Tag: Dave Bautista

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Movie Reviews

Thor: Love and Thunder

Marvel Studios, 2022

After embarking on a series of adventures with the Guardians of the Galaxy, a battle-weary Thor (Chris Hemsworth) prepares to seek out a life of peace before a distressing message from an old friend warns him of the threat of Gorr (Christian Bale) – a cursed being on a personal mission to end the existence of gods. When Gorr sets his sights on Earth and Thor’s ex-girlfriend turned super-hero Jane Foster (Natalie Portman), Thor and Jane embark on a journey across the universe in search of a way to defeat Gorr and find meaning in their lives again.

Rating: 5 out of 10.

Starring: Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson, Taika Waititi, Chris Pratt, Dave Bautista, Karen Gillan & Russell Crowe

Watch it now in cinemas

Marvel Studios, 2022

Love and Thunder is a Taika Waititi movie through and through, for better and for worse. 2017’s Ragnarok signalled a reinvigoration of the uptight Norse god – infusing Thor with a bro-ish charm and dim sense of humour and surrounding him with a colourful cast of characters – in a move that was unexpected but welcomed, packing all the action and emotional character beats that Marvel fans expected into an exciting new world. The sequel is Waititi fully let loose and in doing so, Love and Thunder loses itself in the incessant improvisational comedy Waititi so clearly enjoys. It’s not that it doesn’t work sometimes, but when the characters and story are sacrificed and you’re exhausted rather than elated at the end of it all, something isn’t working.

As a character, Thor has undergone a lot of reinvention throughout his many appearances in the MCU, and the start of Love and Thunder finds him in an interesting contemplative place. Pairing the God of Thunder with the Guardians of the Galaxy seems like the obvious next step in this reinvention, a natural segue into comedic hijinks that can exist on a smaller scale than infinity stone-seeking titans and Asgard-ending colossuses. Thor has been through so much, and it is natural that he should feel some fatigue. Waititi’s solution, then, is to shift this fatigue onto the viewer, completely undercutting any exploration of Thor’s mental state with joke after joke – rarely soliciting anything beyond than a chuckle – to the point where even the Guardians get so sick of it they leave.

Marvel Studios, 2022

Marvel movies have always leaned into comedy, with a quick quip often underpinning dramatic moments so as not to let things get too serious, but Taika takes Love and Thunder into full-blown comedy territory. The problem is quantity over quality. The Waititi schtick – off-kilter, improvisational one-liners interjected at awkward times – is so tired at this point, after films like Free Guy, Lightyear and Jojo Rabbit in the intervening years, that two hours of nothing else is simply interminable. Very few of the jokes here break from the formula, and those that do are rarely given more than a second to breathe before a handful more are thrown at you. This endless stream of gags wreaks havoc on the main storyline’s pacing, creating a hollow emptiness that often means you completely tune out until a serious dramatic moment is suddenly thrown into the mix and shocks you into paying attention again.

It’s a shame given Waititi’s track record. His films have always proudly worn their hearts on their sleeves and leaned into really dramatically resonant emotions, and those moments are buried here underneath all the comedy. Jane and Thor’s goofy reunion is underpinned by a heart-wrenching reality check that always threatens to boil over and create a genuinely moving scene, but the theme is never given a substantial amount of screen time to turn the tide against the onslaught. Christian Bale’s Gorr the God Butcher could have provided a moving counterpoint to Thor and Jane’s journey of loss, and Bale is giving an incredibly fun performance here, but is tossed aside and seems to only be brought back into the fold whenever a studio executive has told Waititi that joke time is over and it’s time to get back to business.

Marvel Studios, 2022

Ultimately what saves Love and Thunder from approaching The Dark World territory is Hemsworth’s utter commitment to the role. Thor is as much a part of him now as Harry Potter is to Daniel Radcliffe and the film is carried by Hemsworth’s bumbling swagger and charm. There’s an ease about him, as someone so supremely confident in this character, that you as an audience feel a certain level of confidence in letting him take Thor in new directions knowing he truly cares. The comedy may fall flat a shocking amount of the time, but it certainly isn’t Hemsworth’s fault, and a lot of the jokes that work, only do because of him. The same sadly can’t be said for Natalie Portman’s Jane Foster, who is saddled with some of the worst material in the film and given an incredibly rushed arc that doesn’t allow her to really stretch as an actor, outside of the impressive physicality she displays once powered up.

It’s been a while since we’ve had a truly disappointing sequel in the MCU but Thor: Love and Thunder is unfortunately just that. With a returning Taika Waititi that refuses to tone down his idiosyncratic humour and take the time to sit with his characters, the first fourth outing for a Marvel hero is a disappointingly exhausting one, despite Chris Hemsworth’s best efforts to imbue renewed vigour into a character audiences have loved for over a decade now. There isn’t much to love, but a few sparks here and there suggest the thunder could be brought back in the future, it just might be time that Taika took a step back.

5 / 10

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Movie Reviews

Dune (2021)

Warner Bros, 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.

Warner Bros, 2021

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.

Warner Bros, 2021

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.

Warner Bros, 2021

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?

Warner Bros, 2021

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.

Rating: 9 out of 10.

9/10

Categories
Movie Reviews

Army of the Dead

Netflix, 2021

You could argue that Zack Snyder’s remake of Dawn of the Dead way back in 2004 was one of the first projects to spark the renewed craze in the undead. Now 17 years and what feels like that many DC projects later Snyder returns to the genre that put him on the map with Army of the Dead, an original story of his own creation that sends a muscled up team of mercenaries into a post-apocalyptic Las Vegas swarming with zombies to pull off the ultimate heist. It may not hit the same terrifying highs of Dawn, but Snyder should be commended for his willingness to experiment within the zombie genre, bombarding the audience with a deep and (mostly) interesting lore that is ultimately overshadowed by the fairly rudimentary story within. The man may need to learn that less is more when it comes to his new favourite technique, but Army is ultimately an engaging and, above all, fun addition to the zombie canon.

If you thought an abandoned mall was a big playground for zombie shenanigans then prepare to be impressed, as Snyder transforms the adult equivalent of Disneyland into the goriest place on Earth, complete with Sigfried and Roy’s zombified pet tiger. The opening few scenes paint a gruesome and surprisingly humour-infused picture of the beginning of this particular zombie uprising, with flesh-eating Elvis impersonators and showgirls ravaging the town and devouring the population. Only once the city has been fenced off by the Government do we find ourselves face to face with Scott Ward (Dave Bautista), a former soldier tasked with the initial evacuation of Vegas who is now whiling away the hours flipping burgers and reflecting on his brutal past. When wealthy CEO Bly Tanaka (Hiroyuki Sanada) walks into his diner and offers him the chance to make 200 million dollars, Scott’s ears perk up and he begins to assemble a crack team to break into the vault deep within the Strip. Joining him are fellow veterans Maria (Ana de la Reguera) and Vanderhoe (Omari Hardwick), cowardly safe cracker Dieter (Matthias Schweighöfer), helicopter pilot Peters (Tig Notaro), YouTube zombie hunter Guzman (Raúl Castillo), Tanaka’s right hand man Martin (Garret Dillahunt) who may or may not have his own nefarious motives and Scott’s daughter Kate (Ella Purnell), who forces herself onto the team in order to rescue a friend from the zombified wasteland.

Netflix, 2021

Once the team enters that wasteland is when Snyder’s true vision for the world takes shape. Alongside the traditional slow-moving “Shamblers” and more modern fast-moving, frenetic zombie are the Alpha’s, high-functioning undead generals within the literal army of the dead. Led by patient zero Zeus (Richard Cetrone), the zombies maintain an almost medieval hierarchy, serving their king and his queen as they defend their territory from intruders. When they enter, Scott’s team must leave a sacrifice for the undead as a sign of respect and this is just one of the fascinating deviations from the zombie norm that Snyder takes. Zeus is a legitimately intelligent and fierce adversary, strategically manoeuvring his subjects to intercept Scott’s team and leave no survivors. It isn’t exactly Game of Thrones in terms of the interactions within this hierarchy of zombies but it is different enough to be a whole lot of fun. Also did I mention the zombie tiger? Because yeah, there’s a zombie tiger and it’s just as awesome as you would think it is.

What isn’t as awesome unfortunately is the interaction between the humans. With the exception of the genuinely touching bond formed between the odd-couple of fierce soldier Vanderhoe and timid Dieter, no single character really gets much of an arc to fulfil. Bautista is excellent as Scott, and is the obvious choice to be leading these sorts of action-heavy films into the future, but he also packs a lot of emotion into his performance. Scott’s past is harrowing and has clearly left him with some serious trauma that has damaged the relationship with his daughter. When he senses this might be his only chance to reconnect with Kate, Scott tries his best, which boils down to offering her his share of the money and constantly quipping about opening up various sorts of food trucks. Great performance but not so great dialogue. This holds true for all of the supporting characters, who either have their own mini, incredibly predictable arc – like the obviously insidious Martin – or are assigned an intriguing character trait that defines them instead of their actions – like the immediately interesting Guzman, who seems to offer a hilarious commentary on modern gaming and streaming culture but never really does anything.

Netflix, 2021

It’s worth mentioning Tig Notaro’s inclusion in the film as well, who replaced Chris D’Elia at the last minute after unsettling (to say the least) revelations emerged about the comedian’s private life. Having been superimposed into the film through some CG trickery, her scenes feel strangely disconnected from not only the rest of the cast but the movie in general, with a distractingly obvious change in background and the general feel of the film whenever we cut to Peters. Her performance isn’t bad, just not as noteworthy as the behind-the-scenes of her appearance. Fortunately the CGI is a great deal better in the realisation of Snyder’s vision of Las Vegas. The dilapidated ruins of Sin City are a visual spectacle, with all the recognisable landmarks in various stages of decay alongside their debaucherous inhabitants. There is a great deal of visual storytelling on display in the design of the city, with the walls keeping the undead in hastily constructed from shipping containers, wordlessly telling a narrative of the panicked response to the outbreak without the need for annoyingly overdone exposition.

In recent releases Snyder has a habit of picking a filmic technique that he is particularly enamoured with and plastering it all over his latest film. In Zack Snyder’s Justice League it was the comically overdone use of slow motion (which does return here, thankfully in smaller doses) but in Army of the Dead it seems as if the veteran director has just discovered focus. Perhaps it was a particular lens he took a shining to but almost every shot in the film messes around with focus to a degree, blurring in and out to maddening results. Entire scenes are often played out with a background blurred to such a ridiculous degree that it actually draws attention away from what is in focus. It doesn’t help a particularly emotional scene if the viewer is trying to discern if the background is a choice or if their TV is broken, in fact it detracts a great deal. He even goes the opposite, even more frustrating route of shooting a scene with the action out of focus, begging the question: why the hell am I watching a window frame in stunning 4K resolution whilst I can barely figure out if the zombie behind it is killing Dave Bautista or on a hot streak in a game of craps in Caesar’s?

Netflix, 2021

After what seems like a terrible journey to releasing his much improved version of Justice League Zack Snyder has been turned loose on an original story with no interference from the studio behind him and it feels good to see him shooting for the moon. Not everything is a slam dunk in Army of the Dead, with some weak character interaction and strange editing choices but Dave Bautista’s casually cool and kick-ass presence and the exploration of a hierarchical zombie society and all the weirdness that brings is well worth your time. If Snyder chooses to keep playing in this sandbox, which it looks like he will judging from his multi-year deal with Netflix, then I’m excited to see how much further he can expand upon this universe’s lore and that of the zombie genre as a whole, as well as whatever animal he chooses to zombify next. Zombie crocodile please.

Netflix, 2021

Army of the Dead stars Dave Bautista, Ella Purnell, Ana de la Reguera, Omari Hardwick, Matthias Schweighöfer, Theo Rossi, Nora Arnezeder, Tig Notaro, Garret Dillahunt, Raúl Castillo & Hiroyuki Sanada – Streaming on Netflix now.