My Big Fat Wedding Two

Director: Kirk Jones (2016)

After the collapse of their economy and the migrant crisis, it’s mystifying what the Greeks have done to have this sorry sentimental soap opera sequel inflicted upon them.

Alongside the original cast, Nia Vardalos returns as Toula, a middle aged martyr to her large, bickering Greek family who all live in the same Chicago street.

Her teenage daughter wants to move to New York, her marriage is sexless and caring for her parents takes up all her time and energy.

The only funny moment in the 2002 movie occurred when screen husband to be John Corbett fell off his chair.

Sadly no such comic gold is mined here. There’s some confusion concerning a marriage certificate, lots of discussion of what it means to be Greek and an immediately resolved gay subplot pops out of nowhere.

Watching this is like being forced to attend a wedding of people you don’t like and are reduced to wondering about the footie scores and what time the bar opens.

★☆☆☆☆

Disorder

Director: Alice Winocour (2016)

Frequently cast for his solid, dependable and brooding demeanour, Matthias Schoenaerts is an impressive piece of timber.

He plays Vincent, a short tempered self medicating soldier on psychiatric leave, moonlighting as security for the spouse of wealthy Lebanese executive.

Diane Kruger looks the part of trophy wife Jessie but is no more successful at breathing life into her character.

Her husband is abroad on business and following some vague political shenanigans, Vincent, Jessie and her young son are besieged in a deserted mansion.

An impressive soundtrack strives to generate paranoia and tension but a lack of chemistry, humour, romance or anything else fails to make us care what happens when the violence belatedly begins.

★★☆☆☆

Batman Vs Superman

Director: Zack Snyder (2016)

Long, loud and laden with apocalyptic doom, this superhero scrap sees the two big beasts of DC comics collide for the first time on the silver screen.

Though the story is a timely nod to the galvanising effect a symbolic sacrifice can have on the behaviour of humanity, this is a suitably dour sequel to Snyder’s equally ponderous Man of Steel (2013).

More concerned with exploring humanity’s relationship with god than having fun fighting crime, it’s full of visions of hell, ghostly conversations and lashings of occasionally shoddy CGI mayhem.

Rare moments of weak humour seem included by studio diktat and every utterance is underlined by Hans Zimmer’s typically thunderous score.

Added to the huge amount of explosions and gunfire, it is for many stretches a numbing rather than uplifting or exciting experience.

At the beginning for those who may have forgotten already, there is a mercifully quick revision of Batman’s origin story. Then we plough right into the end of Man Of Steel where Superman’s titanic battle with General Zod is witnessed by an aghast Bruce Wayne.

Bulked up Brit Henry Cavill returns as Superman and a beefy Ben Affleck stars for the first time as Batman. Both are well cast though I suspect Cavill is operating at the top of his game while Affleck is operating well within his.

Affleck has himself appeared in the Superman costume in the role of ill-fated TV star George Reeves in the excellent Hollywoodland (2006). He was also Marvel comics Daredevil (2003) in a version every bit as poor as the Netflix TV series is excellent.

The super serious Man of Steel and The Caped Crusader are pitched against each other through the nefarious plans of Lex Luthor.

Jesse Eisenberg twitches and simpers as the skinny evil scientist. He sports a suit and trainers combo topped off with straggly shoulder length hair.

Contributing little, dressed to the nines and wandering around backstage like a lost contender for hottest businesswoman of the year, Gal Gadot is eventually unveiled as Wonder Woman to the accompaniment of a personal guitar riff. I’m sure I wasn’t supposed to be laughing, but it’s the only time I did.

Amy Adams is repeatedly rescued as Superman’s squeeze Lois Lane and Diane Lane returns as Martha Kent, Superman’s adoptive human mother.

 Sharing scant screen time with his employer, Jeremy Irons makes little impression as Alfred, butler and mechanic to Batman’s alter ego, the billionaire Bruce Wayne.

There is  a strong sense of design with chains and fire being recurring motifs, suitable for a film which mines the god-confronting myth of Prometheus for inspiration. The Bat-suit is nicely scarred and demonic and Wayne manor has a full complement of bat gadgets, bat memorabilia and of course a Batmobile.

Director Zac Snyder is also responsible for the ponderous and slavish adaption of the superhero satire Watchmen (2009).

Based on Alan Moore’s seminal work, it was one of two groundbreaking graphic novels of the ’80’s which contributed to making comic books acceptable cultural fodder for adults.

The other was Frank Miller’s Bat-tale The Dark Knight Returns, and Snyder lifts some ideas, images and dialogue directly from the page.

Those graphic novels use the presence of super powerful godlike beings on Earth to explore the media manipulation of disaster for political and military gain. This forms a central thrust to Batman Vs Superman.

Snyder has an impressive and sure footed visual sense but it’s superseded by self important one note storytelling. With even the smallest scene over wrought to the nth degree, emotional power seeps away from those scenes from where it’s most needed.

Outflanked by the billion dollar success of the Marvel Connected Universe featuring Captain America, Iron Man etc, Warner Bros. have taken what was conceived as a straight up Man of Steel (2013) sequel and quickly expanded it to include first Batman and then Wonder Woman.

The Dawn of Justice tagline refers to the forthcoming follow up The Justice League movie, the first part of which is slated for 2017. Characters are hinted at here and intended as competition to Marvel’s Avengers ensemble and Fox studio’s X-Men franchise.

Given the almost pointless inclusion of Wonder Woman here, there is little to whet the appetite for what will be an even more crowded super powered excursion.

★★★☆☆

 

High-Rise

Diretor: Ben Wheatley (2016)

This towering cinematic achievement offers the audience a dark view of modern life.

British director Ben Wheatley brings to J.G. Ballard’s 1975 blood soaked satirical sci fi novel vividly to life.

With The Kill List (2011) Sightseers (2012) and A Field In England (2013) under his belt, he has the most singular vision of any British director working today.

Aided by his scriptwriter and wife Amy Jump, Wheatley has erected another uniquely English construction of comedy, horror, politics, sex and violence.

Currently starring in TV’s The Night Manager, Tom Hiddleston is hugely impressive as Dr. Robert Laing.

He’s just moved into a skyscraper and is determined to fit in to the rigid social hierarchy.

Living in the penthouse with his nostalgia obsessed wife and her private menagerie is the pointedly named Anthony Royal.

It’s another intelligent performance from Jeremy Irons. The buildings architect a godlike figure who can’t understand the free will of the chaotic people who populate his creation.

Royal believes he has left one crucial ingredient out of his building, but he hasn’t taken account of the effect of the building on the people who live there.

Laing has a short lived affair with the single mother who lives on the floor above. As the seductive and brittle Charlotte, Sienna Miller relishes the opportunity offered by the role to essay a complex character and delivers a strong and memorable performance.

Luke Evans and Elisabeth Moss as the fertile working class couple on a lower floor are among the strong supporting cast.

As it’s cutting edge 1970’s technology fails, the high-rise deteriorates and Laing starts to suffer a nervous breakdown.

While the penthouse hosts regency themed cocktail parties and swingers accumulate on the shag pile rug, the poor are blamed for their own misfortunes.

There are riots in the supermarket and violent class war descends into animal behaviour.

Styled in the 1970’s the decade the book was written, it’s a concrete, plastic and polythene world dressed in lurid shades of nylon sportswear.

The concept of recycling is in the future, nature is absent or seen as polluting, a hindrance, and a threat. Organic matter is something to be fenced off, bagged up and removed.

A smart script, great design, excellent performances and brilliant use of music combine in powerful critique of social engineering.

Although containing many ideas which are prescient, the power cuts, bodies and bin bags piling up are powerful reminders of headlines of the decade but the historical relevance may need explaining to a younger audience.

But seen from a distance, none of this undermines the soaring strength of the storytelling technique.

★★★★☆

 

 

Rock The Kasbah

Director: Barry Levinson (2016)

A TV singing contestant tries to win hearts and minds in this confused and incompetent comedy.

It seems to have been began as a satire on American military abroad, retooled as a feel good celebration of the rise of Afghani feminism and sold as a wacky Bill Murray adventure.

Director Levinson has form with this sort of material. He directed Robin Williams’ energetic and mawkish turn as a wartime DJ in Good Morning Vietnam (1987). He’s also helmed the great satire Wag The Dog (1997).

Rock The Kasbah isn’t laugh out funny but amiable, well intentioned and has some enjoyable performances.

Murray stars as untrustworthy has-been rock manager Richie Lanz.

Offering flashes of his signature cynical charm,  the former Ghostbusters star is always watchable, even if a patchy script relies too heavily on his ad libbing.

Israeli actress Leem Lubany does as well as anyone could in the central if limited role of  Salima, a young singer risking dishonour and death by challenging the traditional role of women in a male dominated society.

Kate Hudson brings a sexy savvy to the thankless role of hooker turned business partner and lover of Richie.

And Danny McBride and Scott Caan are a likeable double act as black market munitions salesmen.

Playing a mercenary called Bombay  Brian, Bruce Willis seems to be there just to play with guns and seems to have wandered in from another movie.

Desperate to pay the bills, Richie takes his only client Ronnie – played by a Zooey Deschanel – on a tour of Afghanistan.

Suffering pre-gig nerves, Ronnie abandons Richie in Kabul, taking his passport and money with her.

While selling ammunition to friendly penniless tribesmen in a bid to raise the cash to get home, Richie  he discovers the beautiful Salima singing in a cave.

Richie signs her up and enters her into Afghanistan’s version of American Idol.

Rock The Kasbah is so clumsily constructed even its title is geographically inaccurate. And disappointingly the anthemic Clash song from which it presumably takes its name is never played.

★★☆☆☆

Risen

Director: Kevin Reynolds (2016)

With Easter nearly upon us, this biblical story of Roman soldier finding Jesus has been sent to test our faith.

It’s a respectful if cheap looking plod along the sea of Galilee.

As the Lord Jesus risen from the dead, Cliff Curtis cures the occasional leper but otherwise it’s all far from miraculous.

Joseph Fiennes plays a Roman Tribune called Clavius statined in Judea in AD 33.

Having defeated Barabas in battle, is sent by Peter Firth’s Pontius Pilate to make sure a local revolutionary dies on the cross.

When three days later the body of Jesus goes AWOL, Clavius converts to Christianity and goes on a mission from god to spread the message of love and peace.

Better known as Draco Malfoy from Harry Potter, Tom Felton is Lucius, an ambitious aide sent to hunt Clavius.

Everyone involved should say three Hail Mary’s as penance.

★★☆☆☆

 

Anomalisa

Director: Charlie Kaufman & Duke Johnson (2016)

Puppets and traditional stop motion animation are used bring this former stage play to surreal life.

It offers a bleak view of middle aged angst as it explores the different effects of the participants of a one night stand.

The puppets have an organic quality capable of great nuance, as well as being able to pee, smoke, drink and have sex.

David Thewlis and Jennifer Jason Leigh star as the voices of Michael and Lisa who meet in a hotel.

He is the principal speaker at a conference for call centre workers she is attending.

An unpleasant and practiced predator of weak and vulnerable women, Michael exploits his minor celebrity in world of customer service despite having a family at home.

The versatile Tom Noonan plays everyone else from the taxi driver to the concierge.

Beautifully lit and carefully framed, Michael moves in an isolated world of hotel rooms, bars, taxis and airports.

The frustration and mechanisation of modern life are symbolised by Michael’s purchase of an automaton from a toy shop for the discerning gentleman.

This technological dependance is pointed to as the prime cause for modern day isolation while also suggesting this is not a new phenomenon.

Using animation instead of live actors adds to the nightmarish tone but doesn’t compensate for the light plot.

And as arch observational humour slowly metamorphoses into the relentless glare of existential despair, it becomes a wearying watch.

★★★☆☆

Kung Fu Panda 3

Director: Jennifer Yuh Nelson & Alessandro Carloni (2016)

It’s re-enter the dragon warrior as martial arts most portly practitioner returns in his third animated action adventure.

Drawn on a spectacular epic canvas it combines a light hearted tone with a serious message about responsibility, family and achieving one’s potential.

There’s plenty of silly slapstick but no major laughs, relying heavily on the exuberance of Jack Black as Po, the reluctant hero panda of the title.

At home in the Valley of Peace, Po is reunited with Li Shan, his long lost biological dad, played by Bryan Cranston.

J.K. Simmons voices Kai, a giant ox like supreme warlord who’s returned from the spirit world and intent on stealing the everyone’s life force.

With his friends incapacitated, Po the former pupil must become a master and train up some wannabe karate kids to help defeat Kai.

If you enjoyed the first two then this will definitely err, panda to your taste.

 

 

 

The Witch

Director: (2016)

This assured horror story is a devil’s brew of  possession, seduction, flesh pecking gore and creeping menace.

Actors are exposed in the harsh rustic environ, there’s a calm eye for period detail and top marks go to the animal wrangler for harnessing hares, ravens, horses and a black goat to the madness.

Ralph Ineson gives one of many impassioned performances as William, a devout, dirt poor farmer in 17th century New England.

A mostly English cast are encourage to flaunt their native northern accents.

Samuel the baby is snatched, a silver chalice goes missing and the crops start dying.

Anya Taylor-Joy is excellent as William’s eldest daughter Thomasin who suffers the blame and the backlash.

Her burgeoning sexuality is a threat to power of male dominated, city based established church, a theme explored through symbolism as events unfold.

‘Thou’s and ‘thee’s scratch through the script as a screeching score soars over a torrent of confessions and accusation.

Mixing traditional fairytale tropes and contemporary accounts of witchcraft, it makes a virtue of an unsettling mood rather than relying on the vices of cheap scares.

★★★☆☆

 

 

 

 

 

The Divergent Series: Allegiant

Diretor: Robert Schwentke (2016)

The third episode in this plodding sci-fi franchise grimly marches on to my general indifference.

Once again it looks fabulous, is filled with action and fizzes with great ideas. Thankfully there’s less abseiling, climbing and running than in previous instalments.

But it’s riddled with clumsy editing, needlessly fidgety camerawork, thin characters and leaden attempts at humour.

Touching on many modern concerns, the script has identity theft, genetic engineering, child exploitation, ethnic cleansing, ecological ruin, and personalised drone warfare.

All this good work collapses on itself due to a lack on underpinning logic, alarming plot holes and pedestrian performances.

Following on from the last film, called Insurgent (2015) for those of you still with us, the overthrow of Chicago’s brutal regime has resulted in mob rule, show trials and executions.

So freedom fighter Tris and her friends escape into the radioactive wasteland beyond the city wall.

Shailene Woodley has been brightest spark of the franchise but she seems unenthused by the never ending slog of supporting the seemingly never ending series.

They discover an advanced military city of gleaming spires, where they slowly learn the truth of Chicago’s horrific history.

Theo James plays Four, her curiously named romantic interest. Armed with a muscular pout  and great hair but no huge ability, he fails to limp convincingly.

Even the naturally combative and arrogant Miles Teller struggles to energise events as selfish sidekick Peter.

At least newcomer to the franchise, the veteran Jeff Daniels is reliably engaging.

He plays David, the softly spoken director of the sinister sounding Bureau of Genetic Welfare.

Violent blasts of music attempt to drown out the dull chorus of gunfire, explosions and painfully functional dialogue.

‘That doesn’t make any sense’ says Tris. It’s the only insightful line in the movie.

★★☆☆☆