Author: Mark

Ranked

RANKED – The Matrix

Post author By Mark
Post date December 30, 2021

Often held up as one of the hallmarks of the sci-fi genre, Lana and Lily Wachowski’s Matrix franchise has a long and complicated past: a universally loved and acclaimed original offering giving way to some of the most divisive sequels in film history; adored and staunchly defended by their fans and reviled by those that didn’t fully gel with the future-looking CGI spectacle. With the series making a long overdue return with Resurrections we thought we’d revisit the world of Neo, Trinity and Morpheus, ranking each instalment from the worst to the (some might say obviously) best. Now pop a red pill and let’s get into it…

5. The Matrix Revolutions (2003)

What should have been the epic franchise’s big finale ends up a bloated mess of a film with Revolutions, largely due to the shift in focus from Neo’s (Keanu Reeves) adventures to the maddeningly uninteresting battle for Zion. In theory, giant mechs going toe to toe with robotic squids sounds like it should be a spectacle for the ages, but after the inventiveness of the scenes within the Matrix the Wachowski’s seem content to rest on their laurels; filling the bland background of Zion with dull, confusing firefights that never seem to end despite the machines obvious dominance. This is also about 80% of the entire two hour runtime and for a final film with as much confusion to wrap up as the Matrix that makes for a frustrating time.

It also means that Neo’s storyline feels extremely rushed, the big cliffhanger of his whereabouts from Reloaded resolved so swiftly it begs the question why it needed to even happen in the first place. The rain soaked showdown between Neo and Smith is entertaining, even if the strobe light effect is borderline seizure inducing, and serves as a satisfying conclusion to such an intense rivalry. But the blinding of Neo and his subsequent transformation into pure light are strange twists to say the least, albeit somewhat expected at this point in the franchise given what the Wachowski’s have shown us. Still, if it means getting away from Zion and back to the Matrix for a few whacky minutes, then bring it on.

4. The Animatrix (2003)

While it may seem like an obvious expansion of the story now, The Animatrix was an unusual concept back in 2003. Give a bunch of Japanese animation studios free reign to create a series of nine short films set within the Matrix universe and see what they come up with (a premise mimicked to brilliant effect with this year’s Star Wars: Visions). The result is a mixture of some of the best storytelling in the franchise since the original film and at its worst, stories that are simply boring. Everything from the origins of the machine uprising to a noir detective story featuring Carrie-Anne Moss’ Trinity is explored and whilst the stories don’t amount to much in terms of furthering the overarching storyline of the main series, they do offer a tantalising glimpse into the Matrix outside of Neo, and all the weird and wonderful places that premise can journey to.

The animation is consistently gorgeous and even in those less interesting stories there is always a positive to be found, whether that be a gorgeous, fully CGI sword-fight scene or the unusually depraved, disgustingly violent sight of a robot ripping a brain from a skull (not positive obviously but tell me how many other animations you’ve seen that have done that). Overall it’s the element of fun and strangeness that makes the Animatrix a success; where the films got lost in an overly serious narrative of choice and chosen ones, these stories are simply able to experiment and have fun with the universe, often finding humour in it and, as the series is known for, producing some truly awesome fight sequences.

3. The Matrix Resurrections (2021)

Almost twenty years after the trilogy ended, this return to the Matrix doesn’t exactly feel necessary, with Lana Wachowski’s scorn for the current state of the entertainment industry overshadowing the actual story being told, but it is a mostly fun return to this world which thankfully doesn’t seem to take itself too seriously. With Neo once again trapped within the Matrix and struggling to tell the real from the programmed, the task falls on a new crew of survivors – led by Jessica Henwick’s Bugs and a reincarnated Morpheus (Yahya Abdul-Mateen II) – to spring the Chosen One from his digital prison and launch a desperate rescue mission to free Trinity.

Wachowski’s commentary quickly grows tiring, but it is her willingness to embrace humour which the franchise had previously avoided that makes Resurrections such an enjoyable ride. The story isn’t as needly complex as the other sequels – essentially boiling down to a series of rescue missions – and this makes for a far more digestible film; we can sit back and watch Neo kick the crap out of the bad guys without worrying whether the choices he is making are affecting some larger, constrictive prophecy. Where it falls short of the rest of the franchise is in the action; the finely choreographed fight scenes of the earlier films replaced by the quick-cut action of the modern blockbusters Wachowski seeks to lampoon. The point is made but a bit of the old kung-fu Neo specifically points out he still knows wouldn’t have gone astray.

2. The Matrix Reloaded (2003)

The first of the sequels makes tremendous leaps both forward and backwards for the franchise. From a technical perspective the Wachowski’s were at the forefront of the early 2000’s push towards CGI, making for some bold, innovative action set-pieces that could not have been previously done. Now, watching these films in 2021 that CGI doesn’t hold up all that well, just look at the video-game looking confrontation between Neo and the endless Agent Smiths (Hugo Weaving), but the Wachowski’s certainly get points for trying. The highway chase sequence however is quite possibly the most highly regarded sequence of all the Matrix sequels and for good reason; it is a genuinely edge of your seat thrill ride that doesn’t take its foot off the gas (see what I did there) for a single second, hokey CGI be damned.

Where the series starts its steady decline is in the story department. There are some seriously huge leaps in storytelling and logic being thrown at the viewer and it all feels so rushed, with new characters and concepts introduced in almost every scene without being properly explained. None of it truly coalesces into anything other than a minor wrinkle in Neo’s journey towards realising his potential as the Chosen One, with a constant “is he or isn’t he” plot line never fooling the audience for a minute and distracting from the already confusing main story. He’s Keanu Reeves, of course he’s the one. This is also the film that introduces the concept of Zion and the franchise’s most dull side-story. For the last remnants of humanity it sure is a visually bland and boring place; hell even the machines get down with some funky strobe lights from time to time. No amount of dance party orgies can make you care about Zion, and Revolutions only serves to further highlight how utterly not compelling that storyline is.

1. The Matrix (1999)

No matter how weird the Wachowski’s took the franchise in an effort to top themselves, the original Matrix remains the best and a defining piece of sci-fi action cinema. The introduction to this dystopian cyberpunk world of chosen heroes and machine uprisings takes its time drip-feeding you the extensive word-building it lays out, taking full advantage of Neo as the audience surrogate rather than the all-powerful Messiah figure he becomes and having fun with his training. The “I know kung-fu” sequence remains a series high-point – a thrilling introduction to the action that would forever change the genre – and the climactic subway fight scene is a spellbindingly tight, spectacularly choreographed edge-of-your-seat sequence that feels gritty and high stakes unlike most of the CGI spectacle that followed.

Indeed this feels like one of the few times the series is ever truly accessible; the narrative is streamlined, the rules of the world are easily understood and you genuinely feel for Reeves’ protagonist, an everyman thrown into the deep end and forced to swim. Carrie-Anne Moss is effortlessly cool in her introduction as Trinity, even if her relationship with Neo doesn’t feel entirely earned and Lawrence Fishburne’s Morpheus is the perfect guide to shepherd us through through the confusion; a comfortably reassuring and suave presence disguising a man desperate for something to believe in. An awe-inspiring introduction to what would become one of the most influential and divisive sci-fi franchises of all time.

Tags Animatrix, Carrie-Anne Moss, Hugo Weaving, Keanu Reeves, Lana Wachowski, Lawrence Fishburne, Lilly Wachowski, The Matrix, The Matrix Reloaded, The Matrix Resurrections, The Matrix revolutions, Yahya Abdul-Mateen II

Movie Reviews

The Matrix Resurrections

Post author By Mark
Post date December 27, 2021

Sequels to long dormant franchises are all the rage these days, but if there was one franchise that was expansive and confusing enough to truly warrant the sequel/reboot treatment it was The Matrix. Well that time is now, with one half of original directing team Lana Wachowski returning to the reality-questioning world of Neo and Trinity with a lot to say about the current landscape of entertainment and how audiences approach it. Whilst that extremely heavy-handed commentary doesn’t work as well as Wachowski thinks, the story that is told is a refreshingly straightforward affair for a franchise that became so bogged down in overly complex world-building. It isn’t a return to the form of that original film but Resurrections is a fun enough, if forgettable trip back into the Matrix.

Now living as the celebrated game designer behind “The Matrix” – a trilogy of video games that adapt the original trilogy of movies – Thomas Anderson (Keanu Reeves) is in a creative rut, forced by management to revisit his seminal franchise to produce “The Matrix 4”. A test run of code for the game opens up Thomas’ world to Bugs (Jessica Henwick) and a program that soon reveals himself to be a reincarnation of Morpheus (Yahya Abdul-Mateen II) questions the reality of Thomas’ situation. When Thomas starts to notice similarities between Tiffany (Carrie-Anne Moss) – a woman he sees at a local coffee shop – and the Trinity character from his game, the world around him begins to unravel, ultimately leading to Morpheus and Bugs once again extracting Thomas from the Matrix into the real world, where the legend of Neo looms large. Once again at war with the machines and a smarter, more deadly version of the Matrix, Neo sets out on a desperate attempt to rescue Trinity from captivity, knowing that only together will they be able to end the war once and for all.

Wachowski clearly has an agenda when it comes to Resurrections, taking aim at the surge of sequels, reboots and spin-offs that took the entertainment industry by storm since her original trilogy was at its height in 2003. To call this commentary on the nose would be an understatement, with the story going extremely meta in name checking Warner Bros as wanting this very sequel as a result of corporate greed. The rare few times where this works is when the film embraces humour in a way the franchise never previously did, with an amusing montage poking fun at every hot-take and analysis piece written about The Matrix. Mostly though, the film takes any chance it can to skewer the trend, even going so far as to having a returning character spit on the very idea of a “sequel franchise spin-off”. Does that character even need to be in the film? Not at all, but that in itself just another layer of ridicule and scorn that Wachowski constantly assaults the viewer with.

Where it loses the viewer is in the incoherence of its message, with Wachowski heavily borrowing elements from these hated reboot/sequels; copying action beats from her earlier films and even going so far as to include a cute, infinitely marketable fist-bumping robot. Is it all just one big joke on the viewer? Much like the world of the Matrix it’s impossible to tell at times, which gives the whole film a rather cold, empty feeling. Is this a genuine attempt to return to a beloved franchise and should we actually care about anything going on or is this just a spoof on what audiences have become accustomed to from blockbuster filmmaking? The very concept of the previous trilogy as nothing more than a blip in the larger narrative, reduced to a simple video-game by the newly developed Matrix, devalues the audience investment to a degree – why should we get excited about what very well could be a new series of films if they can simply be wiped away in the future, fans be damned? Sure you could argue Marvel movies commit a similar sin, cheapening deaths by reviving characters but it seems hard to be believe that Wachowski has such an issue with this that she bastardised her beloved franchise to present what amounts to one big rant about the state of film.

The first half of the film is where this commentary reigns supreme but thankfully this levels out once Neo is removed from the Matrix once again. What makes it so easy to push that cynicism aside and simply enjoy the ride is Keanu Reeves, who plays the unassuming Neo so endearingly earnestly that it is impossible not to root for this everyman once again thrown in way over his head. New franchise recruits Jessica Henwick and Yahya Abdul-Mateen II are fantastic, fully committing to the characters and world in a way that makes them feel like they have been apart of the franchise since the beginning. On an action level is where Resurrections is at its most disappointing, eschewing the visceral close combat and inventive stylings of earlier instalments in favour of the quick-cut nonsense of modern action films; failing to properly showcase the impressive fight choreography Reeves is more than capable of. It only serves to further muddy Wachowski’s point, turning her once-revolutionary action franchise into just one of the many poorly shot action films that exist today, devoid of any truly standout set-pieces that were once the franchises bread and butter.

The Matrix: Resurrections ultimately ends up like the other sequels, taking one step forward towards furthering the franchises and the bevy of interesting ideas behind it, before taking two back by cluttering an already confusing world; this time with a meta commentary so muddled that it is impossible to tell what beats are meant in earnest and which are poking fun at the state of modern film. Keanu Reeves remains this series’ strongest element, once again giving an enrapturing performance as Neo which is only strengthened by a solid supporting cast. When the film is pared back to its roots of inventive sci-fi action is when it is at its best, a solid enough ride that will leave you with a smile on your face at the fact that yes, after all these years, Keanu Reeves still knows kung-fu.

The Matrix: Resurrections stars Keanu Reeves, Carrie-Anne Moss, Jessica Henwick, Yahya Abdul-Mateen II, Jonathan Groff, Priyanka Chopra Jonas, Jada Pinkett Smith, Christina Ricci & Neil Patrick Harris – In cinemas now and streaming on HBO Max in the US.

6/10

Tags Carrie-Anne Moss, Christina Ricci, Jessica Henwick, Jonathan Groff, Keanu Reeves, Lana Wachowski, Neil Patrick Harris, Priyanka Chopra, The Matrix, The Matrix Resurrections, Yahya Abdul-Mateen II

TV & Streaming Reviews

Hawkeye

Post author By Mark
Post date December 23, 2021

If you were to ask most people who their favourite Avenger was, chances are not many would choose the bow and arrow wielding Hawkeye. His new Disney+ show aims to change all that; a Christmas-set thrill ride that focuses on the archer outside of his Avenging duties, beaten up and bruised as he takes on the training of a new recruit. Like a lot of these Disney+ shows it doesn’t quite stick the landing, but with everything else it gets right – charming chemistry between the leads, Christmas atmosphere and incredibly fun action scenes – Hawkeye doesn’t miss, one of the finest things Marvel has produced in recent memory.

In New York for a pre-Christmas bonding trip with his recently returned from the Blip kids, Clint Barton (Jeremy Renner) relearns that he is never truly off the clock when his Ronin suit – a costume from his earlier days as a cold-blooded mercenary – is unveiled at a local black market auction. Fearful that his identity will be uncovered by associates of the criminals he put a stop to and his family put in danger, Clint sets out to locate the suit, which just so happens to have been taken by Kate Bishop (Hailee Steinfeld) – a young archer who idolises Hawkeye and has unknowingly made herself a target for all those who hold a grudge against the Ronin. The pair must team up in order to clear both their names, in the process tangling with tracksuit garbed mafia goons, Kate’s sword-wielding soon-to-be stepfather Jack (Tony Dalton) and Maya (Alaqua Cox), a young deaf woman with a particularly personal score to settle with the Ronin.

Setting Hawkeye as Marvel’s big Christmas show proves to be a stroke of genius; the Christmas carol filled soundtrack and snow-covered New York City creating such an overwhelming energy of fun that is impossible not to be swept up in. Christmas also acts as a powerful motivator for Clint, giving the show a constant undercurrent of tension as we fret over whether he will make it back in time for his first family Christmas in 5 years. The stakes are admittedly low in terms of the MCU of it all; the world won’t end if he doesn’t make it home for Christmas but to Clint, not disappointing his family is everything, and after all he has been through you can’t help but root for him, creating some genuine audience investment in a character who had largely been written of as the joke Avenger.

Those personal stakes also make the action feel that much more intense and meaningful, the desperate struggles of a hurt man just looking to survive each bout if it means he is one step closer to his family. The hand-to-hand combat is choreographed impressively well, impactful and brutal in ways that make you fear for Clint, whilst also managing to be surprisingly funny, with the series taking full advantage of Clint’s tired and frustrated “seen it all before” attitude. Where the audience starts to adopt that same attitude is in the finale; a typically massive, explosion filled affair that, while gripping thanks to our investment in the characters, can’t help but feel a little over-the-top and nonsensical. The entire show has been this somewhat grounded look at these two characters who have been put through the ringer, reeling from every scrape and bruise and suddenly they are taking hundreds of hits and shrugging them off. A visually epic series of scenes sure, but one that doesn’t quite gel with the tone previously established.

Where the show truly shines is in the chemistry between Jeremy Renner and Hailee Steinfeld, an endlessly endearing relationship that plays off the grizzled mentor/overly-excited student trope to terrific effect. If Hawkeye is a superhero coming to the end of a long, hard career of crime-fighting then Kate Bishop is one at the very cusp of her own, all wide-eyed, chattering excitement at learning the tricks of the trade. Kate feels like such a desperately needed shot of energy that it is hard to imagine how the MCU ever survived without her, Steinfeld constantly firing on all cylinders with an endless supply of smart-ass jokes and an obsession with trick arrows that makes for some truly wonderful pay-offs. Steinfeld’s character isn’t only one of unbridled optimism and she is deeply affecting in those quieter moments when Kate’s entire world is turned upside down, her perception of what her life has been and what it will be going forward completely shifting and forcing her to adapt.

Alaqua Cox’s Maya is a step in the right direction towards on-screen representation but there’s a sense that there is more to her and the show is holding back, saving vital character development for her future spin-off show. While that show might be great, Maya’s appearance here can’t help but feel slightly undercooked, an unnecessary detour from Kate and Clint’s main investigation that adds some depth to his exploits as the Ronin and makes for some great action moments but ultimately peters off with a whimper, her finale appearance feeling obligated to push the character’s profile rather than necessary to the plot. Other character appearances, which we’ll leave unspoiled, add a lot to the show by way of emotional depth and sheer fun factor, and one in particular will have long-time fans cheering from their living rooms; a Christmas present that hopefully will only continue to grow from here.

It’s safe to say that not many people were clamouring for a deep-dive into what Clint Barton does on his off-days from Avenging, but Hawkeye earns its Christmas status as one of the biggest treats of the year; a heartwarming and electric adventure through New York City that gives Jeremy Renner the material he truly deserves and introduces audiences to what will no doubt be a fan-favourite character going forward in Kate Bishop. The small scale and focus on the burgeoning mentor/student relationship make for a refreshingly personal take on the MCU, one that moves beyond its formulaic ending to become one of, if not the best Marvel show so far. He might just be a guy with a bow and arrow, but Hawkeye certainly doesn’t miss here.

Hawkeye stars Jeremy Renner, Hailee Steinfeld, Vera Farmiga, Alaqua Cox, Tony Dalton, Fra Fee & Linda Cardellini – Streaming on Disney+ now.

9/10

Tags Alaqua Cox, Bert & Bertie, Fra Fee, Hailee Steinfeld, Hawkeye, Jeremy Renner, Kevin Feige, Linda Cardellini, Marvel, Rhys Thomas, Tony Dalton, Vera Farmiga

Movie Reviews

Spider-Man: No Way Home

Post author By Mark
Post date December 20, 2021

It’s the most wonderful time of the year and no, we’re not talking about Christmas, we’re talking about the new Spider-Man film No Way Home! Quite possibly one of the most hyped films in MCU history, there was a lot riding on Tom Holland’s latest outing as the web-slinger and sufficed to say No Way Home lives up to all these expectations and then some; a more mature chapter in Peter Parker’s story that feels like an appropriate culmination of everything Holland has gone through and a celebration of the character’s rich on-screen history. Despite the all-star lineup of the web-head’s greatest foes, director Jon Watts never lets the story slip away from Peter, telling a quintessentially Spider-Man story that perfectly straddles the line between huge, explosive action and the everyday struggles of the friendly neighbourhood Spider-Man.

Peter Parker’s (Holland) life is in a shambles after Mysterio unceremoniously ousts his identity as Spider-Man to the world at the end of Far From Home, prompting the young Avenger to turn to Doctor Strange (Benedict Cumberbatch) in an effort to erase the world’s knowledge of this fact and restore some semblance of normality to the lives of Peter and those closest to him. When this inevitably goes awry, Strange and Parker unwittingly fracture the multiverse, causing villains from all manner of non-Disney owned, Sony produced Spider-Man films to tumble into the MCU, including Alfred Molina’s Doc Ock, Jamie Foxx’s Electro and Willem Dafoe’s (all-time great) Green Goblin. Now tasked with capturing these intruders before they can wreak havoc on his universe, Spider-Man is forced to contend with the full weight of his actions and the true responsibility of being a hero if he has any hope of saving the world once again.

Reassembling these characters from previous films may seem on its face an obvious case of fan service, but No Way Home consistently finds fresh angles to approach these characters without tarnishing their legacy; natural extensions of previous narratives or chances to redeem an ill-received prior outing rather than simply being well-known punching bags for Spidey to wail on. Jamie Foxx’s Electro for example has far more personality this time around, free from the shackles of his nerdy, awkward persona in The Amazing Spider-Man 2 and now a laid-back, wise-cracking bad-ass; a far more appropriate character for Foxx to play and one that he excels at.

At the other end of the spectrum is Alfred Molina’s Doc Ock, whose story wrapped up perfectly in Spider-Man 2. He certainly didn’t need more screen-time but what we get here is a fantastically fun and fascinating furthering of the character audiences know and love, with Molina hamming it up in the best way possible as the medically grumpy fish-out-of-water scientist turned supervillain. Those big, bombastic action sequences are all well and good but it’s the quieter moments that really justify Doc Ock’s return; a tortured soul desperate for a reprieve from the voices in his head and, like Peter, a return to the somewhat normal.

However it’s Willem Dafoe who cements his place as the greatest on-screen Spidey villain, slipping back into Green Goblin almost 20 years later and making it look completely effortless. On an acting level alone it’s fascinating to watch Dafoe contort his face and switch between the two personalities at war within Norman Osborn’s head on a dime; his voice dropping to a menacing growl as a sneer spreads across his face. But it’s the energy of pure, chaotic evil that he brings to the MCU that makes him Holland’s fiercest foe to date, wanting nothing more than to make Spider-Man suffer and relishing every second of pain he puts him through. Screenwriters Erik Sommers and Chris McKenna do a great job ensuring they aren’t just trading on audience goodwill, building on the foundation of Norman’s lust for power established in 2002’s Spider-Man and taking it to the logical next step as he covets an entirely new universe to subject to his will.

In a film this crowded it might be easy for Holland’s Spider-Man to play second fiddle but – despite all the colossal world expansion and inevitable sequel set-up – No Way Home very much feels like the next chapter of Peter Parker’s story. With that comes an almost perfect balance between the small-scale problems that define a good Spider-Man story – girl troubles, college admissions and otherwise balancing the mundane with the extraordinary – alongside the huge, multiverse-ending stakes. This is still a young boy coming to terms with his responsibilities as a hero and the stakes of not committing fully to either of the lives he is attempting to live have never been felt more than they are here. Cumberbatch is an excellent and intriguing choice to shepherd Peter into that next phase of his journey, not as paternal as Iron Man and certainly not as nefarious as Mysterio, Doctor Strange doesn’t shy away from delivering hard truths, a necessary push that makes for some incredibly satisfying moments when the going gets tough.

No matter how crazy the plot may get we are always locked into Peter and how he approaches this latest challenge, particularly how it affects those close to him and his sweet relationship with MJ (Zendaya), who finally comes into her own as a central protagonist rather than a quirky side-character. This being an MCU film, things never get too dour (perhaps to some viewers chagrin) and the jokes fly thick and fast, with Jacob Batalon’s Ned stealing every scene he is in with absolutely pitch perfect comedic timing, never failing to have the audience guffawing at even the most juvenile of jokes. But this is Holland’s film and it is the best he has ever been in the role, due in large part to the amount of emotionally heavy material thrown at him in the script; we feel the desperation in Peter’s actions and the weight of what he must do to correct the mistakes he has made. No spoilers here but it warrants mentioning that – following a third act that ranks up there with Avengers: Endgame in terms of sheer wish-fulfilment awesomeness – the ending is one of the most cathartic, triumphant conclusions in all of the MCU; a perfect jumping off point should they (most probably) continue to further Spider-Man’s story but also an incredibly satisfying conclusion should this truly be the end, something neither of the other actors who have played the wall crawler can claim to have had.

Spider-Man: No Way Home is easily the best of Jon Watt’s trilogy and perhaps more impressively one of, if not the best Spider-Man film ever. The culmination of Peter Parker’s story as a young, inexperienced web-slinger is a rollicking rollercoaster of fun and action sure, but one that manages to pack big stakes and crushing emotional weight onto Holland’s shoulders that he handles beautifully. The returning villains are all an absolute blast to spend time with again, the surprises we can’t spoil will have audiences in a fervour and the supporting players are all genuinely excellent in the way they impact Peter’s journey from boy to Spider-Man. Don’t let the title fool you, with this film Tom Holland proves definitively that he is absolutely at home as the friendly neighbourhood Spider-Man.

Spider-Man: No Way Home stars Tom Holland, Zendaya, Benedict Cumberbatch, Jamie Foxx, Willem Dafoe, Alfred Molina, Marisa Tomei, Jacob Batalon, J.K. Simmons, Jon Favreau, Tony Revolori & Benedict Wong – In cinemas now.

10/10

Tags Alfred Molina, Benedict Cumberbatch, Benedict Wong, J.K. Simmons, Jacob Batalon, Jamie Foxx, Jon Favreau, Jon Watts, Marisa Tomei, Marvel, Spider-Man: No Way Home, Tom Holland, Willem Dafoe, Zendaya

Movie Reviews

Belfast

Post author By Mark
Post date December 15, 2021

There’s something to be said for the power of a good crowd-pleaser. Those films that know exactly what they’re doing to give you an enjoyable time, even if there are some hardships along the way. Kenneth Branagh’s Belfast is exactly that type of film; an intensely personal and equally uplifting look into the writer-director’s upbringing amidst the Troubles during the late 60’s in Ireland and what happens when the unbridled imagination of a young child is forced to contend with the harrowing real world events transpiring around him. With a stellar debut from the incredibly endearing young Jude Hill and an outstanding supporting cast, Belfast is one of the most satisfying films of the year, guaranteed to leave you with a huge grin plastered across your face.

When his street is unceremoniously torn asunder by a riot instigated by Protestants to scare Catholics out of Belfast, young Buddy (Hill) begins to worry about the safety of his family within their small community. With his mind set at ease by his Ma (Caitríona Balfe) and Pa (Jamie Dornan), Buddy can go back to focussing on his everyday life: working up the courage to admit his feelings for his school crush, spending time with his Granny (Judi Dench) and Pop (Ciarán Hinds) and deciding what film to watch next at the cinema. But he soon begins to realise that things might not be as rosy as his parents suggest, as mounting financial and safety concerns force them to consider the prospect of leaving Ireland for England, whilst his grandparents are forced to confront their own medical issues. Meanwhile the threat of violence looms increasingly large over the small family as local gangster Billy Clanton (Colin Morgan) looks to take advantage of Pa and the riots become more frequent.

Kenneth Branagh has done a lot in his career but Belfast might just be his best, most intimate work to date. There isn’t a single beat that doesn’t feel completely necessary to telling the heartwarming story of Buddy and his family, whether that be the terrifying riot scenes that feel colossal in scale to the youngster or the fairly innocuous shoplifting that Buddy hilariously finds himself embroiled in. As a slice-of-life examination of this time period and the ground level struggles of the people living in it, Belfast feels incredibly well realised, striking a careful balancing act in tone between the childlike wonder Buddy views the world through – idolising the adults around him and their seemingly perfect life within the close-knit community – and the sad reality that these same adults are constantly struggling to get ahead in life.

While it may seem to be light on a driving narrative force – and the black and white gimmick doesn’t do much other than highlight a few especially beautiful shots – the rollercoaster ride of emotions the audience experiences following this family that can never seem to win is never not affecting, equally devastating and elating when it needs to be. That’s helped a great deal by the Van Morrison songs that soundtrack the film – himself from Belfast – which add another layer of authenticity and heart to the affair, joyously triumphant when Buddy is and quietly solemn when the moment calls for it.

Newcomer Jude Hill is the perfect vessel to explore this distinct viewpoint of a childhood robbed of its innocence, forced to contend with matters beyond his years. He brings such a youthful exuberance to the role that it is impossible not to get enraptured in Buddy’s day-to-day activities; feeling just as devastated as he does when he misses out on a chance to talk to his crush or terrified when he finds himself caught in trouble. There’s also a significant amount of comedy Hill brings to the role through what seems at times like ad-lib; hilarious off-the-cuff remarks that more often than not will have you in stitches at the strange, often alarmingly truthful ways children view the world around them.

Surrounding Hill is a bevy of Irish talent (and the great Judi Dench) who all deliver powerful, moving performances as adults in various degrees of trouble trying to present a united and calm front to this impressionable child in their midst. Ciarán Hinds is particularly effective in his role as Buddy’s grandfather, always with a potent life lesson on hand and a cheery demeanour despite his troubles; a role model for Buddy to lean on as the fate of his own future becomes unsure.

It may not push the coming-of-age genre into any unexplored directions but Belfast is still the best film of Kenneth Branagh’s career; an extremely well directed, triumphant celebration of Belfast and its people that is impossible not to fall in love with. Jude Hill is the perfect protagonist to explore this difficult time in Irish history, approaching the conflict with an innocence that is slowly eaten away as the reality of the situation dawns upon him and Branagh strikes the perfect balance in tone, never lingering on these heavy moments for too long before returning to the fun and folly of Buddy’s youth. After the bomb that was Branagh’s last film Artemis Fowl, this is a huge leap in the right direction, hopefully towards the top of many awards podiums.

Belfast stars Jude Hill, Caitríona Balfe, Jamie Dornan, Ciarán Hinds, Colin Morgan, Lewis McAskie & Judi Dench – In American cinemas now and Australian cinemas February 3rd.

10/10

Tags Belfast, Caitriona Balfe, Ciarán Hinds, Jamie Dornan, Jude Hill, Judi Dench, Kenneth Branagh, Lewis McAskie

Movie Reviews

Resident Evil: Welcome to Raccoon City

Post author By Mark
Post date December 10, 2021

To quote Resident Evil: Welcome To Raccoon City’s zombie dog: woof. This thing is bad. A reboot of the franchise known for its downright batshit stories and Milla Jovovich ass-kicking action, Welcome to Raccoon City seeks to position the story much more faithfully to the games themselves, attempting to adapt both the original 1998 classic and its follow-up and doing none of it particularly well. In fact writer-director Johannes Roberts’ film is so obsessed with referencing these games that it forgets to have any identity of its own, let alone a comprehensible story; a mishmash of poorly executed action, weak characters and a general sense of carelessness all around.

After a brief flashback bombards you with easter eggs and little else, we find ourselves introduced to Claire Redfield (Kaya Scodelario) on her way back into the ramshackle Raccoon City to warn estranged brother Chris (Robbie Amell) of a conspiracy involving sinister pharmaceutical company Umbrella. Irked by his sister’s sudden reappearance Chris heads off with his specialist police unit – Jill Valentine (Hannah John-Kamen), Albert Wesker (Tom Hopper) and Richard Aiken (Chad Rook) – to investigate a disturbance at the ominous Spencer Mansion, created by the founder of Umbrella. When residents of the city begin to zombify and violently attack one another Claire finds herself holed up at the Raccoon City police precinct with rookie Leon Kennedy (Avan Jogia), the pair forced to team up to uncover Umbrella’s plot before the city is unceremoniously wiped off the face of the earth in an effort to contain the spreading plague.

If the Paul W.S. Anderson films were derided for their refusal to cohere to any sort of franchise lore, adapting whatever they felt like and cramming it into a jumble of mindless action, then Johannes’ film seeks to go the other route. Almost every scene feels like a sensory overload of easter eggs and scenes pulled directly from the game in an effort to have the viewer constantly yell at the screen “that’s Lisa Trevor!” or “that’s the truck crash from Resident Evil 2!”. Meanwhile the story itself is a mess of these incoherent scenes stitched together without any connective tissue, as if Roberts’ believes the appeal of the games are simply the cut-scenes and not the story uncovered through actually playing it. The player appreciates the cut-scenes because of the context they have been given by actually playing the game. Simply throwing everything and the kitchen sink at the screen in the hopes that it bears a resemblance to what the audience has already played is a surefire way to ensure they disengage from having any genuine investment in the story or characters.

Admittedly you can see that Roberts’ is clearly a fan of the games, with a high attention to detail for recreating those iconic moments as accurately as possible. Where he stumbles hard is in that connective tissue. Welcome to Raccoon City is a downright dumb movie, riddled with inconsistencies and stupid plot conveniences. Take a moment early in the film, for instance. Claire is attempting to get into a house, trying the front and back doors before eventually picking the lock. The character whose house it is then has an extended exchange with Claire about how advanced the security systems are, but when Claire attempts to leave that place in a hurry she finds his motorcycle outside with the keys conveniently already in the ignition.

It’s a small gripe, but one that speaks to a larger problem. Where the security discussion was meant to establish Claire as a jack-of-all-trades and highlight her quick thinking, the following easy exit completely contradicts it and shows that everything going forward will be as convenient as it needs to be to move the story forward. In a similar way the film is timestamped in the hours leading up to 6am in an effort to ramp up the tension before the inevitable explosion… only in the intervals between timestamps Roberts’ forgets to check in with all his characters, meaning people have barely moved or done anything at all in the preceding hour.

That being said there are a few positives to be found. Kaya Scoledario is rock solid as the tough-as-nails Claire. She gets easily the most character development to work with and whilst those flashbacks are poorly unraveled, the effect the trauma from Claire’s past has had on her is evident in her performance in small moments of hesitation. The action is largely forgettable, with Roberts’ preferring to show only quick flashes rather than true set-pieces, but there are some genuine moments of claustrophobic terror mined from close encounters in cramped corridors that harken back to that primal fear associated with playing the games.

While Resident Evil: Welcome to Raccoon City isn’t the worst film the franchise has put out, it is certainly close to it: a dismal attempt to more faithfully adapt the games that neither succeeds in doing that or telling a compelling story. So much has been forgone in the pursuit of accuracy that the resulting film isn’t even all that much fun, a foundational pillar of the whacky Alice films. Thank you for the welcome Raccoon City, but I’d like to leave now and never come back.

Resident Evil: Welcome to Raccoon City stars Kaya Scodelario, Robbie Amell, Hannah John-Kamen, Tom Hopper, Avan Jogia, Donal Logue, Chad Rook, Marina Mazepa & Neil McDonough – In cinemas now.

3/10

Tags Avan Jogia, Hannah John-Kamen, Kaya Scodelario, Marina Mazepa, Neal McDonough, Resident Evil, Resident Evil: Welcome to Raccoon City, Robbie Amell, Tom Hopper

Movie Reviews

Dune (2021)

Post author By Mark
Post date December 7, 2021

Not since his last film Blade Runner 2049 has there been sci-fi with such massive scope as Denis Villeneuve’s adaptation of Frank Herbert’s seminal novel Dune. Truly epic in all aspects, the story of the planet Arrakis and the war between ancient houses for control of it is brought to life in stunning detail; a complex, layered story of political betrayal anchored by the classic hero’s journey of Timothée Chalamet’s Paul. A personal favourite of Villeneuve’s, you can feel his love for the material in every scene; making for one of the most engrossing, fully realised (except for the fact that this is only part one) stories in recent cinematic memory. Huge sci-fi that delivers huge results.

That isn’t to say Dune is immediately graspable. A behemoth in the sci-fi world, Herbert’s novels span six books and countless follow-up tales released since his death. Villeneuve’s film only seeks to tackle the very first of these, and only even a portion of that story, yet there is still plenty to unpack to justify the film’s immense runtime. On a high level the story centres around Paul (Chalamet), son of Leto (Oscar Isaac) and Jessica (Rebecca Ferguson) and heir to the great house Atreides. When the all-powerful Emperor (unseen in this film) calls for the Atreides’ to take control of the planet Arrakis – home to the Spice, the only substance able to sustain intergalactic travel – from rival house Harkonnen, events are set in motion that will test Paul and his people’s resolve as they are thrust into a complex web of political intrigue. As his situation becomes increasingly dire, Paul is forced to contemplate his destiny and the strange dreams he has experienced which push him to explore his place amongst the Fremen, the native people of Arrakis.

It’s a weighty story and Villeneuve takes his time unravelling it for the viewer, carefully setting the stage and characters before pivoting into the meat of the journey on Arrakis. Unlike a lot of larger scale blockbusters nowadays Dune never feels overly hand holding; constantly presenting new ideas, characters and places and expecting the audience to keep up. In that way it may not be accessible to everyone; the film demands your attention, but the end result is nothing short of spellbinding and it is impossible to not get swept up in Villeneuve’s always visually interesting approach to this tale. Key to that immersion is the sense of scale that he creates, often framing shots from far back to highlight just how insignificant characters look compared to starships or the fearsome sandworms that call Arrakis home. It’s a device that constantly creates jaw-dropping imagery whilst furthering the narrative and this attention to detail extends to everything from the aesthetics – each world is visually distinct from one another – to something as simple as the shields used in combat – vivid blue and red flashes easily conveying the outcomes of battles without having to sacrifice the scale of a wide shot.

The costumes and production designs are similarly stunning; a striking mixture of futuristic garb resembling armour and more traditional military inspired wardrobe. The evil Harkonnen Baron, played by Stellan Skarsgård, is a truly inspired combination of practical and visual effects; a hulking, obese lump of pale flesh who practically oozes evil before morphing into a towering, floating pillar of black cloak when provoked. Why is he like this? The film never offers any elucidation and that really is the defining strength of Dune: pulling you into entire galaxy of story without feeling the need to explain every bit of it. If you look hard enough, you can constantly uncover new layers but if you aren’t interested in that the story still works as a thrilling slice of sci-fi action; even if this film errs on the side of set-up.

Which is really is the only negative to be found here: the set-up. As only part one of the story – a ballsy move naming it so considering the sequel had yet to be greenlit on release – the film simply feels incomplete; the beginning of something much larger to come. Whilst that may be somewhat unsatisfying for today’s audience accustomed to instant gratification from Netflix binge sessions, there is enough here to warrant repeat viewings to unpack it all, from Christ allegories to deep themes of legacy and destiny. And let’s not forget the impossible task set upon Villeneuve in the first place; Dune is a positively massive story spanning thousands of years in its full, franchise-long scope. The fact that he has managed to capture the essence of the story (we haven’t even mentioned the more fantastical elements such as the witch-like Bene Gesserit) and turn it into such a rousing success as this proves the man is one of the best filmmakers working today. He has earned the right to take his time.

I’d be remiss not to mention the incredible score from Hans Zimmer; similarly epic in scope, it fluctuates between booming bass and bombastic choral pieces that further emphasise the different cultures and perspectives at play within Dune. To ensure that the film remains grounded in the characters that populate its many worlds Villeneuve has enlisted a smorgasbord of acting talent, led by Chalamet. He’s a suitably arrogant Paul, a trait borne of his nobility that doesn’t necessarily make him an unlikeable character but rather speaks to the shift he undergoes as the life he knows is drastically altered. A litany of terrific supporting players surround him, from Sharon Duncan-Brewster’s allegedly impartial judge overseeing the shift in Arrakis’ leadership to Josh Brolin’s steely military chief; a disgruntled warrior who has clearly been affected by his bloody past. Yet it is Jason Momoa who stands out amongst them, delivering his best performance yet as the heroic soldier Duncan Idaho, a personal friend to Paul and advisor to the Duke. What he lacks in his iconic beard he more than makes up for in heart and likeability, a shot of personality amongst the cold expanse of space and political strictness.

Dune is a film that has to accomplish a lot: adapting Frank Herbert’s dense text in a palatable way, making an entire galaxy come alive with personality and nuance, and most of all create an engaging, cinematic story. And Denis Villeneuve accomplishes it all in such a complete way that this really feels like the starting chapter in a new classic science fiction franchise, up there with the likes of Star Wars and Alien. Full of vibrant visuals, a luscious score from Hans Zimmer and production designs that totally immerse you in the experience, Dune is a truly unique film that is best experienced on the biggest screen you can find. If you haven’t sought it out already, what are you Dune?

Dune stars Timothée Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Jason Momoa, Stellan Skarsgård, Josh Brolin, Sharon Duncan-Brewster, Stephen McKinley Henderson, Dave Bautista, Charlotte Rampling, David Dastmalchian, Chang Chen & Javier Bardem – In cinemas now.

9/10

Tags Charlotte Rampling, Dave Bautista, Denis Villeneuve, Dune, Jason Momoa, Javier Bardem, Josh Brolin, Oscar Isaac, Rebecca Ferguson, Sharon Duncan-Brewster, Stellan Skarsgård, Timothée Chalamet, Zendaya

Articles & News

The November 2021 Wrap

Post author By Mark
Post date December 2, 2021

We’re quickly rolling into the end of another year, which means the start of another big summer release schedule. That means more people in cinemas and even more spending each night endlessly scrolling through Netflix for something to watch. Looking to get a head start on the competition, a number of big releases hit our screens in November and – while we managed to cover most of them in detail already – there were a few that almost got away without so much as an honourable mention. Here’s a quick wrap on some of November’s most notable entries we haven’t covered yet.

Red Notice

In many ways Red Notice might be the ultimate Netflix film: an obscenely expensive and majorly mediocre blockbuster attempting to hide its numerous flaws behind the sheer star power on display. We follow Ryan Reynolds’ thief Nolan Booth and Dwayne Johnson’s Interpol agent John Hartley as they are forced to become an unlikely (but so likely) team to escape prison and prevent Gal Gadot’s rival thief from cashing in on an epic payday through the theft of fancy Faberge eggs. Reynolds and Johnson have good chemistry together and the action, while repetitive, is enough to hold your attention but rarely does the film do anything that hasn’t been done before in a thousand better films, and when it does try and break the mould, the choices made don’t make a lick of sense. Johnson is left to do majority of the heavy lifting here (easy for him, have you seen the man?), with Gadot seemingly unsure of every decision she makes and Reynolds relying on the same schtick from Deadpool for the 9th film in a row. Please can we put it to bed? You’re better than this Ryan.

Titane

You know the classic tale: girl meets car, girl falls for car, girl… does the deed with car. No? Not ringing any bells? That’s probably because Titane is one of the most bizarre and out-there films in recent memory. Julia Ducournau’s follow-up to 2016’s Raw is a far more brutal affair; following Agathe Rousselle’s Alexia on a spree of post-car-coitus murder, eventually leading her to impersonate a fireman’s (Vincent Lindon) missing son in order to evade police and wait out the rest of her unnatural pregnancy. A strange, often disturbing film to witness, Ducournau doesn’t shy away from some truly horrifying imagery – lactating motor oil and feeding on metal amongst them – as she approaches the inevitable birth. But it isn’t all garage gore, weaving in a touching, if extremely unconventional emotional backbone with the bond formed between Lindon’s traumatised fireman and the equally, if not more traumatised Alexia. A follow-up that doesn’t quite manage to hit the high bar set by Raw – and which certainly won’t be to everyone’s tastes – Titane is successful in managing to make you care about some truly horrific people and their terrible plights.

Pokémon Brilliant Diamond and Shining Pearl

It’s tradition. For every new Pokémon adventure GameFreak creates they go back and remake one of their classic outings; this time around that honour belongs to 2006’s Diamond and Pearl versions. Development duties have been shirked by GameFreak for the first time ever, leaving Japanese developer ILCA at the helm. The results are fairly solid; the base gameplay mechanics remain as tight as ever, with quality of life improvements of later games like the Exp share mitigating the brutal difficulty the original games were known for. The new chibi style for characters in the over-world is godawful to look at but is quickly forgotten once the muscle memory kicks in and you lose yourself in the intoxicating rhythm of catching and battling those little pocket monsters. Less of a groundbreaking stride into the future of Pokémon and more a fresh coat of paint for a fan-favourite.

‘Twas the Fight Before Christmas

Is it possible to love Christmas too much? That’s the central conceit behind Apple TV+’s latest documentary ‘Twas the Fight Before Christmas, quickly spiralling into an examination of far-right conservatism in America and one man’s obsession with freedom of expression, no matter the cost. The film centres around Jeremy Morris, a Christmas-obsessed lawyer who turns a small Idaho cul-de-sac upside down when he insists on hosting a massive Christmas spectacle, complete with house-covering lights, a camel and thousands of attendees. Naturally his neighbours aren’t too pleased about the idea, prompting one hell of a neighbourly battle for supremacy as things move to court. Despite its fairly trivial, “rich people problems” premise, director Becky Read succeeds at pulling you in under the guise of this innocuous man who has been strangely banned from Christmas decorating before slowly unravelling his story, boiling your blood in the process. A fun if frivolous documentary perfect for those Grinches out there.

Tiger King 2

The Netflix sensation that swept the world in 2020 returns for a second season of tiger taming, assassination-plotting mayhem, only largely without those things. Feeling more like an extended epilogue to the first season than a fully realised vision, Tiger King 2 suffers from existing only to appease viewers hungry for more from the world of Joe Exotic and his wild antics. Except that story has already been told. It’s slim pickings in terms of genuinely new and interesting content, with directors Eric Good and Rebecca Chaiklin scraping the bottom of the barrel to fill the reduced 7 episode order. There’s an episode catching up with Joe, the obligatory rehash of Carole Baskin and the reopening of the case into her ex-husband’s disappearance, and check-ins with all the big players from the first season, most of whom are in exactly the same spot as last time. At least once an episode there is a moment that will make you laugh or cry out in astonishment but more often than not you’ll be bored revisiting facts you already know or watching interviews with people you don’t care about. Tiger King was the perfect distraction for the world in 2020, and that’s where it should stay.

South Park: Post Covid

The first of 14 made-for-streaming South Park films under the gargantuan deal creators Trey Parker and Matt Stone signed earlier this year (in addition to 6 more seasons of the veteran show), Post Covid picks up decades after this year’s Vaccination Special, with the boys now adults at the end of the Covid pandemic. When Stan (Trey Parker), now an online whiskey consultant, receives a call that Kenny has been killed (a first for the series), he returns to South Park for the funeral, running into an estranged Kyle (Matt Stone) and Cartman (Parker) – now a Rabbi. The strength of this joke alone is enough to carry majority of the special, with Kyle endlessly skeptical of Cartman and his new family of carbon copy kids. It isn’t a total one trick pony though, skewering all the pop-culture moments that the show hadn’t managed to touch on in previous Covid-set specials from the rise of Disney+ and HBO Max to remote learning. It isn’t quite as laugh-out-loud as the Vaccination Special was and you do miss these characters as their kid selves, but by and large the first Paramount+ outing changes enough of the formula to keep things feeling funny and fresh.

Tags 'Twas the Fight Before Christmas, Brilliant Diamond, Pokémon, Red Notice, Shining Pearl, South Park, South Park: Post Covid, Tiger King 2, Titane

Movie Reviews

Venom: Let There Be Carnage

Post author By Mark
Post date November 30, 2021

On many levels Venom: Let There Be Carnage is exactly what you expect it to be: a giant CGI mess of monsters getting up to all sorts of violent, incomprehensible mischief. However unlike it’s 2018 predecessor, Let There Be Carnage is unable to capitalise on the odd-couple energy of Tom Hardy’s Eddie Brock and Venom learning to inhabit a body together, instead bombarding you with constant, terribly unfunny dialogue whilst Woody Harrelson is vaguely menacing in the background. The story is practically non-existent, the characters paper-thin and it all culminates in the usual CGI showdown; making for one of the most dull superhero experiences of the year.

Now co-inhabiting one body, Venom and Eddie Brock (Hardy) struggle to find a balance between one’s desire to live a normal life with the other constantly craving human brains. Having re-established himself as a respectable journalist thanks to a series of interviews with notorious serial killer Cletus Kassady (Harrelson), Eddie decides it is time to give Venom the boot, forcing the Symbiote to search for a new host. Bad timing it seems, as Cletus finds himself in possession of a similar Symbiote; the red, ravenous Carnage, with the duo on the hunt for Eddie and Venom in an effort to cement themselves as the most powerful duo in town. But first there’s Cletus’ vocally super-powered girlfriend Shriek (Naomie Harris) to contend with, an obligatory damsel-in-distress appearance from Eddie’s ex Anne (Michelle Williams) and a nosy detective (Stephen Graham) to avoid before the predictably bombastic final battle.

The first Venom wasn’t great. A fairly stock standard superhero origin story, it was held together thanks to a pretty charming interplay between Eddie and Venom as they felt out a situation foreign to both of them, managing to change each others lives for the better (mostly) in the process. Here that relationship takes centre stage, confirming that too much of a good thing can indeed be bad. The “banter”, if you want to call it that, is incessant; constant bickering which inevitably leads to drawn out sequences of violence inflicted on Eddie by Venom. When you realise that Tom Hardy himself had a hand in the script, this shift in focus becomes more understandable and admittedly, it is pretty funny the first time Venom slaps Eddie around, less so the third time it happens.

This is also the only time that the film seems to have an actual story, with the pair bickering whilst trying to uncover the reason Cletus has taken such an interest in a down-on-his-luck Eddie. Once Eddie gives Venom the boot this story thread is simply never mentioned again. Cletus busts out of jail, bonds with Carnage and goes on a spree of mindless violence while we are treated to an extended montage of Venom at a rave, snatching the microphone from rapper Little Simz (who also has a hit single named, you guessed it “Venom”). It’s a strange ode to the wackiness of early 2000’s superhero films; a brief flash of stupid fun that would never find its way into the MCU, that is quickly swept away when you realise that this cute little side story is actually the main event; the film almost over at barely an hour long.

Thus begins the descent into the usual CGI nonsense: Venom and Carnage tussle, leaving Michelle Williams with nothing to do whilst Naomie Harris’ painful villain skulks around, firing off bad one-liners in an annoyingly, needlessly raspy voice. It’s hard to believe that the film was directed by Andy Serkis, a veteran of performance capture known for his precision and dedication to the craft, with nary a personal touch in sight. In fact Let There Be Carnage is one of the most generic, obviously studio-mandated superhero films in years; a pointless sequel designed only to cash in on the success of the first and set things up for inevitable crossovers going forward. When the most exciting aspect of your film is the post-credits scene teasing more films that will almost surely be handled by a better creative team in the future, it cheapens what was already a bad experience.

Venom: Let There Be Carnage is not so much a film as it is a montage of painfully unfunny Three Stooges-esque slapstick comedy and over-the-top, generic CGI action. Tom Hardy is solid in the role and this is clearly a character close to his heart but the sequel functions as little more than a vehicle to move Venom into more exciting territory in the future, unfortunately wasting one of his most famous adversaries in the process. There’s only one type of carnage on-screen here and it isn’t the big, red one.

Venom: Let There Be Carnage stars Tom Hardy, Michelle Williams, Naomie Harris, Stephen Graham, Reid Scott & Woody Harrelson – In Australian cinemas now and available on-demand in the US.

3/10

Tags Andy Serkis, Let There Be Carnage, Michelle Williams, Naomie Harris, Reid Scott, Stephen Graham, Tom Hardy, Venom, Venom: Let There Be Carnage, Woody Harrelson

TV & Streaming Reviews

Cowboy Bebop (2021) – Season 1

Post author By Mark
Post date November 30, 2021

No one was begging for anime classic Cowboy Bebop to be remade as a live action series, but it’s 2021 and nothing can stop the juggernaut that is Netflix from its mission of creating every possible piece of potentially profitable content. Cynicism aside, the stakes were high; Bebop is a beloved pillar of the anime world and fans weren’t exactly chomping at the bit for Netflix to get ahold of the property after the disaster that was Death Note. Nevertheless the streaming giant has tried their hand at bringing the show’s unique blend of sci-fi, western and film noir to live-action and the result is largely positive: a fairly safe recreation that manages to carry that same rebellious spirit to a new, intriguing world. The few changes it does make to the source material never improve the story in any significant manner and the look and tone of the show won’t be for everyone but Cowboy Bebop is still a worthwhile investment for existing fans and newcomers to the franchise.

For the uninitiated, Cowboy Bebop follows the adventures of bounty hunters Spike Spiegel (John Cho) and Jet Black (Mustafa Shakir) as they struggle to make ends meet attempting to collect on all manner of problematic bounties. Later joined on their ship, the Bebop, by amnesiac Faye Valentine (Daniella Pineda) and corgi Ein, the crew inevitably cross paths with The Syndicate, an underground crime organisation controlled by Vicious (Alex Hassell); a ruthless psychopath with a complicated history and score to settle with Spike. As their work begins to attract more and more attention from The Syndicate, including his old flame Julia (Elena Satine), the group is forced to come together to help Spike confront Vicious and the life he left behind.

Thankfully, a lot of Cowboy Bebop feels similar to the original series; chiefly due to the presence of series creator Shinichirō Watanabe (as a creative consultant), composer Yoko Kanno’s iconic jazz score and the fact that the episodes themselves are more often than not an exact recreation of an episode of the anime. Whilst this may be a divisive decision for some fans, Cowboy Bebop remains a somewhat niche series for mainstream audiences, and the decision to transfer some of the anime’s best episodes across to live action works both as a primer for new audiences and as a perfect showcase for the actors taking on these roles. A sci-fi western with elements of film noir isn’t exactly an easy sell and the show does an excellent job of introducing the audience to the world and slowly drip-feeding them the more unconventional elements, to the point where a dog-fearing clown assassin becomes par for the course.

Where the show does walk that tightrope between reverence and accessibility the most shakily is undoubtedly in its presentation. This is a cheesy show, almost to the point of looking downright cheap at times – in everything from character’s costumes to certain production design – giving the whole affair a B-movie feel. While this does tend to help sell the more whacky elements the show introduces with something of a wink and a nod – the aforementioned clown assassin, environmental terrorists that employ grenades that turn people into trees – it often prevents the show’s heavier elements from landing with any kind of emotional weight.

Take Vicious’ storyline for example. A deranged, psychotic mafia don who wields a katana makes for one hell of a wild card of a villain and works within the confines of the show’s corny tone. But Vicious’ story largely takes place separately from the adventures of the Bebop, dealing with heavy elements of family legacy and betrayal through a complex, politically charged succession narrative towards the head of The Syndicate. It’s one thing to laugh at Spike pining over a bowl of noodles to celebrate a job well done, but when you shift focus to a white-haired assassin constantly moaning about about how hard done by he is as the son of the most powerful man in the galaxy, and the show expects you to take this seriously, things have slipped too far into absurdity. Add to that some truly awful, cringe-inducing dialogue and Cowboy Bebop takes on a wildly disjointed feel between these two warring tones. Alex Hassell fully commits to the role, but it’s all in vain when the show is constantly working against him.

Thankfully that can mostly be forgiven due to some absolutely pitch perfect casting in John Cho and Mustafa Shakir. It’s rare that an actor so totally embodies a character – Robert Downey Jr. being the obvious example as Tony Stark – but thanks to Cho the cocky, lazy bounty hunter with a heart of gold, Spike Spiegel, seamlessly makes the leap from animation to live-action. Everything from the costuming and hair-styling to the the way Spike puffs away on a cigarette feels faithful to the source material, with new depth found in the subtle glances and body language that Cho employs to make these rehashed storylines feel fresh and exciting for fans to see again. Shakir similarly expands upon the character of Jet, particularly the relationship he currently has and wishes he had with his estranged young daughter. The mixture of Spike and Jet’s banter and a complicated partnership of trust underpinned by secrets makes for an endlessly entertaining duo, with the eventual introduction of Daniella Pineda’s Faye only strengthening the fun of these interactions, even if Faye herself doesn’t make for the most intriguing character.

That’s all to say that Netflix’s adaptation of Cowboy Bebop isn’t the completely dumpster fire that it could have been, far from it in fact. A career-defining performance from John Cho and strong turns from Mustafa Shakir and Daniella Pineda ensure that the crew of the Bebop loses none of their charm in the transition from anime to live action; that strange world of space cowboys and underground jazz bars still as enrapturing and endearing as it was over 20 years ago when the original show aired. Like that show it won’t be to everyone’s tastes and some jarring tonal shifts and poor writing hold it back from being must-watch television but for fans or newcomers ready to dip their toes in the water, Cowboy Bebop is a fine time. See you, space cowboy.

Cowboy Bebop stars John Cho, Mustafa Shakir, Daniella Pineda, Elena Satine, Tamara Tunie, Mason Alexander Park, John Noble & Alex Hassell – Streaming on Netflix now.

7/10

Tags Alex Hassell, Cowboy Bebop, Daniella Pineda, Elena Satine, John Cho, Mustafa Shakir, Netflix