Justice League. A movie review.

I read about twenty negative reviews of Zack Snyder and Joss Whedon’s Justice League prior to going. I took my son with me to see it and we and everyone else in the theatre had a fantastic time. Screw you, critics.

The big DC heroes come together in this huge romp ‘em, stomp ‘em popcorn flick. I’m not sure why critics had probs following the story. I didn’t, and neither did my son. And the CGI was great.

Basically, Batman and Wonder Woman bring Flash, Aquaman and Cyborg together to face bad guy Steppenwolf, a failed Apokoliption commander who lost the original battle to take earth for Darkseid thousands of years ago. The forces of the Amazons, the Atlanteans, the humans and a Green Lantern(!) capture Steppenwolf’s three Mother Boxes (living energy sources he was planning to use to change Earth into a version of his home world Apokolips) and hide them away. When Superman was killed in Batman vs Superman, the Mother Boxes came back to life and called Steppenwolf back to finish the job. No more spoilers!

Every hero got their fair share of screen time. There were laughs, there was conflict, there were heroes facing off against heroes and heroes versus villains. And yes, it all made sense. The fight scenes were well done, the action was great. The camaraderie and the character scenes were great.

We had an absolute blast with this movie. Go see it. And tell all those idiot critics to go f$&@ themselves.

Oh, and hang around to see the two awesome post credits scenes.

Rating: A

The Fault in Our Stars. A book review.

It seems I can’t stop reading profoundly affecting books.

A friend of mine loaned me John Green’s The Fault in Our Stars, the mega-selling young adult novel about two teenagers in cancer remission who fall in love. “You’ll need some tissues,” she said, and she wasn’t wrong. This book brought me close to tears on a number of occasions.

The Fault in Our Stars is about 16-year old Hazel, a far too smart and interminably sassy girl permanently attached to an oxygen tank since her thyroid and lungs were attacked by cancer. She’s on an experimental drug which prevents her tumours from growing, but like many victims of the disease, she is somewhat cynical about life and her place in the world. Augustus Walters is a 17-year old interminably good looking ex-basketball jock who also happens to be smart and sassy, who lost his leg to cancer. The two meet at the local support group, hit it off and gradually Augustus’s positive world view starts to rub off on Hazel. They have a shared love for An Imperial Affliction, a book about a teenage cancer victim who dies abruptly leaving the ending up in the air. It was written by a retired author now living in Amsterdam and a big part of the story sees the two teens travelling to meet him to learn what happened to the book’s characters (An Imperial Affliction is a metaphor for The Fault in Our Stars’ protagonists and their yearning for something meaningful in a world that seems and often ends uncaringly).

I won’t spoil any more of this wonderfully written novel. John Green deserves the praise—this is a literary achievement, something much more than the average YA contemporary romance. It seethes with pathos. It’s sad, fast and funny. The characters are well developed and incredibly engaging. It’s a celebration of living for the here and now, because you never know how long it’s going to last. I found it hard to put down.

I guessed two of the major plot points—they weren’t telegraphed at all, but I knew they would happen (and no, I hadn’t seen the movie or read any spoilers), so I guess in some way perhaps those two elements bordered on cliché (or perhaps I’m just good at prediction). But other than that, this book was like a breath of fresh air (and that’s not a pun about Hazel’s lungs).

If you like tragic romance, you’ll love this. To paraphrase a line from the book: reading The Fault in Our Stars is “a privilege to have my heart broken by you.”

Thor Ragnarok. A movie review.

By Odin’s shaggy beard, there shalt be no spoilers here!

I’m one of those moviegoers who felt the Marvel formula was getting a bit stale. Well, Thor Ragnarok hasn’t varied it too much, but has added enough humour and lasting change to a major character and setting that I’m still interested. 

Thor Ragnarok is a fun ride. Thor has always been a bit, well…boring. Compared to the rest of the Avengers, anyway. Director Taika Waititi has added his quirky comic flair (and propped up the NZ film industry, judging by the number of Kiwi actors in this) and allowed Chris Hemsworth to display some impressive comedic chops (expect to see him in lots of romantic comedies over the next few years). 

The supporting cast are great, even if they are given little to do (although Mark Ruffalo as Hulk gets more space here than ever before. And it’s about time). Cate Blanchett as Hela, Goddess of Death, is a bit of a missed opportunity to add real gravitas to the Asgard story (the film’s humour tends to overshadow any of the implied tragedy), but I think she’ll be back to link up with Thanos in a future movie (he’s all about hooking up with Mistress Death, after all, and I’m sure it won’t take Marvel much to tweak that and change it to Ms Blanchett. You read it here first).

The special effects of Thor Ragnarok are impressive as always and the designs and bright colours really capture the Kirby-esque feel of the 60’s and 70’s Thor comics. As a lover of all things Led Zeppelin, I enjoyed the inclusion of their Immigrant Song. Jon Bonham’s drumming rocks!

Whilst I liked the lighter (and oddly, heavier) themes of Thor Ragnarok, I’m hoping Marvel doesn’t go full on camp with future outings. I love my superheroes and occasionally I like them taken just a bit seriously. But in the meantime I’ll enjoy the bright bluster of this.

Rating: B

In The Winter Dark. A book review.

I read a lot of books, but don’t often get the chance to post a book review. Then along comes a book that stuns me into submission, like a two-by-four wielded by some grinning, dream-fisted maniac.

“If only we hadn’t had so many things to hide, so many opportunities for fear to get us.” Tim Winton’s In the Winter Dark is a short (132 pages) suspense novel. It’s about an aging couple and two strangers, who live in a country valley where their farm animals are being mutilated by an unknown agency. All four are brought together by circumstance for the first time; all four hold dark secrets that are played out slowly and succinctly, a tragedy in the making.

As with Winton’s other books, it is superbly written and paced (for more about Breath, click here). His prose is like liqueur: it’s smooth and warm and something to be experienced patiently and magnanimously. There is no rushing a Tim Winton book, even when the suspense is building and you can’t put it down. Unlike some novels, which can be overbearing to the point you skip sections parsimoniously to move the story along, Winton’s stories make you savour every moment. Every turn of phrase and piece of imagery is like dark chocolate, melting insipiently on the tongue and in the brain.

The theme of cats as a symbol of our darkest secrets and fears plays a big part in this book. I’m not going to spoil the story, especially one that demands so doggedly to be experienced.

Beg, borrow, steal (or better still, purchase) a copy of In The Winter Dark. If you love a thriller and love masterful writing, this is the book for you.

Cheers

Steve 😊

Mutant Year Zero – Gamma goings-on in the wasteland

MYZ book cover

I said ages ago (yes, literally eons, in a time when winter frost covered the land like icing sugar. Hmmm. That’s a stupid simile) that I would review some Tabletop Role Playing Games, as I am a complete nerd nut for these things.

Today, I’m going to talk about a lovely little Swedish RPG called Mutant Year Zero. It’s an update of an RPG that originated in the 80’s in Sweden, and was very popular. Mutant Year Zero is set in a post-apocalyptic future, where a colony of mutants on the ‘Ark’ is eking out a meagre existence amongst the ruins of the ‘Zone’, battling for the colony’s survival against various threats and attempting to solve the sterility of the ark survivors—no new ark children have been born in years.

I loooove post-apocalyptic anything! This isn’t Mad Max, it’s not Gamma World (the mechanics in Mutant Year Zero are MUCH better than d20), but it’s a crap load of fun.

Mutant Year Zero is a sandbox game, meaning that your players basically call the shots as to what they want to do and where they want to go. Two Zone maps, of future London and New York, are included, or the Games Master can create their own Zone for the players to explore.

Some cool things about Mutant Year Zero:

Excellent Dice Pool mechanic. Uses six-sided dice (D6) of three colours: Base dice are yellow, used for attribute checks; Skill Dice are green, used for skill checks; Gear dice are black, and are used to supplement checks when a character is using special gear or weapons. A six on any of the dice means a success, a 1 on either the Base or Gear dice can mean raging mutant powers or gear breaking, respectively. The number of base dice you roll are determined by your attributes, the number of skill dice you roll by your skill level. The number of gear dice depends on what gear you are using, and these are added to the dice pool.

Character attributes equal the number of Base dice rolled. Simple as that. Four attributes: Strength, Agility, Wits, Empathy. Assign 14 points amongst these, with your key ability (depending on your class) having a maximum of 5. The attribute number is how many dice you roll in a check, and each attribute is associated with particular skills, so the base dice are supplemented by skill dice.

Skill levels equal the number of Skill dice rolled. 10 points to distribute amongst skills, with a maximum of 3. You also get Talents, special abilities determined by your role (class, for all you old grognards). Some of these are Fast Draw, Loner, Zone Cook (more important than you think!), Sleepless, etc.

MYZ stalkerCool Roles/Classes. Eight roles, like Enforcer (the heavy), Gearheads, Stalkers (scouts), Fixers, Dog Handlers(!), etc. They are all well balanced, and have their part to play in the game.

Everyone is a mutant. Yep, everyone gets to have a crazy mutation (or two, in some cases). They are all powerful, interesting and relevant (i.e. none are there for show). There aren’t many, but the idea is the gaming group isn’t going to be huge so there won’t be any overlap in powers. You spend Mutant Points (MP) to activate powers during the game. You can win more MPs by pushing your rolls, where there is a greater chance something could go wrong. The powers include Acid Spit, Human Magnet, Puppeteer (mind control), Rot Eater, Telepathy, etc.

Everyone works together and the ark is a major ‘character’ in the game. You are working with your fellow mutants to save the ark. You interact with NPCs, get involved in disputes, deal with petty jealousies, food shortages, external attacks. The ark has four development levels: food supply, culture, technology and warfare, and you can undertake projects to improve any of these, using your skills, your characters and time. This is another fun aspect of the game, much like building a community in computer games like Fallout 4.

Combat is easy. Anyone familiar with a tabletop role playing game will find the combat generally easier than most other games. There’s the usual rolling for initiative, take one action (roll a skill check, activate a mutation, help another character, defend, etc.) and one manoeuvre (advance, retreat, flee, etc.), or two manoeuvres. You roll a number of D6s equal to your Strength plus your Fight skill to hit in melee combat; if you use a weapon, you do the weapon’s damage (e.g. Brass Knuckles do 1 damage) plus additional effects if you score more than one 6 on your roll. The target can defend to reduce damage and effects. Ranged combat works similarly. Damage effects attributes, and if one is reduced to zero your character is broken, with the impact relating to the attribute e.g. if Agility is zero, you are physically exhausted. You can also get critical injuries, which can kill, maim and traumatise your character.

Recovery is relevant. Resting four hours and eating a ration of grub helps recover Strength; water for Agility, sleep for Wits, company for Empathy. It makes the resources you recover in the wasteland more important to your characters, as well as the ark.

There are lots of opportunities to role play. Essentially, the players drive the plot by exploring and interacting with NPCs on the ark. Each sector on the map is one square mile, and it will take time for the PCs to search. The GM rolls random encounters for the sector, or uses some handy pre-designed Zone settings/scenarios (which are very open ended to cater for the players basically doing anything they want). You will find that those players who thrive on the role playing aspects of RPGs will love this game. It also encourages team work—working alone or against the group will quickly get your character killed.

Lots of adventures. Over half the book is devoted to campaign materials, so you won’t run out of things to fuel your sessions for a long time! Some of the sectors include a crazy cult in a missile bunker, a trading post in a grounded ship, and a full campaign arc, The Path to Eden.

There are a number of extras available: Genlab Alpha (a complete game in which you play intelligent, bipedal animals), Zone Compendiums (with additional scenarios/settings), maps and signature dice.

Mutant Year Zero has won several design awards, and so it should. It’s a player-driven, open-ended experience, that is fun and easy to play, with great mechanics and minimalist rules. It’s one of the best post-apocalyptic RPGs available at the moment, and well worth your time and investment.

Cheers

Steve 🙂

Mutant Year Zero  is available at the Modiphius Games website–https://www.modiphius.net/

MYZ ruins

 

Blade Runner 2049. A movie review.

Spoilers? Don’t think so.

Okay, so you saw the trailers and it looked interesting. Maybe you were interested enough to stream the original 1982 Blade Runner (actually one of the four director’s cuts, because the original with the horrible Harrison Ford voiceover is long gone). Maybe you read the fauning reviews or glanced at the positive score on Rotten Tomatoes. Director Denis Villeneuve (who previously directed the brilliant Arrival) has made a methodical, smart, and visually spectacular film. Blade Runner 2049 is a superior sequel that stands on its own as a great movie.

A lot has happened in the 30 Years since the last film, and the old school tech has evolved along with the replicants, which are now used everywhere as slave labour (previously they were only used offworld). Ryan Gosling is K, a replicant blade runner who discovers a secret while hunting an old Nexus 8 (same as the ones in the first movie), a secret that could change the balance of power in the world and leads K to question his own reality. The first act is a noir-style detective story, as K slowly puts the pieces together. And that’s about as much as I can say without spoiling the movie. And this is one film you don’t want spoiled.

Blade Runner 2049 is dark and it’s looong. It’s a thinking person’s flick with some cool action sequences, but it’s a slow burn the rest of the way.

You know from the trailers that Harrison Ford is back as Rick Deckard, giving his best performance in years. Gosling is fantastic as K, and Jared Leto is a standout as Wallace, a blind and weirdly charismatic multi-billionaire who recreated replicant technology after the original Tyrell Corporation went bust. Robin Wright is K’s hard-nosed police captain, Sylvia Hoeks is Wallace’s violent right hand. Everyone in this film is good.

The script is layered, includes lots of throwbacks to the original movie, and no knowledge of the first Blade Runner is required to understand the story. Set design and an emphasis on practical effects really help to capture the feel of the original film. The music by Hans Zimmer and Benjamin Wallfisch is coolly reminiscent of Vangelis’ original soundtrack.

Who would have thought that a sequel to an 80’s movie could be so good (even if it does drag a little in parts). If you like an intelligent sci-fi movie that poses interesting philosophical questions about the nature of humanity, rock solid performances and a great story, then Blade Runner 2049 will be right up your blood and rain-soaked alley.

Rating: B+

Breath. A book review.

Tim Winton’s Breath is the kind of book that challenges your thinking about what it means to be a writer.

Winton’s prose flows like poetry, with immaculate meter and dialectal mastery. Breath makes me ashamed to say I’m a writer, because Winton is so good: I am not worthy. I have never been so profoundly affected by a book as I have by this one.

Bruce Pike is a paramedic who witnesses the aftermath of a boy who has suffocated. It brings back memories of his past, and he ruminates on his solitary life, his parents, his love of surfing and the sea, his friendships, his jealousies, his role models, his sexual coming of age, his breakdowns and how he finds himself again. Breath is a journey into a man’s scarred psyche: it’s about facing fear, the addictive adrenalin rush of near death experience, and the profound cost left in its wake when it fails. Breath is poignant, disturbing, and uplifting, all at the same time.

Breath is not for everyone. But I dare you to read it and not come away marveling at the writing. I will read Breath again; multiple times, no doubt.

And I’ll repeatedly wish I had one iota of Tim Winton’s talent.

Cheers

Steve 🙂

PS I’m not giving up writing. This book sets a worthy benchmark to aim for. “Damn you, Tim Winton and your glorious writing!” Steve cried.

American Assassin. A Movie Review.

Minimal spoilers. But it won’t matter much, because you know what’s gonna happen before it happens anyway.

I was dragged along to see American Assassin. My best mate paid for the ticket, and it got me out of the house, so I couldn’t complain.

Mitch Rapp (Dylan O’Brien) watches his girlfriend and lots of people killed at a Spanish resort by Islamic terrorists. He dedicates the next 18 months of his life training (18 months? That’s not much. Bruce Wayne spent 12 years becoming Batman) to infiltrate and take out the terrorist cell. He’s picked up by the CIA, sent to covert ops specialist Stan Hurley (Michael Keaton) to be part of his assassination team. Rapp has issues with authority, is a loose cannon, blah, blah. Soon they have to stop one of Stan’s best students (oooh, didn’t see that coming. Yeah, you did) from using a nuke to take out a bunch of Americans.

American Assassin suffers from the weight of numerous clichés, from characters to story to stunts to dialogue. It’s not the worst action movie I’ve ever seen, but it’s not memorable and not a movie I would recommend—you’ve seen all of this before with better scripts and direction.

Michael Keaton, as always, is great, but his role lacks depth and so he does what he can with the material he’s given. Dylan O’Brien looks alternately depressed and angry, but doesn’t muster much in the way of leading man charisma. The bad guy (Taylor Kitsch) is just an average bad guy.

My advice is save yourself the price of a ticket and see something better. This is one to stream on Netflix or rent on DVD (can you still do that?).

Rating: D

It. A movie review.

Nein spoilers!

A mini-series of Stephen King’s horror novel, It, was made in the late ’80’s. At the time it was considered pretty scary, but by today’s standards it’s very tame. My favourite horror movie is The Grudge and I tend to compare it to every other horror movie I see, in terms of scare-value. It is not in The Grudge‘s league, but it’s a solid viewing experience.

The new version of It focusses on the first half of King’s book: titular fear clown Pennywise terrorises and murders children in the Maine town of Derry in the late ’80s, is confronted by a motley collection of nerdy kids who dub themselves ‘the Losers’, and general creepiness and gore ensues. There’s also encounters with bullies and overbearing and abusive parents. 

The direction and production values are excellent, but some of the scenes are telegraphed and less scary as a result. A cliched score doesn’t help. Despite this, It remains compelling viewing.

One of the things I took away from this movie was the stark portrait of emotional and physical abuse perpetrated by the parents of several of the child characters. In some cases this was more shocking than Pennywise the clown’s antics. More than anything else, It is an empowering coming of age tale, as the Losers overcome not only the clown, but the monsters in their own homes. 

It is a good Stephen King movie adaption, and it’s not often you can say that. The already in production sequel, It Chapter 2, will cover the ‘kids grown to adulthood’ side of the novel. Based on It‘s box office performance alone, I predict a spate of King books-to-movies appearing in the next few years, riding the horror rebirth gravy train.

It is not as scary as one would have hoped, but it is a good movie, one that most horror fans will enjoy.

Rating: B

Valerian and the City of a Thousand Planets. A Movie Review.

Spoilers? No, none needed for this. And even if there were, they wouldn’t spoil this mess.

Luc, Luc, Luc. Here you had the perfect opportunity to wow audiences with some unique and memorable SF, and what did you do? You blew it. Here I was, waiting for the next The Fifth Element, and you gave me this fiasco instead.

Luc Besson’s Valerian and the City of a Thousand Planets (try saying that five times fast) is NOT his brightest movie moment, and will probably go down along with a number of his other forgettable movies as yet another misstep. It has gorgeous special effects, but aside from two sequences early in the film (a marketplace in another dimension and the hero running through a number of walls on the space station), you’ve seen it all before. And I’m sick and tired of cutesy space-monsters. Not to mention three aliens that look like winged platypuses that just aren’t funny, despite the fact they’re there for comic relief.

The story is a yawn and devoid of much humour at all (which this flick desperately needed). In the 28th century, Alpha, a giant space station floating through space and home to a thousand races, is under threat. Valerian and Lorelei need to uncover the dark conspiracy behind it and save everyone. Yeah, that sums it up. In between: a few nice special effects scenes, the usual bad guy stuff, some lazy writing and a short nap, depending on your age and/or attention span.

Dane DeHaan (Valerian) phones in his performance (he’s not a bad actor, he was excellent in Lawless) in perhaps one of the most poorly miscast roles of the year. Cara Delavingne (Lorelei) brings little to her role, but does look great in body armour (why do you only see half their heads in the shot above? Because the rest of their faces show just how disappointed they are). Clive Owen and Ethan Hawke aren’t given much to do, although they are much better actors than the rest of the cast and beefing up their roles would have helped the story no end. Rhianna dances well. ‘Nuff said.

I am waiting, waiting, waiting for a movie that doesn’t let me down. Where are you, non-disappointing movie? Find me!

Rating: D

War for the Planet of the Apes. A movie review.

Let’s get this out of the way right now. War for the Planet of the Apes is one of the best movies this year. You should do yourself a favour and see it. Matt Reeves has directed an incredible movie (which bodes well for his proposed Batman trilogy).

Andy Serkis as the driven and emotive Caesar, leader of the apes, and Woody Harrelson as the fundamentalist Colonel, commander of the human soldiers, are ideally cast and give nuanced performances throughout. Most of the apes speak in sign language, with a few exceptions. Bad Ape is a great new character, providing some light relief to the seriousness. The CGI apes are amazing, with only a few quirky jitters in some of the action scenes. 

WftPotA has themes that should resonate with any audience: retribution, family, redemption. There is more focus on drama than action, allowing for greater lead character development. The overarching story is a Moses allegory–freeing the slaves and leading them to the promised land.

I’m not going to spoil any more of this for you. It’s probably my first ‘must see’ call this year. This is the best of the current crop of Planet of the Apes movies, and certainly the deepest.

Rating: A+

Manchester by the Sea. A movie review.

Thar be spoilers ahead…

Manchester by the Sea is a depressing movie. Even with the great dialogue and character performances, it leaves you wondering what just happened. In truth, not much did. Kenneth Lonergan’s script, from his play, won the 2017 Oscar for best original screenplay; he directed as well. But a story is supposed to show the protagonist (in this case Casey Affleck’s Lee Chandler) learning something and moving forward in some kind of constructive way. This is not the case in Manchester by the Sea.

Casey Affleck’s restrained performance won him the best actor Oscar and it was well deserved. He plays a loner with repressed anger and grief issues. He’s a man who has never recovered from the loss of his children in a house fire he was responsible for. When his brother dies he returns to his home town and finds out he’s been made the guardian of his 16-year-old nephew. What ensues is 131 minutes of Affleck not coming to terms with his grief. Everyone is excellent in this film, from Kyle Chandler, who plays Lee’s brother in flashback, to Michelle Williams as Lee’s wife, who has moved on and had a new baby with another man, to Lucas Hedges as Patrick, the nephew, caught up in his own pain and self-absorbed lifestyle.

But by the end of the movie Lee admits that he can’t face living in Manchester anymore. The hurt is too great. There is no endearing moment or uplifting ending: Lee gives up and moves to Boston to work in another janitor job. This leaves the audience (well, me at least), feeling a bit miffed that Lee doesn’t have a proper character arc. Yes, I know real life doesn’t work out. But we go to see movies to be entertained. If I wanted to see a character not going anywhere I’d take a look at my own sad life. I want to see the protagonist make some sort of worthwhile change, no matter how minor. This movie doesn’t do that.

Manchester by the Sea has wonderful writing and performances. It does tend to drag a bit in places (as you would expect from a low key drama), and there is no real resolution to Lee’s issues. So if you’re looking for escapism, steer clear of this movie. But if you like to get a bit teary and enjoy great acting, Manchester by the Sea is for you.

Rating: C+       

Dunkirk. A movie review.

So, if you haven’t seen the movie Dunkirk by now, all I can say is: “why not?”

Dunkirk is a movie about the evacuation of 330 000 British and French troops from the Dunkirk beach after being surrounded by the German offensive in 1940.

No doubt you’ve read piles of reviews praising this movie and how well it presents the claustrophobia and confusion of the beach, the heroism of the pilots and troops, the grit of the average joes who answer the call to provide their own boats to rescue many of the survivors. Chris Nolan is one of my all-time favourite directors, and there’s very little that he can do wrong. What he’s done here is create a tense and subdued war film, very different from any war movie that’s come before. The photography, sound and music is amazing, as you would expect. The performances from the actors are spot on, even if they are generally limited to running and looking anxious.

So what’s missing? This is not a conventional movie. There are multiple characters who are there to show what’s happening on the beach, in the air and at sea, but there is no character development, something you usually expect from a movie. It’s a bit like a personal documentary of an event with no voiceover describing those events. But the good thing is it doesn’t need it. This movie puts you in the shoes of every man on the beach and boats, from facing screaming Stuka bombs to u-boat torpedoes sinking  ships. You feel the fear of the soldiers hiding on the grounded boat waiting for the tide to come in as German soldiers play target practice with the hull. You feel the anxiety of the fighter pilot as his plane goes down and he can’t get out of the cockpit. You feel the patience, the courage, the fear, the apprehension.

Dunkirk doesn’t include anything other than a brief mention of the courageous rear guard action by around 80 000 British and French soldiers. Maybe this could be covered in a later film, as it is a disservice to those men who fought and died valiantly so that the troops could be evacuated.

Dunkirk is a good movie, and deserves to be seen in the theatre, with big sound and screen. Some people will be dissatisfied by it. Others will love it. I’ll leave it up to you to decide which one you are.

Rating: B+      

Spider-man: Homecoming. A movie review.

Spoilers? What spoilers? No, none here

Okay, okay, I was a bit late coming to the party on this one, but I finally got to see it today.

Great movie! Excellent performances: Tom Holland, perfect as 15 year old nerdy high schooler Peter Parker; Michael Keaton, who’s very menacing as the Vulture (and possibly the second most well-developed Marvel super-villain, after Loki); great cameo(s) by Robert Downey Junior as Tony Stark, Peter’s mentor (and he doesn’t steal the movie – yay!). Some nice Avengers’ developments with Gwyneth Paltrow at the end, as well. The young cast surrounding Holland are fantastic and they have some very funny lines. Lots of laughs all around.

The story is fairly straightforward, as are some of the set pieces, and the CGI animation of Spidey is a bit jerky at times (I seem to remember the first Spider-man movie in the 90s having more fluid animation, so I was a bit surprised this time around), but it’s the characters and the actors portraying them that really sets this movie apart. Tom Holland is likable and brings a fresh naivety to the role. His best friend (whose name escapes me) is a hoot. It’s amazing how many times Spidey lets people find out his identity. And thankfully the origin story is covered in a few brief lines of dialogue (yay!). I’m not sure how I feel about Spidey having a Tony Stark-designed super-suit, but it led to some funny situations.

I really liked Spider-man: Homecoming, possibly my favourite Marvel Studios movie ever. Go see it. Enjoy.

Rating: A

Baby Driver. A movie review.

Ain’t no spoilers here

Edgar Wright has made some spectacular movies: Shaun of the Dead, Hot Fuzz, World’s End, and one of my Top 10 faves, Scott Pilgrim vs the World. Having read several positive reviews, I went to Baby Driver with high expectations that this would become one of my all-time favourites. I was surprised, then, when what I saw was not what I expected.

What I saw was a slick, well-directed, edited and acted, but straightforward crime drama with fantastic live driving scenes (no CGI – take that Fast and the Furious). A movie aimed at a young audience, with the two leads Ansel Elgort (Baby) and Lily James (Debora) displaying some great chemistry on screen. Some great acting by Kevin Spacey as the kingpin mastermind, Jamie Foxx as the crazy and violent Bats, and Jon Hamm as Buddy, the smooth cokehead bank robber. Enough character development to keep things interesting. So why did it leave me cold?

Baby is a driver – one of the best. He listens to music constantly due to tinnitus, caused when his parents died in a car accident when he was a child. He’s working off his debt to Spacey by being a getaway car driver for Spacey’s heists. He meets Debora, a waitress, falls in love, plans to get out of the game, but when he’s even with Spacey he still can’t escape. One last job…

Baby Driver is quite different from Wright’s previous movies. The critics have generally loved it, and audiences have responded well. So why didn’t it appeal to me as much? I guess I was expecting more of the quirky humour of Wright’s previous films. There were two jokes in the entire movie—most of the time the movie was incredibly serious. The driving scenes were amazing. But as soon as the bank robberies and driving were over, the movie started to drag. I don’t think pacing was actually an issue, it was probably more me waiting for some amazing Edgar Wright moment to happen. And unfortunately it never did.

After the first incredible drive/chase scene, there was a continuous shot of Baby walking down the street to get coffee while manoeuvring amongst traffic and pedestrians to the sounds of Harlem Shuffle in his headphones. It showed signs of some of Wright’s quirky genius shining through, but then faded into convention again. There are some great ideas at play in this movie, but by the end I hadn’t connected with any of the characters. Maybe I set my expectations too high.

Baby Driver is a well-executed heist movie with great acting, fantastic driving scenes, incredible music soundtrack and great editing, that doesn’t make you care for any of the characters. I didn’t leave the theatre saying “that was a great movie”. I left saying “that was pretty good”. I expected more from Edgar Wright. Maybe next time.

Rating: C+

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