Review #1,422: 'Outlaw King' (2018)

For all its thrilling battle scenes and quotable dialogue, Mel Gibson's Braveheart was hardly a textbook of historical accuracy, particularly with the way it seemed to promote William Wallace as Scotland's one and only saviour, and relegated the future king, Robert the Bruce, to coward and turncloak. A movie to set the record straight always seemed inevitable and necessary, but it took a long time coming. 23 years after Braveheart took home 5 Academy Awards, David Mackenzie's biopic of Bruce, Outlaw King, has finally arrived. It almost works as a quasi-sequel to Gibson's crowd-pleaser, beginning with the King of England gathering various Scottish nobles to sign a peace treaty that will signal an end to the fighting and climaxing with a bloody battle at Loudoun Hill. Times have changed since 1995, and Mackenzie seems intent on infusing the story with a gritty realism and greater attention to historical fact, meaning that there'll be no defiant final cry of "Freedom!" here.

Premiering at the Toronto International Film Festival and released on Netflix two months later, this sullen tale of bearded men going at each other with huge swords sets out to impress from the very get go. The likes of Robert the Bruce (Chris Pine), his father (James Cosmo), and their main rival for the Scottish crown John Comyn III (Callan Mulvey), have been summoned to the tent of Edward I (Stephen Dillane) to metaphorically lay down their swords and accept the invading English as their rulers. The camera glides across the room as they exchange pleasantries between gritted teeth, before moving outside for an impromptu sword fight between Robert and the Prince of Wales (Billy Howle). Filmed in one continuous take, the scene ends with the King demonstrating his power with his newest weapon, a ginormous catapult, which he fires into the besieged Stirling Castle. Both Edward and Mackenzie are showing off here, but its a thrilling moment nonetheless, and if anything is a sure sign of Netflix's intent to flex their own industry muscles. It propels the film into a breathless first half, as Robert defies the English by crowning himself King after Wallace is executed, and takes his threadbare army off to war.

The story moves at a relentless pace, with Robert suffering catastrophic defeats at the hands of both the English and rebellious Scottish clans, and his following grows increasingly smaller. Following these early skirmishes, Outlaw King struggles to fully engage, and this is mainly down to the portrayal of Robert himself. Pine is a highly charismatic actor with some serious chops (just look at Mackenzie's previous film, Hell or High Water), but the film never really seems sure of how to portray him. He leads his men from one battering to the next, and we never really understand why his troops stick with him. He marries Elizabeth de Burgh (Florence Pugh) for political reasons but they end up falling in love, with the outspoken Queen of Scots clearly seeing something in her husband that we cannot. The same can be said for one of Robert's most fearsome warriors, James Douglas (Aaron Taylor-Johnson), who amps the testosterone levels significantly in a foaming-at-the-mouth performance that borders on cartoonish. The highly engaging first hour is still enough reason to give Mackenzie two hours of your time, and fans will at least be treated to a Chris Pine full frontal. Just don't expect Outlaw King to subvert the historical drama in any way and try to enjoy it for what it is: a bruising adventure that school kids can enjoy when it's movie day in history class.


Directed by: David Mackenzie
Starring: Chris Pine, Aaron Taylor-Johnson, Florence Pugh, Stephen Dillane, Billy Howle, James Cosmo
Country: UK/USA

Rating: ***

Tom Gillespie

Review #1,244: 'Wonder Woman' (2017)

It's incredibly sad to read about how many milestones Wonder Woman touches on, especially in this day and age where a high-profile Twitter user must consider every message they post to the world in fear of being racist, sexist, homophobic, or just plain insensitive. Despite the influx of superhero movies since Marvel kicked off their Cinematic Universe in 2008 with Iron Man, and despite the abundance of long-standing and hugely popular female superheroes existing in the comics, and despite audiences calling out for a female-led superhero film ever since Scarlett Johansson donned the leathers as Black Widow in Iron Man 2, studios have failed to deliver one in 12 years. Perhaps the studios were scared they would have another Elektra on their hands, but that movie failed because it was terrible, and was a spin-off from the also-terrible Daredevil.

The DC Extended Universe, in the face of the critical mauling they received last year with the double-whammy of Batman v Superman and Suicide Squad, can only be applauded for taking the much-overdue 'risk' of launching a female-led franchise with Wonder Woman, a movie that not only represents so much in terms of moving cinema out of a stone-age mentality and into the modern world, but surpasses all expectations in a time of superhero overkill. Wonder Woman is, above all, charming, funny and exciting, and will hopefully help steer the DCEU back on track after an incredibly wobbly start. Making her introduction in Batman v Superman and emerging as one of the few positive things to be said about Zack Snyder's overblown and poorly-constructed smack-down, Wonder Woman begins in the present day but flashes back to the time glimpsed in the black-and-white photograph sent to her by Ben Affleck's Batman, when World War I was in full flow and her heart was won by a spy named Steve.

The young Diana grows up on the island of Themyscira, a beautiful hidden paradise created by Zeus to be a home for the Amazons, a tribe of fierce female warriors tasked with protecting the world from the Greek God's evil, warmongering brother Ares. Diana's mother, Queen Hippolyta (Connie Nielsen), attempts to shield her from the horrors of war and forbids her to practice combat, while her auntie Anitope (Robin Wright) realises her potential and trains her in secret. Zeus left the islanders a gift, a weapon called the 'Godkiller', which will prove decisive when the battle with Ares finally stirs. Cue the arrival of Steve Trevor (Chris Pine), an Allied spy who stumbles on the island while fleeing the Germans. He brings death and war with him, and the Amazons want to kill him before Diana intervenes, revealing he saved her life. The tribe want nothing to do with a war waged by man, but Diana suspects Ares may be puppet-master behind the conflict that has taken millions of lives. Against her mother's wishes, she travels with Steve to London, where he reveals to his superiors German plans to release a devastating new mustard gas created by General Ludendroff (Danny Huston) and Spanish chemist Dr. Maru (Elena Anaya).

The word 'man' carries a special significance, and director Patty Jenkins carefully weaves this idea into the film without rubbing it in your face. As well as the violent, dangerous 'world of men' lurking across the waters, there is also No Man's Land, the stretch of mud and rubble separating the two warring fronts. This is a place that no man can hope to survive, and this sets up the triumphant moment seen in the trailers in which Diana deflects machine-gun fire with her bracelets and shield before taking out anybody daft enough to stand in her way. This scene is made all the more powerful by Gal Gadot, who puts in a terrific performance despite her lack of acting experience and puts all the doubters to rest, proving to be just as savvy with comedy as the action. The fact that we care so much about her also means that the CGI-heavy climax, which seems to be trend with DC, can almost be forgiven. Thanks to well-written character development and some charming chemistry between Gadot and the ever-brilliant Chris Pine, there is a real emotional investment that was lacking in DC's previous misfires. In terms of origin stories, this doesn't rewrite the rule-book, but the importance and significance of Wonder Woman should not be underestimated.


Directed by: Patty Jenkins
Starring: Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Danny Huston, David Thewlis, Elena Anaya
Country: USA/China/Hong Kong/UK/Italy/Canada/New Zealand

Rating: ****

Tom Gillespie

Review #1,130: 'Hell or High Water' (2016)

There's a real old-fashioned, rough-and-tumble aura about the opening scene of Hell or High Water, as two bank robbers break into two Texas Midlands banks wearing balaclavas and waving guns before fleeing the scene with dust filling the air behind their clapped-out banger. While the legendary outlaws of the West fled the scene of the crime on horseback and sported much more impressive facial hair, this modern-day, un-flashy heist carries the same rush of crime-fuelled adrenaline as watching the likes of Billy the Kid and Jesse James in countless genre movies of old. Yet while the picture certainly attempts to recapture the spirit of the Wild West mythos, its themes are very much rooted in 21st century sociological struggles.

The two would-be thugs aren't after the cash for the glamour, but instead they are brothers desperately trying to raise the cash required to pay off the bank about to roll over on their deceased parents' farm. It turns out that the quiet, more thoughtful sibling Toby (Chris Pine) is the mastermind behind the series of robberies, which are made extra delicious by the fact that they are robbing the very bank they are looking to pay back. Ex-jailbird Tanner (Ben Foster) seems to go along with it just for the thrill-ride, and although he is sympathetic and dedicated to his brother's cause, he's going to carry out his work with a balls-to-the-wall attitude, as it seems he was simply born bad. The jobs are planned with expert precision; using a different vehicle every time and burying them afterwards, hitting the banks early, stealing only unmarked bills, and cleaning the money in the casino afterwards.

But it isn't long until ageing Texas Ranger Marcus Hamilton (Jeff Bridges) in on their tails. Speaking as though he has a mouth full to the brim with chewing tobacco, Marcus is an old-school cowboy who enjoys making fun of his half-Cherokee partner Alberto (Gil Birmingham) and falling asleep beneath the stars with an almost-demolished eight-pack dangling from the grip. He is also the smartest guy in any room, although his easy-going demeanour means nobody seems to realise. After Tanner makes an improvised smash-and-grab while his brother sits oblivious in a diner across the way, Marcus goes and figures the whole thing out. His un-PC sense of humour combined with Bridges' natural screen presence means that Marcus is a real crowd-pleaser, and a nice counterbalance to the emotional weight of Toby and Tanner's desperation.

I had a new level of respect for Pine after the film, as he is an actor who has found life difficult outside of the Star Trek franchise, but seems to have found a perfect fit in the gangly, stoic cowpoke. Toby may even garner the most sympathy as the father struggling to keep up with his child support as well as trying to rescue his childhood home. Yet director David Mackenzie (Starred Up) and writer Taylor Sheridan (Sicario) work to keep their characters grey, and tell a more honest story of how people react in times of financial hardship. The great enemy here are the banks, eager to swallow up property by the handful as posters offering debt relief litter the highways. It's an intelligent film, and one of many in recent times to react angrily to a every increasing capitalist society. Yet it's also gritty and thrilling, and isn't afraid to indulge in a moment of bad-assery, because after all, isn't that what makes the West so endearing?


Directed by: David Mackenzie
Starring: Jeff Bridges, Chris Pine, Ben Foster, Gil Birmingham
Country: USA

Rating: ****

Tom Gillespie

Review #1,097: 'Star Trek Beyond' (2016)

I'm not a 'Trekkie' and I doubt I ever will be. The Next Generation played regularly on television when I was young but I never took to it, as I was too busy getting lost in The X-Files. Like most people, I enjoyed roughly half of the original movie series that starred the likes of William Shatner and Patrick Stewart, but was completely won over by J.J  Abrams' reboot/remake/alternate timeline effort in 2009, and it's sequel Into Darkness in 2013. With Abrams abdicating for that other nerd-heaven franchise beginning with the word 'star', I had little interest in seeing Justin Lin's Beyond after seeing the trailer, which made the movie look like it had little to offer in the way of originality.

What eventually made me want to see were those slightly trippy, wonderfully colourful posters, which offered a dazzling throwback quality not seen in Abrams' strobe-heavy, more 'grounded' vision. After seeing the film, this retro feel is precisely what makes Beyond such an enjoyable experience. Lin of course was the man to turn the Fast and Furious franchise from cult car porn teetering dangerously close to straight-to-DVD to a multi-million dollar powerhouse capable of attracting the talents of Dwayne Johnson and Jason Statham, and delicately handling an ever-expanding ensemble between the ludicrous set-pieces. Lin's experience with a big cast and bigger budget, combined with co-writer Simon Pegg's obvious affection for Gene Roddenberry's original series, results in a winning combination of character, heart and explosive action.

After spending three years of a five-year mission drifting in space, Captain James T. Kirk (Chris Pine) of the U.S.S. Enterprise is struggling to find meaning in his work. If there is truly infinite space left to explore, then where does it all end? Docking at Starbase Yorktown, Kirk recommends that his Vulcan friend Commander Spock (Zachary Quinto), current mourning the death of his older self (in a touching moment that references the passing of Leonard Nimoy) takes over as captain upon the completion of the current mission, When the Enterprise is called into action after they receive a report of a stranded ship on a distant planet, they are ambushed by Krall (Idris Elba), a scaly being with a serious grudge against Starfleet. With their ship destroyed, Kirk, Spock, Bones (Karl Urban) et al must rely of their basic survival skills to defeat Krall and return home.

The 'Beyond' of the title seems almost ironic, or a working title somebody forgot to change. In terms of plot, this is the most unambitious entry into the Star Trek canon in memory, and certainly doesn't go beyond anything we've seen before. However, this is all perfectly fine when the chemistry between the actors is this good, with Pegg and co-writer Doug Yung clearly having fun with Spock and Bones' bickering in particular. While the likes of Zoe Saldana (as Uhura) and John Cho (as Sulu) are oddly sidelined, and Elba doesn't get anywhere near the screen-time his sheer presence deserves, there's the welcome introduction of Sofia Boutella, who appeared in Kingsman: The Secret Service (2014), as alien freedom fighter Jaylah.

The standout set-piece is without doubt Krall's initial attack on the Enterprise. The astonishing special effects lend an almost operatic quality to seeing an iconic piece of pop-culture crash and burn, completely tearing it to shreds in spectacular fashion. Such a bravura display of CGI trickery is then in contrast to what we see when the characters touch down to a seemingly barren planet. Often it feels like a gust of wind could cause the set to wobble, and this is no doubt a wink to the charming set design of the originals. This juxtaposition of thoroughly modern blockbuster and kitschy nostalgia works extremely well, and will no double please the hardcore fans unimpressed by Abrams efforts. While it may not boldly go where no other Star Trek movie has gone before, there is a delight to be had in simply watching these beloved characters interact. Isn't what made the original so popular in the first place?


Directed by: Justin Lin
Starring: Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Idris Elba, Sofia Boutella
Country: USA

Rating: ****

Tom Gillespie

Review #653: 'Star Trek Into Darkness' (2013)

After having to wait a surprising amount of time for the sequel - given the success of its predecessor - Star Trek Into Darkness has a lot to live up to. The 'original' did the remarkable job of bringing a fresh audience to what was thought of (by non-Trekkies) as cheesy sci-fi with bad sets and dodgy haircuts. The franchise had been brought back from the dead, opting for less philosophising and more wallop for your money, which although pissing a few Trekkies off, kept most viewers at least relatively satisfied. So after finding a way to be able to re-tell the story of the Starship Enterprise without having to re-write 'history', returning director J.J. Abrams found himself with an entire universe to explore. Which makes it very strange that Abrams and his frequent collaborators have chosen not to give us something entirely new, and instead chosen to touch the untouchable - "KHAAAAAAANNNNNNNN!".

Having made his natural progression from the academy to the captain's chair, Jim Kirk (Chris Pine) and his conflicted friend Spock (Zachary Quinto) begin the film by saving a planet from destruction. Though this is seen as a valiant act in his own eyes, Kirk is reprimanded by Captain Pike (Bruce Greenwood) for knowingly disobeying Starfleet orders. Kirk agrees to a demotion and to become Pike's second-in-command, and they are briefed about a terrorist named John Harrison (Benedict Cumberbatch), who has just blown up a Starfleet installation in London. But after the meeting of the Starfleet commanders is also attacked, Kirk is reinstated by Admiral Marcus (Peter Weller), who gives Kirk the Enterprise back and a mission to take out Harrison.

Many of the problems that lay with the first film are back again. Abrams often heaps on too much comedy in a bid to keep the audience entertained, sometimes much to the suffering of some of the film's supporting characters. Much of the supporting crew are reduced to a set-piece here or a funny line there, with Uhura (Zoe Saldana) and Sulu (John Cho) suffering most this time. The story is still focused on the growing relationship between Kirk and Spock, who after many misunderstandings last time around, seem well on their path to the great friendship that will be. Newcomer Carol (Alice Eve) does little more that get her kit off in one pointless and much criticised scene, but, unless you're a die-hard Trekkie, you should be too enthralled to care much about it, as Abrams delivers one breathless set-piece after another, backed by some excellent CGI work.

The plot often gets unnecessarily convoluted given the relatively basic plot, and there are plot holes a-plenty if you enjoy picking at them. Yet Cumberbatch's excellent performance as the refreshingly multi-dimensional bad guy is the much-needed 'darkness' from the title, and Abrams really pushes the boundaries of the 12A certificate (if you're from the UK). It's been called the worst Star Trek movie ever made by Trekkies, which seems utterly ridiculous to me. It treads much of the same ground as the beloved Star Trek II: The Wrath of Khan (1982), but I believe this was an attempt to bond with the hardcore fans, although I feel The Wrath of Khan is grossly overrated. The re-boot doesn't subvert Star Trek, it simply takes it in another direction, which was the whole point of the exercise. Personally, I'll still be tracking this franchise with wide-eyed curiosity, as Abrams boldly takes us where... well, you get the point.


Directed by: J.J. Abrams
Starring: Chris Pine, Zachary Quinto, Benedict Cumberbatch, Zoe Saldana, Karl Urban, Simon Pegg, Peter Weller, John Cho, Anton Yelchin, Bruce Greenwood
Country: USA

Rating: ****

Tom Gillespie

Review #645: 'Star Trek' (2009)

After Captain Picard and his crew crash-landed at the box office with Star Trek: Nemesis (2002) and the TV series Star Trek: Enterprise was canned, the Star Trek franchise was at a dead-end and in desperate need of fresh eyes. After TV success with the likes of Alias and Lost, and a decent franchise entry in Mission: Impossible III (2006) - which brought the series back on course after John Woo's horrible first sequel - in stepped J.J. Abrams, along with writers Roberto Orci and Alex Kurtzman. This would be a complete re-boot, going back to the very beginning of the careers of the characters from the original series - Kirk, Spock, Scotty et al, who are now some of the most recognisable faces in popular culture.

Born amidst the heroic death of his father, James T. Kirk (Chris Pine) is a rash, headstrong, yet intelligent adrenaline junkie, who, after a bar fight with some Starfleet cadets, is convinced by Captain Pike (Bruce Greenwood) to enlist in Starfleet academy. On Vulcan, Spock (Zachary Quinto) faces the decision whether to give himself over completely to the logic-based Vulcan way of life of his father, or embrace the emotions brought on by his human mother. After being invited to join the Vulcan Science Acacemy, but taking offence at a suggestion that his humanity is a 'disadvantage', Spock declines and enlists in Starfleet. Three years later, the cadets find themselves on the Enterprise commanded by Pike, where they answer a distress signal from Vulcan, who are facing destruction from Romulan Nero (Eric Bana).

While admittedly not a fan himself, Abrams clearly doesn't want to upset the huge fanbase that this franchise attracts, going as far as using a clever plot device that allows the rookie characters to pursue their own path, and therefore not eradicating everything that happened back when William Shatner was hamming it up. Occasionally, you'll see Shatner in Chris Pine, but Pine makes Kirk very much his own. Kirk is the humanity of the story - cocky and arrogant to the point of dangerous, but capable and confident like every leader needs to be, and here we see him discover where to draw the line. He is the polar opposite to Quinto's Spock, who, at this point of the story, is a cold, angry presence, but inwardly fighting his natural instinct to balance logic with emotion, seeing weakness in his humanity.

It is the interactions between these two characters that form the emotional core of the film, with the characters naturally learning from each other and starting on the path that would lead to their great friendship. This being an origin story, the focus should naturally be on character development, so Bana's Nero, although nailing the short time he has on screen, doesn't get much of a look in, becoming not much more than a plot device that allows the crew of the Enterprise to pull together. However, Nero's ruthlessness does allow for some fine action scenes, and one genuinely shocking moment. There's less 'set phasers to stun' and more hand-to-hand combat in the vein of the Bourne trilogy, with Spock displaying some chopsocky skills and Sulu (John Cho) revealing some unknown kung-fu abilities (he is Asian, after all!).

It won't please all the fans, certainly not the hardcore Trekkies. Original creator Gene Roddenberry fused philosophy and science and gave the world a series that, on the surface, could be misconstrued as just another cheesy sci-fi series from the 1960's, but was rooted in something far deeper and more intelligent. Abrams take on Star Trek all but throws away these ideas, and focuses more on action and comedy, aspects of the traditional blockbuster. Myself, I've seen very little of the TV series, so this didn't bother me in the slightest. Although I think the original Star Trek: The Motion Picture (1979) has an unfair bad rep, I generally find the original movie series quite tedious and very hit-and-miss (something the fans will admit), so I welcome the new take. It's Star Trek for the modern age, but shows enough respect for what came before that a fine balance is created, and, some lazy plot devices aside, is one of the most shamelessly entertaining films of the past few years.


Directed by: J.J. Abrams
Starring: Chris Pine, Zachary Quinto, Eric Bana, Zoe Saldana, Bruce Greenwood, Leonard Nimoy, Karl Urban, Simon Pegg, John Cho, Anton Yelchin
Country: USA/Germany

Rating: ****

Tom Gillespie