X-Men: Days of Future Past Review

X-Men: Days of Future Past Review

Before we start the review, I think it's important to address the super-powered elephant in the room. Yes, the sexual assault allegations made against director Brian Singer are heinous. No, they in no way affect my opinion on his new film. 

I love X-Men. I've grown up on the first two and they mean a lot to me. X2, along with Star Wars, is the movie that got me interested in the art of film. Which is why I'm glad to announce that X-Men: Days of Future Past is not only one of the best films of the year, but one of the best comic book movies of all time. It's no Dark Knight, more Hellboy II...

The film, based on the Chris Claremont comic of the same name, follows The X-Men, as they send Wolverine to the past in a desperate effort to change history and prevent an event that results in doom for both humans and mutants. If the film was in the hands of, say, Brett Ratner (the worst human being in the history of terrible human beings) we could have ended up with an unfocused and rushed disappointment. Luckily, Singer holds a clear artistic vision and his experience with and passion for the material is evident in every frame. What we're left with is a morally complex and thematically rich film, one that truly transcends its genre.

Singer has assembled what is perhaps the greatest ensemble cast in a comic-book movie. Seriously, this film's like The Expendables of, you know, good actors. From the future, old favourites such as Patrick Stewart's Xavier, Ian McKellan's Magneto, Halle Berry's Storm and Hugh Jackman's ultimate bad-arse Wolverine return with franchise-best performances from all. The revelations, however, are the First Class returners. James McAvoy gives a genuinely Oscar-worthy performance as the broken, self-destructive Xavier. Michael Fassbender is at his usual best as the conflicted Magneto. Nicholas Hoult clearly discovered the art of expression between First Class and DOFP, as he gives an impressive turn as Beast. It is Jennifer Lawrence as Mystique who is the standout, and not just because I'm in love with her. She provides a jaw-dropping performance to rival that of Heath Ledger's Joker. If there was anyone yet unconvinced of her talents, they will be easily swayed by the finale. Game of Thrones' Peter Dinklage is also superb as the somewhat underwritten Bolivar Trask, a mutant-fearing businessman looking to capitalise on post-Vietnam paranoia. 

Other characters, such as Shawn Ashmore's Iceman and Ellen Page's Shadowcat, are slightly left by the wayside, but still do the best with what they're given. The new mutants, too, fail to make much of an impression. I'm still no wiser as to what Bishop's powers actually are. Something about being awesome, I guess? The only newcomers to register are Evan Peters' Quicksilver and Fan Bing Bing I-Would-Kill-For-That-Name's Blink. Quicksilver gets the films standout action scene, a sequence of such stylistic invention and creative ingenuity, it would be a sin to spoil it. Blink also gets some incredible Portal-style set pieces.

The X-Men series (the good ones at least) have always prided themselves on social commentary and allegory. Here, Singer seems to focus on 1930s Germany and, in the opening future scenes, the Holocaust. In terms of visual metaphors, the opening shot of mutants being herded and piles of dead bodies serve as chilling reminders of man's capacity for villainy. In terms of morality, Singer and scriptwriter Simon Kinberg draw on ideas of addiction, redemption, hope and forgiveness. These ideas culminate in an astonishingly moving confrontation between the young Xavier, Magneto and Mystique, featuring one hell of a Nixon. 

Days of Future Past is perhaps the most ambitious comic-book film since The Dark Knight, willing to completely reverse the franchise's previous continuity, finishing with a mind-blowing final scene worthy of the moniker "game-changing". Without giving anything away: Kelsey Grammar! 

Whilst X-Men: Days of Future Past still suffers from the franchise's Kryptonite: too many characters, it makes for hugely satisfying and deliriously entertaining viewing. One can only wish for Singer to stay on to lead the franchise into the brighter future promised here. If nothing else, he has left a fantastic blockbuster, one that will be treasured for years to come. Let's just hope those years don't entail giant robots killing everyone...

Five Word Verdict: Back To The Promising Future!

Score: 4½/5

Godzilla (2014) Review

Godzilla (2014) Review

Gareth Edwards' debut film, Monsters, is an incredible piece of filmmaking. A smart, character driven and allegorical subversion of the classic monster movie. It currently ranks as my 8th favourite film of all time, ahead of The Godfather. So, when I heard Edwards would be directing the big-screen return of Godzilla, I was over the fire-blazen moon. I was, perhaps mistakenly, expecting a masterpiece.After seeing the finished product, I am disappointed. Don't get me wrong, Godzilla is no Les(hit) Miserables. It's more... God(damn good) Zilla.

Godzilla (2014) follows the world's most famous monster as he's pitted against malevolent creatures who, bolstered by humanity's scientific arrogance, threaten our very existence. We follow Joe and Ford Brody (a balls-to-the-nuclear-safe-zone-wall Bryan Cranston and crushingly dull Aaron Taylor-Johnson), a father and son pairing, left estranged by a family tradegy 15 years prior. After another family tragedy (these guys can not catch a break), Ford must leave his wife and child (Elisabeth Olsen, a bizarre mix of apathetic and likable) to join the fight and save San Francisco. Sounds like the set-up for a fun, Pacific Rim-alike action flick, doesn't it? Unsuprisingly, Edwards has higher ideas in mind (where else?)...

The original 1954 Gojira was intended as an allegory of the Hiroshima and Nagasaki bombings, with the titular monster representing "the bomb". Edwards' reboot follows in the original's massive footsteps, this time creating images and scenes reminiscent of the Fukushima disaster in 2011. One scene in particular seems a direct nod to the accident, and is perhaps one of the most heart-wrenching and emotionally ambitious scenes in any modern blockbuster. If you don't cry, you're either lacking a heart or a giant lizard. Another key touchstone is, inevitably the 9/11 attack. I saw you rolling your eyes! Yes, it's you I'm looking at! Don't give me that excuse! Ahem, excuse me. In any other blockbuster, your groans would be justified, but for a franchise that prides itself on allegory the images are a perfect fit. 

A common complaint leveled at Monsters is "there's not enough action and explosions because I'm too dumb to watch anything not produced by Michael Bay, duh". Luckily, for the less demanding audience member, there are some truly excellent action scenes. Edwards has a keen eye for scale and this may be the first time that Godzilla has felt like a force of nature. The creature design is also a highlight, with some incredible detail and many delightful touches. 

Edwards chooses to tease the audience with brief glimpses of the monsters, before the big reveal an hour in. He has cited Jaws as a key influence for this technique (which also explains the surname Brody) Steven Spielberg expertly used the power of suggestion to build tension and anticipation for the shark. It worked marvelously and is a key reason Jaws is remembered as a classic to this day. What made Jaws so special was that, even with Bruce out of the picture, it is a seriously engaging movie. The audience is still riveted by the character dynamics, island politics and numerous subplots. Unfortunately, Edwards fails to create quite the same effect. The problem here is the script by newcomer Max Bortenstein.

Bortenstein's script fails at making most of his characters engaging. Bryan Cranston's Joe gets the best backstory and emotional core, but is exits early on. The only other highlight is Ken Watanabe as Dr Serizawa, a Japanese scientist inflected with Watanabe's usual grace and power. The two main characters, Taylor-Johnson's Ford and Olsen's Elle, are as interesting as wet tissues. Olsen scrapes by on natural charisma, but Ford is so uninteresting, Taylor-Johnson has no hope of redemption. Given Edwards' desire to stage the colossal events from a human perspective, his film falls foul to the underwritten nature of his characters. What we're left with is a somewhat cold and distant movie.

What the film lacks in character depth, it makes up for in themes and messages. The key idea behind Godzilla (2014) is encapsulated by Serizawa's line "The arrogance of man is thinking nature is in our control, and not the other way around". Godzilla isn't a monster, he's nature's way of restoring balance. Sadly, this is reversed in the truly terrible closing moments in which (without giving too much away), the tititular character is presented as something of a hero. Not only is this ridiculous in it's own right, it completely negates the overarching theme of the movie.

Overall, Godzilla is a smart, effective blockbuster that suffers from an amatuerish, occasionally laughable script. But, Edwards' keen eye for direction and the excellent turns from Cranston and Watanabe make it an intriguing and entertaining movie with some smart ideas. It's not quite on the same level as Monsters, but neither is The Godfather...

Five Word Verdict: The disappointing, yet impressive, sibling

Score: 3½/5

The Wind Rises Review

The Wind Rises Review

To call a movie released in May "film of the year" is a somewhat risky move. However, given that The Wind Rises currently sits as my favourite movie of the ten-nies (?), it's a fair assumption. Make no mistake, The Wind Rises is a masterpiece. A movie that comes along once every five years (or so) that changes the way we look at movies and, well, life in general. It takes a lot to achieve that level of power and majesty. As it turns out, it takes Hayao Miyazaki...

The Wind Rises is a highly fictionalised tribute to the life of Jiro Horikoshi, the man who designed Japanese fighter planes during World War II. Miyazaki also draws heavily from the works of Tatsuo Hori, whose prose inspired the title and serves as a prelude to the story. Along the way, Jiro experiences the Kanto earthquake, economic depression, the tuberculosis epidemic, the breakout of WW2 and the tragic reality of first love. So, no lovable woodland creatures this time...

The first thing I must mention is that fans of Miyazaki's earlier work may be put off by the serious, meditative tone he brings to his final film. When soot gremlins hit the fan, they hit it hard. Thankfully, Miyazaki has lost none of the awe and wonderment that makes his work stand out. He is perhaps the only director alive today who could make you delight in the curvature of a fish bone or emotionally invest in a vehicle (take note Cars, just don't come back). 

This sense of majesty is mirrored in Joe Hisaishi truly breathtaking score. Hisaishi perfectly captures Jiro's childlike energy, as well as complementing the dramatic moments with virtuoso skill. His score, along with Miyazaki's ever-stunning imagery create a superb blend of solemnity and playfulness.

The voice cast, too, is extremely impressive. In the English dub, Joseph Gordon-Levitt provides his usual blend of likability and vulnerability that makes him the perfect star. Emily Blunt, as Jiro's lover Nahoko, makes a compelling case that Edge of Tomorrow may not, you know, suck. Stanley Tucci is on top form as the deliciously flamboyant Caproni, the Italian engineer who corresponds with Jiro through a series of wonderously realised dream sequences. Martin Short is genuinely hilarious as comic-relief Kurokawa, Jiro's grumpy and overbearing boss; who happens to be a dwarf. Special mention must go to Werner Herzog as Castorp, whose soothing tones and welcoming voice are sure to make him a fan-favourite.

Luckily, all are dealt a pack of aces in Miyazaki's most realistic and sombre screenplay to date. Jiro, for instance, isn't your typical hero. He isn't particularly charismatic or even special, other than his naive and uncynical worldview. He's simply a good man, trying to do the right thing. The supporting players are a richly-drawn and memorable gathering of well rounded, deeply human individuals. Even for a movie filled with daydreams and pure happen chance, The Wind Rises is the most natural and emotionally resonant animated movie I've ever seen.

A lot has been made about the supposed politics behind the movie, with some claiming Miyazaki glorifies the Japanese military. This is, for lack of a better term, utter bollocks. The film isn't about World War II, or even Jiro's inventions. It is the tale of one man's dream and the growth he must go through to achieve it. It is an ode to creativity, the rush of invention and the thrill of seeing your creations take shape. Caproni even says: "Airplanes are not tools for war. They're not for making money. Airplanes are beautiful dreams. Engineers turn dreams into reality" Saying this movie is about World War II is like saying 2001 is about a giant fetus floating in space.

The Wind Rises is also the director's most personal film to date. There does seem to be a autobiographical element, with Caproni telling Jiro before his retirement "Artists are only creative for 10 years" If you know the background of the production, this line registers as an interesting nod. Miyazaki at first didn't want to make an 11th feature, planning to create a manga version of The Wind Rises. It took producer Toshio Suzuki to convince him to make it into the film we have now. Perhaps Miyazaki is saying filmmakers are only creative for 10 movies? If so, he couldn' be more wrong...

The Wind Rises is an indisputable masterpiece, a heartbreaking tale of the cost of creativity. It's a movie you'll walk out of wanting to do something, even if that something is sitting on your arse and writing a review of it. A beautiful, philosophical movie that truly transcends its format, becoming something else entirely: art. If this is to be Hayao Miyazaki's final film, it is the perfect swansong to a perfect director...

Five Word Verdict: A powerful, essential modern masterpiece

Score: 5/5