Review #1,476: 'Avengers: Endgame' (2019)

It feels like an eternity since the bald, purple alien madman Thanos (Josh Brolin) assembled his impressive gauntlet with all of the infinity stones and snapped half of our universe out of existence. It was a bold move by writers Christopher Markus and Stephen McFeely and directors Anthony and Joe Russo, and although there were many fanboys in the crowd who knew beforehand that what they were seeing was essentially the first part of two-act structure, the sight of many beloved superheroes dissolving into nothingness was a shock for those who had never read a comic-book in their life.

It's actually only been a year since Avengers: Infinity War, but the secrecy surrounding the plot of Avengers: Endgame (the title was only revealed a few months ago) has kept audiences desperate to see how the remaining heroes will react to their failure. The main question hanging over Endgame's head is how they will handle the devastation left over by Infinity War, and whether certain characters who met their demise last time around will in fact stay dead, or, as is the case in the comic-books, find their way back into the story via one of various means (cloning, parallel universes, time travel, etc.).

Without spoiling anything, Endgame establishes quite early on that there are indeed irreversible consequences to Thanos' victory, and no amount of magic or technological advancement can set things back to how they were. The decimation happened, and those lucky, or unlucky, enough to be left behind are forced to deal with it. Those that didn't fall victim to the snap consist of the original Avengers crew - Captain America (Chris Evans), Black Widow (Scarlett Johansson), Thor (Chris Hemsworth), Hulk (Mark Ruffalo), and Iron Man (Robert Downey Jr), who we find drifting hopelessly in space with only Karen Gillan's Nebula for company.

There's also Jeremy Renner's Hawkeye, an integral member of the crew and surprise no-show in Infinity War, who perhaps has more reason than anybody to avenge the loss of half of all life. The sight of Black Panther (Chadwick Boseman), Scarlet Witch (Elizabeth Olsen) and Spider-Man (Tom Holland) disappearing before our eyes may have been shocking, but Endgame's opening scene pulls the snap right back to a personal level. With his family gone, Hawkeye adopts a new persona and has taken it upon himself to take out criminal organisations Punisher-style.

As the trailer pointed out, people find a way to move on, but our heroes don't. Bolstered by the arrival of uber-powerful hero Captain Marvel (Brie Larson), the gang - along with Don Cheadle's War Machine and Bradley Cooper's Rocket - head into space to make Thanos pay for what he has done. Naturally, things don't go quite according to plan, but when Ant-Man (Paul Rudd) - previously believed to have been a victim when in fact he was trapped in the Quantum Realm - re-emerges with Pym technology and an ambitious plan, the Avengers are handed a glimmer of hope.

I'm deliberately leaving out specific plot points for fear of spoilers. This is a three-hour film, but every second counts in some way to moving the complex plot forward or explaining the mind-bending mechanics at work. While Infinity War barely paused for breath, Endgame begins on a sombre note, before launching us into a breathlessly exciting second act that serves as both as inventive way for our heroes to stand a fighting chance, and a celebration of Marvel's ground-breaking 22-film, 11-year spanning arc.

The third act, a colossal battle between the forces of good and evil that is almost too overwhelming to comprehend, throws lots of fancy effects and punch-ups at the screen. In most other big-budget epics, these climactic smack-downs are when my attention start to wander, but here they are involve characters I have watched evolve over the course of a decade and have grown to love, and when that Alan Silverstri score kicks in at just the right moment, the heart-flutters are inescapable. I'd also be lying if I said I didn't well up on multiple occasions. After all, we knew contracts were up and we'd be forced to say goodbye to at least one of the original heroes, but the future also looks bright for Marvel. For the moment, until Spider-Man: Far from Home arrives in a couple of months at least, Endgame is a near-perfect way to wrap up 11 years of storytelling and character-building, and a warm thank you to the fans who have been there since 2008.


Directed by: Anthony Russo, Joe Russo
Starring: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Karen Gillan
Country: USA

Rating: ****

Tom Gillespie

Review #1,332: 'Avengers: Infinity War' (2018)

Ever since that post-credits teaser at the end of the The Avengers, now 6 years ago, fan anticipation has been building for the arrival of Earth's Mightiest Heroes' deadliest foe, the giant purple 'Mad Titan', Thanos. With a tease here and a fleeting appearance there, Thanos' quest to gather all of the Marvel Cinematic Universe's McGuffins, the Infinity Stones, represents the culmination of 10 years of universe-building, during which Marvel Studios have emerged from a risk-taking independent studio looking to achieve something no other studio has before in terms of story-telling scale, to one of Disney's most reliably bankable divisions, regularly raking in over $1 billion, something that was achieved mere months ago with Black Panther, a cultural phenomenon if ever there was one.

After 18 movies, Avengers: Infinity War is finally here, and in the safe hands of sibling directors Joe and Anthony Russo. The brothers were responsible for two of the MCU's finest films, the Captain America entries The Winter Soldier and Civil War, and have taken on this seemingly impossible task to bring in dozens of huge characters with a sure and steady hand. Infinity War really is everything you would want it to be. While the tone sometimes shifts uneasily between dark and humorous, and character development isn't on the same level as their previous efforts, the Russo's deft balancing of our heroes' path-crossings with introducing the most formidable foe the universe has to offer, is nothing short of astonishing. It has the power to make you punch the air, laugh-out-loud, and pretend to have something in your eye. 

The story picks up almost immediately after the events of Thor: Ragnarok, with Thanos (Josh Brolin) already in possession of the Power Stone, and seeking the Space Stone from Thor (Chris Hemsworth) and Loki (Tom Hiddleston). Back on Earth, Dr. Strange (Benedict Cumberbatch) and Wong (Benedict Wong) receive a warning of Thanos' pending arrival from Bruce Banner (Mark Ruffalo), and the Master of the Mystic Arts quickly recruits Tony Stark (Robert Downey Jr.) for help, with Spider-Man (Tom Holland) in tow. In Edinburgh, the romantically-involved Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) are laying low, but are soon set upon by two of the Black Order, a four-strong band of henchman consisting of Thanos' 'children'. The heroes are eventually assisted by Steve Rogers (Chris Evans), Black Widow (Scarlett Johansson) and Falcon (Anthony Mackie), who decide the safest place for Vision, who possesses the Mind Stone in his head, is Wakanda, the technically-advanced African nation ruled by Black Panther (Chadwick Boseman).

While it's certainly a thrill to see some of these characters interact for the first time (Stark and Strange's instant dislike for one another is particularly memorable). Infinity War brings the Guardians of the Galaxy into the fold for the first time. Answering an Asgardian distress call, Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket (Bradley Cooper) and Groot (Vin Diesel) bump (literally) into Thor. Watching some of the MCU's most comedically-gifted performers together for the first time is a real joy, with the Russos further developing Thor as one of the universe's most compelling and charismatic characters after Taiki Waititi gave him a new lease of life last year. Throw in the likes of Bucky (Sebastian Stan), War Machine (Don Cheadle), Nebula (Karen Gillan), Mantis (Pom Klementieff), Pepper Potts (Gwyneth Paltrow), Okoye (Danai Gurira) and Shuri (Letitia Wright), and you have one hell of a packed cast.

Not every character is given the attention you would expect. Both Cap and Black Panther, two fan-favourites, are oddly sidelined, while the likes of Dr. Strange and Gamora have larger roles, although the Russos have stated that this will be counter-balanced in the as of yet untitled fourth instalment. While our heroes jostle for screen-time, our protagonist emerges as Thanos himself. Standing eight-feet tall and with - as Star-Lord puts it - a chin like a nutsack, we witness his deadly quest to balance out the universe through the Titan's eyes. Every villain is a hero in their own mind, and there is logic to his mission. Ever since Ultron underwhelmed, Marvel have been knocking out of the park with their bad guys, and Thanos is their most fascinating yet. He is terrifying and utterly brutal, but also misguided and tragic. The CGI is near-flawless, but nevertheless it is Josh Brolin you witness delivering one of the best performances of his career. With 6 years of build-up, the Russos make sure you understand that Thanos isn't fucking around within the opening minutes.

For years studios have insisted on 'grounding' comic-book stories, fearing to venture out into space and terrified of embracing the colourful, weirder aspects of the medium. Infinity War goes some way to disprove the idea of translating page to screen requires vast reconstruction. As a piece of story-telling, the movie barely pauses for breath, instead opting for what can be summed up as a two-and-a-half-hour superhero splash panel. But this has had ten years of build-up, with obscure D-list characters breaking out along the way and earning the adoration of millions of new fans in the process. This is one for the fans, for those who were there for that post-credit teaser in 2008 when Samuel L. Jackson's Nick Fury appeared and first uttered the word 'Avengers' to a fresh-faced Tony Stark. Although this was advertised as something of a closure to Marvel's first ten years, it really isn't. Infinity War ends on a note that guarantees you will there on opening day when part four finally comes around.


Directed by: Anthony Russo, Joe Russo
Starring: Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Josh Brolin, Scarlett Johansson, Benedict Cumberbatch, Chris Pratt, Zoe Saldana
Country: USA

Rating: ****

Tom Gillespie

Review #1,225: 'Spider-Man: Homecoming' (2017)

Marvel fans rejoiced when the announcement was made that Cinematic Universe overseer Kevin Feige had managed to reclaim the movie rights to one of their most beloved and iconic characters, Spider-Man. Along with Bryan Singer's X-Men, Sam Raimi's Tobey Maguire-starring Spider-Man trilogy laid the foundations for the modern superhero movie and proved that comic-books aren't just for nerds. After constant meddling by Sony, Spider-Man 3 was a convoluted mess, and although it raked in the cash at the box-office, plans for a fourth instalment were put on ice. The plan was later scrapped entirely in favour of a reboot with Andrew Garfield, which was also cancelled after its sequel made the same mistakes that saw Raimi's Spider-Man 3 receive a critical mauling.

Marvel cast British actor Tom Holland in the role, and he was quickly heralded as the best Peter Parker yet when he debuted in last year's Captain America: Civil War, and Feige revealed that a standalone reboot was coming soon. The thought of a second reboot just 5 years after the last one naturally had people sceptical, but Holland's exciting cameo also raised hopes. While it certainly doesn't reach the lofty humanist heights of Raimi's Spider-Man 2 (still one of the best comic-book movies ever made), Homecoming - a title that works on two levels - is bloody good fun. Taking Parker all the way back to high school as an overeager 15 year old, with detention, hormones and the homecoming dance as much of a concern to our hero as the villain flying around with alien technology, the film shares just as much in common with the classic John Hughes movies of the 1980s than it does with anything starring Iron Man, Thor or the Hulk.

Having proved himself to Tony Stark (Robert Downey Jr.) by stealing Captain America's shield and helping topple Paul Rudd's Giant-Man during the events of Civil War, Peter Parker now waits eagerly by the phone for a call from Jon Favreau's Happy Hogan to announce his next mission. Only Stark would prefer that he remains a friendly, neighbourhood Spider-Man for the time being, but Parker's eagerness to prove himself and struggle to truly control his powers see him taking on hardened thugs and barely making it out alive. On top of juggling his new responsibilities (thankfully we are spared the Uncle Ben speech this time around), he awkwardly courts the pretty Liz (Laura Harrier), receives abuse from rich douchebag Flash Thompson (Tony Revolori), and must prevent chubby best friend Ned (Jacob Batalon) from revealing his superhero alter-ego to the rest of the school. Ned quite rightly believes that the revelation is their ticket to climb the high school cool hierarchy, and Liz naturally has a crush on her local masked vigilante.

A world away from Marvel's previous supervillain Ego the Living Planet (no pun intended), whose masterplan spanned the entire universe, Homecoming's big bad is in the form of working man Adrian Toomes (Michael Keaton). Talking in a thick New York accent and favouring a baseball cap and a hoodie, Toomes is introduced cleaning up the mess left by Loki and his Chitauri army during the climax of 2012's The Avengers, only to watch as his contract is snatched away by Stark and his billions. He doesn't leave empty-handed though, as he manages to smuggle some alien technology away and form a lucrative, and highly illegal, arms business. He also has a formidable suit made for him, allowing him to soar through the sky on razor-sharp wings, dubbing him the Vulture. After a number of forgettable Marvel villains, Toomes brings to mind Alfred Molina's three-dimensional and incredibly sympathetic Doc Ock, and Keaton has fun with the role, proving a menacing presence during a particularly tense car journey on the way to the homecoming dance, in what is undoubtedly the film's standout moment.

The likes of Thor would be able to take out Toomes with the blink of an eye, but his family-first motivation and distrust of the rich and powerful ground the movie, and helps make Homecoming Marvel's smallest and most intimate entry since Ant-Man. While the climax does deliver a routine smash-em-up CGI fest that director Jon Watts doesn't seem experienced enough to handle, the film mainly avoids the usual superhero tropes and rarely shifts its focus away from Parker, who is played with irresistible charm and athleticism by Holland. There's an endearing playfulness in the smaller moments, particularly in the dynamic between Holland and scene-stealer Batalon. Having watched Watts's previous film Cop Car recently, it now seems obvious why Marvel placed so much trust in a director so clearly adept in handling young relationships. Homecoming continues the recent trend of proving that superhero movies don't necessarily need to be superhero movies: They can also be a high school comedy, or a violent western. Was a second reboot for a character only introduced to the big screen 15 years ago justified? Somehow, yes.


Directed by: Jon Watts
Starring: Tom Holland, Michael Keaton, Robert Downey Jr., Marisa Tomei, Jon Favreau, Jacob Batalon, Laura Harrier, Zendaya, Tony Revolori
Country: USA

Rating: ****

Tom Gillespie

Review #1,019: 'Captain America: Civil War' (2016)

'Superhero fatigue' is a phrase commonly batted around amongst critics and forum lurkers whenever a new caped crusader is unleashed into cinemas. Cries of Hollywood running out of ideas are often heard too. Despite all of this, the likes of Spider-Man, Batman and the Avengers crew have Hulk-smashed the box office for years. Most impressively, Marvel's ever-increasing 'Cinematic Universe' has been building now for 8 years and 13 films, films that occasionally claw in over a billion at the box-office. This is not down to audiences simply flocking to the promise of CGI explosions and wise-cracks, but Marvel's insistence on keeping the formula fresh.

After a few years churning out average to above-average (and one excellent in 2008's Iron Man) origin stories for the individuals that would, in 2012, reluctantly team up to become The Avengers, producer Kevin Fiege was obviously wary of wavering interests. Marvel's work since 2014, since the mediocre Thor: The Dark World in 2013, has been exceptional, placing their heroes and villains in a variety of cinematic genres. Captain America: The Winter Soldier played out like a 70's spy thriller, casting Robert Redford to reinforce the tone, Guardians of the Galaxy often felt like bizarre B-movie with a bigger budget and a more talented cast, and Ant-Man, a movie many predicted to be a disaster, was a full-on comedy, bolstered by the presence of an effortlessly charming Paul Rudd.

The latest - and by far the best - is the third and possibly final entry into the stand-alone Captain America series. Retaining The Winter Soldier's directors Anthony and Joe Russo and also much of the same tone, Civil War pits its second most popular superhero against its first, Robert Downey Jr.'s Iron Man. Also along for the ride is almost every other hero on the roster, along with a couple of new ones. But what makes Civil War very much a Captain America film and not The Avengers 3 is the Russo's remarkable grasp of their characters. With Bucky Barnes aka The Winter Soldier (Sebastian Stan) back on the scene as a very wanted man, Steve Rogers (Chris Evans) finds himself torn between his loyalty to an old friend and being held accountable for his superhero actions. It is the friendship between the two that remains at the heart of the film.

When Scarlet Witch (Elizabeth Olsen) accidentally causes mass destruction in Lagos on a mission led by Captain America, the Secretary of State Thaddeus Ross (William Hurt) informs the Avengers that the United Nations are passing a bill known as the Sokovia Accords, which will see them under the control of a UN panel. Full of guilt over his balls-up with creating Ultron, Tony Stark backs the bill, as do War Machine (Don Cheadle), Black Widow (Scarlett Johansson) and Vision (Paul Bettany). With little confidence in the government, Steve opposes the bill, and is followed by Falcon (Anthony Mackie), Scarlet Witch, Hawkeye (Jeremy Renner) and Ant-Man. Tensions are raised higher when The Winter Soldier is accused of bombing the UN conference in Vienna and becomes a wanted man all over the world.

What makes Civil War such a gripping film is its refusal to offer any easy answers. Depending on your own political and personal views, Captain America could be the antagonist of his own movie, causing a war between friends over his blind loyalty to a friend he knows is a mass-murderer, albeit a brain-washed super soldier experiment. On the flip-side, the character Downey Jr. has now immortalised and the hero to always receive top billing could become a knee-bending traitor seeking accountability for his own irresponsible actions during the events of Age of Ultron. More likely, and more interestingly, you will come to realise that there is simply no right answer.

So it all comes down to who wins the fight. And what a fight it is. One of biggest flaws of Batman v Superman was its failure to come up with a believable scenario that would cause the good guys to beat on each other only to come to realise they are on the same side. Not only does the brawl feel organic, taking place at Leipzig airport with each character allowed more than one moment to shine, but it also refuses to offer any easy solution or a big bad for the team to unite against. The motivation and plan of the film's villain, Helmut Zemo, played with a remarkable subtlety by Daniel Bruhl, is kept a mystery until near towards the end. And just when you think you finally know where it's all heading, it side-steps you and goes in a completely different direction.

The film's biggest flaw is the introduction of Spider-Man, who is finally back in the hands of Marvel after Sony's failure to re-boot the franchise with Andrew Garfield. Played by Tom Holland, who is the best Peter Parker yet, his entry into the fold feels shoe-horned and slightly awkward. But when he is let loose during the airport fight, he damn near steals it until Ant-Man shows his new friends just what he can do. The other newbie, Black Panther aka the Wakandan T'Challa (a gravelly Chadwick Boseman), plays a bigger role than you might expect, still learning and developing into the king he will become. Above all else, Civil War is simply a blast. With such care taken with its army of characters, each getting their own arc, its easy to become emotionally invested. So when Cap and Iron Man really get down to business, it becomes unbearable to think that one of them may not walk away. Bravo, Marvel and the Russo's.


Directed by: Anthony Russo, Joe Russo
Starring: Chris Evans, Robert Downey Jr., Anthony Mackie, Sebastian Stan, Scarlett Johansson, Chadwick Boseman, Elizabeth Olsen, Paul Bettany
Country: USA/Germany

Rating: *****

Tom Gillespie

Review #980: 'Sherlock Holmes: A Game of Shadows' (2011)

In 2009 Sherlock Holmes was re-imagined by Guy Ritchie as an ass-kicking and mentally unstable private investigator with a weakness for a variety of mind-altering substances. Played by Robert Downey Jr., Holmes was Iron Man without the vast fortune, super-suit and fashionable beard, but with the same genius-level intellect, capable of predicting the exact outcome of a fight with a foe before the first punch is thrown. Though heavily compromised by Ritchie's sledgehammer subtlety and love for annoying Cockney geezers, it was still an entertaining take on an extremely familiar character, with Downey Jr. at his twitchy best and demonstrating a convincing English accent.

A Game of Shadows, the bloated sequel rushed into production after the international success of its predecessor, turns the doctor from idiosyncratic eccentric to a babbling pantomime. When we meet Holmes, he is rescuing his flame Irene Adler (Rachel McAdams) from a bomb intended for somebody else. The package was given to her by the scheming Professor Moriarty (Jared Harris), and after her next meeting with him, she disappears. On the eve of his wedding, Dr. Watson (Jude Law) arrives at Baker Street to find Holmes deep into investigating a splurge of seemingly unrelated murders and business acquisitions linked to Moriarty, and at Watson's bachelor party, the two encounter a gypsy woman named Simza (Noomi Rapace), the intended recipient of the letter that accompanied the bomb.

Without any sign of the storytelling flair of the books, A Game of Shadows becomes little more than a series of punch-ups, shoot-outs and inane exchanges between Holmes and his trusted Watson. At one point, the heroes are fired at by an increasingly ridiculous arsenal of machine guns as trees shatter and fireballs explode around them in ultra slo-mo. Any resemblance to one of literatures most beloved characters is lost, and it feels instead like you're watching a movie about The Transporter's British granddad, albeit with a touch more style. Mad Men's Harris is impressive as Holmes's most challenging foe, but Rapace's character is so redundant that she is reduced to just a pretty face for the poster. Shockingly, the main problem is Downey Jr., whose hyperactive shtick is as tiresome as the plot he is caught up in.


Directed by: Guy Ritchie
Starring: Robert Downey Jr., Jude Law, Noomi Rapace, Jared Harris, Rachel McAdams, Stephen Fry
Country: USA

Rating: **
Tom Gillespie

Review #867: 'Avengers: Age of Ultron' (2015)

With the Marvel Cinematic Universe growing increasingly larger every year, returning director Joss Whedon was faced with an even more monumental task than he did in 2012 with The Avengers, the movie that finally brought together the superhero collection of huge personalities united by one goal, but each wanting to go about it in their own way. Each standalone film has developed key supporting players necessary to the character whose name is on the poster, and with The Avengers' climax allowing its Earthlings to gaze into a wormhole and last year's Guardians of the Galaxy unleashing aliens a-plenty, Marvel's world has truly become a universe.

The last time a director returned for a Marvel sequel, we ended up with Jon Favreau's Iron Man 2 (2010), a messy let-down of a film that lacked invention, to the point that it felt like the guy behind the camera had lost all interest by the end. In a way, Age of Ultron suffers from some of the same problems. Like all Marvel films, it pits it's leads against a 'new threat', climaxing with a battle in the air that features lots of punches, blasts and quips. But for all it's narrative familiarity, Whedon still finds new ways for his heroes to batter their opponents, keeping the jokes fresh and genuinely witty, and ensuring the ragtag, flawed bunch are always eager to be at each other throats (quite literally - I think every character is grabbed by the throat at some point).

Tony Stark (Robert Downey Jr.) is still suffering from nightmares and flashbacks of his journey through the wormhole and seeing the threats lurking amongst the stars. He and the Avengers, now led by Captain America (Chris Evans), attack the Hydra outpost of Baron von Strucker (Thomas Kretschmann), the monocled Nazy glimpsed at the end of Captain America: The Winter Soldier (2014) in possession of Loki's scepter. Von Strucker's defences are useless when faced by the Avengers, but that is until he unleashes the twins Pietro (Aaron Taylor-Johnson) and Wanda Maximoff (Elizabeth Olsen); the former possessing super-speed, and the latter able to enter people's mind and unleashing their darkest fear. When Wanda screws with Stark, he sees his friends dead, powerless to stop it. She is like the ultimate bum acid trip.

After retrieving the scepter, Stark and Bruce Banner (Mark Ruffalo) discover an artificial intelligence hidden inside, and use it to kick-start the Ultron program, an independent-thinking army of robots designed to protect Earth from any threats, allowing the Avengers to retire in the process. But Ultron (wonderfully voiced by James Spader), having consumed huge amounts of data through the internet within seconds of being activate, concludes that the only way to save the planet is to eliminate the one's responsible for slowly destroying it - humanity. Upon discovering what Stark has created, Captain America and Thor (Chris Hemsworth) are furious. And so are the public, who are terrified with the amount of carnage taking place around them as Ultron journeys to Africa in search of vibranium, the near-invincible metal that will allow him to create the ultimate body.

On top of the character's already mentioned, the Avengers also consist of Scarlett Johansson and Jeremy Renner. Add to the mix the returning Don Cheadle, Anthony Mackie, Samuel L. Jackson, Cobie Smulders, Hayley Atwell, Stellan Skarsgard, Idris Elba and Paul Bettany - who appears in the flesh for the first time as the Vision - as well as newcomers Linda Cardellini and Andy Serkis, and you have one hell of a hefty line-up. Whedon has juggled large ensemble's before with the tragically cancelled Firefly and it's follow-up movie Serenity (2005), as well as the first Avengers, but he has a noticeably weaker grip on his cast this time around. It jumps from one action scene to another, slightly smothering the quieter scenes in between, failing to allow them to breathe and flow.

The one exception involves a welcome retreat for the Avengers, who choose to lay-low at Hawkeye's (Renner) humble abode after causing more chaos with Ultron. Clearly feeling guilty at the shoddy deal Hawkeye got last time around, who spent most of the movie controlled by Loki, Whedon has finally made him interesting. He acknowledges his inferiority when compared an unstoppable green monster and the God of Thunder, and even comments on the lunacy of fighting off an army of killer robots with a bow and arrow. His warm relationship with his wife (Cardellini) and his children, as well as his various personal face-off's with Pietro, provide a human connection in the midst of a 90 year-old super soldier and a millionaire playboy genius.

With Marvel's Phase Three almost upon us (once Ant-Man is finally released later this year), Age of Ultron was always in danger of being little more than a stepping-stone to what's to come. Yet although it certainly hints at upcoming characters (the fictional country of Wakanda, home of the Black Panther, is mentioned) and future events (Thor is troubled by his Wanda-induced apocalyptic visions, which are to take place in Thor: Ragnarok (due 2017)), it also moves the story forward and evolves its characters. Marvel certainly needs to change its formula though (the paranoid thriller twist on The Winter Soldier was a stroke of genius); the smash-heavy climaxes have become tired. Ultron is also not really the threat he was set-up to be, but he's utterly electric when on screen, Spader providing a biting wit to his growls. It is far for perfect, and inferior to its predecessor, but riotously entertaining throughout.


Directed by: Joss Whedon
Starring: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, James Spader, Aaron Taylor-Johnson, Elizabeth Olsen, Paul Bettany
Country: USA

Rating: ****

Tom Gillespie

Review #725: 'Zodiac' (2007)

You would be forgiven if you went into David Fincher's Zodiac expecting a routine serial killer flick, but, although it opens with two memorably brutal murders, it puts aside character and plot to simply document the case of the Zodiac killer in the late 1960's and into the early 70's. The problem is, he was never caught, so Zodiac draws you into the jigsaw puzzle that was the search for the killer, only to be frequently met with dead ends and red herrings. The three lead characters come and go throughout the film, but this is not about them, it's ultimately about the fear that gripped San Francisco when the Zodiac was on the prowl.

At the San Francisco Chronicle, a letter arrives from someone claiming to be the Zodiac killer, who has already shot a young couple in their car. The letter demands publication, and offers a puzzle involving strange symbols as a means of uncovering his identity. This draws in Chronicle cartoonist Robert Graysmith (Jake Gyllenhaal), who, despite his interest, is not taken seriously by the staff, who include crime reporter Paul Avery (Robert Downey Jr.). The Zodiac strikes again, attacking a couple in a park and shooting a taxi driver in the back of the head. Police detectives David Toschi (Mark Ruffalo) and William Armstrong (Anthony Edwards) are brought in to investigate, and liaise with Avery and Graysmith, whose lives start to be consumed by the case.

Fincher is obviously comfortable in this setting, having already brought to life the eternally drizzly and grim world of Se7en (1995) and the miserable confines of modern corporate life in Fight Club (1999). Zodiac is a mixture of both, here filmed digitally, and here combines a grimy brown colour palette with Fincher's recognisable eye for the stylish. It takes pride in its detail, grinding out excitement within the most mundane of activities. In Zodiac, a close-up of handwriting or the discovery of a previously ignored newspaper clipping become just as tense as any action scene. After all, this is a film about the case, so such close observation is as vital as it is entertaining.

The acting is top class across the board, with Mark Ruffalo, a character actor who has gone underrated for far too long, standing out in the least showy role of the lead trio. Downey Jr. brings his natural charisma to the boozy, erratic Avery, and Gyllenhaal, given the most screen-time (his character wrote the book the film is based on) is a likeable underdog. The characters aren't given much time to breathe between the fast-talk conversations and the digging for clues, but its the Zodiac himself that looms largest over the film. He is barely seen outside of the opening half hour, but his presence is never far away in Fincher's nervous San Francisco. And there lies the film's genius. Impeccably directed, brilliantly written, and utterly terrifying.


Directed by: David Fincher
Starring: Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards, John Carroll Lynch, Chloë Sevigny, Elias Koteas, Brian Cox
Country: USA

Rating: *****

Tom Gillespie

Review #650: 'Iron Man 3' (2013)

After five movies and one giant superhero mash-up, the Marvel superhero formula is getting as stale as old bread. With the only Marvel stand-alone superhero film to have a sequel (so far - Thor: The Dark World and Captain American: The Winter Soldier are imminent) being Iron Man, did the world really need a third entry into this franchise? More importantly, did we want it? Well, with over $1 billion in the bank and the label of fifth highest grossing film of all time, the answer is an overwhelming yes. The franchise certainly needed a fresh injection of life - Jon Favreau's massively disappointing follow up to his impressive Iron Man (2008) perhaps showed his inexperience as director, though he has stayed on to reprise his role as bodyguard Happy Hogan (looking worryingly bloated). Changes have been made, and although the critics seemed to lap up Iron Man 3, audiences opinions seem strangely polar opposite.

Following the events of The Avengers (2012), Tony Stark (Robert Downey Jr.) is suffering from anxiety attacks, and in his restlessness, spends his nights in his basement building a small army of Iron Man suits. America is under attack from a string of bombings by a terrorist known as the Mandarin (Ben Kingsley), and after his bodyguard Happy is seriously injured in an attack, Tony makes a personal come-and-get-me message to the shady terrorist. After his home is obliterated by Mandarin's helicopters, Tony finds himself in Tennessee to investigate some potentially linked attacks. All paths seem to lead to AIM, a treatment facility run by Aldrich Killian (Guy Pearce), a formerly crippled scientist that Tony shunned back in 1999.

Interesting choices for director have always been Marvel's thing, to allow a respected or rookie director a chance to inject their own sensibilities into the familiar superhero film. Sometimes it pays off - Kenneth Branagh's Shakesperian background gave Thor (2011) a certain gravitas when it could have been plain silly. But sometimes it doesn't, such as the choice of Joe Johnston - whose career is a very mixed bag anyway - for Captain America: The First Avenger (2011), which I found rather dull. So for Iron Man 3, in steps Shane Black, 80's buddy-comedy extraordinaire, whose filmography was somewhat re-discovered in fits of nostalgia of late, especially after the excellent Kiss Kiss Bang Bang (2005). And deservedly so, as Black's obvious talent for writing led to movies such as Lethal Weapon (1987) setting the benchmark for countless buddy movies to follow (and ultimately damage the sub-genre). So Iron Man 3 would bring Tony Stark back down to Earth, allowing a more intimate side to be seen and a chance for the supporting characters to finally make their mark.

It's certainly more down to Earth, with less of Tony Stark's quick-humour and arrogant prancing (which is what we love him for, especially with Downey Jr.). His new foe would finally be a match for him - not just a man in a different sort of Iron Man suit, but a true criminal mastermind that would meet him physically and mentally, in the same way that Bane smashed Batman in The Dark Knight Rises (2012). And after the opening third, Tony Stark is simply Tony Stark. His suits have been all but destroyed, his friends are far away, and the prototype escape suit he is left with is damaged almost beyond repair, so even the trusty JARVIS (voiced by Paul Bettany) isn't there to help. He must now use his wits, but without his suit, he is physically and mentally vulnerable, not helped by the pursuing super soldier Savin (James Badge Dale).

This is where I find that superhero movies get interesting, when the central character is stripped of all his powers and we see the true man (or woman!) underneath. Yet Stark's task is a rather tedious one, trying to put the pieces together of a relatively simplistic yet clumsily executed central plot with the help of a precocious child (played by Ty Simpkins), who just so happens to have an obsession with engineering. Didn't child sidekicks die out in the early 1990's when film-makers realised that no-one likes them? If it is in fact Shane Black's way to give a nod-and-wink to the audience, then there's not really any call for it. This is not a throwback to buddy movies so in-jokes of the like have no place here.

If there's one thing to be said about Black after seeing this, is that he must have balls made of diamonds. Alec Baldwin's character in Glengarry Glen Ross (1992) certainly would have employed him in real estate. The decision he made regarding the main villain of the story is one that had the comic-book nerds shaking the foundations of their parents' basements, and one that had me appalled. I cannot say much without revealing the twist, but it's a baffling decision, one that would have been rather clever under different circumstances. It leads to Stark's nemesis being just as dull as previous instalments, which have been the main problem with the franchise. Finally we could have had a bad guy up to Christopher Nolan's standards, but it is side-stepped in favour of something all the more familiar.

Iron Man 3 is a mixed bag. Action-wise, this is the best so far, with excellent CGI work leading to a thrilling climax which includes an army of iron men suits. But the humour - Black's forte and something that has been spot-on in the first two movies - seems forced and, at times, awkward. James Rhodes (Don Cheadle), Tony's best friend and frequenter of War Machine, has a larger role, but the chemistry and banter between the two lifelong friends is just not there. They are certainly no Riggs and Murtaugh. It also outstays its welcome, stretching credibility as far as it will go to the point of the ridiculous (since when has Tony Stark been Jason Bourne?), but it is a definite improvement of Iron Man 2 (2010), employing a more interesting internal struggle for Stark than mere daddy issues, and a more satisfying climax. As a whole, Iron Man 3 was undoubtedly a let-down for me, quite shocking given the talent involved, but my eagerness to see the film and my unquenched thirst for superhero movies proves that Marvel's formula still works even if some of their output just isn't up to scratch.


Directed by: Shane Black
Starring: Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Rebecca Hall, Ben Kingsley, James Badge Dale, Jon Favreau
Country: USA/China

Rating: ***

Tom Gillespie

Review #616: 'Iron Man 2' (2010)

Set a mere six months after the events of 2008's Iron Man, Tony Stark (Robert Downey Jr.) has almost single-handedly achieved world peace. Only he is now facing opposition from Senator Stern (Garry Shandling), who is demanding he hand his weaponry over to the government, and, unbeknownst to others, is slowly dying from the palladium core in his chest designed to keep him alive. In Russia, Ivan Danko (Mickey Rourke), son of engineering genius Anton Vanko, who worked with Tony Stark's father, seeks revenge against the Stark family who caused his father's exile many years ago. He develops an arc reactor similar to Stark's, and publicly attacks him at the Circuit de Monaco, getting arrested in the process. Facing deportation and years in prison, Danko is approached by rival weapons expert Justin Hammer (Sam Rockwell), who wants Danko to help him destroy Stark's legacy, and secure military funding.

The first Iron Man was so successful mainly due to the success it brought to Tony Stark's transformation into the big red and gold suit, anchored by Downey Jr.'s magnetic central performance. Number 2 sadly does not step up the proceedings a la X2 (2003) or Spider-Man 2 (2004), which both developed the central story even further, as well as adding better characters/villains and amping up the action. Iron Man 2 disappoints on all of these fronts. Stark's gradual 'maturing' throughout the course of the first film was relatively perfect in terms of pacing and execution, but this is replaced here by Stark dealing with some dull daddy issues (although Howard Stark is played by Mad Men scene-stealer John Slattery), and Stark's concerns about his poisoning, which confuse above all else.

Of the three new main additions, only Rourke's Whiplash is remotely successful, yet is kept oddly muted throughout the movie as he sets up shop in Hammer's workshop, carefully engineering a not-very-surprising attack at the upcoming Stark Expo. Hammer's over-the-top sliminess fits in with the shift in tone, moving away from the grounded feel of the first, and entering the more supernatural realm of the Avengers' world, where we have to accept intergalactic journeys and a character like Thor. Scarlett Johansson's Nastasha Romanoff does little apart from looking good in Lycra and bringing Stark into S.H.I.E.L.D., which heralds the return of Samuel L. Jackson's Nick Fury in what is nothing more than an extended cameo,

So we are ultimately left with James 'Rhodey' Rhodes, this time played by Don Cheadle, who came in to replace Terrence Howard. Their relationship forms the best aspect of the film, and also leads to the best moment in the film when Rhodey finally dons a Stark suit (becoming a premature War Machine), and attempts to restrain a drunken Stark, dressed as Iron Man. It's the only scene with any real heart. Still, it's still quite fun overall, and it's interesting to watch Marvel's big plan slowly move closer together, with glimpses of Captain America's shield, the Hulk ripping it up on a news report, and Thor's hammer. When the credits rolled, I felt like I'd been slightly ripped-off by the climax, which pales in comparison even when compared to the first film. But it still left me wanting more, which can't be a bad thing.


Directed by: Jon Favreau
Starring: Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Scarlett Johansson, Sam Rockwell, Mickey Rourke
Country: USA

Rating: ***

Tom Gillespie

Review #614: 'Iron Man' (2008)

It seems strange to think that this was considered a big gamble back in 2008, when Marvel Studios finally began putting into place the ensemble of superhero films that would lead to the fantastically entertaining The Avengers. They hired a relatively rookie director in Jon Favreau who, up to this point, had made the shoddy Made (2001), Will Ferrell vehicle Elf (2003) and kiddie-flick Zathura (2005), and cast Robert Downey Jr., an actor that was still trying to piece together his career after years of drug and alcohol abuse. After all, Iron Man is basically a story about a rich genius who fights crime in a flying metal suit, and had it not being given the necessary thought and care, this could have been a disaster. Thankfully, it's anything but, thanks to Downey Jr.'s infectious performance, a razor-sharp screenplay by Mark Fergus, Hawk Ostby, Art Marcum and Matt Holloway, and Favreau's confident direction.

Weapons manufacturer and playboy Tony Stark (Downey Jr.) travels to Afghanistan with his good friend Lt. Colonel Rhodes (Terrence Howard) to show off his new weapon of mass destruction, the Jericho. He is ambushed and taken hostage by a terrorist group that call themselves the Ten Rings, who seriously wound Stark, causing shrapnel to lodge dangerously close to his heart. An electromagnet is developed by fellow captive Yinsen (Shaun Toub) to keep the shrapnel away from his heart, and the two are forced to build the Jericho from parts of Stark's stolen weapons. He instead builds a prototype metal suit, which he uses to all but destroy the terrorist group and escape back to America. After calling a press conference where he announces that Stark Industries will cease war profiteering, Stark builds his Iron Man suit with the help of his assistant Pepper Potts (Gwyneth Paltrow). Seeing stocks falling and the potential collapse of the company, Stark's business partner Obadiah Stane (Jeff Bridges) wants the technology for himself.

The main problem that faces most superhero origin films is having to combine the protagonist's development into the hero of the title with a villain capable of giving the hero a genuine threat to face, as well as blending them together to form one cohesive storyline. Marvel in particular have had trouble with their super-villains, with only Thor's multi-dimensional Loki, played with a thespian quality by Tom Hiddleston, proving successful. Iron Man suffers here too, only it seems almost irrelevant. Obadiah Stane does eventually don a gigantic metal suit for a big showdown at the climax, but Stane's menace comes from his corporate greed, offering only slight hints at what goes on in the big, bald dome of his, while coming across as a trusted friend to Stark.

It is Stark's personal development that takes centre stage, and it's a true joy to watch it. At first, he is cocky, smarmy, and filthy-rich, and after he gets a wake-up call, he is still cocky, smarmy and filthy-rich. Only now he understands the devastation his weapons program is inflicting of thousands of innocents, who up until now, Stark has casually viewed through the safety of his television. In the wrong hands, Stark could have been a disaster, apparently caring little for the ramifications of his actions, buying priceless works of art he'll never see just because he can. Downey Jr. injects the same energy he's been putting into his characters throughout his entire career - fast-talking and wise-cracking, almost comically narcissistic. But Downey Jr. is best at giving his characters an underlying sense of damage beneath the cocky exterior, perhaps a reflection on his long-standing problems in real-life, and this helps give Stark an undeniable depth, and therefore making him effortlessly fascinating to watch.

Iron Man is most entertaining when showing Stark at work - bashing various parts together, interacting with his robots and his house computer Jarvis (voiced by Paul Bettany), and testing his newly acquired powers. His first flying trial has him hovering uncomfortably and struggling for complete control, destroying his hoard of expensive super cars in the process. It's a funny, exciting scene, rounded off with "yeah, I can fly". It's rare for a superhero film to be so successful in portraying the development of its character, whether having to experience a mutation, an experiment gone wrong, or facing childhood fears, this proves that simply building a metal super-suit is far more entertaining. This is still Marvel's best pre-Avengers effort, including it's vastly inferior sequel, and Tony Stark was the best to watch amongst the massive ensemble when the giant ego's finally came together. But that's all down to the care given to this film, which is quite simply a massive hoot.


Directed by: Jon Favreau
Starring: Robert Downey Jr., Gwyneth Paltrow, Terrence Howard, Jeff Bridges
Country: USA

Rating: ****

Tom Gillespie

Review #600: 'Sherlock Holmes' (2009)

Said to have been portrayed by over 70 actors in over 200 adaptations, it was only a matter of time before Sherlock Holmes received a modern-day revision. The BBC cast Benedict Cumberbatch as the titular loose-cannon, with Martin Freeman as his sidekick Dr. Watson in the series Sherlock, but director Guy Ritchie wanted to revert back to the source novels for his Holmes, and who better than Robert Downey, Jr. to star as the bohemian detective-for-hire with a penchant for self-starvation and cocaine. Only this being rated 12A, the cocaine and needle abuse is somewhat glossed over in favour of a more 'teenage-friendly' preference to alcohol, though the unpredictable and near-schizophrenic personality is maintained, and his famous and iconic deerstalker hat (though never mentioned in the books) ridden of altogether.

After foiling the ritualistic sacrifice of a young girl at the hands of the aristocratic Lord Blackwood (Mark Strong), Sherlock Holmes retreats into a state of isolation while he awaits his next case. His good friend and colleague Dr. Watson (Jude Law) is getting married, and his invitation to Holmes to meet his bride-to-be finally brings Holmes back into the world. With Blackwood awaiting execution, his last wish is to talk with Holmes, who is warned of three more deaths to come. Blackwood is hanged and assumed dead, until his body goes missing and is replaced by a man reported missing by Irene Adler (Rachel McAdams), an American thief who has managed to escape Holmes in the past. Holmes' investigations leads them to the Temple of the Four Orders, a secretive magical organisation who seem terrified by Blackwood's apparent resurrection and eventual resurfacing.

I've never really been a fan of Guy Ritchie. Since his breakthrough début way back in 1998 with Lock, Stock & Two Smoking Barrels, he has done little of note, or at least nothing to develop on the promise of his début. Lock, Stock was an amusing and quite clever little throwback to the Cockney gangster films of the 1980's, featuring memorable dialogue and a funky score. He then made Snatch (2000), which is still lauded by its fanbase but offered nothing different apart from a new and annoying self-awareness, and Alan Ford calling himself "an 'orrible cant!". He then was almost forced to pack it in for good after making the embarrassing double-whammy that was Swept Away (2002), a love-letter to his then-wife Madonna, and Revolver (2005), a pretentious, insulting piece of shit starring Jason Statham and Ray Liotta. Seeing his dreams fading, Ritchie went back into his comfort zone - the criminal underbelly of London - and made RocknRolla (2008), which although being over-familiar, wasn't half bad and featured some nice cinematography.

With Holmes, Ritchie has gone mega-budget and handles it well. Though for all its CGI backdrops and grand set-pieces, Ritchie has stuck with the Cockney wide-boy dialogue and slow-motion fight scenes. From the very first scenes, his intentions are clear, as Holmes envisions his opponents weak-spots and we are narrated through the damage that each blow will inflict, all caught in that time-altering way he championed way back in '98. This is Holmes at his most action-heavy. I don't recall ever seeing Basil Rathbone taking out someone's knee-cap or getting involved in bare-knuckle boxing fights. But isn't that was revisions are all about - taking a beloved character and taking them to places never seen before? Well of course, but in this case, it's to take their character to the top of the box-office by attracting a less-demanding audience, and make a lot of money.

The Ritchie-isms aside, Sherlock Holmes is still entertaining, which is its primary goal. Although the story is weak, everything looks fake and like a computer effect, and the aspect that made Holmes such a popular read - the investigation and his almost supernatural ability to unravel the smallest of clues - isn't particularly clever, and is brushed aside in favour of Downey, Jr's admittedly excellent comedic performance. He is perfect for this Holmes, showing a lot of the cocky charm and general strangeness he injected into Tony Stark in the Iron Man films (2008-2013). After all, Downey, Jr. practically is (or was) Holmes, almost spurning his talent in favour of drug abuse. It's enough to make me watch the sequel someday, but not enough to make me warm to Ritchie. But it's 128 minutes of breezy, easy-watching entertainment.


Directed by: Guy Ritchie
Starring: Robert Downey Jr., Jude Law, Rachel McAdams, Mark Strong, Eddie Marsan
Country: USA/Germany

Rating: ***

Tom Gillespie

Review #461: 'The Avengers' (2012)

So here it arrives, at last, after five films, four years, and many an explosion, Iron Man (Robert Downey Jr.), Thor (Chris Hemsworth), Captain America (Chris Evans), the Hulk (Mark Ruffalo) and Black Widow (Scarlett Johansson) are brought together (with the addition of Hawkeye (Jeremy Renner)) to become the third highest-grossing movie of all time (so far). While the individual films vary in quality, it is Joss Whedon who was chosen to handle such an big-name ensemble. The Avengers is hardly a masterpiece, but is one of the most effortlessly entertaining films I've ever seen, with a witty script, an extremely talented cast, and Scarlett Johansson's arse back in spandex.

Loki (Tom Hiddleston), Thor's Asgardi brother, arrives on Earth via a portal created by the Tesseract cube, and destroys the headquarters of S.H.I.E.L.D., an espionage agency ran by Nick Fury (Samuel L. Jackson). Fury calls on Steve Rogers (Evans) to help against Loki, who is busy causing a distraction as a Loki-possessed Hawkeye steals iridium needed to stabilise the Tesseract's power, and Agent Coulson (Clark Gregg) calls on Tony Stark's (Downey Jr.) expertise in understanding the power that Loki may now wield. Natasha Romanoff (Johansson) is sent to Calcutta to round-up Bruce Banner, while Thor moves in after Rogers and Stark capture Loki. Soon enough, the group are bickering on board S.H.I.E.L.D.'s giant Helicarrier, while's Loki's grand plan comes to fruition.

Joss Whedon clearly loves his comic-books. While the film in absolutely no way isolate's newcomers, this is a film for the geeks. Ever wanted to see the Incredible Hulk fight Iron Man? Or the Hulk punching Thor thity feet through the air? Iron Man mocking Thor with Shakespearian venom? What about the Hulk repeatedly smashing Loki against the floor (in possibly the most inspired moment of the film) by his legs? Well, nerds, you better start thinking about your gran before you spray your pants as The Avengers has them all and then some. It's a true indication of how the balance of power in Hollywood has shifted of late, with Internet chat-rooms providing a medium for many an uber-nerd to vent their opinions and approvals/disapprovals. With directors like Peter Jackson, Edgar Wright and Zack Snyder (as well as Whedon) amongst the directorial A-list, films no longer need to be bogged down with added romance or morality lessons to please the 'wider audience' producers thought existed, but instead go back to the source of what made the subject so beloved in the first place.

But the film is far more than great special-effects and action scenes (though they are here in abundance), and shows that a film doesn't have to simply ejaculate in your face a la Michael Bay to make mega-bucks. Whedon's screenplay is the key to the film and the scenes in which the group verbally interact (especially in the early scenes where they despise each other) provides plenty of wit and genuine heart. No character is forgotten either - Whedon has experience handling an ensemble with the tragically cancelled Firefly series, which led to the terrific film adaptation Serenity (2005) - and The Avengers' 140+ running time allows them all to breathe, without anyone being lost amongst the enormous personalities and emotional complexities.

Although it's not the best superhero film ever made, it's certainly the most fun. And with the darkness and psychological menace of The Dark Knight Rises still lingering in my mind, The Avengers offers a funnier, more care-free alternative in the genre (although The Avengers does have its share of genuine shocks). If there were any concerns about the film living up to its hype, they have been well and truly laid to rest, with Ruffalo's Bruce Banner providing yet another casting masterstroke after negotiations between Marvel and Edward Norton broke down (they can stop changing him now after three Hulk's in as many movies). Even though it does move a bit too frantically for its own good sometimes, Downey Jr. and co are just too magnetic for this to become a problem. The film offers yet another post-credits nipple-erecter, opening Marvel's universe even more, so hopefully there will be more of the same to come with The Avengers 2 (due 2015 according to IMDb) and Edgar Wright's Ant-Man (probably out next year).


Directed by: Joss Whedon
Starring: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Tom Hiddleston, Clark Gregg, Samuel L. Jackson
Country: USA

Rating: ****

Tom Gillespie