to life. Fitting in some the pillars of the legal world including 'The Glory of Commerce' and 'Civic Fame' above the Manhattan Municipal Building, it shows in the world of the law, the administration of justice can be a dangerous thing. It also fits in with Patty's persona because when she is through with you "there won't be anything left"

House of Cards

Spanning the playground of politician Frank Underwood (Kevin Spacey, the shows tense and some times audacious tone comes full circle. At first seeming just random locations such at the Capitol Building, Nationals Park and the Kennedy Centre. But apparently if you look deeper there is more meaning to it, read this fine article by Phil Edwards to understand further! Either way it is an eye grabbing start to the Netflix drama!

Boardwalk Empire 

Set against 'Straight Up and Down' by Brian Jonestown Massacre, we have one of HBO's finest efforts of recent times. Witnessing Nucky Thompson (Steve Buscemi) standing on a beach, suddenly we see thousands of whiskey bottles wash ashore. His profitable but occasionally underhanded enterprise is brought forward instantly and the corrupt theme of Martin Scorsese and Mark Wahlberg's excellent five seasons is set in stone.