Captain Marvel

This review may contain spoilers!

This has to be the best Marvel solo film that I've seen since Spider-Man: Homecoming. I would give Captain Marvel an 8.5/10.

Captain Marvel is the 21st entry in the Marvel Cinematic Universe and takes us all the way back to the 90s and the tense struggle between the Kree and the Skrull, alien races bringing their war to a little dustball called Earth. The main protagonist is Carol Danvers, an amnesiac ultra-powerful Kree soldier who has a familiar bond to Earth and discovers that she doesn't have to serve anyone in their war; rather she has the power in herself to end one. I cannot praise this film enough, there hasn't really been a solo protagonist who has had such charisma, humour, strength and raw emotion in a short while now. Carol wrestling with her lost memory and her immense power while fighting someone else's war is the type of struggle that is really engaging to watch, I think this is best personified by the mentor/opponent relationship that exists between Carol and Yon-Rogg. Once Carol journeys to Earth I think it's so important watching her interact with it in so alien a way at first, then seeing her gradually come to reconnect with it through forming a friendship with Fury and reuniting with Maria and Monica was such a powerful journey. The Skrulls could have been the usual 'who can you trust?' type villain but I thought it was a genius twist making them nomadic refugees; there was so much more potential realised by following this storyline. Yet despite the great twists and journeys the plot takes you on the strength of this film will forever come from Carol. The scene in which she is forced to confront the Supreme Intelligence and finds the strength to break free and seize her own power is why I will return to this film over and over again; not only that but seeing her achieve her power and have such fun after unlocking it makes Carol so very human. The cinematography used in this film looks so dynamic; the space environments have a much more intense landscape than anything I'd seen in Guardians or the like, while action sequences flow perfectly. The special effects are fantastic throughout; I loved the design of the Kree ships and cities, but most of all I really loved seeing Carol radiating with her power - it was a unique design that I feel like I'd never really associated with another Marvel character before. The score for the film is an immediate sci-fi epic; a very energetic, grandiose musical display that leaves you feeling charged throughout.

Brie Larson, who played Carol Danvers, just seems to be having the time of her life throughout this film; there are a number of things I could rave about Larson's performance but I think she just grounded Carol as this strong woman who knows her own power and won't let anyone else define that for her. Samuel L. Jackson, who played Nick Fury, is very entertaining as his younger, less experienced self; Jackson has a by the book edge at first, but quickly transitions into his quick-thinking one-liner self.  Jude Law, who played Yon-Rogg, is this very self-sure Kree commander who is focused on his own sense of control over his team, which includes Carol; Law descends from a very noble figure to a deceptive, impotent tormentor who desperately still wants to have power over Larson's Carol. Annette Bening, who played Dr. Wendy Lawson and the Supreme Intelligence, is a very guarded yet resolute figure who seems a strong point of inspiration for Larson's Carol; yet when seeing Bening as the Supreme Intelligence you get this complete psychological tormentor who is the embodiment of the restraints put upon Carol this entire film. Lashana Lynch, who played Maria Rambeau, has the hugely emotional bond with Larson and Akbar; I'm convinced that this relationship is the most significant thing to come of Carol returning to Earth and both actresses do such a great job in sharing loss and then joy over rekindled friendships. Clark Gregg, who played Agent Coulson, has always been this figure of hope in the Marvel Universe and he takes up that mantle here again; Gregg playing a much younger agent is so interesting in how he bends the rules to aid and trust in his friend, Fury. Rune Temte, Gemma Chan, Algenis Perez Soto and Djimon Hounsou, who played Bron-Char, Minn-Erva, Att-Lass and Korath respectively, could very easily have been treated as background muscle throughout this film; yet I loved how this team got to function as individual roles with in a unit and share a bond that actually felt real. Akira Akbar, who played Monica Rambeau, is one of the most charming child performers I have watched this year; Akbar has this whole scene where she gets to reunite with Larson's Carol and guide her through her old memories in such a moving way.

However, the best performance came from Ben Mendelsohn, who played Talos. At first this seems like this really pervasive role, an ominous individual who has imprisoned our hero and sifts through her memories. He certainly has the smug sense of humour that is characteristic of so many antagonists but there is something about him that sets us on edge. As the film progresses you come to see Talos as a relentless, determined figure who will use his powers to provide any edge to achieve his goals. But it isn't until the rather witty revelation that Talos isn't actually bad that the pieces really fall into place. Mendelsohn is portraying a desperate freedom fighter who craves escape and his family more than any sort of victory over the Kree. The moment in which we see Mendelsohn's Talos reconnect with his family melts your heart and solidifies this character as my favourite to emerge from this incredible film.

The film does slow things down quite a bit in the second act when everything transitions to Earth, a lot of this is because the nature of the story changes a fair bit and also because new characters are introduced. But it is a jarring change one in which the shift could have been processed in a far smoother way. The soundtrack for the film has some nice tracks but there doesn't really seem like a cohesive reason for why certain songs are placed where; it genuinely feels like someone had some idea of songs they quite liked and placed them in helter skelter.

Lee Pace, who played Ronan, was quite a boring return of a classic Marvel villain; Pace felt quite monotonous in his portrayal of the role and you certainly did feel the same degree of threat from him as you did when he was in Guardians.

Greta

As far as kidnapping thrillers go this is probably going to be about as bad as it gets this year. I would give Greta a 2/10.

This film follows Frances McCullen, a young woman who finds a hand bag on the subway and return it to the owner, Greta Hideg. The pair form an unusual friendship at first but upon discovering all is not as it seems with Greta, Frances finds her life turned upside down by this serial kidnapper. The film for the most part manages to set up some moments of good tension and even has a couple of scenes that subvert your expectations, such aswhen Greta is taking photos of Erica.

The best performance came from Maika Monroe, who played Erica Penn. This was one of the only characters in the film who didn't push their performance over the top or give a rather bland portrayal. Monroe really embodies her free-spirited party girl role, you constantly feel like this is a person who is present with a ton of energy. I felt like pennhad some of the best line delivery in the piece and her connection with Moretz felt like a very loyal everyday friendship. In the final act we get to see Monroe take centre stage as the saviour to the lead protagonist and it's probably one of the peak moments to watch; seeing one of the stand out roles triumph over the antagonist was brilliant.

Greta is a movie that tries to sell itself as a moderately realistic film, with a setting that you can recognise and a basic set up that isn't too far from something that can really happen. The flaw comes when the film tries to sell this to you but then immediately crafts something that is so very nonsensical it becomes hard to watch. The very nature of the relationship between Greta and Frances feels farcical, you can believe the initial meeting but once the friendship develops and even when it turns sour you have to wonder at a lot of what the plot is pitching. The film keeps stretching things further and further from any semblance of reason; should we believe Frances can honestly be as naive as she is depicted? Or how about how no avenues of authority seem to be interested in defending her against a very obvious criminal presence? The film quickly becomes tiresome to watch because you have to watch a story that has been done repeatedly, only this time what we get isn't unique but rather far-fetched. The film takes forever before Greta finally succeeds in kidnapping Frances and the way the feature explores her twisted sociopath psyche makes you feel like this is a character who has not been thought through at all; even watching her foil or respond to the various escape attempts in the third act is a nightmare. The cinematography is very muted, opting for a very simple style that shows the lack of imagination going into Greta. The editing sets the slow crawl for this feature, if you feel sleepy this is but one of a number of reasons contributing to that. The score for the film make me feel like I;m listening to a warbling french indie film; there couldn't be a more outlandish tone set for this movie.

Isabelle Huppert, who played Greta Hideg, really is all over the place throughout this film; I have to wonder if Huppert had any direction at all because she kept taking this performance to places where she probably needed to be given some much needed feedback. Chloe Grace Moretz, who played Frances McCullen, is rather underwhelming as the featured protagonist; Moretz plays to the innocent, overly naive nature of her role a bit too strongly that you feel like you're watching an incredibly stupid character. Colm Feore, who played Chris McCullen, just does not give a convincing portrayal of a father figure to Moretz; Feore seems devoid of emotion and even when Moretz's character is kidnapped you never see a strong reaction from him. Zawe Ashton, who played Alexa Hammond, doesn't really seem like she fully understands her role or what her purpose is in the film; Ashton awkwardly shuffles out some pithy exposition that just seems rather nonsensical. Stephen Rea, who played Brian Cody, comes into this film at the turn of the third act and is really rushed into the narrative; Rea comes across as a sleepy very mild-mannered private investigator considering the urgency of his role's assignment.

Escape Room

This review may contain spoilers!

While I didn't think Escape Room was a very good film, I did really enjoy the cast and how it made an effort to do something unique in the thriller genre. I would give Escape Room a 4/10.

Escape Room is about a group of six strangers looking to score the 10 grand a company is offering in exchange for trialing its latest escape room; however, things take a turn for the nasty when this group realises they have been lured into a game of life or death. I really thought a film that followed the idea of an escape room would be tacky I was surprised by how creative this concept got. A lot of the death traps were thrilling to watch and each sequence seemed to really challenge the characters. Furthermore, the film really took some time for you to get to know each of the characters; none of those assembled really felt expendable which is a fine trait in a film such as this. This film thrives on the set up, building intrigue and making you puzzle what could be revealed in the future making the first act one of the strongest. The cinematography is absolutely great, taking full advantage to show you all aspects of a death trap, yet playing closely to the characters too so you can understand how they're reacting at all times. The special effects for the some of the death scenes is well done, and I have to say that the production design was actually very accomplished for a film that only cost 9 million dollars.

Taylor Russell, who played Zoey Davis, makes for a great protagonist throughout this feature; I really admired how Russell took such an uncertain and timid role and developed her confidence and courage in the face of trying circumstances. Logan Miller, who played Ben Miller, really feels like this hollow shell of a person which is perfect considering the experience his character lived through; Miller seems withdrawn for a lot of the film but he displays a strong moral compass and provides a nice sense of humour to the piece. Jay Ellis, who played Jason Walker, is a very self-centred role who powers over a lot of the other characters in this piece; Ellis portrays an individual who is so motivated by his own self-interests that he drives himself further and further from the needs of the group as the narrative moves along. Deborah Ann Woll, who played Amanda Harper, is probably the toughest member of the cast; Woll shows the trauma her character has gone through in a very powerful moment but she also feels like the most capable individual in a number of her scenes.

However, the best performance came from Tyler Labine, who played Mike Nolan. Labine is a performer who seems capable of providing an abundance of charisma in any scene he is in. This is just a very likeable role who doesn't seem even remotely close to a stereotype you would have seen in this type of film before; instead you have an individual who comes across as rather grounded. There are several scenes in which this character goes to the effort of doing anything he can to aid the others, ultimately leading to the expense of his own life. This is a character who you love to love through and through and Labine owns that every step of the way.

 While the film does do really strongly with the set up and makes some powerful creative decisions this isn;t really enough to steer it away from some obvious problems. The entire structure of the film is pushing our main cast from one room to the next in which there will always be a puzzle-based danger and a main cast member will die in all but the first room. There isn't a lot new to explore here and when the younger performers make it through to the final stage that isn't much of a surprise either. Meanwhile, the backstory to the film's main plot that we're given grows more and more convoluted as we're fed the story of a secret organisation who gambles upon groups of people surviving till the end of escape room. The film also shamelessly spends a solid 10 to 15 minutes at the end plugging and pitching a sequel to the audience when it hasn't even really achieved an impressive conclusion to the current feature. The score for the film sticks out in some places but for the most part its a technological drone that gets fairly repetitive to listen to.

Nik Dodani, who played Danny Khan, is a pretty overbearing role among the main cast; Dodani delivers Khan as a rather obnoxious know-it-all about escape rooms which makes him in charge of spouting off a serious amount of exposition. Yorick van Wageningen, who played Games Master WooTan Yu, is a seriously underwhelming antagonist to be revealed in the final act; a lot of the film set up the big reveal of who the Games Master might be but the introduction of van Wageningen meant that the final escape dissolved into a simple fist/gun struggle.

Alita: Battle Angel

This review may contain spoilers!

If you aren't here for the special effects show then you are going to be tremendously disappointed in this lackluster film. I would give Alita: Battle Angel a 3.5/10.

Alita: Battle Angel is about a young android woman who is discovered by a cybernetic repairman; the mystery surrounding young Alita quickly blooms into a narrative about love and revolution. If there is one thing the plot of this film manages to pull off it is making aspects of the world building quite exciting. Elements like the gladiatorial sport, Motorball, the difference between Iron City and Zalem after the historical war known as 'The Fall' and even the Hunter-Warrior Guild are quite fascinating to learn about in their own right. The special effects for the feature are rather well-designed; absolutely stunning artificial cityscapes and quite a creative array of designs for the various android and cyborg characters.

The best performance came from Mahershala Ali, who played Vector. There were a number of big names and talent attached to this film but unlike many others Ali was able to shine despite a rather shoddy script. His role as the key leader of the criminal underworld in Iron City feels cold-blooded and runs things with a merciless edge. I really enjoy how in some scenes he can fall into this dispassionate leader who is willing to manipulate, charm or execute whoever may stand in his way. What really makes this role shine through is how Ali performs the scenes in which his character acts while possessed by Norton's Nova. He goes from being quite intimidating to analytical and systematic; he still has a dispassionate edge to him but this comes from a sudden sense of power that the role otherwise didn't possess. The scene in which Ali is dying yet almost unnaturally remains connected playing Nova is a real perturbing watch but very well executed. The icing on the cake is how the scenes in which Nova releases Vector and you watch Ali assume his original role you really feel his fear over not being in control of himself.

This film is a complete flop from start to finish, sitting in the cinema felt like an age watching the whole thing play out. As a character Alita is very frustrating to watch, she has no sense of agency and when she does grab at some shred of independence it is often motivated by her attachment to a secondary character. In fact a significant amount of this film is guided by Alita being hopelessly lovestruck by this lowlife, Hugo, early into the film. Her consistently blind devotion to Hugo only leads to a rather obvious 'doomed love' story in which one of them tragically dies; and I'll give you a hint, they don't call this flick 'Hugo: Battle Angel'. A lot of the characters seem very emotionless or dry, giving a bleak or bored tone throughout. This has a poor effect for Alita given that she is over the top in how bright and bubbly she sees the world. Ultimately the film is supposed to be about watching Alita rise to be a challenger to the reign of Nova and those who live in Zalem but in reality, you just feel like a very melodramatic role has been turned into a lover scorned. There's nothing new here and a shallow plot that hopes all the well-polished effects will distract you from that fact. The cinematography is rather boring for a blockbuster, opting to use a lot of repeated techniques and shots or keeping quite stationary and boring in moments where a bit of creativity could have been well rewarded. The score for the film borders upon the generic for a feature like this, Alita is built up with fanfare but not a sound that makes you feel anything or connects you to these scenes.

Rosa Salazar, who played Alita, lays the melodrama on thick in this title role that it gets rather difficult to identify with her; Salazar really takes the her role's joy at discovering new things and finding 'love' to a pretty cheesy place. Christoph Waltz, who played Dr. Dyson Ido, is really poorly suited to this film; watching him hobble around pretending to be a bounty hunter might have worked a few years ago but is a hard sell these days. Jennifer Connelly, who played Chiren, is just devoid of emotion in many of her scenes; Connelly places a really messily written character and it's hard to find her convincing as an antagonist or a heroic figure. Ed Skrein, who played Zapan, is a pretty obnoxious character who feels very impotent to watch onscreen; Skrein is supposed to be a significant threat who is only capable of being a mild annoyance to the rest of the main cast. Jackie Earle Haley, who played Grewishka, is so coated in CGI that really anyone could've played this character; Haley's lumbering brute feels like a two-dimensional bad guy out of a Saturday morning cartoon. Keean Johnson, who played Hugo, has to be the most painful character to watch onscreen; Johnson doesn't show a shred of charm and the onscreen chemistry between him and Salazar just isn't there. Jorge Lendeborg Jr., who played Tanji, hangs about in a lot of scenes but the film seems torn between wanting to cast him as a bully antagonist or a loyal friend protagonist; the arc for this role is so confused that by the time he is written out you don't care much about him. Edward Norton, who played Nova, is just a tease for a sequel that after watching all this I couldn't have cared less for; Norton doesn't feel like he has anywhere near the same amount of menace that Ali possessed. Michelle Rodriguez, who played Gelda, gives her usual stoic portrayal of a 'too tough to care' type; Rodriguez is boring to watch as an android space commando which seems almost impossible given the nature of the role.

Cold Pursuit

I'm a simple man; give me a black-comedy packaged as a revenge crime-thriller and you're going to get a good score. I would give Cold Pursuit a 8/10.

Cold Pursuit follows Nelson Coxman, Kehoe's 'Citizen of the Year', who falls into a depressive spiral after his teen age son Kyle is found dead. Upon discovering Kyle was murdered by a gang of drug runners, Nelson turns to a violent vendetta that escalates into a full-blown gang war between the local criminal element. I'm so used to watching a Neeson action movie and expecting the usual spy or crime thriller in which he is the most capable man in the room; what I loved about this film is how this character just stumbles his way through his revenge. This is a man blinded by grief who has turned to violence but he has no idea how to dismantle a criminal organisation; Coxman just targets anyone who can give him information on who was responsible for the death of his son. Coxman's vendetta causes chaos throughout the idyllic, tourist town of Kehoe and his personal life is quite irreperably dirupted: both his marriage and brother suffering the consequences of his actions. The nature of this black comedy is only enhanced by the story of Viking's gang and all the chaotic individuals shifting through their own agendas, be they big or small. When the violence pulls the Native American criminal element into the fray you get to see how an old school gang steeped with tradition responds to harm done to them. The film really hits a boiling point as all the big players come together and the audience is broken by Coxman and Viking's son, Ryan, form a heartwarming connection that leaves you with a final heartfelt reminder that this film is ultimately about grief and the inability to escape it through distraction or fantasy. The cinematography for this film takes every opportunity it can to capture the stunning setting Cold Pursuit takes place in, yet the director manages to capture this story in a really unique and expressive way that lends a personal voice to what is being shown. The editing really paces this film quite well and the transition between sequences with the death title cards is a really clever element that adds a lot to this feature. The score for the film is really charming and almost quaint at first; yet it will just sweep you away at other times and give you pause - almost asking you to reflect on all the violence and loss in the story up to that point.

Liam Neeson, who played Nels Coxman, is an excellent protagonist for the film and really highlights the grapple with revenge his character goes through; I love how Neeson can make his character an inexperienced killer but also remind you how broken he is over the loss of his son in a following scene. Tom Bateman, who played Trevor 'Viking' Calcote, is Cold Pursuit's loose cannon antagonist and he is an intense delight to watch; Bateman gives this very zny performance that made me think of a gritty Jim Carrey and without the energy he brought to every scene I don't think the tone of this black comedy would have had the same impact. Domenick Lombardozzi and Benjamin Hollingsworth, who played Mustang and Dexter respectively, give a very touching, if not tragic performance as the hopelessly in love couple who suffer due Hollingsworth's role's fast tongue and lack of wits; I especially enjoyed how the stoic Lombardozzi really hid his feelings so well except around a few key characters ultimately leading to his brilliant betrayal of his gang. Nicholas Holmes, who played Ryan, has been the latest child actor to restore my faith in young talent; I like how he brings such insight to this role and easily conveys an intelligence that outshines a lot of the mature cast. Julia Jones, who played Aya, is a fierce force to be reckoned with against Bateman and one of the few personalities he even seems to be afraid of; Jones is merciless in her role as a mother protecting her son and forcing her crooked ex-husband to be present in a meaningful way (or failing that to hand over full custody). William Forsythe, who played Brock, is this tough presence who pushes himself away from the criminal world slower than it can pull him back in; Forsythe has a nice familial bond with Neeson and his noble sacrifice for his brother is one of my favourite scenes of the film. David O'Hara and Gus Halper, who played Sly and Bone respectively, really are quite contrasting characters who match up rather well; O'Hara is beyond a shaow of a doubt the hardened criminal that thrives around Viking's crew, while Halper is hilarious as the cocky flirt of the gang. Tom Jackson, who played White Bull, is a very grounded yet stoic leader of the Native American criminal element in a complete contrast to Bateman's Viking; Jackson is so fascinating to watch as he loses touch with those around him and falls further into a need to gain vengeance from his son and a bond with the natural world that runs parallel to this goal. Arnold Pinnock, who played The Eskimo, feels like a dangerous presence struggling through an amateur world; Pinnock seems almost exhausted by Neeson and his professional negotiation with Bateman is a very well done scene.

However, the best performance came from John Doman and Emmy Rossum, who played John 'Gip' Gipsky and Kim Dash respectively. There are a lot of films out there that have done the old experienced police officer alongside the young hotshot looking to make a big bust before, in many cases this pair would look like quite the stereotype. Yet almost immediately the film shows a unique chemistry that is determined to redefine and make this sort of relationship between police officers more interesting. Doman does a great job as the fed up veteran who lets a lot of crime fall by the wayside for the sake of tourism in Kehoe. His opening monologue about his desire to open up opium dens is very funny and hooks you right away. Rossum on the other hand really launches herself full tilt into every opportunity she sees; looking to bust some young teenagers with a joint on her first day and then zeroing in quickly upon the gang war that is slowly gravitating to her town. As these two officers counter off against one another it grows increasingly hilarious to watch Doman's 'Gip' grow more fascinated by Rossum's love life as Rossum continues to show an incredibly adept edge and nearly unravel the entire mystery.

Cold Pursuit is a well written film that is visually put together quite well; however, it does suffer some structure issues especially as the narrative ventures into the second and third acts. The story at times moves away from Coxman's vendetta to focus on one of the two crime families, or even both for an extended period of time and as the film moves forward the time spent with the main protagonist stranegly feels less and less. Even smaller sub-plots such as that of the police, Ryan's upbringing or the scandals amongst the gang members draw focus often and you begin to feel the weight of the cast of the characters as the second act begins to wrap up. This is at times a necessary evil but with a clearer vision of delivering information and reaching the final act this would have been much smoother to watch.

Laura Dern, who played Grace Coxman, is another figure whose grief would have been really interesting to see unfold in more detail but she is denied this quite early on; I think one of the biggest weaknesses this film had was wasting Dern and not giving her character some closure. Michael Eklund, who played Speedo, finds himself the unfortunate generic henchman in a film where most henchmen roles actually feel like developed characters; Eklund barely has much opportunity to growl some tough sounding lines before he is snuffed. Elizabeth Thai, who played Ahn, is one of those Asian roles in an American blockbuster that has been put in without any substance given to her; Thai's mean-spirited role is never given any agency and consistently treated like a background figure. Raoul Max Trujillo, who played Thorpe, is portrayed as the go to 'man of action' for the Native American crime family but this quickly proves ineffectual; Trujillo hangs about in scenes but he never really feels much like a role and certainly doesn't get the treatment Jackson's character is given.

The Mule

This review may contain spoilers!

I can't honestly help but wonder if Clint Eastwood isn't showing his age at this point. I would give The Mule a 6/10.

The Mule follows Earl Stone, a chronically self-centred ex-botanist who takes up an offer to run drugs for a Mexican cartel in order to make ends meet. This is a film that puts everything it has into the second and third acts, relying heavily upon moments of tension and the charm of placing the protagonist in surprising circumstances. Watching Earl negotiate the members of the Cartel, even winning them over is a strength of the feature; you get a strange code of honour that emerges from this criminal underworld which becomes infinitely more interesting to watch. As Earl comes to realise the nature of what he's transporting the degree of control he has over his circumstances begins to slip away; at first it's just a single highway officer on patrol he has to escape from but by the end of the film he's trying to evade the DEA while facing extensive threats from the very cartel he's working for. I was skeptical whether the sub-plot around Earl reconnecting with his family would pay off but that part of the third act in which he drives back to spend time with his ex-wife before she dies of cancer is a really defining moment. The soundtrack for the film is ever present and quite a delightful success; watching Eastwood's Earl sing tunes on the radio softly is very likeable, but seeing the cartel members who've bugged his car singing too is a real winner.

Clint Eastwood, who played Earl Stone, does a really admirable job as the film's protagonist and the quality of what you're watching tends to fall squarely on his shoulders; Eastwood does a lot to make his character as subtly charming as possible, whether this be through mild-mannered humour or oddly placed scenes of elderly advice. Bradley Cooper, who played Agent Colin Bates, is a very driven role who puts all he has into his work; I like the way Cooper and Eastwood play off each other and even manage to mirror one another in a protagonist/antagonist capacity. Ignacio Serricchio, who played Julio, is this very aggressive figure looking to prove himself when first he is introduced; what I really enjoy is how we get to see the dimensions to this character and even the bond that begins to develop between him and Eastwood's role.

However, the best performance came from Andy Garcia, who played Laton. I really enjoyed watching this very relaxed, composed tycoon of a cartel head engaging himself so firmly in leisure while giving directives to his underlings. Garcia plays this character in a way that makes you think he isn't so serious but then he really flips your expectations and lays his power down on an individual, such as Serricchio's role. The benevolent criminal persona Garcia builds is really fascinating and the way he leads and almost orchestrates the party scene is well done.

The Mule is a frustrating film to watch because it's very aware of what parts of itself are the most exciting and only focuses on playing to those. The first act is very much a write off because you get a very shallow introduction to the main protagonist and his family issues seem dull or insignificant at first. I half-expected that the initial introduction to the cartels might provoke some form of excitement but instead we get a lot of empty sequences with Earl driving and a significant amount of inaction in the story. Even when the film does pick up and start to get good you never really feel like Earl is in any true danger because he never suffers meaningful consequences for his actions; even when the film ends his life in prison almost seems blissful. The cinematography for the film felt lazy to watch with several monotonous shots of driving (many of these repeated); the only time the camera seemed to come awake was the party scene to track almost creepily up and down scantily-clad female extras. The editing is about as slow as the main protagonist, this is the sort of film that relies purely on the narrative to move things along and even that didn't do much for it.

Alison Eastwood and Taissa Farmiga, who played Iris and Ginny respectively, are supposed to be these strong links to Eastwood's role but it's hard to feel a genuine connection; I'm most surprised that Alison Eastwood isn't capable of showing any onscreen chemistry with her father. Dianne Wiest, who played Mary, really gives quite a stilted performance of a scorned ex-wife; Wiest and Eastwood don't really feel like they have much of a meaningful onscreen relationship which takes away from some significant scenes. Laurence Fishburne, who played Special Agent In Charge, has to be one of the most stereotypical characters this film cooks up; Fishburne deadpans some absolutely cringeworthy one-liners throughout the film. Michael Pena, who played Agent Trevino, takes a complete backside for the entire film to Cooper's character; Pena has nothing to work with in a stoic, expressionless role. Eugene Cordero, who played Luis Rocha, isn't really believable as the snitch of the plot; this is because Cordero doesn't exude the persona of a criminal at any given moment of the film and is instead weirdly used for comedic relief.

Green Book

This review may contain spoilers!

This film has been little more than a joy to me and easily my favourite so far this year. I would give Green Book a 9/10.

Green Book is about Tony Lip being hired by Dr. Donald Shirley as a driver for Shirley's tour of the southern states; more specifically it's a tale of a friendship formed between two very different individuals. This film is an incredible exploration of the lives these two men live. Tony is a family man making ends meet who happens to be rather crass in his manner, While Dr. Shirley is a very composed musician who has an icy exterior concealing his inner conflict with how he is perceived versus why he plays. The pair seem strongly opposed to one another at first; Tony is a lout and has been influenced by a criminal background which gives the doctor misgivings. Yet as the pair begin to connect and understand each other Tony begins to drop some of his preconceptions about race, challenging his own views and questioning Shirley's own motivations. Watching a film in which these two individuals come to truly rely upon and protect one another is one of the most honest portrayals of race relations in recent years; it doesn't push the 60s through rose-coloured glasses but rather scrutinizes how one individual can shape and cause another to change in a positive light. The cinematography used throughout this film is very rich, drawing warm colours out of the driving scenes while also keeping the intimate nature of this feature consistent throughout. The editing is smooth and the film keeps a fairly good pace throughout. The score for Green Book is rather lifting, providing those scenes that require it with heavy tension while scaling the mood right back up in following scenes.

Mahershala Ali, who played Dr. Donald Shirley, gives this very highly strung, self-centred performance at first that hides the charm of his character very well; Ali really makes this a role who is so easy to connect with, one that you feel so much for as he breaks down over his struggles with his own identity. Linda Cardellini, who played Dolores, is this sharp-witted figure in the Vallelonga household who seems to hold everything together; Cardellini's emotional connection to her husband is a huge aspect of the film and watching her react to the letters affirms some of the better scenes of the feature. Brian Stepanek, who played Graham Kindell, was one of the few notable antagonists of the film; Stepanek presents a rather mild-mannered hotel/restaurant manager who exposes his true self in a venomous racist tirade.

However, the best performance came from Viggo Mortensen, who played Tony Lip. This role has such natural charisma that you come to like him very early on. It's a real balancing act to achieve this because some of the first scenes we see with Tony are examples of violence, duplicity and not so subtle racism. Yet I think Mortensen does a masterful job of giving this role an everyday quality, he doesn't seem the most competent, he's looking for work and he's a very present family man which makes this a figure the audience can relate to. As the film progresses and the real charming and humourous dialogue is exchanged between Mortensen and Ali it's clear just how much the role has changed his views already. I really love how this film moves to the point where Tony is protecting his friend and inviting him into his own home; the development of this role by Mortensen is a very powerful example of how we can challenge our own assumptions as individuals too.

This film has a journey laid out that comprise each of its acts, the story really plays out entirely predictably and if you're looking for a film that will surprise you then this isn't that. This film sets up what it wants to achieve very early on and when you get that come the end of the film it is highly satisfying but nothing short of an exceedingly safe narrative.

Sebastian Maniscalco, who played Johnny Venere, is a brother role that is really only present to flesh the first act out a little more; Maniscalco doesn't really play off Mortensen very well and he falls into the background a lot. Dimiter D. Marinov and Mike Hatton, who played Oleg and George respectively, are roles who are painted as being merely along for the ride; Marinov has a number of scenes in which he tries to bluntly point out aspect of the film's themes but this plays off as being rather heavy-handed. Don Stark, who played Jules Podell, is little more than a generic crook toting menacing dialogue; Stark's character feels a bit over-exaggerated and it's for the best the film didn't make much out of his sub-plot.

Glass

This review may contain spoilers!

Unbreakable is a nearly twenty year old film documenting a very unique twist on the superhero origin film, while Split was a psychological thriller about a man with multiple personality disorder who kidnapped young women. These films were so diametrically opposed that they should never have worked together; and that's exactly what happened. I would give Glass a 3/10.

Glass sees everyday superhero, David Dunn, and the split personality killer, dubbed 'The Horde', captured by the enigmatic Dr. Staple who forces them to question the reality of their superhuman abilities. This film does strongly when it plays up big hype moments; these aren;t necessarily scenes that feel fulfilling but they generate a level of excitement that does the trick. Moments like the first confrontation between David and the Horde, watching Elijah stab one of his carers or seeing the bond form and break between Elijah and The Horde give this feature several passing moments of genuine thrill.

James McAvoy, who played Kevin Wendell Crumb and The Horde, does an amazing job with this gallery of roles just as he did in Split; McAvoy jumps through a number of different personas throughout this feature and is able to shape each of them in a way that strongly lends themselves to the scene.

However, the best performance came from Bruce Willis, who played David Dunn. I immediately think that this is one of those decisions that goes alongside which film you preferred out of Unbreakable or Split and I;m certainly not hiding my cards on that count. Willis is this quiet and humble figure guided by an innate sense of righteous justice and good to seek out crime and prevent it. I love watching this role because Willis crafts a grounded superhero in a way that we haven't really seen that often since Unbreakable came out. Dunn is a kind and caring father figure who is bound by a sense of duty to do what is right with his gifts. Watching Willis return to his character's doubts about his powers in this film was an engaging struggle to watch and seeing him overcome those doubts again in a final effort to confront the antagonists is a powerful moment.

Glass is an awkward film to watch because it smashes two films together that were already very loosely connected, the big flaw this feature possesses is how it attempts to justify tying Unbreakable and Split together. In a lot of ways the audience is holding out for the big confrontation between Dunn and The Horde but you're cheated of that moment at every turn. Firstly, if you haven't seen Unbreakable it's going to be difficult to understand who Bruce Willis is in this movie, let alone who Samuel L. Jackson is playing. The film is terrified of linking back to Unbreakable too much, even though one of the third act twists relies heavily on that film, because of the success of Split one main role is favoured ahead of the rest. Secondly, for a film titled 'Glass' Elijah remains near catatonic for about half the film before he decides to play much of a role, even then it doesn't have the same flair as it did back in Unbreakable and Jackson's character is swiftly shunted to the background for a more appealling role like The Horde. Finally, the film attempts to subvert expectations so much that the final product is more bland than compelling. Watching the main cast engage in philosophical debate around whether they have superhuman abilities seems ludicrous after witnessing several elements of the first act. Then when the main cast has been detained by a secret organisation the whole time you feel disappointed that the revelation had to come at the cost of the only interesting roles in the film. By the time the world is informed that marginally superhuman beings exist you can't help but wonder if the payoff was worth sitting through this tedious and overstretched narrative. The cinematography looks bland and if a still frame can be used the static, easier image will be sought out crafting a film that looks the worst of this supposed trilogy. The special effects don't flaunt much, making me wonder if the budget was upped at all after the financial success of Split. The score is rather monotonous, a brooding, wilting piece that saps traces of emotion out of scenes rather than add to them.

Samuel L. Jackson, who played Elijah Price, is rather disappointing as the title character of the film; Jackson phones in his invalid performance in a major way and only really puts in half what he gave the character in Unbreakable. Anya Taylor-Joy, who played Casey Cooke, is a relatively confusing role at this point whose relationship with McAvoy's seems all over the place; watching this character play an emotional anchor to McAvoy is a weird extreme after watching her efforts to survive him in Split. Sarah Paulson, who played Dr. Ellie Staple, is a very rigid role that seems to ramble through paragraphs of exposition at a time; Paulson is cool and indifferent in many of her scenes which evokes about as much emotion in a scene as you'd expect. Spencer Treat Clark, who played Joseph Dunn, was a truly charming figure back in Unbreakable, he doesn't have as much to offer these days; the relationship between him and Willis doesn't work the same and it has a much more stilted quality to it. Charlayne Woodard, who played Mrs Price, doesn't really need to be in this film and she doesn't really seem to know what she's doing either; Woodard has a barebones relationship with Jackson and she seems to be in scenes to fill the frame after a point. Luke Kirby and Adam David Thompson, who played Pierce and Daryl respectively, are fairly generic as the reckless carers for the superhuman inmates; Kirby's more antagonistic role doesn't provide much new and is a stereotype this simple narrative seems comfortable with. 

Spider-Man: Into The Spider-Verse

This review may contain spoilers!

This film smashes all my expectations for what an animated film is and crafts one of the most memorable films of the year. I would give Spider-Man: Into The Spider-Verse a 9/10.

Spider-Man: Into The Spider-Verse follows Miles Morales, a young kid grappling with his newfound spider powers and the sudden appearance of a number of Spider-people, as he attempts to prevent Kingpin from rending New York apart with an inter-dimensional device. This film is all heart every step of the way, highlighting the bond relationships between family, friends and mentors can have upon one's life and the strength we gain from these positive relationships. As a main protagonist Miles has to be one of the most interesting Spider-Man characters we've had on the big screen yet. There is an awkward and nervous degree to him that helps shape the initial reluctant hero; yet a strong moral compass and dedication to the values taught to him by his family we see Miles emerge a true steadfast hero. Yes, this is a Spider-Man film and that means epic super-villain battles, fast quips and ludicrous sci-fi elements but that's where the film gets to have its fun all the while imparting a strong narrative that puts a whole new understanding to the phrase: "With great power comes great responsibility". I am still stunned by how this film looks visually, it is completely unique and sets a very vibrant, fresh look that I feel a lot of studios will aspire to now. The score is thrilling and has you engaged from start to finish; while I feel the soundtrack includes some brilliant gems, like Post Malone's 'Sunflower' or Blackway's 'What's Up Danger', that serve to highlight Miles as a character and enhance the narrative beat for beat.

Shameik Moore, who voiced Miles Morales, really crafts this humble young role who is so incredibly uncertain of his place in the world; Moore shows a young man who is incredibly brave and able to find himself a hero. Jake Johnson, who voiced Peter B. Parker, is the spectacularly hilarious Spider-Man that we're all familiar with from the first frame; yet I like how Johnson really plays up the washed out quality to his Spider-Man character making him a rather disgruntled mentor to Moore's Miles. Hailee Steinfeld, who voiced Gwen Stacy, just continues to absolutely dominate every role she is given at the moment; Steinfeld lends a tough edge to her character but she also shines through with that superhero charisma throughout. Mahershala Ali, who voiced Uncle Aaron, is such a smooth, cool role upon being introduced; Ali does a great job of framing a role who functions partly as a villain but completely as this warm, likeable uncle to Miles. Brian Tyree Henry, who voiced Jefferson Davis, is a pretty stalwart father figure with a chip on his shoulder about Spider-Man at first; Tyree Henry's character has such charm because he very openly has his heart on his sleeve throughout the film. John Mulaney, who voiced Spider-Ham, lends all of his comedic persona to this role full force; Mulaney is strongly the comedic backbone of the film dishing puns galore and oddball quips at every opportune moment. Kimiko Glenn, who voiced Peni Parker, is this very charged, high-energy role who quickly captures the hearts of the audience; Glenn does a good job at portraying the rather emotional tragedy her role goes through in this film extremely well. Nicolas Cage, who voiced Spider-Man Noir, really parodies the morose undertones of his role quite well; Cage has a rather bashful, yet charming connection to the rest of the team and it makes for quite a heartfelt addition to the Spider-family. Kathryn Hahn, who voiced Doc Ock, really nails the distracted and erratic scientist so well at first that you have no idea the antagonist she will turn out to be until the big reveal; Hahn's sudden transition into a vicious violent streak is a great turn in the plot and a knockout show from this actress. Liev Schreiber, who voiced Wilson Fisk, is just this booming bass presence throughout the film; a real powerful menace who is brought to life perfectly by Schreiber.

However, the best performance came from Chris Pine, who voiced Peter Parker. While Pine doesn't have a lot of screen time he immediately shines as the charismatic iconic role we've all come to know and love countless times over the years. Spider-Man is one of the biggest heroes of all time and Pine sells that every step of the way, charisma practically oozing out of him. I have connected with a large number of Spider-Man portrayals over the years and that's because he's a hard character to get wrong honestly; but there is something really impressive with what each actor brings to this role. Pine shows a quick wit and real energy when it comes to the role. But what really makes him significant is the immediate sense of care he shows for Miles upon meeting him; its this moment in which he displays an overwhelming sense of responsibility to Miles and commits a lot to being his mentor. It is probably my favourite scene in the entire film. 'Nuff said.

 This film does slow a bit once it begins introducing so many extra antagonists and spider-people into the mix, especially with some of the plot devices already in play. Each time a new character is brought in they have to be introduced and then inserted alongside another main character(s) to make them feel like an active participant in the plot. While they do this rather well for the most part, it certainly chops the pace of the feature up somewhat.

Lily Tomlin, who voiced Aunt May, is one of my least favourite portrayals of Peter's Aunt yet; Tomlin's May seems like some kind of souped Alfred Pennyworth who slipped their marbles along the way, she's a mad character and doesn't make much sense at all. Luna Lauren Velez, who voiced Rio Morales, really gets shaded by Tyree Henry and Ali in a big way; you never feel like Miles' Mum has much of a presence or a purpose in this film - which seems a lot more dedicated with his relationship to father figures. Zoe Kravitz, who voiced Mary Jane, presents a rather bland interpretation of this character; Kravitz's MJ is resoundingly muted and seems merely there to be pined after rather than play an active role.