Review: Green Lantern

“Where did it all go wrong?” are probably the words going through the minds of studio execs at Warner Bros. right about now. Not only are the opening weekend figures for Green Lantern way below expectations ($52 million; initial projections were double that), but the comic book flick has taken the kind of unrestrained mauling that journalists usually reserve for the dictator of a third world country, or Rob Schneider. Sad to say, but things are not looking good for poor Hal Jordan.

Which is a shame, really. Green Lantern may not be the critical darling nor the commercial hit Iron Man was three years ago, but it’s far from being the disasters Jonah Hex and The Spirit turned out to be more recently. In fact, it could be argued that most of the harsh criticism stems less from the film’s shortcomings, and more from the critics’ exasperation with the ever-growing number of superhero titles pervading multiplexes every summer. Basically, Green Lantern’s main blemish is that it is content with being just another origin story. It can be accused of being lazy, yes, maybe even a tad derivative when compared to its peers, but there is a lot to recommend too.

For starters, the idea of a hero who fights crime by summoning metaphysical constructs with a power ring is a rather neat one, which makes way for innovative action sequences you wouldn't see in Thor or X-men. Gatling gun, giant fist, rescue via toy racetrack… you name it, Hal conjures it. And then there’s Ryan Reynolds, a man whose charm and comedic chops are able to elevate even the most substandard material. Cocky, boisterous and constantly at odds with his insecurities, his Hal Jordan is a far cry from the more straightforward character in the comics. Plus, he finds the time to sneak in an amusing vocal rendition of a certain caped crusader.

Reynolds is also supported by a worthy cast that includes Mark Strong (as authoritative fellow lantern Sinestro) and Peter Sarsgaard (as piteous villain Hector Hammond), but none of them get the amount of attention they deserve and herein lays Green Lantern’s most serious problem. The fact that it is immerged in such a vast mythology makes it hard to know which characters to juggle, something director Martin Campbell has clearly had to struggle with. As a result, fan favorite Kilowog only shows up for a brief training session, while fish lookalike Tomar Re is almost exclusively confined to voiceover duties. Worst of all, the mentor/student relationship between Hal and Sinestro from the comics is almost entirely absent in the film, which means the latter’s turn to the dark side in a hypothetical sequel will be void of some much needed pathos.

As of now, it is questionable whether that sequel will happen at all. But despite the negative backlash Green Lantern would benefit from a follow-up which boasts a sharper script whilst also expanding on the extended universe that was barely hinted at in this installment. This is one superhero that deserves to shine through blackest night.

3/5

Review: Definitely, Maybe

This one’s going out to the lads: there is nothing wrong with liking a good chick flick. It may be derivative and might drip serious amounts of cheese in places, but as long as it is crafted with care and genuine emotion, it can be as rewarding an experience as your average shlockbuster. In that spirit, Definitely, Maybe boasts all of the strengths of a quality rom-com (meet-cutes, well-timed laughs, Ryan Reynolds) and, like the best of real-life romances, catches you completely off-guard. It’s just a shame that its premise is a little too similar to How I Met Your Mother.  

3/5 

Review: X-Men: First Class

The moment 20^th Century Fox announced the X-Men franchise was getting the prequel treatment it was almost possible to hear the millions of fanboys around the world slapping their foreheads in bewilderment. Who could blame them? If there’s one thing recent history has taught us is that 90% of these films lack the originality or wow factor of their predecessors, while marketing them tentatively as “reboots” doesn’t improve their chances at widespread acclaim either. And the remaining 10%? They just happen to be a couple of films directed by Christopher Nolan and Martin Campbell.

But with X-Men: First Class Matthew Vaughn, the Brit director responsible for bringing the taboo-breaking Kick-Ass to the big screen, has unexpectedly delivered a movie that not only rivals Bryan Singer’s previous entries, but is also a “preboot” worthy enough to be mentioned in the same breath as Batman Begins and Casino Royale. It also means that for the first time in eight years we are treated to a seriously good X-Men movie.

Part of First Class’ brilliance lays in the fact that it does not always feel like a traditional superhero flick. For instance, the opening half hour resembles a fast-paced globetrotting spy thriller (at this point in the plot Michael Fassbender’s ruthless Magneto is less master of magnetism and more Sean Connery-era Bond). The early ‘60s setting also allows for some intriguing socio-historical commentary, as the CIA’s fear of emerging mutants mirrors the American nation’s paranoia of communism. By setting a different tone to the franchise whilst also grounding it in historical reality, Vaughn is already offering something vastly superior to the mishandled and largely derided X-Men Origins: Wolverine.

While all of the core X-Men deservedly get their moment in the spotlight, the main focus is on the absorbing relationship between Magneto and Professor X. Not in a million years was it possible to imagine a pair of actors slip so comfortably into these roles like Ian McKellen and Patrick Stewart did, but hey, isn’t it nice to be pleasantly surprised every once in a while? James McAvoy pulls off the requisite eloquence and compassion to play the young Charles Xavier (while adding a pinch of charm and cheek for good measure), but it is Fassbender who steals the show. As the morally ambiguous Magneto, he is both reluctant hero and villain waiting in the wings, a violent crusader barely restrained by the advice of his best friend. It is a remarkable performance that even Sir Ian would no doubt applaud.

The only glaring flaw that pervades First Class is that, due to the amount of backstory that needs to be covered, it feels rushed and unfocused in places. The obvious downside to this is that a number of intriguing characters are left criminally undeveloped (Emma Frost reeks yet again of missed opportunity). Nevertheless, it would be trivial to let this one shortcoming diminish Matthew Vaughn’s overall accomplishment: he has successfully reignited interest in what was becoming an ailing franchise. Looking forward to next class, Prof.

4/5