X-Men 3: The Last Stand (2006) – Movie Review

x-men the last stand

A departed fanboy director. A widely reported rush production. And Brett Ratner as replacement director. Things weren’t looking good for the third installment of our X-Heroes. Cynics crossed their arms in haughty resignation, while comic geeks vented their outrage in a fittingly Phoenix-inspired display. And yet despite the odds here it is, tipped as the last stand, and the fears of those expecting the worst were perhaps unjustified.

Promising more emotional grounding in his instalment, director Ratner managed to pacify the blood-braying fanboys (and girls) still reeling from the sudden departure of fan favourite Singer. A snazzy trailer helped, showcasing some saliva-inducing imagery, and confirming that Ratner was faithfully sticking to Singer’s staunch visual style. The question remained, however; could he follow through and create an X adventure worthy of its highly acclaimed predecessors? The surprising answer is yes. And no. Well, sort of. X-Men: The Last Stand is a leaner, more streamlined entry excelling in slick sets, breathtaking action, and top-notch special effects. This is a summer blockbuster to the core, and damn proud of it.

Ratner’s presence behind the camera is unmistakable, and it is undeniably his crowd-pleasing instincts that steer X3 through the pitfalls of studio money-spinning agendas that surrounded the production. Unleashed on his audience is an infectious enthusiasm for visual spectacle that generates satisfyingly outrageous cinematic results. Not only are we are afforded a spectacular face-off at the Grey residence, but also the stunning sight of the Golden Gate Bridge being magnificently relocated, and a striking finale in which the world is literally turned upside down in an emotional confrontation.

This, however, is a film creaking with franchise baggage. The events of not one, but two previous X films bear down on Ratner’s film like the fists of Colossus, giving it a somewhat schizophrenic ambiance. The thrill-seeking director clearly struggles to compose X3 as both a sequel and a stand-alone adventure. As a consequence, few actors are given much to work with save the key players, who do what they can with a script that appears in a bit of a hurry. Famke Janssen stands heads above the rest: nothing short of brilliant as the returned Jean Grey (or Dark Phoenix), she portrays just the right amount of inner turmoil, vulnerability and downright creepy-ness to really hit the right notes. Ian McKellen and Patrick Stewart are again the glue that holds everything together, both skilfully communicating the subtle nuances of their characters’ complex relationship. Others, like Kelsey Grammar’s Beast, and even James Marsden’s Cyclops come across as something of an after thought. There’s simply too much cast spread much too thinly.

The sacrifices extend throughout the rest of the film, too. Those little moments that imbued the other X films with heart and gravity are glaringly absent here; characters rush through expositional speeches, barely pausing for breath before the next explosive encounter. So while the pow-pow-pow approach ensures X3 a vigorous pace that effectively gathers momentum, its resultant whirlwind can tend to sweep over the rest of the film to its own detriment.

And when the final credits roll, just how has Ratner done with his last minute leap into the world of X? It’s difficult to judge how much tighter his X3 could have been if more time and creative control had been offered to him. The studio leash tightens noticeably as the running time accumulates: the three plot lines each struggle for exposure but none reach an entirely satisfactory conclusion. In the end, Ratner must be commended for crafting a film in a decidedly dubious climate, a film that is not only watchable, but entertaining too. X3 has its shortcomings, but there’s more than enough bang for your buck. And of course things are nicely left open for another installment. Now, where to find a fanboy director to fill those Singer-sized shoes?


7 out of 10 stars



The Avengers (2012) – Movie Review


A colossal wave of fevered anticipation preceded the arrival of ‘Marvel’s The Avengers’, the culmination of five incredibly successful standalone films. Not only has helmer Joss Whedon weathered the immense scrutiny, he has amazingly managed to surpass the loftiest expectations with a movie that towers over the rest that have come before it, combining jaw-dropping action, tongue-in-cheek humour and poignant drama into a dazzling piece of summer blockbuster entertainment.

Proving that the whole can be so much more than the sum of its parts, Wheedon has distilled the best elements of each of the preceding movies into this assembly of Marvel superheroes- Iron Man is wiry and snarky as ever; Thor is just as Godly in his might but human in his compassion; and Captain America is still appealingly old-school. The Hulk, or Bruce Banner in his human form, is quite something else altogether though (being the only character to have a change of actor from the previous films) and all the better for it.

It shouldn’t come as any surprise that the one movie which ‘Avengers’ is most intimately associated with is ‘Thor’, given that both share the same villain- Thor’s adopted brother and fellow Asgardian Loki (Tom Hiddleston)- and that Wheedon did shoot the post-credits scene with Loki and S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson). Opening with a recurring character from that movie, Dr Erik Selvig (Stellan Skarsgard) is now assisting with experiments on the Tessaract which has quite unexpectedly displayed a life of its own.

Turns out that the fallen Loki has been drafted by an alien race to lead its invasion of Earth, using the same Tessaract as a portal to cross over from their universe to ours- and his arrival not only leads to the decimation of the S.H.I.E.L.D. base, but also the takeover of Hawkeye (Jeremy Renner) and Dr Selvig to do his bidding. With the fate of the world in the balance, Fury activates his ‘Avengers’ initiative to gather this group of heroes, including two S.H.I.E.L.D. operatives – the Black Widow and Hawkeye.

From the outset it’s clear that there is relative poetry in Wheedon’s storytelling as he expertly weaves together the recruiting exercise by Fury and his trusted agent Phil Coulson (Clark Gregg). The best he saves for last, so even though Thor only first appears half an hour into the movie, his is a spectacular entrance befitting a God, crossing paths with Iron Man for a thunderous one-on-one clash in the middle of the woods.

True to the spirit of the books, the assembly of these superheroes begins on a fractious note- chiefly due to Stark’s distrust of Fury and disdain for the star-and-stripes outfitted Captain America. Instead, Stark teams up with the only person he deigns as his intellectual equal- Bruce Banner- to locate the Tessaract and uncover what dirty secrets Fury has been keeping from the rest of them. The answer to the latter isn’t all too unexpected, but kudos to Wheedon for tying this little detail nicely with the events in ‘Thor’.

It will take a colossal event to bring these disparate heroes together, resulting in the first of two action set pieces in the movie that will undoubtedly qualify amongst some of the most spectacularly thrilling stuff you’ll ever see on the big screen. And just when you think it couldn’t get any better, Wheedon tops it with an even grander and absolutely breathtaking climax set in the heart of New York City.

The reason why the finale works so brilliantly is that Wheedon loves and respects each and every superhero character just as much. Wheedon gets the action pitch-perfect through reinforcing the individual powers of each one of the superheroes before uniting their strengths to form an even mightier coalition. It is nothing less than pure ecstasy when they join forces as a team, and you’ll find it difficult to resist getting up from your seat and cheering for them at various points throughout the remarkable finish.

This review however won’t be complete without a special shout-out for the Hulk, many fans of whom have been disappointed by both the Lee Ang and the later Louis Leterrier iteration of it. Here, Wheedon has finally gotten it right, blending both the character’s brains and brawn to crowd pleasing effect- even more so through some clever plotting that ensures Banner’s eventual transformation from man to beast is as rewarding as it should be.

Calling it the perfect summer blockbuster is probably not enough to do justice to just how brilliant it is, and it certainly ranks as one of the most- if not the most- entertaining and exhilarating experiences you’ll have at the movies.


9 out of 10 stars


The Incredible Hulk (2008) – Movie Review

incredible hulk

When acclaimed director Ang Lee’s cerebral take on comic book anti-hero the Hulk hit screens in 2003, the reaction was hardly a positive one. Fans of the comic books fumed over the script straying from its source material, whereas critics and audiences alike mused over the effectiveness of the philosophical ruminations in lieu of crowd pleasing action sequences. All of the above criticisms appear to have been taken by Marvel Studios (now producing their own franchises) seriously, revamping and continuing the green behemoth’s tale with a more action focused story and whole new cast. And while The Incredible Hulk may not quite live up to the no holds barred action epic its premise promised, it proves a satisfyingly bombastic smackdown to appease both fans of the comics and audiences alike.

The inherent imbalance in the script lends credibility to the rumours of creative disputes between Edward Norton’s and the studio. While opening sequences detailing Banner’s fugitive life in Brazil prove breathless, tense and tremendously gripping, taking more than a few notes from the Bourne series, upon returning to the United States, the promising start lags, as continual run ins with the military become increasingly repetitive and unoriginal, with the raucous fun of the periodic Hulk battles now saddled with a flimsy romantic subplot, entirely failing to compliment the intrigue. Here the script begins to falter, tripping over itself during certain crucial emotional moments with contrived lines and confusingly stilted character motivations, while the sidelining of certain characters initially presented as major players (most noticeably Ty Burell’s Doc Sampson) reeks of hasty last minute cuts. By the film’s obligatory big climax, it becomes clear that the creative reigns have shifted – all the prior gritty realism has vanished, replaced with a more conventional and less enjoyable action finish. As the occasional throwaway comic moments (some more effective than others) prevent the film from descending into the realm of melodramatic self importance, the film’s primary redeeming factor emerges – despite the steady descent into excess stupidity, it is never afraid to have some fun, the quality Ang Lee’s incarnation sorely lacked.

Of course, the primary draw for superhero blockbusters is seldom the screen writing, and Transporter director Louis Leterrier’s unapologetic “smash first, talk later” approach does generate some exhilarating action sequences, but the increasingly unimaginative fight choreography and relative sparsity of action set pieces for an action focused film detracts from the glorious destruction that could have been, the attempted juxtaposition of emotional intensity only slowing the gleeful mayhem. Thankfully, CGI special effects make this new, grittier Hulk about as close to feasibly photo real as one could hope for, bearing an uncanny resemblance to Norton himself, though certain fluctuating details (the Hulk appears smaller or less muscular at various points) give the impression of patchy continuity, and the movement of both Hulk and monstrous adversary The Abomination appears too mechanically humanoid to properly capture the otherworldly feel of gargantuan muscular mutations – nonetheless, an impressive and exhilarating effort overall.

Despite the laudable use of quality actors over conventional blockbuster stars, even the astutely talented performers prove they can only do so much with such a steadily flimsy script. Edward Norton of course proves the exception, his passion for the project and standard blistering intensity making tortured protagonist Bruce Banner a truly fleshed out and tragic character. Burning with nobility and pathos, his plight genuinely moving and his battle with the monster raging inside of him truly gripping, Norton truly convinces in the crucial role. In contrast, Liv Tyler is saddled with an embarrassing less fleshed out role, exemplifying the worst aspects of comic book love interests, with nothing to do but scream the hero’s name and stand around statuesquely looking worried – it is a shame to see such a talented actress descend to such banality. Tim Roth similarly suffers, infusing tragically two-dimensional antagonist Emil Blonsky with all the steely menace and petty arrogance and ambition he can muster, but his talent is still diminished by the overwhelming predictability of his role. William Hurt is appropriately grim as obsessive general “Thunderbolt” Ross, thankfully eschewing the scene chomping which could have resulted all too easily, and Tim Blake Nelson delivers a bout of much needed irreverent goofiness as overeager scientist Samuel Sterns, his brief but enjoyable role hinting at a larger character progression in any ensuing films. Finally, the film’s slew of enjoyable cameos do not disappoint, from Stan Lee and Lou Ferringo appearances to the highly anticipated Robert Downey Jr. as Iron Man lead Tony Stark, a fitting and classy way of bridging the gap between superhero franchises as well as planting further seeds for the upcoming Avengers film.

While the film may disappointingly fall short of its true potential, comic book fans can breathe a hearty sigh of relief that the green behemoth has been firmly returned to his less philosophical and more action filled roots. If nothing else, Leterrier’s more singular vision is laudable, never losing track of its true intent: even during the fumbling between dramatic clout and exhilarating action, the film never fails to entertain. While the superb cast may flounder with underwritten characters, Norton’s incendiary lead performance and the enthusiastic action sequences make The Incredible Hulk a solid edition into the realm of guilt-free summer entertainment – despite the criticisms, Hulk finally smashes.


7 out of 10 stars