Rating 12 Length 2h28 Release 15.12.2021 Director Jon Watts About With Spider-Man’s identity now revealed, our friendly neighborhood web-slinger is unmasked and no longer able to separate his normal life as Peter Parker from the high stakes of being a superhero. When Peter asks for help from Doctor Strange, the stakes become even more dangerous, forcing him to discover what it truly means to be Spider-Man. Moon: Full moon during the climatic final fight Where to Watch: Cinemas Trailer:
I don’t think I’ve felt the buzz and hype of a film so tangibly in a cinema for a long time. Nope, upon feeling it walking towards my screen, not even when Force Awakens came out. Not even a Midnight screening has given me that excitement that I felt with those early Potter films. I watched people literally racing from a screen to the toilet, not wanting to miss a single second. As the usher scanned my ticket, he even reassured me that it was good and to enjoy it. It’s safe to say, I did.
The story is really good, very well structured and manages to balance the heavy castings impeccably. If you think of Maguire’s third outing and the ambitious plot weaving that attempted?! This film shows that it can be done.
The casting! Unless you’ve been sans internet for the last however many months, you’d know that Jamie Foxx, William Dafoe and Alfred Molina have returned to play off against an unfamiliar Peter Parker. All three bring what I loved from their previous performances and then some. Foxx, for me at least, gives a slightly different performance, but I have absolutely no problem with that. As for Dafoe and Molina. Both of them make it so hard to identify a favourite. Both of them bring their all, they bring the ham, but also manage to match the tone that Holland’s Spider-Man has established.
The humour is spot on, as always. It isn’t for everyone, but fuck them! I love it. I love every scene in which Ned does his thing, MJ does her thing and the humour that happens when they’re all together.
Tom Holland. What a beautiful, amazing and wonderful Peter Parker he is. Damn it, he’s *my* Spider-Man. It’s not that the other two were ever ‘wrong’ for the role. It’s just that the character works like Dr Who. You have *the* Spider-Man and that’s cool.
I’m still not sold on the use of Dr Strange. I love every bit he’s in and I totally understand why we need him out the picture. However, it lacks the finesse that Stark’s ‘hands off’ approach had and because of that, Strange feels a little bit like a plot device that gets fucked off stage until he’s of use again. Or, you know, like how Captain Marvel was used at the beginning of Endgame.
I get the feeling these events are happening alongside the events of Hawkeye, the tv series, but as I think there’s still an episode to go I can’t quite get them married up in my mind.
This film does rely on the audience being well versed in the Spidy-Verse. This is not the film that should ever introduce you to the character and, even from the trailers, people should know at least a casual knowledge of the Maguire and Garfield eras is necessary. For me, this isn’t a bad thing. However, I do need to acknowledge that some other films have been able to achieve what this film has, while providing a film that works without seeing the previous.
There’s a cameo that I’m still not certain about. The geek in me loves it, however there’s just something about it that reminds me of Clint Barton’s introduction into the universe in Thor; underwhelming.
Such a powerful, clever, outing that has gone straight to the top of my favourite MCU list. I want to go watch it again. I already know this is a film in which I will discover more on repeated viewings.
Rating U Length 1h33 Release 3.12.2021 Director Andy Finkman About After a disastrous celebration, 12-year-old Rowena makes a wish and unexpectedly finds herself reliving Christmas Day over and over again. After a disastrous celebration, 12-year-old Rowena makes a wish and unexpectedly finds herself reliving Christmas Day over and over again. Moon: no moon sighting Where to Watch: Disney Plus Trailer:
Lucifer’s Scarlett Estevez gives everyone watching the perfect blend of Kevin (Home Alone) Ferris (Buller) and Mouth (Goonies). She holds her own and does what she can with the material she’s given. It really makes me quite sad that her character in Lucifer didn’t give her a chance to demonstrate any of this.
There’s fart gags and ‘living the kiddie dream’ that will keep young ones happy.
With a 90(ish) minute runtime, it does make for an ideal mid-week choice.
The fart gags. Seriously, I’m bored of them now. I don’t need the smell described to me while the character gags. Nope, no thanks.
The bizarre ‘everyone ends up at Ro’s house’ bollocks that was just weird. Everyone was rude, even the mother when it came to the last guest. Just really mishandled.
There are already so many Groundhog Day does Christmas out there that if you do this gimmick, you have to do it right. This film, does not. It breaks the reset rules way too many times. Sometimes Ro is able to wake up before the set up of the day and put things into place, other times characters who would trigger the start of the day don’t appear, allowing Ro to do something else. This includes having the kitchen to herself, or members of the family not yet arriving at the house even though they’d seemingly been there for hours in the set up of the repeat day. The kid is also allowed to seemingly fuck off for the day, do what she wants, with no consequences. What bullshit is this?! Who in their right mind would let their 12 year old wonder off for any day without searching for her, let alone on Christmas Day. Mind boggles.
A film I wanted to love, but ultimately I found the plotting choices lazy and just made it hard to enjoy. For a film that does it right, check out Pete’s Christmas (2013) instead.
Rating PG Length 1h41 Release 2.12.2021 Director Michael Mayer About Desperate to avoid his family’s judgment about being single, Peter persuades best friend Nick to pose as his boyfriend on a trip home for the holidays. Moon: no moon sighting Where to Watch: Netflix Trailer:
How the hell has Ugly Betty alum, Michael Urie, only just got a leading role in a film. I love this guy and he’s the ideal person to play Peter. He hasn’t aged a day either and I *must* know his secret!
The remaining cast was solid, but it is both Kathy Najimy and Jennifer Robertson that steal every scene they’re in.
Dan Finnerty makes a cameo with more of his musical stylings. Yep, for anyone wondering, that is the same Dan from the Dan Band that you may know from the Hangover.
Why, oh why, does there have to always be a second love interest? Why couldn’t this have been two meddling nieces helping her uncle find love? The reason why I hate it so much is that the third wheel in our rom-com is always written in such a forced way to ram it down our throats that ‘they’re not the one’. We get it, they’re not on the poster; we are not invested.
I’m a little disappointed with the use of Jennifer Coolidge. It was rather a bland character that led to a bland performance. The is a Queen of camp and larger than life characters and she was really stunted in this.
Peter’s whole ‘I’m in this position in my career but it’s not a career I want’ bs really rankles me. It doesn’t mesh with everything else about his character and where he is at the start. His family are supportive, so why didn’t he give his plant shop dream a shot from the start?! Also, who the hell goes back to small town, America to open up a niche shop?! The story arc would have worked much better if he’d had the plant shit as a hobble, been incredibly unhappy in his job and have the realisation he needs to make a change.
Possibly a *little* too understated to enlarge your heart three sizes, but it’s certainly much more upbeat than last year’s LGBTQ offering Happiest Season (2020)
Rating PG Length 1h38 Release 26.11.2021 Director Mary Lambert About To escape a scandal, a bestselling author journeys to Scotland, where she falls in love with a castle — and faces off with the grumpy duke who owns it. Moon: none Where to Watch: Netflix Trailer:
Cary Elwes has provided us with another decade of heartthrob thirst-bait. Yes, we’ve perhaps seen him take on more villainous roles in the new millennium, but this is right up there with Princess Bride, Lady Jane and Robin Hood. His accent is good, the grump persona makes the enemies to lovers entertaining.
I cannot complain about the cast on the whole. Brooke Shields is the ideal leading lady who charms the village and the villagers themselves are so wonderful, I’d happily have another film just focusing on them.
The plot is light and requires no effort to watch. Just wait till it gets dark, wrap yourself in a blanket and brew yourself a hot toddy and you’ve got the perfect evening ahead.
The inevitable fight was so forced and half hearted. I get that the couple, and the audience, need a catalyst to split them up. You know, if we’re going for formulaic like this film ultimately did. However, the outburst was so utterly irrational and it did spoil that charm the film had going for it.
With such a short run time,this film spends way too long on the set up. There are better ways to have her situation told on screen without it taking up so many scenes. Personally, I’d have it where she’s in the airport, all the magazines have the author on the cover, a nearby tv screens her interview.
There really isn’t much of the enemies to lovers section. I really wanted more. Perhaps dedicating the time from the opening to this section would work wonderfully.
A plot by numbers Christmas romance that’s made much easier to watch with Cary Elwes in the lead.
Rating 12a Length 1h56 Release 5.11.2021 Director Pablo Larrain About The marriage between Princess Diana and Prince Charles has long since grown cold. Though rumors of affairs and a divorce abound, peace is ordained for the Christmas festivities at the queen’s estate. There’s eating and drinking, shooting and hunting. Diana knows the game, but this year, things will be profoundly different. Moon: Full moon at 1h 23 Where to Watch: Most cinemas now Trailer:
It is a visually stunning film. Particularly the establishing shots and those that keep Diana at a distance from the audience. There’s an overhead shot of the grounds near the beginning when Diana arrives, I would happily have that on my wall. You know, if I didn’t loath this film. There’s also the opening pheasant drive-by that really had my stomach churning. How they managed to set it up where none of those army trucks made the poor thing go ‘splat’, I’ll never know. Although, if it did, it might have lightened the mood just a tad.
The costume department really do deserve at least award nominations. The attention to detail is incredible. The same can be said for set design.
On the most part, Kristen Stewart does well. Yes, I suspect she will be nominated for the Oscar. Depending on who she’s up against, I’m pretty certain she’ll win.
I was quite intrigued by Diana identifying with Ann Boleyn and the imagery that came along with it. I’d never thought about it before and the similarities. To someone who was suffering from mental ill health, it would be something heavy to carry.
Sean Harris was incredible. It took me a moment to work out who he was, but it was lovely to see him in a role that wasn’t him being a creep or a bad guy. Give me a film of him playing that chef and I’m there. There was just something calming about his presence in this storm of chaos.
My problem with Kristen Stewart’s performance was that there wasn’t the range I was expecting and, in all honesty, the role was rather safe for her. Outside of perfecting the accent, the mannerisms and awkwardness is nothing I haven’t seen from Stewart before. Even the scene in which Diana is in the public, the audience are given the internalised performance. Honestly, I don’t think Stewart would have the ability to give us the public persona of Diana, and that really is the shame… and why I don’t think she deserves the awards.
The film has certain expectations of the audience and it will put off those who aren’t well versed in the life and times of the Royal Family. Perhaps the film wanted me to go away and look up about Diana in the aftermath of this Oscar bait. However, a better film would appeal to both the well versed and the newbie.
One of those aspects was indeed the self-harm. Fuck me, that was so badly handled. Both the bulimia (which for this film I’m going to consider a form of self-harm) and the cutting. The biggest problem being that in an artsy film, it’s hard not to see these moments as gratuitous and lacking the monumental impact this has on the individual. When it came to the cutting, I saw red. Okay, on the screen but also emotionally. Diana has a known history of self-harm through cutting. Yet the film chooses to have her cut her unblemished arm? Then, a scene later it is gone. Which is fine (it isn’t really), but in a film that has Diana hallucinating are you wanting the audience to believe she imagined herself cutting?!
I love Timothy Spall, so I mean no offense to him personally, but what the actual fuck?! His character was weird. Weirder than when he was Wormtail, and that’s saying something. His character, along with other artist choices, drove the film into horror territory.
This film is a try-hard. It spends too much time being Oscar bait, to actually think about the audience and how they would see the film. The story suffers as a result, and when the film is about real people, that’s all the more devastating.
Speaking of the audience. Who was this film for? Did the director think about the audience, at all? I mean, from my perspective it alienated Royalist, Diana loyalist and even film fans like myself. So… who is left?!
Did you really have to have Diana’s first clear word spoken be ‘fuck’? What was the purpose of that; shock value? It just felt really cheap and the perfect way to alienate the audience. The only people who are going to bought by that are those who have absolutely no intention of seeing this film.
Too artsy and bollocks for my liking. Diana’s mental ill health was not shown in a compassionate or concise way. So of course its going to win all the awards.
Rating PG Length 1h29 Release 6.11.2021 Director Dustin Rikert About Angie wonders what life would be like if she had married an ex who became famous. When she finds herself magically transported into the past, Angie has the chance to relive that Christmas and learn what (and who) is truly important to her. Moon: no moon sighting Where to Watch: Part of Hallmark subscription on Amazon Prime Trailer:
It’s a very pretty cast. How can you not want Angie, Surgeon and Kick-Ass alumni, to get the guy.
The casting of Lea Thompson and Christopher Lloyd in a time-travel based story. I totally get the reference and I’m here for it.
It’s a lovely story that has family and Christmas at the heart. What’s not to love? You just need to not have high expectations and let the joy of Christmas wash over you.
It’s not just a love story about the protagonist, but there’s other couples that are helped along the way.
Perhaps we don’t see enough of Angie and Tyler together, but there is zero chemistry between them. I really do wish we’d seen a little flashback to understand why they were even together. It’s not that big a deal, but I have a format to my reviews, so I’m going to stick to it.
For some viewers, this will be a little ‘plot by numbers’. Yes, it’s predictable, yes the characters are clearly labelled and don’t represent real life (for example, Tyler is equal parts of perfect boyfriend and total douche just so you know he’s ‘not the one’) However, some time people need that, and if that’s not something you like… stay away from Hallmark.
The cold is biting, so what better to warm you up than a sickly sweet story that’s full of charm and not too taxing.
Rating 18 Length 1h56 Release 12.4.2017 Director Edgar Wright About An aspiring fashion designer is mysteriously able to enter the 1960s, where she encounters a dazzling wannabe singer. However, the glamour is not all it appears to be, and the dreams of the past start to crack and splinter into something far darker. Moon: no moon sighting Where to Watch: In cinemas now Trailer:
This is a dark, clever, little film that cements my thoughts of Edgar Wright being a genre film-maker. One in a similar vein to Quentin Tarantino, but less… try hard?! While most of the film being anchored in the present day, there’s still many aspects that are borrowed from films in the 1960’s. While there are deliberate red herrings, there are some subtle ones that will have you wanting to rewatch.
One of the things I loved about the casting choices were the prominent leading stars of the 60s. Rita Tushingham tugged at my memory for most of the film. A face you know, but can’t quite place. Of course, a quick search reminded me she was in the film that I caused a heated debate about in my Film Studies seminar. The film in question was The Knack… and How to Get It. If you’ve seen The Knack, you’ll understand why she’s rather savvy casting and a foreshadowing of things to come.
Terence Stamp gave me the urge to watch Gangster No1. While I perhaps would have preferred Malcolm McDowell in the role, I must even admit myself that would have been a little on the nose. Plus, Stamp offers uncertainty and a performance that hangs doubt on the character and his intentions. I’m not certain McDowell, as amazing as he is, could have pulled it off so well.
Diana Rigg. Miss Emma Peel herself. While a little bittersweet knowing this was her last film, it’s a damn fine one to be going out on.
The Doctor Who connection does not end at the casting of Matt Smith. Time travel and faceless bodies haunting our protagonist. It is beautiful how it feels like a very dark, very twisted episode of the Time Lord’s. The effects will most likely haunt me for days and that’s the thing; Dr Who was always able to pinpoint your basic nightmares and make them something to truly fear.
This is a personal thing, but I don’t like the method of Eloise getting to the past. I love her being there, no question, however having it the way it is really does stop a number of red herrings in their tracks. I wish there was more of a tangible cause, even if it was as simple as she’d found a dress of Sandie’s.
The ending has me so conflicted. While it has left me frustrated, it does serve a purpose. I absolutely must watch it again to find out if my feelings towards certain characters are justified.
This is no Cornetto film. It’s dark, it’s twisted and it’s a film of a director with an eye for detail. Beware though, you will want to watch it again once you’ve watched right to the end.
Rating 12a Length 2h04 Release 18.11.2021 Director GJason Reitman About When a single mother and her two children move to a new town, they soon discover they have a connection to the original Ghostbusters and the secret legacy their grandfather left behind. Moon: no moon sighting Where to Watch: Cinemas Trailer:
This is a legacy film for so many reasons. It returns us to the 0 universe in which Ray, Egon, Winston and Peter established the Ghostbusters. Not only that, it’s directed by the son of the original director. This is as much a love letter to Ivan Reitman as it is to us, the fans.
There is fan service a plenty, but it’s not the nod and wink effort of the 2016 incarnation. It’s nostalgia. It is that bittersweet feeling you have when you find something you’d almost forgotten.
Mckenna Grace gives us Egon reincarnated as the beautifully geeky Phoebe. She’s a little at odds with the world, but she is an absolute genius. I adore everything about this character and I am beyond happy with Grace’s performance.
The mixing of visual and practical effects really does work for the film. It certainly would seem, on the most part, the production made the right choices about what to use and when.
Paul Rudd providing some of the information and filling in the gaps for the new generation was beautiful. It felt almost like he was one of the many dad’s in the viewing I went to explaining to their children the legacy they were about to watch.
It’s not often I don’t like the score… and it’s not that I didn’t like it, per say. It was that the original score was relied upon a little too much, and too often without giving something that gave this film its own sound. Maybe I’ve been too spoilt with the blended scores of Star Trek and Jurassic World, but for me the music used is so embedded into scenes of the first, and second, movie that it distracts from what I’m watching on the screen… mainly because the music has triggered that hop Venkman does after seeing Dana after leaving work.
There is an argument for it pulling a ‘Force Awakens’ or a ‘Jurassic World’, in that the film retraces steps. Yes, it does at certain parts however, I do believe it is justified in order to have that connective thread linking the characters. Besides, Ghostbusters Answer the Call (2016) gave audiences something new and you all said it was shit, so… suck it!
Be prepared for tears. This is an emotional story, not only for people who grew up on the original films not seeing their childhood being nuked like Indiana Jones did 13 years ago, but in terms of how the film deals with Harold Ramis’ absence.
I said the CGI worked, on the most part. There is one part that just didn’t work and I really wish they’d cut it; the damn overhead jump shot of Eco1. It looks cartoonish and really stands out.
Have you ever heard a young kid in a cinema shout “They’re going to use the trap daddy!”? Oh my god, the screening I went to was full of chuffed dad’s seeing their kids enjoy a beloved franchise from their own childhood. Fuck me, it was beautiful to watch. Actually, so was watching the 13/14 year old lads belt out the theme song when it came to the credits.
It’s a film that gives charm, comedy and joy, sets up a potential sequel (not holding my breath, so did 2016 and that got shut down fast) and reminds us … geeks are fucking awesome and always have the best toys!
Rating PG Length 1h36 Release 18.11.2021 Director Steve Franks About As Gus plans a wedding and Selene delays signing the divorce papers from her previous marriage, Shawn launches an investigation to uncover her mysterious past. Moon: no moon sighting Where to Watch: Streaming on Peacock subscription via Now Trailer:
Psych is wonderful. By that, I mean the entire franchise. If you’ve never seen an episode, I recommend you stop what you’re doing and prepare to binge this 8 season detective comedy that is Lucifer meets Chuck by way of Community. This feature length outing is no exception. The 90minutes could see you easily shout BINGO on a card of catch phrases and situations we’ll have seen Shawn and Gus tumble into time and time again.
Timothy Omundson has always been a scene stealer, but there’s something beautiful and empowering about the inclusion of Omudson’s character, Lassie. For those who perhaps are not aware, Omundson suffered a stroke in 2017 and this had an impact on his ability to walk. Honestly, his recovery has been wonderful, powerful, to watch. I cannot help but feel proud of this man and the hope he undoubtedly is giving many people out there who have, are, and will face life changing events.
Also, Lassie is a badass and one of the funniest characters I’ve seen on tv. He’s the love child of Chandler Bing and Marvin the Android. You *may* start by hating the uptight and surly Carlton Lasseter, but he’ll steal your heart in the end.
Shawn is a man-child. It’s the crux of the comedy and hijinks and I’m here for it. I enjoy it so much mainly because he’s not in my life causing chaos.
Every fan favourite gets to play and they don’t ever feel shoehorned.
I do feel like the ‘psych’ part was cast aside in this outing, which is a shame because it’s the bit that sets the show apart from other ‘detectives with a civilian’ shows out there (Lucifer, i Zombie, White Collar, Castle… to name a few)
I couldn’t tell you for certain as I’ve not watched This is Us, but I do suspect there were some jokes or Easter Eggs I missed during my watch.
This isn’t a place for the uninitiated to start. When it’s the third movie continuance of a beloved tv series, there is some expectation that the viewer is familiar with Shawn and his friends. There are call backs and history that would just bog a film like this down, so please, don’t watch this film in isolate and expect to love it. It really is that friend that you need to get to know first.
Rating 15 Length 1h50 Release 29.10.2021 Director Aron Gaudet and Gita Pullapilly About A frustrated suburban housewife and her best friend hatch an illegal coupon-club scheme that scams millions from corporations and delivers deals to legions of fellow coupon clippers. Hot on their trail is an unlikely duo — a hapless loss-prevention officer and a determined U.S. postal inspector — both looking to end their criminal enterprise. Moon: none sighted Where to Watch: Trailer:
Kristen Bell can do no wrong. She is an utter chameleon and she has the perfect voice for narration. It makes her the ideal casting choice for Connie as not only is she able to sell the character from the beginning, she is able to show the progress and evolution.
Kirby-Howell Baptiste is one of my favourite actors at the moment and she is definitely one to watch. her role as JoJo is very different to any character I’ve seen her play to date, so much so that I actually had to double check that it was her.
It was nice to see upcoming Stranger Things cast member Eduardo Franco in a small role. I love his hair more than anything, but he also gave a solid, funny, performance.
The partnership of Vince Vaughn and Paul Walter Hauser was a surprising hoot.
I don’t like hating Joel McHale! He, unfortunately, is very good at playing this type of asshole. I also really wish the film gave us a little more, so I knew if he was an actual asshole, or if it was his grief.
Like, how he responds to Connie is not too far from how I would expect most people to react, so I still retain some of my sympathy for him. Which is a shame, because that then makes me like Connie less.
I found the ‘body autonomy’ lesson too righteous. Yes, it is Connie’s body. However, I’m not sure that she has the moral high ground in keeping her IVF treatment from her husband. While autonomy, rightly should be given to the women in terms of abortion and the law. There still should be that dialogue within a couple. A man cannot force a woman to keep a pregnancy, but they should be allowed to grieve. My problem is that as a woman, I want equality and I find these sort of messages in film, truly muddy the social waters. A fix for this would perhaps be that we have Rick voice his insistence that they will never try for another baby. I need something that doesn’t make what Connie did a really shitty thing.
Decent film, well executed and something I would watch again.
Rating 12a Length 1h58 Release 12.11.2021 Director Rawson Marshall Thurber (fun fact: He’s the Quiznos guy from Easy A) About In the world of international crime, an Interpol agent attempts to hunt down and capture the world’s most wanted art thief. Moon: Full moon sighted as Reynold’s character goes home. Where to Watch: Netflix Trailer:
It’s a pretty solid story. Not that I cared, at all. Why? Oh, I was here for the Johnson/ Reynolds dialogue. They understood the mission. Their interactions were *chef’s kiss* perfect. I don’t quite know what it is about these two together, but they’re dynamite. The only pairing I’d want more is Reynolds and Jackman and with both, I could have had them sitting, in a room, just reading the lines. Yes, it would be fair to say it really is down to Reynolds’ delivery of a lot of the lines, but if you’ve seen the latest in the Hitman’s Bodyguard series, you’d know that it’s more than that.
That said, there are some amazing action sequences, location shoots and excuses to dress up. It’s The Mummy meets Bond, by way of Danny Ocean. Its perfect for a Saturday night watch when you don’t want to think too hard.
Cal Gadot almost gets there. There’s crazy in the performance, but the actress pulls it back and I really wish she didn’t. Gadot could have given us something shy of Harley Quinn and I know I’m splitting hairs, but in a film as good as this, I do have to critique something.
Green light the sequel already, you cowards!
Had everything I really needed in a movie like this, so there’s really nothing to complain about. Only thing is, this review is a little redundant as it would appear that most people have already watched Red Notice this weekend.
Rating 12a Length 2h12 Release 3.09.2021 Director Destin Daniel Cretton About Martial-arts master Shang-Chi confronts the past he thought he left behind when he’s drawn into the web of the mysterious Ten Rings organization. Moon: None seen… but I was too invested and may have missed it. Where to Watch: Cinemas nationwide and Disney + Trailer:
I cannot fault the casting. From the knowns, to the unknowns (to me), they fit the roles perfectly. As always Awkwafina is a joy, Ben Kingsley brings his ham and Michelle Yeoh is the badass I always depend on her being.
I adore the change of the Ten Rings from the comic to the movie. Having the rings appeal more to Asian culture also has added bonus of differentiating them from the hand garment of the previous phases.
The story is really awesome. It acknowledges the Manderine (Ben Kinsley) of Phases 1 and 2, while giving us someone who is a complex and flawed antagonist. The family relationship and dynamic reminded me of the short-lived Helstrom and it was good to see that in play here.
Ben Kingsley’s Trever was that brilliant touch of off the wall comedy you need in something like this. Also, his Scouse accent is spot on for someone who would be theatrically trained. There’s varients in the dialect and that man got it right. So it’s not the hacking and eck-ing that people who are familiar with John Bishop are used to, but it’s a softer and rounder accent. Sod it, I’m just happy we got some Scouser representation in there.
The martial arts itself is STUNNING. Beautiful. I also love that we got original language and subtitles. One of the reasons why I’ve stayed away from the martial arts genre is because access only ever seems to be dubbed movies. As someone who relies on lip reading for understanding, dubbing has the habit of giving me a headache.
Some of the CGI is ropey. Like Episode 1, really isn’t going to age very well, sort of ropey. It’s a shame, because from what I can tell of the preproduction everyone was prepared for the martial arts, but there were bits that went to the next level to make it a Marvel movie. If it had been kept within the hidden world, it might have been okay, but as it stands I found certain scenes, the bus fight in particular, detracting visually.
There’s a scene in which the fight sequence takes place on scaffolding. Bollocks, it scared me. My body had the physical reaction of watching a horror movie, I had to look away and I even considered fast forwarding at one point. While this wasn’t a fun experience for me, I do like the fact that it was able to gain such a reaction from me.
Iron Man really did run Phase 3 and 4 introductions could fly. I only hope the fatigue doesn’t last for people, because these are the films we need.