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Posts Tagged ‘superhero’

With BlacKkKlansman out of the way, my red-eye odyssey of catch-up cinema continued, somewhere over the Atlantic, with Peter Rida Michail and Aaron Horvath’s Teen Titans Go! To The Movies – something I had actually considered going to see on the big screen when it was originally released, but ultimately decided against based on the somewhat mixed reviews it received – but with the in-flight meal a receding memory and nothing else to do for several hours, this looked like an undemanding way of passing the time.

I’m guessing you either know who and what the Teen Titans are or you don’t (there is admittedly not a lot of room for ambiguity on this sort of point). We are back in the realm of superheroes here, specifically of the DC variety: the Titans (usually Teen but also occasionally New) are the youth wing of the company’s roster, originally composed of the young sidekicks of their most popular adult characters – thus, the early line-up included Robin, Wonder Girl, Aqualad, Kid Flash, Green Arrow’s ward Speedy, and so on. Later incarnations of the book saw more original characters and a definite attempt to replicate the feel (and popularity) of the X-Men. This movie is apparently a spin-off from the most recent of several cartoons based on the comic; the animation is relatively simplistic and the tone is irreverent and knowing.

The team roster for the movie consists of Robin the Boy Wonder (Scott Menville), along with a bunch of other characters not well-known outside the world of comics: Raven, Cyborg, Starfire and Beast Boy (I suppose Cyborg’s profile has risen a bit since he appeared in Justice League). The movie opens with their home city under attack from the nefarious Balloon Man, and as they try to stop him they are horrified to learn the villain has absolutely no idea who they are.

The team (perhaps correctly) assume that nowadays you haven’t made it as a superhero until you’ve been the subject of a big Hollywood movie, and are alarmed to discover that no-one is intending to feature them in this way – there are, however, advanced plans for any number of scraping-the-barrel Batman spin-offs.

The team decide to fix this, even if it means acquiring a proper arch-nemesis. The best candidate is the villain Slade (voiced by Will Arnett; we will return to the odd question of this character’s nomenclature in a short while), even if he doesn’t seem especially keen on the gig. When an important Hollywood producer informs the Titans that she would only make a film about them if they were the only superheroes in the world, this gives them a possibly-regrettable idea involving time machines and a large amount of retroactive continuity…

Well, as I hope you can see, the makers of this movie deserve at least some credit for persuading DC Comics to let them include some fairly barbed material making fun of not only various well-known characters but also the company’s somewhat chequered recent record when it comes to putting its characters on the big screen (this is the third film I’ve seen in the last year taking a hefty swing at the 2011 Green Lantern movie; perhaps it is time to declare a moratorium on cracks at a movie which really wasn’t quite as bad as all that). Are there an awful lot of superhero films being released these days? There certainly are. Are some of these films the result of creative choices perhaps best described as inexplicable? Once again, it is difficult to disagree. Is this therefore fertile ground for a movie affectionately satirising the current situation? Well, absolutely.

The problem is that Teen Titans Go is not that movie – or at least, not entirely. It does benefit considerably from being attached to the DC Comics brand, and makes full use of the company’s extensive back-catalogue of well-known characters. There’s relatively little Batman, presumably because he’s already so heavily used in the somewhat similar Lego movie franchise, but many of the other big names are prominently on display here. (I must confess I did think the succession of fairly cruel jokes about the Challengers of the Unknown was overdoing it a touch, while there’s also an odd moment where it appears to depict the original Captain Marvel having heat vision, which of course was never the case.)

I must confess to being slightly bemused at first by the decision to name the main villain of the movie Slade, but then this is a character who has struggled with naming issues throughout his career: he started off nearly forty years ago with the code-name Terminator, and was then kind of obliged to switch to using Deathstroke following the release of the Schwarzenegger movie. You can’t call a character in a kids’ cartoon Deathstroke, apparently, hence the choice of Slade. There are some fairly good-natured jokes about his (considerable) resemblance to Deadpool, but the film doesn’t really elaborate on the very reasonable point that Deadpool is the knock-off and Deathstroke the original (Slade preceded Wade), presumably to keep Marvel sweet. (Marvel seem to have been fairly indulgent towards this movie, also letting them include a Stan Lee cameo and so on.)

Much of Teen Titans Go is, then, very clever and a lot of fun, in addition to being steeped in the lore of one of the great comic-book universes. The problem is that the bits that are not, are really not very good at all. Some of this will probably be a question of personal taste – I have a bit of an issue with the characterisation of the main characters, as it is so totally unlike the ‘straight’ version, but I am aware that other people won’t have a problem with this. I was also really not impressed by how puerile and bodily-function-obsessed many of the jokes in this film were. However, I suspect that most people would agree that this film isn’t of the same quality as others which it is clearly aiming to duplicate – the songs aren’t as good as the ones in the Lego movies, and it’s not as consistently inventive in its jokes as either of the Deadpools. You can spot moments and whole sequences where the film-makers ran out of inspiration and just decided to go with the first idea that occurred to them, no matter how weird or disconnected it was.

Being brilliant for five minutes at a time is not easy and we should not underestimate how good and timely some parts of Teen Titans Go are. However, the film really does throw into sharp focus just what an achievement it is when a film is consistently brilliant for an hour and a half or two hours. This movie passed the time enjoyably enough, and I was never in danger of falling asleep, but it’s a quirky little satellite to more substantial movies, rather than being really significant itself.

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One of the exciting prospects of the recent trip was the chance to take the blog’s very infrequent feature New Cinema Review intercontinental – my previous trip to the States was quite rigorously scheduled with not much opportunity to check out the picturehouses of Arizona or Utah. This time around it was much more a case of ‘do what you feel like’, and I certainly felt like seeing if all the stories I had heard about the American cinemagoing experience were true.

I suppose the modern multiplex is essentially an American invention, inasmuch as the commercial cinema industry is essentially the same thing, so it wasn’t much of a surprise when the multiplex we turned up to (it was the Regal just off 8th Avenue, should anyone be interested) looked quite like one in the UK. However, we were much impressed by the American way of running the adverts continuously in advance of the film, which was the first thing we noticed – this allows you to get to the good stuff (i.e. the trailers) that much sooner.

On attempting to sit down, I was a little surprised to find we were in extremely plush leather seats with little desks in front of them. As, despite buying our tickets four days in advance, we had got practically the last two seats in the cinema, I had expected to be in cheap and nasty seating, but this was the kind of furniture I had only previously seen in VIP-class premium UK cinemas. These were very nice seats indeed, and I had settled into mine and was thoroughly enjoying it when a helpful Manhattanite a couple of spaces down indicated a button set into the seat arm, which I duly pressed.

There was much humming and whirring and the seat unfolded in a rather surprising manner. I found myself enveloped by the thing and arranged in a posture that suggested I was either about to experience orbital insertion or be the subject of significant dental surgery. Needless to say it was still very comfortable. If all the seats were like this, no wonder everybody there was unexpectedly laid back: I had expected people to be yelling at the screen and generally causing a commotion, but other than a few scattered rounds of applause everyone was fairly genteel.

I was particularly surprised by this, as we were there for the opening night of Anna Boden and Ryan Fleck’s Captain Marvel, the 21st entry in the world-dominating meta-franchise from (of course) Marvel Studios. Regardless of how the movie turned out, given films in this series make billions of dollars almost on a routine basis, I was expecting a bit more feverish excitement, especially as we were in Marvel’s home town. Hey ho.

The film opens in a slightly disconcerting manner, as we meet feisty alien warrior Vers (Brie Larson), who’s a sort of special forces soldier for the Kree Empire (the Kree being a bunch of aliens previously featured in the 2014 film Guardians of the Galaxy). The Kree are at war with another group of aliens, these ones being shape-shifters called Skrulls, and very soon Vers and her mentor Yon-Rogg (Jude Law) are sent off on a mission. But things do not go to plan and soon Vers finds herself falling out of orbit into the atmosphere of an obscure backwater planet known to the natives as Earth…

It seems that the Skrulls have infiltrated Earth and are looking for something that could help them win the war. With reinforcements a long way off, Vers finds herself obliged to forge an alliance with government agent Nick Fury (Samuel L Jackson), who turns up to investigate reports of a woman falling through the roof of a branch of Blockbuster (it’s 1995). But Vers is also troubled by fragments of memory suggesting she herself has a history on Earth, and a connection to the place…

So, you may be wondering, what has all this got to do with Captain Marvel, whoever they are? A fair question. I should say that this is another one of those movies like Wonder Woman, which shies away from actually calling the lead character by their superhero code-name. The other potentially problematic point is that there have been a large number of comic-book characters with ‘Marvel’ in their name (there have been quite a few just called Captain Marvel), with some labyrinthine character biographies and peculiar creative choices developing as a result. (I expect we shall return to this when the movie about the original Captain Marvel comes out in about a month.)

On the whole the new movie does a pretty decent version of distilling all the lore down into something relatively straightforward and accessible while still keeping the major points of connection with the stuff from the comics. That said, as I mentioned, the film is a little bit discombobulating in its opening movement, though this may indeed be a deliberate choice to play with audience expectations.

Once she-who-will-presumably-one-day-be-Captain Marvel arrives on Earth and teams up with Nick Fury, the film immediately relaxes and becomes a very enjoyable knockabout sci-fi adventure, notably light in tone. Marvel’s films have been hitting this pitch for a while now, but even so it is something of a surprise, partly because this film is setting up Avengers: Endgame (the last Avengers film had a genuine sense of gravity about it), partly because there has been a degree of fuss about this being the first female-fronted Marvel Studios film.

Perhaps quite sensibly, the film doesn’t seem inclined to make a big deal out of this, with Larson opting to give a winningly tongue-in-cheek performance – this is really what the material demands, with Jackson and especially Ben Mendelsohn doing the same kind of thing. If the film has a feminist agenda it seems largely confined to the soundtrack, which includes a preponderance of female-fronted ‘credible’ rock groups (no Spice Girls or Aqua, alas) from the mid-to-late 1990s. (This is really as far as the 90s setting goes when it comes to its influence on the movie, though there are a couple of decent jokes about the technology of the period.)

The downside to all this is that the film does perhaps come across as a bit lightweight and insubstantial – fun while you’re watching it, but not really in the top tier of the Marvel Studios canon. This is honestly a little surprising, considering it not only sets up Endgame but also serves as a prequel to the rest of the series and even ties together the more cosmic and the Earth-bound strands of the meta-franchise (characters from the Avengers films and the Guardians of the Galaxy strand both feature). That said, it does the usual thing of rewarding long-term followers of the series by including a few call-backs, clues, and mysteries to engage and tantalise them.

In the end, Captain Marvel is simply fun in the by-now traditional Marvel Studios manner – the production values are great, the action is well-mounted, the jokes connect, and the movie works hard to deliver on its big moments. (In addition to the traditional, and now quite poignant cameo, there is an entirely befitting tribute to Stan Lee, too.)  I would put it as mid-table in terms of this particular franchise, but that’s not a terrible place to be, and there is a lot of potential here to add to the present-day films. And the good thing (perhaps) is that even if this particular Marvel comics movie isn’t quite your thing, they’re already showing the trailers for the next three. If they are all made to the same standard as Captain Marvel, I don’t anticipate fans of the series having a great deal to complain about. 

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Is there a dodgier proposition in the whole of movie-dom than the double-duty sequel? I speak of when film-makers, usually to prop up flagging franchises, decide to continue the ongoing story from two or more previous films in a single new movie, often with ‘Meets’ or ‘Vs’ in the title. As far as I can work out, this sort of thing got started with Frankenstein Meets the Wolf Man and the genre (if that’s the right word) has gone on to include such dubious recent pleasures as Freddy Vs Jason and Alien Vs Predator.

It would be wrong of me to suggest that the double-duty concept is synonymous with worthless film-making, for interesting and entertaining films can result – many of the better Godzilla films certainly qualify, if you bear in mind that some of the Toho monsters started off by headlining their own movies and then meeting Godzilla in a later instalment. And you could certainly argue that Marvel Studios’ whole success has been built on the principle of this kind of shared fictional world.

Whether M Night Shyamalan’s Glass is more inspired by the old-school horror mash-ups or the Marvel project is not immediately clear, but this is certainly one of the more intriguing double-duty sequels of recent years. Shyamalan’s 2016 film Split seemed like a perfectly competent horror-fantasy movie until an electrifying final twist revealed it took place in the same world as his 2000 movie Unbreakable. The implication – that a confrontation between the main characters of the two films was inevitable – was an undeniably exciting one, certainly enough to make most people overlook just how spotty Shyamalan’s record has been as a writer-director.

Well, anyway, here we are: things are more or less how they stood at the end of Split, with a serial killer known as the Horde (James McAvoy) on the loose – so known because of his multiple personality disorder, one of those personalities being the superhuman Beast – and terrorising cheerleaders like it’s going out of style. However, on the lookout for him is David Dunn (Bruce Willis), the near-invulnerable hero of Unbreakable, who has apparently spent the last 19 years working as a vigilante with his now-grown son (Spencer Treat Clark). (Even after all this time Dunn has yet to land himself a proper superhero code-name, usually being referred to as the Overseer – which hardly pops – or the Green Guard, which is just rubbish.)

Sure enough, Dunn manages to track the Horde down, but the confrontation between them remains unresolved as the authorities, led by psychiatrist Dr Staple (Sarah Paulson), swoop in and rush them both off to the local laughing academy, where they are held in conditions designed to neutralise their so-called super-powers. Staple announces that her mission is to convince them that they are not superhuman but simply disturbed – and her patients include not just Dunn and the Horde, but also Dunn’s former friend Elijah Price (Samuel L Jackson), better known as the brittle-boned mass murderer Mister Glass…

There’s obviously a certain amount of fun to had with a premise like this and to begin with Shyamalan mines the potential well, setting up the encounter between Willis and McAvoy and reintroducing various characters from both the previous films (perhaps the first warning sign in the movie is when it becomes obvious that the director has yet to break his habit of giving himself pointless and ostentatious cameo parts). At least you know what’s at stake here and how the movie seems likely to play out.

Once everybody is in the mental hospital, however, the movie collapses into a saggy and self-regarding mess in the classic manner familiar to anyone who’s sat through the collected works of M Night Shyamalan. Shyamalan seems to assume that everyone else will find his characters as intrinsically fascinating as he does, and the result is many windy scenes that don’t go anywhere as the director meditates on the situation he has created. Scenes outside the hospital with Dunn’s son and the last girl from Split (Anya Taylor-Joy) don’t add much, and basically the story loses most of its momentum. Sarah Paulson has the thankless task of playing a character who initially seems to be stupid, as she keeps declaring that superhuman beings don’t exist (we as the audience obviously know otherwise, or this film would not have been made), and the fact that Samuel L Jackson barely appears in the first half of the film is also an issue given it’s supposedly about him. The actor certainly carves himself a thick slice of ham when he does eventually show up in earnest, while James McAvoy turns in another bravura performance as the Horde’s various identities – but, again, the result of this is that Bruce Willis (never the most demonstrative of actors) kind of vanishes into the background as a result. (The film also has the issue that Jackson is visibly and distractingly older than Charlayne Woodard, the actress supposedly playing his mother.)

The whole film is stricken with this awkwardness and lack of balance, suggesting one thing and then actually delivering another. And the tone of it is odd: by most metrics it certainly qualifies as some sort of superhero fantasy – Jackson’s character is obsessed by the tropes of the genre and ends up trying to orchestrate a return engagement between Willis and McAvoy – but it is filmed and directed like a horror film. For all the film’s lofty ideas about human potential and gods walking amongst us, it’s the grittier, more downbeat style that wins out – we are teased with the prospect of a cinematic superhero battle, but what we end up with is a clumsily-choreographed wrestling match between two men in a car park. The substance is weirdly at odds with the portentous way in which it is presented.

So, very much a return to form for M Night Shyamalan, by which I mean it is wildly and frustratingly uneven. Just to confirm he’s sticking to his usual playbook, Shyamalan wraps the film up with not one, not two, but three half-assed plot twists. In theory that should equate to a satisfactory one-and-a-half-assed plot twist, but apparently these things are not cumulative. (If nothing else, at least the director appears to have discovered an interesting new field of mathematical enquiry.)

I couldn’t help feeling that Glass was a huge missed opportunity, but Olinka – who came to see it despite not having seen either of the prior films – found it to have some interesting ideas about the tyranny of normalcy. I still think she is being too generous about it. It does seem to lend weight to the idea that it’s M Night Shyamalan’s good films which are the anomalies, not the ropey fare he usually seems to produce. This film, certainly, is a waste of talent and potential.

 

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…anyway, while the distaff members of the family and our patriarch were off enjoying Mary Poppins Returns, in the screen next door Young Nephew, his dad, and your regular correspondent were settling down in front of perhaps the most-directed film of the year, Spider-Man: Into the Spider-Verse, from Bob Persichetti, Peter Ramsay and Rodney Rothman.

This has been an exceptional year at the movies even by Marvel’s standards, and it feels entirely appropriate that it should end with a movie showcasing the company’s most iconic and popular character – all the more so, given that the year has also seen the passing of both Steve Ditko and Stan Lee, the creators not just of Spider-Man but also of much of the wider Marvel world, the sheer extent of which is perhaps the raison d’etre of the new film.

It opens conventionally enough, with a brisk recap of the career of Spider-Man, aka Peter Parker (Chris Pine), super-heroic protector of New York City. But then things switch to the perspective of Miles Morales (Shameik Moore), who is basically just an ordinary kid struggling with fairly typical problems: mainly that he doesn’t get on with his dad (Brian Tyree Henry), who is insisting that he starts a new school, curtails his hobby of making graffiti, and spends less time with his beloved but slightly shady uncle Aaron (Mahershala Ali). Miles is out with his uncle one night doing something mildly illegal when he is bitten by a rather peculiar spider, and finds his life becoming even more complicated and stressful.

While coming to terms with his new-found wall-adhering powers, Miles finds himself caught up in a battle between Spider-Man and the forces of the Kingpin (Liev Schreiber), who has constructed an ominously big and complicated gadget with the power to blow holes in the fabric of the universe. Spider-Man charges Miles with helping him to destroy the Kingpin’s machine before – and this is probably quite a shocking moment if you haven’t read the publicity for the movie – he is killed in action battling the supervillain and his henchmen.

The city mourns, naturally – and so does Miles, of course, not least because he’s accidentally broken the gadget Spider-Man gave him to save the day. And then things take another left-field turn, with the appearance of another Spider-Man (Jake Johnson) at the grave of the one Miles originally encountered. It turns out that this new Peter Parker is a slightly gone-to-seed middle-aged Spider-Man from a parallel universe, who has been dragged here by the Kingpin’s machine.

The older Spider-Man basically just wants to leave, before being out of his home universe causes his cells to disintegrate, and initially turns a deaf ear to Miles’ plea that he train him or help in the destruction of the machine before even more damage is done to the fabric of the cosmos. But soon enough that old heroic spirit is rekindled and the duo set out to thwart the villain and save the day. But it seems that the damage to the multiverse is more extensive than anyone has realised, with a bevy of other Spider-People also in the mix…

Now, I like to think of myself as a fairly open-minded sort of person, not carrying around too much in the way of prejudice or bias – but I have to say that while it would take hospitalisation or worse to make me miss a live-action Marvel adaptation, I suspect there are a large number of parallel universes where I didn’t see Into the Spider-Verse on the big screen, simply because it’s an animated film. I suppose I can take some comfort from the fact that I’m not alone in this, because this movie is doing appreciably less business than the live-action Aquaman movie, despite being at least as good.

Then again, I say this as a fairly dedicated follower of all things comic-booky, which really puts me into the target audience bracket for this film. I’m pretty sure this is not the greatest Spider-Man movie ever made – that title is still surely held by Sam Raimi’s Spider-Man 2, and it will take something very special indeed to dislodge it – but in one very specific way at least, it certainly challenges for the title of greatest comic-book movie.

Up until fairly recently, most comic-book films were rather conservative beasts, largely determined not to appear silly or childish and keep the mainstream audience on board. The stories inevitably lost some of their colour, energy, and inventiveness in translation because of this, and it’s only in the more recent of the Marvel Studios films that the film-makers have become confident enough to let some of the sheer exuberant goofiness and innovation of the comics creep back in. Into the Spider-Verse isn’t a Marvel Studios film, but in the same way it isn’t afraid to trust the audience’s ability to get its head around some new ideas – most obviously, that the whole movie is set in an alternative continuity (or parallel universe, whichever you prefer). This allows the introduction of not just the Miles Morales Spider-Man (a comics presence, initially in Marvel’s Ultimate imprint, since 2011), but also a striking new version of Dr Octopus (voiced by Kathryn Hahn).

At the centre of the film is an origin story for the Miles Morales version of Spidey, which is handled with immaculate deftness and storytelling skill. But going on around it, and really making the film sing, is a very different kind of story, basically just celebrating the boundless imaginative palette of comic-book storytelling in general, and super-hero stories in particular. Miles Morales and the initial pair of Peter Parkers are eventually joined by a parallel-universe Spider-Woman who turns out to be Gwen Stacy (Hailee Steinfeld), and also a manga-influenced version of the character who’s a teenage Japanese girl from the future, not to mention the anthropomorphic pig Spider-Ham (secret identity Peter Porker). Perhaps most joyously entertaining of all is the appearance of a hard-boiled black-and-white version of Spider-Man from a pulp-inspired universe, who is voiced by Nicolas Cage in his own inimitable style.

The film’s defining visual conceit is to animate each of these extra-dimensional visitors in a different style, even when they’re all in the same scene – Spider-Ham always looks like a Looney Toons character, the Japanese character is presented in an anime style, and the Cage Spider-Man comes from a noir universe where the only colours are black and white (there’s a lovely running gag about him trying to make sense of a Rubik’s cube). The result is a dazzling visual treat, before we even reach the bravura climax where the different dimensions collide with and collapse into one another.

The script manages to do full justice to the potential of the concept, and – unsurprisingly, because this is a project in which Phil Lord and Christopher Miller have had a hand – is also immensely clever and funny. I was still a bit unsure about whether my decision to come and see this film had been the right one as it actually started in front of me, but one of the very first things that happens is a gleeful gag at the expense of Raimi’s somewhat less-than-wholly-beloved Spider-Man 3, which completely disarmed and delighted me.

Into the Spider-Verse is filled with good things and inspired bits of invention; the moment at which Lee and Ditko are given due credit is especially moving, of course. Despite its relatively modest box-office take so far, apparently the film has done well enough for a slate of spin-offs and sequels to already be in development. We have been here before, of course, with Sony’s arguably over-ambitious plans to diversify its Spider-Man series following The Amazing Spider-Man 2. In the end that just led to Spider-Man being leased back to Marvel Studios on a sort of time-share basis, and also the distinctly so-so Venom movie (which doesn’t explicitly mention its links to the parent franchise). Hopefully this time things will be different, for Into the Spider-Verse shows that there is potential for a really interesting series of films just focused on Spider-Man himself.  This is the best non-MCU Marvel movie in ages.

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I’m not going to beat around the bush – I’m just going to come straight out and tell you this. Julie Andrews, movie legend, international treasure, beloved (it would seem) of millions, has decided to lend her talents to her first live-action movie in nearly ten years. Now, if you had told me this a couple of days ago, I would have said ‘Ha ha! Secret cameo! But of course. It was inevitable,’ in the full and certain knowledge of which film she was coming out of (semi-)retirement for. But I was wrong. She is not in the movie you would expect her to be in. Instead, Julie Andrews is playing a giant kaiju-esque sea monster living in a mystical subterranean ocean in James Wan’s Aquaman. This is one of those facts that causes me to wonder if I am having some kind of psychological episode, or at the very least have eaten the wrong kind of cheese.

On the other hand, it does give you a general sense of the kind of tenor of Aquaman, which is in no way the film I would have expected a year or so ago. With Marvel Studios cheerfully pumping out three films a year on a regular basis, it feels – perhaps unfairly – a little surprising that their rivals at Warner Brothers/DC should basically have taken most of 2018 off, as we’ve seen nothing from them since last November’s could-have-been-much-worse Justice League. On the other hand, the DC movie line has routinely been met with such eviscerating reviews (I put my hand up unashamedly) and use of words like ‘omni-crisis’ that it’s entirely understandable they should take a breather, listen to what people are saying, and rethink what they’ve been doing. Aquaman is definitely a change of gear.

Thirty-odd years ago, lonely lighthouse keeper Tom Curry (Temuera Morrison) is startled to find a woman (Nicole Kidman) in an outlandish outfit washed up during a storm. After  a bumpy start (she eats his goldfish and sticks a trident through the TV while Stingray is showing – clearly not a Gerry Anderson fan) romance blossoms between the two of them. It turns out she is Atlanna, queen of Atlantis, in self-imposed exile to avoid an arranged marriage. The pair of them end up having a kid, before her past resurfaces (sorry) and she is forced to leave them both and return to the underwater world.

The child is named Arthur and grows up to become the definition of a strapping lad (Jason Momoa), who leads a fairly carefree life when not appearing in other movies as ‘the metahuman known as the Aquaman’ (note the addition of the definite article – which I don’t recall ever seeing applied to the comics version of the character – in an attempt to somehow make him seem more mature and portentous), as he can swim at incredible speeds, breathe water, and talk to fish (historically the source of some embarrassment to writers of Aquaman), in addition being very big and tough.

The movie has been practically dancing along so far, but at this point the plot kicks in, which is fair enough – but as much of the exposition is delivered by Dolph Lundgren, with CGI magenta hair, while riding on a prehistoric sea monster, I was rather distracted and not in the best state to take it all in. Basically it goes a little something like this: Arthur’s younger half-brother Orm (Patrick Wilson) is intent on uniting the various splintered kingdoms of Atlantis and having himself declared Ocean Master. His plan to achieve this is to provoke a war between the people of the ocean and those living on the surface. Already King Nereus of Xebel (Lundgren) has signed up.

However, Nereus’ daughter Mera (Amber Heard) and Orm’s vizier Vulko (Willem Dafoe) recognise a mad scheme when they hear one and have a plan to stop it. This involves persuading Arthur to press his claim to the throne of Atlantis and go off on an epic quest to retrieve the magic trident which is one of the symbols of power in the sunken city. Orm, naturally, is not pleased when he learns of all this, and despatches a high-tech pirate calling himself Black Manta (Yahya Abdul-Mateen II) to stop them…

Now, I became aware of Aquaman at a fairly young age, along with most of the other core DC characters. At this point he was still a fairly nondescript chap in an orange shirt whose signature ability (talking to fish) didn’t really match up to running at the speed of light, having an invisible plane, or being able to shoot heat rays out of your eyes. Various attempts to make Aquaman a bit more interesting as a character ensued over the years, with the most effective (if you ask me) being the one done by Peter David (credited on this movie) in the middle 1990s – this would be the version of Aquaman with the attitude, the beard, the gladiator vest and the hook replacing one of his hands. Do I detect the influence of the David Aquaman on this movie? Well, Momoa obviously has the beard and the attitude, so maybe, although ultimately they go back to the orange shirt costume, and don’t bother with the hook (someone did point out it would make it difficult for Aquaman to go to the bathroom, although I’ve never been able to work out how the sanitation in Atlantis would function anyway).

Momoa basically plays Aquaman (or Ah-quaman, as some of the people here pronounce it) as a not-especially-bright bro, a take on the character which works in this context even if it’s not particularly authentic to the comics. It’s a perfectly good, charismatic performance, although I suspect the best he can hope for is a Chris Hemsworth level of stardom, where people will flock to see him only if he’s playing one particular role. Perhaps I’m damning with faint praise, for Momoa does do the heavy lifting when it comes to carrying what’s a big, hefty movie.

Anyone expecting the kind of industrial gloom of something touched by the hand of Zach Snyder will be in for a big surprise, for there is a very different sensibility at work here: this is a light, fun fantasy epic, somewhat influenced by a bunch of other recent blockbusters (and not just ones from Marvel Studios), with its own very distinct aesthetic – there are garishly-coloured vistas throughout, and all manner of unlikely CGI critters (including, and we mustn’t forget this, Julie Andrews). Perhaps they are overcompensating somewhat, for the grim-and-gloomy of the earlier films has been replaced by a tone which is often as camp as Christmas (shrewd choice of release date, guys), sometimes absurdly so, with a rainbow-hued fluorescent colour-scheme.

In the end, popcorn fun results, thanks to a script which hangs together well and doesn’t worry about too many other DC references (there’s an attempted HP Lovecraft in-joke at one point, but they seem to have chosen the wrong book). The film has an interesting, eclectic cast who do good work, on the whole – personally, I can’t believe I’ve turned up to see a major Hollywood release featuring Dolph Lundgren two weeks in a row. His appearance here isn’t as good as the one in Creed II, but could we nevertheless be seeing the start of a Lundgrenaissance? Fingers crossed. I’m not entirely sure what Black Manta contributes to the movie beyond a major second-act action sequence, but then again the character is saddled with an especially silly costume design.

Aquaman is such a change of pace for the DC movies series that I’m genuinely curious to hear what fans of these films make of it – apparently there were a lot of complaints that Joss Whedon’s cut of Justice League was just too entertaining and faithful to the comics, and that Snyder’s depressing and misconceived vision should be respected and preserved. We’re off into a whole new world of camp nonsense with this film, and on its own terms it works just fine – I imagine it will do rather well for itself, although this does seem like an unusually crowded Christmas for aspiring blockbusters (in the absence of a stellar conflict movie, everyone seems to be piling in). I’m not sure if this approach will work for any other characters in the DC stable, but then again maybe the trick will be to not worry about the consistency of tone which has been such a mixed blessing for the Marvel films. I don’t think Aquaman has quite the same quality as Wonder Woman, but it’s still a very enjoyable piece of silliness, much better than any of the other recent DC films – fingers crossed they can keep this standard up in future.

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You could probably argue that the world, or at least that part of it concerned with cultural matters, tottered off some kind of precipice a couple of years ago with the release of Suicide Squad, a film largely concerned with Batman and Flash villains, sent out into a world which had yet to receive a proper Batman or Flash film from the same producers. We seem to be skipping straight to the spin-off, which probably says something about the pace of life in the modern world – or maybe it’s just that people are more interested in bad guys nowadays, which says something else rather different and somewhat more worrying.

Are we dealing with the same sort of thing when it comes to Ruben Fleischer’s Venom? Part of me wants to say yes, for I am of that generation for whom Venom (the character) is essentially a bad guy from the Spider-Man comics. Doing a whole movie about a character who is basically a demented pool of alien slime who spends most of his time lurking down dark alleys planning how to eat people also strikes me as… well, I can’t deny it has a certain originality, but I would argue that we’re losing our grip on the essential moral core of the superhero story in this case. But, on the other hand, this character has a seriously dedicated fan-base. ‘This is the first really popular movie in a while,’ said the person on duty at the cinema (their job was to hand out not very good free comic books based on the film). I had to admit to a certain degree of anticipatory curiosity myself: which voice was Tom Hardy going to use in the role? Bane? Ronnie Kray? The Welsh accent? Patrick Stewart?

Venom

Hardy plays Eddie Brock, a loose-cannon investigative reporter living in San Francisco, who at the start of the film manages to torch his own career while investigating Carlton Drake (Riz Ahmed), a tech magnate with a surprisingly diverse portfolio. Brock’s use of sensitive material pinched from his lawyer girlfriend (Michelle Williams) to make some unsubstantiated allegations results in him losing his job, his apartment and his relationship, which is all rather unfair as the film makes it clear that Drake really is up to some dodgy stuff, specifically bringing back samples of alien life for use in biological testing.

Well, I say ‘samples of alien life’, they look more like ‘splashes of multicoloured CGI vomit’. It turns out the aliens are symbiotes which have to bond with a local organism in order to really survive on Earth, and Drake has terrible trouble trying to find compatible hosts from amongst the local population, winding up luring in homeless people under false pretences.

As chance would have it, the now washed-up Brock hears about this and decides to investigate once more, sneaking into Drake’s facility and – wouldn’t you just know it – coming into contact with one of the symbiotes, which immediately takes up residence in his system. Drake wants the alien back. The alien doesn’t want to go back. Brock isn’t quite sure what he wants, but the ability to shoot tentacles out of his armpits probably isn’t it. But there are bigger issues afoot, as another symbiote is on the scene with a diabolical plan of its own – could it be up to the Brock-alien fusion, calling itself Venom, to save the day?

I still can’t quite get my head around the idea of doing a Venom movie in which Spider-Man isn’t even mentioned, any more than I could doing a movie about Bizarro without mentioning Superman. Venom is basically a kind of Bizarro-Spider-Man, with extra late-80s dark kewlness: the whole point of the comics version of the character is that he was, not to put too fine a point on it, Spider-Man’s costume for a number of years, losing the gig when it was discovered he was actually a living organism (a kind of idiot’s version of this story formed part of the plot of 2007’s Spider-Man 3). Still, if you’re going to give Venom his own independent origin story, this one’s about as good as any, and the whole issue of ‘how come he can stick to walls and do whatever a spider can?’ is somewhat obfuscated by the fact that this version of the character seems to have a usefully vague set of powers.

Actually, there are lots of things about which the movie is usefully vague, although perhaps I am being just a bit too generous here (yes, it’s not like me, is it?). Perhaps ‘vague’ is not the word so much as ‘conveniently inconsistent’. There’s a big plot point early on about the symbiotes only being able to fully bond with certain individuals, which is later completely forgotten as Venom and the antagonist, Riot, hop between hosts as the whim takes them. At one point we are told that the Venom symbiote is devouring Brock’s internal organs to sustain itself. Until it’s not, suddenly. Character motivations are likewise subject to unexpected and somewhat arbitrary change. Things that the film really should mention early on – like the fact that Drake has his own rocket-launching facility tucked round the back of his biology lab – never get told to the audience. In lots of ways, this film is a confusing mess.

The thing that makes Venom more watchable than most of the bad late-90s comic book movies it often resembles is Tom Hardy. I have to confess, I do like Tom Hardy (not as much as many young women of my acquaintance, but I digress), and he is very good in this part, both in terms of the physical portrayal of the conflicted Brock, and of course his two vocal performances. Considering this is a movie about a cannibalistic alien monster, Hardy finds an impressive amount of comedy in the role and he certainly earns his star billing (and fee).

Despite that, the weak script and uninspired visuals of the movie really mean that Venom is not up to the standard of the average Marvel Studios film. The question, of course, is one of how closely the makers of Venom are looking to align themselves with that particular project – there has been a lot of enthusiastic chatter about a potential Spider-Man/Venom team-up movie in future, even though this film has been made by Sony as a completely separate undertaking from the recent Spider-Man films (which are now made by Marvel Studios).  The exact relationship, in terms of who shares a universe, remains unclear. Once again, I think this is probably useful vagueness as far as the film-makers are concerned, for they seem intent on exploiting their connection to Marvel as much as possible without necessarily giving anything back. In that sense, while Venom the character may make a big deal about being a symbiote, not a parasite, Venom the movie is on much shakier ground.

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Even in our experience-intensive modern world, it turns out that people can go through their lives without ever having one of those normal, routine experiences that most of us take for granted. I’ve never ridden a bike, for example (well, to be honest there are many physical-type pursuits which are completely alien to me, mostly due to my total lack of coordination); I know other people who have never had a curry or flown on a plane. Nevertheless, the film-following contingent where I work were surprised to discover that in our midst was someone with a startling secret that they eventually decided to disclose. ‘I have never seen a Marvel Comics movie,’ our colleague announced.

I know, hard to believe, isn’t it? Well, we are a compassionate bunch and rallied round, providing advice and flow-charts about how best to rectify this, which films to watch first, and which ones to possibly skip (tougher than you’d think to decide on this stuff: personally, and I know this is controversial, I think Iron Man 3 is one of the studio’s most entertaining films, but it’s hardly essential to the ongoing meta-plot). It almost goes without saying that when the next Marvel film came around – and , let’s face it, it’s not like the wait is ever a particularly long one, even when the UK release gets delayed, as has been the case here – we took our colleague along to see it. ‘I can’t believe I’m finally going to see my first Marvel film!’ whispered our friend as the lights went down. There was much clasping of shoulders and smiling; we may actually have shared a moment, swept away on a tide of heady anticipation and self-regarding smugness.

The film in question was Peyton Reed’s Ant-Man and the Wasp, the follow-up to the same director’s Ant-Man from 2015. Of course, much water has flowed under Marvel’s bridge since then, which the film does a decent job of attempting to accommodate. As things get underway, Scott Lang (Paul Rudd, who also co-wrote the film) is coming to the end of a lengthy stretch of house arrest, as a result of his role in smashing up that airport towards the end of Captain America: Civil War. He is estranged from his former mentor Hank Pym (Michael Douglas) and Pym’s daughter Hope (Evangeline Lilly), who are on the run from the authorities for providing him with the Ant-Man suit in the first place.

But Hank and Hope are not just quietly hiding: Scott’s visit to the quantum realm of the micro-universe at the end of the first film has given them hope that Hank’s wife Janet (Michelle Pfeiffer) may still be alive down there somewhere, and having been working on a plan to rescue her. It turns out that in order to do this, they need Scott’s help, and so he is quietly extracted from house arrest and whisked off to assist.

However, it turns out that many people are aware of the potential value of Pym’s shrinking technology and keen to get their hands on it, which will inevitably complicate proceedings quite considerably. Around to help or possibly hinder the trio are Scott’s old cell-mate Luis (Michael Pena), criminal and restauranteur Sonny Burch (Walton Goggins), Pym’s old associate Bill Foster (Laurence Fishburne), and an unstable young woman known as Ghost (Hannah John-Kamen) – she’s not really evil, just going through a phase. Luckily Hank has provided Hope with her own (somewhat more capable) suit, and she has taken up her mother’s mantle as the Wasp…

Ant-Man and the Wasp is Marvel Studios’ twentieth film, although strictly speaking it should probably be the nineteenth: attentive readers may be wondering just how the plot outlined above meshes with the state of affairs pertaining at the end of Infinity War, the previous film in the series. Well, suffice to say that Marvel have got a little bit creative with the chronology of their films, and all is explained before the end of the credits (one can only hope that Ant-Man actually appears in the Infinity War follow-up). Possibly more important is another aspect of the relationship between Infinity War and Ant-Man and the Wasp – to my mind, the first film rather benefited from being released immediately after one of the studio’s less accomplished and purely entertaining films (Age of Ultron), for its breezy lightness was a refreshing contrast. Infinity War, on the other hand, is a great summation of what Marvel have achieved over the last ten years, and surely Ant-Man and the Wasp runs the risk of seeming just a bit small-time and disposable in comparison?

Well, to some extent this is true, at least – there are only a handful of characters with your actual superpowers in this film, as opposed to a couple of dozen (Fishburne does not actually get to appear as Goliath, who’s one of those characters most notable for the circumstances of their death anyway). And, like the first film, this is as close to being a pure comedy as anything that Marvel has released – although, to my mind, the films have generally been getting lighter over the last few years.

In many ways this one put me in mind of Guardians of the Galaxy Volume 2, in that the key change behind the scenes is that different writers are responsible for the script. My main problem with the second Guardians film was that it didn’t feel particularly well-structured or cohesive as a story, and the same is really true here. The film kind of plays out as an extended farce or sitcom, with Scott more than once having to rush home to fool the FBI into thinking he hasn’t breached the terms of his house arrest – it’s much more about overcoming obstacles and minor antagonists than actually defeating a villain. Ghost (quite well-played by John-Kamen) isn’t actually malevolent as such, and may even strike some viewers as being somewhat sympathetic.

Certainly it’s not quite the radical development of the first film that the title might suggest: the movie still feels very much focused on Scott, although the Wasp does get some good action sequences. You might just as accurately call it Ant-Man, the Wasp, and the Wasp’s Dad (who was the first Ant-Man), because Douglas is doing good work in a prominent role. On the other hand, though, there’s a kind of conceptual progression here, building on ideas only touched on in the first film. The film’s plot may be a little underpowered and lacking in focus, but what keeps it very watchable and entertaining is the way in which the concept of things being grown and shrunk to the wrong size is explored. There’s a delightfully fantastical quality to it, particularly in the closing chase, with people, vehicles and even buildings undergoing rapid changes in scale at a frantic pace. And, of course, the film’s more comedic moments are solidly written and performed by people who are simply very good at that sort of thing. A lot of people in Marvel movies have been trying to be funny recently, but none of them are quite as good as Paul Rudd, if you ask me: one can only hope the studio makes more use of him in this respect (the campaign starts now: put Ant-Man in the Avengers!).

So, in the end, is this one of the essential keystone movies in Marvel’s project? No, absolutely not. But that doesn’t mean it isn’t an entertaining and very inventive addition to the MCU canon. I’m not quite sure where they can take these characters next, should a third movie prove forthcoming, but for the time being this is a fun, accessible, undemanding film that most people will probably enjoy.

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