Captain America: Civil War Review

The world has already witnessed a superhero face off, but just how does Marvel’s equally highly anticipated showdown deliver?

Starring what is easily the biggest all-star cast of any MCU (Marvel Cinematic Universe) film yet, Captain America: Civil War directly follows the events of both Captain America: The Winter Soldier and Avengers: Age of Ultron, forming not only one of the biggest, but best superhero films of all time.

In 2014, Captain America: The Winter Soldier was released, seeing Cap hunt for a secret elite mercenary known as ‘The Winter Soldier’, whilst fighting the Hydra forces that have been functioning within S.H.I.E.L.D since WWII. After discovering that The Winter Soldier is in fact his best friend since childhood, James “Bucky” Barnes, that has been brainwashed by Hydra, Cap defeats the current Hydra forces in a desperate attempt to get his life-long friend back. Almost being wiped out in the process, Bucky, still unsure of who he is, pulls Cap from the jaws of death and disappears into society.

In 2015, the Earth’s mightiest heroes reformed in Avengers: Age of Ultron to save the world from Stark’s peacekeeping programme gone wrong. Along the way they hire some new recruits and stop a flying city from being dropped and levelling the population of the planet to 0.

Despite saving the day in both of these adventures (and in the many previously), there were many casualties in the process, leading the audience up to Captain America: Civil War. Stark is known to be narcissistic, and only recently began to consider the options where he doesn’t make it out of the situation. However, when he is brought to the realization that not everyone is saved when they protect the world, the world government decide to restrict the legal actions that the heroes can take without their consent (under the title of the ‘Sokovia Accords’. On the presentation of this law, they do not all come to the same conclusion, causing a division between the group, with Tony and his followers supporting the act, against Cap and the other heroes who believe that they should be free to act for the greater good without their permission. Alongside this conflict is the manhunt for the still confused Bucky Barnes, to be faced with the countless charges of murder, terrorism, etc. with Cap desperate to help him. However, the newly ruled Sokovia Accords not only mean that Cap can’t interfere, but that Tony will have to stop him if he tries.

Whilst it may seem that there is a lot going on in this film, almost too much for a singular film, considering the fact that characters are going to be introduced, directors Joe and Anthony Russo (Captain America: The Winter Soldier, Community) did an incredible job of combining them in such a way that they almost couldn’t be considered as two separate functionable plots.

Mission Impossible is considered one of the best films of all time simply due to the fact that the narrative moves at such a fast pace that if you look away for even a minute you’ll be confused as to what’s going on. Captain America: Civil War takes a leaf out of this book and wastes no time in progressing its narrative for its full 147 minute run time. Despite this long run time it does drag any scenes longer than necessary, nor does it run out of ideas or concepts. This is all thanks to the writers Christopher Markus and Stephen McFeely, as well as Mark Millar (writer of the graphic novel). Although the adaptation was altered in many aspects and a significantly different quantity of character, it still contained the same themes and progressive plot.

The main question that a lot of audiences will be asking (mainly those dubious of superhero films) is ‘what does it have to offer that the previous 12 MCU films didn’t?’ Well, the answer is actually ‘quite a lot’. First and foremost, its primary selling point is that the main event is a superhero face-off. Whilst this has been hinted to, and maybe demonstrated by fights between each other in the previous films, it is the first to have an all-out genuine fight between the Avengers. Secondly is its style. Whilst it is still a superhero blockbuster with a lot of special effects and fights, it is very political and slightly represents reality in terms of how people disagree, whilst showing the situation from both sides of the coin. A third example is the fact that the fan-base alone has been divided on entering the film. Since the films announcement, the question of “Whose side are you on?” has caused fans to decide whether they are Team Cap or Team Iron Man. Surprisingly, in a lot of online surveys, the results were very often 50/50.

Perhaps the biggest concern of this film was whether or not the large number of characters was going to be an issue. After the mixed-reviewed Avengers: Age of Ultron, many were left feeling that there were too many characters and that some either didn’t get enough screen time, or that some got too much screen time. Not only does Civil War have a different directorial department, but also has more characters, being a plausible cause for concern. The fact that The Winter Soldier was on of the most successful superhero films of all time meant that audiences minds were at rest in that sense, so all that was left was for the to make their own minds up on the superhero population concern. Considering the fact that I personally considered this multiple times, I can confidently confirm that the amount of screen time received by each hero was perfect. Whilst some received more than others, it was not done in such a way that they were put on screen for the sake of it, but instead served their purpose.

Another popular aspect of The Winter Soldier was the quality of the fight scenes and their choreography, especially that of hand-to-hand. The Russo brothers acknowledged this and wanted to ensure that they delivered the same degree of fight scenes, and did so by seeking the help of as many people as possible. Two people in particular that helped are the directors of John Wick, stuntmen Chad Stahelski and David Leitch, applying their knowledge and acquired skills to apply the appropriate moves to the appropriate heroes, making each fight as plausible and realistic as possible.

 

Despite being named after Captain America, it is very impartial towards the audience as it shows the argument from both Steve and Tony’s sides. This was a brilliant direction for the directors to take the film in as it shows Tony as an antagonist as opposed to a villain. This is important as it maintains Stark’s desire to do right by the world, whilst underlining how different his views are to Steve, especially since this rivalry between the two has been hinted at since they met in Avengers Assemble is considered to be a significant part of the team chemistry and group dynamic, finally reaching its breaking point.

As an all-star cast, they all delivered outstanding performances and out did themselves in portraying their roles. Whilst there are so many actors that I could literally write an entire post about their individual performances, I’ll stick to the main actors and newcomers. First and foremost, Chris Evans returns as the star-spangled man promoting freedom and equality. In his most emotive journey yet, Evans gives it his all, establishing a clear connection with the audience, causing you to feel the pain he feels. The same can be said for Robert Downey Jr. Despite not even being his own film, I’ve never felt a more emotional performance for Tony Stark,  causing you to feel sympathetic towards him. No matter whose side you start on, they will both cause you to question your allegiance.  As the man with the target on his head, Sebastian Stan continues the same conflicted and frustrated persona as the Winter Soldier and will have you in his corner from the offset.

New to the series is Chadwick Boseman as T’Challa/Black Panther, whose motives are revealed and explained during the film, he automatically enters as a likeable and intriguing character. Helming the web-slinger’s uniform for the first time is Tom Holland, entering the MCU without an origin story (not that it’s required, we all know it back-to-front), he is easily the most comic accurate Peter Parker yet, not just in terms of looks, but also in personality. He brings the geeky and enthusiastic teenager home where he belongs in true style that would make his die-hard fans proud.

Another returning cast member is the increasingly popular musician Henry Jackman (Captain America: The Winter Soldier, Kingsman), delivering yet another incredible soundtrack. In this films predecessor, he produced one of the best soundtracks including themes for specific characters, one of which being for the Winter Soldier. Some of themes are noticeably carried over into Civil War, as well as some new and equally incredible songs which not only create an atmosphere, but tell the narrative as much as the visuals.

Overall, Captain America: Civil War is an incredible, non-stop emotional-rollercoaster full of twists and turns that brings all of the heroes together by tearing them apart. United they stand, divided they fall, it’s the must see blockbuster of the summer that defines Marvel and is the answer to the current comic-movie demand. It can’t be missed.

 

 

9.5/10

 

P.S. Don’t forget to stay for both after credits!

The Huntsman: Winter’s War Review

 

An original fairy-tale consisting of a mix of classics.

The Huntsman: Winter’s War is a prequel/sequel to 2012’s Snow White and the Huntsman, this time centring this time around Chris Hemsworth’s ‘Huntsman’, Eric, and his life journey.

Once again starring Charlize Theron (Mad Max: Fury Road, Monster) as evil queen Ravenna, alongside Emily Blunt (Sicario, Edge of Tomorrow) as her sister, Freya. On Ravenna conquering yet another kingdom, she discovers her sisters pregnancy with one of her new subjects. After giving birth, her baby is apparently killed by its father. In anger Freya discovers her power of manipulating ice and runs away to conquer her own kingdom. From the loss of her own child she takes those from her kingdom and raises them as her army of huntsman, with the one rule: Don’t fall in love. As expected, one of these huntsman is Eric, who falls for fellow huntsman, Sara (Jessica Chastain – The Martian, Zero Dark Thirty). Breaking the one law, Eric is thought to be dead and disposed of. From here he forms his new life, leading to the events of Snow White and the Huntsman. After hearing that Ravenna’s mirror was stolen whilst being transported, he is sent to retrieve it before Freya achieves it and becomes invincible.

So, as explained it is a form of prequel and sequel in one as it not only references the first, but links very strongly. Whilst it is directly linked, it is made in such a way that it is not vital that you see Snow White and the Huntsman before watching this film, does help significantly. However, all critical information is delivered throughout the course of the film.

Director Cedric Nicolas-Troyan made sure that The Huntsman took a slightly different style to that of its predecessor, as well as being a lot more fun as it unfolds. With more jokes and more content for the adults, it brings a more boisterous and charming mood to assist in lightening the atmosphere whilst maintaining its dark narrative. This is also supported via the plot being driven with a more of a  romantic setting, not only between Eric and Sara, but with an underlying feeling of sentiment and unity.  On top of this, he made sure that it felt like a huntsman film by filling it with plenty of action scenes that will keep you wanting more.

The general mise-en-scene of the film uses a much lighter colour pallet, consisting of a style next to that of the ‘stag’ scene in Snow White and the Huntsman; combining animals with other forms of nature, glistening waters and juicy green grass.  Cinematographer Phedon Papamichael delivers some beautiful framing, not necessarily ground-breaking but certainly effective in furthering the plot.

On returning to the series as this outing’s frontrunner, Chris Hemsworth (Thor, Rush) gets the majority screen time and an opportunity to show his origins and journey. Once again donning the Scottish accent to add to his brutish figure. His toned being and action style is significantly similar to that of his other cinematic alter-ego, Thor. Trading in his hammer for an axe (or two), he maintains his one-handed weapon fighting style with his long hair for what is basically a costume and setting change. Hemsworth also maintains his charm and natural presence to instantly establish his clout. In exploring Eric in more depth, he demonstrates that he’s also spirit and brain, not just brawn.

One thing is definite about this film, and that’s how it’s run by the all-star female side of the cast. Simply reviving her role as Ravenna, Theron retains the conniving, wicked personality in a believable and (almost scarily) convincing manner. In a similar, yet opposite way to that of the Huntsman, her mere presence alone instantly changes the atmosphere and tone.

The first newcomer here is Emily Blunt as the evil-sister Freya, an adult version of the infant-favourite Elsa from Frozen. Having to establish to herself next to her already established sibling, Blunt does a very good job of introducing Freya alongside Ravenna. As the film sets in motion and the characters are brought into play, the instant on-screen chemistry between Blunt and Theron was one of lifelong siblings. Anyone with a brother or sister will recognise certain moments between them as those that can only be shared by a relative. Blunt also manages to maintain an indecisive personality, presenting the right emotion at the right time, adding layers to her character, causing the audience to understand why she is the way she is, to the point that you even feel sympathetic towards her yet scared of her at the same time.

The second newcomer is Jessica Chastain, portraying the badass huntsman Sara. Usually within an action/adventure film the love interest is usually the damsel in distress that consistently requires the hero to save her. However this time it’s quite the opposite. Also donning a Scottish accent, Chastain slightly bares resemblance to a beloved animated character (Merida – Brave) in her favour of the bow and arrow as the weapon of choice.

In saying this, it would’ve been interesting to see more of the relationship between the evil sisters and some more backstory.  Freya and Ravenna were an equally entertaining pair as Eric and Sara and made a refreshing change for deeper inter-villainous relationships.

With a running time of 117 minutes, there are moments whereby it feels as if it is dragging out slightly longer than necessary, however on the other hand cutting it would’ve made it feel rushed, therefore putting the editors in a difficult place.

The comic relief takes a similar form to that of Snow White and the Huntsman, and that’s in the shape of dwarves. Reviving his role as Nion, Nick Frost is joined by Sheridan Smith, Alexandra Roach and Rob Brydon. The group chemistry here is outstanding as the humour between them is hilarious and they all manage to bounce off of each other, taking it that one step further. As stated earlier there is a lot more humour this time, including many jokes for the adults, some of which aren’t exactly subtle either, proving the films desire to appeal to an older audience, as opposed to just early teens.

A noticed consistency here from the first film is the perfection in two specific departments: music and costuming. The scoring perfectly sets the tone and creates the atmosphere where the writing isn’t able to, almost telling the audience how to feel in certain places. Once again, the costumes are perfectly designed for the setting and fantasy genre, especially for the appearances of the four main characters.

Something that is easily brought to attention is the lack of Snow White.  Whilst she is not involved in the narrative significantly, she does drive part of it, therefore a mere appearance would have been beneficial.

Overall, The Huntsman: Winter’s War is an enjoyable action-fantasy flick that takes a slightly new approach to fairy-tale films. Whilst it’s not perfect, the cast are at the top of their game and are only limited by the writing. As an interesting mix of fairy-tales and references it edges as far as it can, testing the limits of its 12A rating with dark themes, swearing and adult humour.

 

6.5/10

Watch the trailer here:

10 Cloverfield Lane Review

 

“Fear has a new address” would’ve been an equally suitable tagline for this intelligent psychological thriller.

Since 2014 when the actors were cast, this film was under the title of ‘The Cellar’, before later being retitled to ‘Valencia’ whilst it was being written by Josh Campbell and Matthew Steucken. However it wasn’t until the trailer was released in January that it was officially titled as 10 Cloverfield Lane. Once it was revealed that this film was almost 2 years in the making in secrecy, many fans of the first were both excited and confused at he same time.

The film revolves around Michelle (Mary Elizabeth Winstead – Scott Pilgrim vs. the World, Smashed), a protagonist that we learn close to nothing about, except for the fact that she is in a struggling relationship. However, when she is a part of a car crash, she wakes up in a bunker, cuffed to a pipe. The film plays out in this bunker with Michelle, her saviour/owner of the bunker, Howard (John Goodman – Monsters Inc., Argo), and his friend Emmett (John Gallagher Jr. – Short Term 12, Jonah Hex). Howard claims that there is a nuclear war occurring outside and that it’s why no-one is allowed to leave the bunker, however he takes more of dictator approach than that of an acquaintance, leading to the question of whether he’s telling the truth or not.

JJ Abrams did a fantastic job in showing his flexibility as a director. With his most popular directorial jobs headlined by Super 8, Star Trek, and last years blockbuster Star Wars: The Force Awakens, he shows his versatility in delivering one of the best tension thrillers of the past year, potentially expanding his future opportunities. And yes, you can expect at least one lens flare.

All three of the actors give their all and take the film to its full potential. Mary Elizabeth Winstead, potentially best known for playing Ramona Flowers in Scott Pilgrim vs. the World, leads the narrative through her perspective, causing us to experience her emotions and thoughts each step of the way, feeling what she feels. John Goodman is one of those actors who can find a role in any film and play it like it was made for him, and proves his love for the art by starring in multiple films each year. he literally moulds into the role of Howard, forming his psyche accordingly to the point that you would be forgiven for thinking that he was portraying himself to a degree. Whilst John Gallagher Jr. plays what is technically a secondary main character, he delivers Emmett as an equal to the others.

As previously stated, this was helmed by Josh Campbell and Michael Steucken, both of whom have only written one other film each, 4 Minute Mile (Josh Campbell), The Tower of Babble (Matthew Stuecken), however this is not noticeable in the way that this steers clear of predictable stereotypes. Despite being set in one location, every minute it feels like a whole new setting in the way it changes. Once you think you’ve figured it out, you are swiftly proven wrong, and just as you start to make sense of it, it happens again.

The film combines genius nightmare logic similar to that of a horror game. For those of you who haven’t played a horror game, there are moments where you consider making a run for it but know that it could make things ten times worse, and are caught in a problematique limbo with no time. And that’s exactly where you’re at with Michelle. You want her to act but are scared for the consequences.

The main controversy of this film is how audiences are split on its ending. Without spoiling it, it can only be described as that of a surprise, but its extent has caused audiences to be uncertain of the conclusion. Whilst it is unlikely to change your overall opinion of the film, it’ll definitely have you reconsidering other aspects of the film.

Despite what the title suggests, it’s not a sequel or even a prequel to Matt Reeves’ 2008 Cloverfield. When JJ Abrams spoke to Vanity Fair, he revealed that “It’s like Cloverfield is the amusement park, and each of these movies is a different ride in that park. It’s a vaguely unusual thing, but I hope it works. This felt like an unexpected, cool and fun way to do something that major studios don’t do as often as we’d all like. This gave us a way to [tell an original story] under an umbrella that hopefully would garner some attention but more importantly have a thematic and deeper connection, tell original stories with filmmakers and actors who you might not have seen before at all or certainly in a thing like this.” So whilst they are under a similar style, they are not within the same universe, but under the same ‘umbrella’. Could this also mean that future Cloverfield films are on the table?

Overall 10 Cloverfield Lane is an incredible modern thriller that combines different real world concerns with a thrilling setting and a psychologically arresting narrative. It’s not to missed!

 

9/10