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

       

Review: The Hangover Part II

There’s an old saying that goes “if it ain’t broke, don’t fix it”. It is a philosophy that suggests one is better off remaining in his comfort zone, rather than trying something bold, risky but potentially more rewarding.

This is exactly what Todd Philips has done with the follow-up to his boozer comedy and from a strictly objective point of view Hangover Part II is not what a film critic would call a worthy sequel. Instead of expanding on the premise of its already legendary predecessor, it is unashamedly content with mimicking it. In fact, some sections of the film even look like a shot for shot remake of part one. The opening credits (this time showcasing a dingy Bangkok) are accompanied for a second time by a foreboding Danzig tune, Ed Helms’ Stu improvises one of his self-pitying songs at the halfway mark and the film closes yet again with a photo montage of the central trio’s inebriated shenanigans. Hell, Mike Tyson even manages to pop up for another superfluous cameo.

So originality is not Philips’ strong suit and from the looks of it, he’s not one for restraint either. Not satisfied with having a baby masturbate in the first movie, the director unleashes all sorts of scandalous, barf-inducing mayhem on the wolfpack this time round. Which is a shame in a way, because it suggests Philips’ may be under the illusion that The Hangover’s success was dictated mainly by the numerous taboos it broke, and not by the terrific chemistry between its three leads. Any film student knows that usually a well-timed comedic response is enough to prompt some genuine laughter, rather than opting for a scatological gag.

Yet despite all these flaws The Hangover Part II manages to rise above college humour indignity. Why? Well, the afore-mentioned chemistry, for starters. Bradley Cooper, Ed Helms and the ever alacritous Zach Galifianakis are still a riotous joy to watch, whether they are piecing together clues to little effect or awkwardly stumbling upon the scenes of their drunken crimes. Most importantly, the film is funny. Not the Golden Globe-winning triumph the first one was by any means, but still a good laugh-fest. Going into too much detail would lessen the experience but it’s safe to say that monks, strippers, Paul Giamatti and a chain-smoking monkey are involved (now there’s an unusual sentence).

Nevertheless, it would be best if Philips decides to retire these much-adored characters before audiences grow tired of them. After all, there are only so many hangovers we can endure.

3/5

Review: Swingers

If you grabbed a hypothetical movie encyclopedia and looked up Swingers, the definition would probably read “alpha male film made specifically for alpha male viewers”.  Essentially a movie about a bunch of guys who drink and flirt their way through LA and Vegas in the name of a good night out, Doug Liman’s indie gem successfully captures the highs and lows of male camaraderie. Not only is it responsible for coining a few catchphrases which have since entered popular lexicon (“Vegas, baby!”), it also proved to be the launching pad for Vince Vaughn’s motor-mouth antics. So cool, so Money.

4/5

Review: Pirates of the Caribbean: On Stranger Tides

Considering the Pirates of the Caribbean films were inspired by a Disneyland theme park attraction, it is only appropriate to start this review by drawing comparisons to real life rollercoasters. So if Curse of the Black Pearl were Thorpe Park’s Nemesis Inferno (a thrilling experience, with sharp turns and loops that make you scream in excitement) then On Stranger Tides is like a travelling funfair’s log flume: pleasing enough, but you might feel shortchanged as soon as you get off. And you could’ve sworn it looked better from afar…

On Stranger Tides was never going to reinvent the wheel, but it did seem to hint at a substantial change in direction for the series. The hiring of Chicago’s Rob Marshall suggested a fresh, slightly more theatrical approach would be adopted for the fourth film, while a cast reshuffle implied the shine would this time be firmly on the loveably eccentric Jack Sparrow. Furthermore, a shorter running time also meant that those left infuriated by At World’s End three-hour stretch would no longer have to worry about sore bums. Sadly, the finished product does not live up to its premises.

To be fair, the film does start off promisingly. We meet Jack Sparrow (Johnny Depp) in an atypical but highly amusing opening act which takes place on the streets of London, before being swiftly catapulted with old flame Angelica (a fiery Penelope Cruz) into a quest to find the Fountain of Youth. When we are first introduced to Blackbeard (Ian McShane), he conveys the requisite amount of menace and magics to be believed as “the pirate that all pirates fear”. And a scene in which the crew is confronted with what initially appears to be a clan of angelic mermaids quickly takes a surprisingly unsettling turn.

It is somewhere around the halfway mark that On Stranger Tides start to show the signs of fatigue that plagued At World’s End. The pace and momentum begin to drag due to far too much exposition. Everybody double-crosses everyone to the point of not knowing who is on whose side. The sense of dread initially conveyed by Blackbeard is suddenly absent. Even Jack Sparrow's quips and quirks, which have always been the series’ saving grace, seem to wear thin. And while we’re at it, what was the point in getting rid of Will Turner when he is replaced by another wet blanket in the form of a nervy missionary named Philip (Sam Claflin)? His platonic romance with mermaid Serena (Astrid Bergès-Frisbey, endearing) is surplus to requirements and obviously employed to placate the teens bemoaning the loss of Keira and Orlando.

So while there is no doubt On Stranger Tides will be a big hit with worldwide audiences, it is probably time to see this declining franchise set sail into the horizon for good. “Did everyone see that? Because I will not be doing it again!” cries Jack at some point. Is that a promise, Mr. Depp?  

2/5

             

Review: Water for Elephants

You’ve got to feel sorry for Robert Pattinson. Sure, the guy has half the world’s female population swooning over his handsome features and windswept hair, but you can almost sense his fear of being perennially associated to the lackluster Twilight films, a saga which requires him to do little other than brood in the shadows and sparkle in the sunlight. Roles in indie productions like Remember Me and the yet to be released Bel Ami are proof of the young Brit’s desire to flex his acting muscles, so how does he fare in Water For Elephants?

Well, he’s not exactly the new James Dean (nor the new Leo, for that matter), but there is some interesting work on display here. As Jacob Jankowski, the vet student who tries to escape the tribulations of the Great Depression by joining a travelling circus, Pattinson turns in a subtle performance which speaks volumes of his ability to play emotionally restrained characters. The scene in which he must make the painful decision of putting down a fatally injured horse is a career highpoint.

What takes the shine off R-Pattz’s performance isn’t so much the saccharine schmaltz or the formulaic plot structure, but the presence of two Oscar winners. Reese Witherspoon’s Marlena may not be the angelic figure director Francis Lawrence would have us believe, but the experienced actress manages to infuse her with enough grace and warmth to convincingly win Jake over. Christoph Waltz on the other hand is a commanding presence as despotic circus owner Augustus, even though his twitchy, psychopathic outbursts mean he too often resembles Hans Landa with a bullhook (there is also the nagging sensation that Waltz’s contract states he must strangle a blonde in every film he's in). By casting two acting heavyweights in the supporting roles Pattinson, like his character, is forced to step aside while his co-stars hog the spotlight and gain all the plaudits.

Special mention should also go out to Francis Lawrence's direction, which makes use of tracking shots to give the circus train’s crowded coaches a life of their own, while the warm palette succeeds in giving a surprisingly heartening portrayal of 30’s America, where a trip to see the Benzini Bros.’ “greatest show on Earth” is the stuff of dreams.

But the real star attraction of the film is Tai, the pachyderm playing Rosie. Whether she’s doing headstands, chugging lemonade or saving the day with her nifty trunk, she is always a truly awww-inspiring performer and will no doubt dominate all discussions of the film once the credits roll. Hopefully for Pattinson, he won’t be upstaged by an elephant in his next movie.

 

3/5