X-Men: Apocalypse

X-MEN: APOCALYPSE

Director : Bryan Singer
Cast : James McAvoy, Michael Fassbender, Jennifer Lawrence, Oscar Isaac, Nicholas Hoult, Rose Byrne, Olivia Munn, Evan Peters, Kodi Smit-McPhee, Sophie Turner, Tye Sheridan, Alexandra Shipp, Lucas Till, Josh Helman, Lana Condor, Ben Hardy
Genre : Action/Adventure
Run Time : 2 hrs 25 mins
Opens : 19 May 2016
Rating : PG13 (Violence & Brief Coarse Language)

The end is the beginning is the end for our ever-expanding cast of mutant heroes as they face their most insurmountable foe yet. The year is 1983 and after a millennia-long slumber, En-Sabah-Nur/Apocalypse (Isaac), the first and most powerful mutant in history, has awoken. Apocalypse goes about recruiting mutants to be his new Four Horsemen: the still-bitter Erik Lensherr/Magneto (Fassbender) is “War”, the telekinetic swordswoman Elizabeth Braddock/Psylocke (Munn) is “Pestilence”, weather-controlling Ororo Munroe/Storm (Shipp) is “Famine” and the winged Warren Worthington III/Angel (Hardy) is “Death”.

In the meantime, Raven Darkhölme/Mystique (Lawrence) has become an icon to mutants everywhere following her actions in Washington D.C. ten years earlier. In her mission to free oppressed mutants, she rescues Kurt Wagner/Nightcrawler (Smit-McPhee), a circus performer with the ability to teleport. Among the new students in Professor Xavier’s (McAvoy) school are Scott Summers/Cyclops (Sheridan), Jean Grey/Phoenix (Turner) and Jubilation Lee/Jubilee (Condor). These young, inexperienced X-Men must look up to mentors like Professor X and Hank McCoy/Beast (Hoult) for guidance, with speedster Peter Maximoff/Quicksilver (Peters) returning to the fray as well. Everyone will be caught in Apocalypse’s unrelenting thirst for absolute power, as the X-Men have to fight for their lives and their future.

 X-Men: Apocalypse is the ninth film in the X-Men series, counting Deadpool from earlier this year. With the successes of both Days of Future Past and Deadpool, expectations for Apocalypse were understandably high. While there is a surfeit of wink-and-nod references for fans of the source material to lap up, Apocalypse does suffer from ‘sequelitis’ – it’s not an incurable case, but the symptoms are there. The 144-minute run time does mean this is bursting at the seams – if you thought there were too many characters in the earlier films, you ain’t seen nothing yet. The pacing, particularly in the front half, suffers, then the latter half of the movie almost drowns in frenetic, overwrought action sequences. The film’s reach tends to exceed its grasp, and there are so many complicated visual effects-heavy scenes that the large-scale destruction tends to feel synthetic and bereft of weight.

The central tempestuous and compelling relationship between Charles and Erik was the driving force of First Class. While this plot thread had to share screen time with many others in Days of Future Past, it was still given enough play. Here, it gets pushed to the sidelines, but director Bryan Singer seems eager to assure us that he hasn’t forgotten about it. As good as McAvoy and Fassbender are in their respective roles, most of the interaction between the two characters here seems like a re-tread, with Magneto’s character development going around in circles. Even more obvious here than in the previous film is the sense that Mystique has been pushed to the forefront to capitalise on Lawrence’s current stardom. There’s also an excuse written into the plot for why we see so little of Mystique in her scaly blue true form. Lawrence seems the tiniest bit checked out, as if she’s glad that she’s still part of a juggernaut franchise after the conclusion of the Hunger Games series, but would rather move on to something else.

When the first images of Apocalypse as depicted in this film were revealed, the comparisons to Ivan Ooze started flooding the internet. For this reviewer, the problem is not so much that the supervillain physically resembles a Power Rangers baddie, but that he acts like one. The original omnipotent mutant should be a force to be reckoned with, but Isaac’s hammy performance and some clunky snatches of dialogue prevent Apocalypse from actually being intimidating at all. It’s a shame that this unstoppable, ancient entity comes across as petulant and unintentionally funny.

Quicksilver stole the show with the slow-mo kitchen sequence in Days of Future Past, and there’s a generally decent attempt to recreate that here with a set-piece set to Sweet Dreams Are Made of This. It’s too bad that it can’t help but feel like a desperate attempt to bump a breakout character up the roster. The younger versions of Cyclops, Phoenix and Nightcrawler are generally fine – this reviewer particularly enjoyed McPhee’s turn as the sensitive, easily-startled and good-hearted Kurt. Fans of the X-Men: Evolution animated series will probably enjoy what is the closest we’ve come to a live-action version of that show, in the moments when the recruits are hanging out. And yes, the Wolverine (Hugh Jackman) cameo is a hoot.

In between all of this, Singer and screenwriter Simon Kinberg find the time to make a particularly nasty dig at X-Men: The Last Stand, in a line of dialogue uttered by Jean as she, Scott and Jubilation are leaving the theatre after watching Return of the Jedi. Sure, The Last Stand’s flaws have been consistently acknowledged and Days of Future Past exists predominantly to wipe it off the slate, but perhaps Singer and company shouldn’t be so smug. There’s less room for the character dynamics to breathe, the action is more generic and less inventive, and at times the large ensemble comes across like the Rockettes performing a kick line at Radio City Music Hall. On top of all that, a major supervillain whose live-action debut has been highly anticipated is disappointingly realised. Here’s hoping this is a momentary stumble, because if the post-credits scene is anything to go by, there’s more to come.

Summary: X-Men: Apocalypse has its entertaining moments and there’s no shortage of things for eagle-eyed fans to catch, but these are generally drowned out by loud, generic action and an overstuffed cast.

RATING: 2.5 out of 5 Stars

Jedd Jong 

Star Wars: The Force Awakens

For F*** Magazine

STAR WARS: THE FORCE AWAKENS

Director : J.J. Abrams
Cast : Harrison Ford, Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Carrie Fisher, Gwendoline Christie. Lupita Nyong’o, Domhnall Gleeson, Andy Serkis, Peter Mayhew, Anthony Daniels, Mark Hamill, Max von Sydow
Genre : Sci-Fi/Action
Run Time : 2 hrs 16 mins
Opens : 17 December 2015
Rating : PG (Some Violence)

We’re well aware that this is one of the most pointless reviews we’ll ever publish. You’re all going to see this movie, you want to stay spoiler-free, you don’t want to read on regardless of how much we promise to consciously omit crucial plot details. It doesn’t matter; we’ll be okay. We love you; you know, yadda yadda.

            Still here? Awesome! Okay, so it’s 30 years after the events of Return of the Jedi and an evil regime following in the footsteps of the Empire named The First Order has arisen. The astromech droid BB-8 is carrying vital information that Kylo Ren (Driver), a dark warrior who is the tip of the First Order’s spear, is in pursuit of. Scavenger Rey (Ridley), defecting Stormtrooper Finn (Boyega) and ace pilot Poe Dameron (Isaac) are all drawn into the conflict. Our heroes meet up with Han Solo (Ford), Chewbacca (Mayhew), General Leia Organa (Fisher), C-3PO (Daniels) and R2-D2. Leia is the leader of the Resistance against the First Order, who are developing a deadly superweapon in the form of Starkiller Base. General Hux (Gleeson), the leader of the base, is itching to unleash its power. Secrets will be uncovered and destinies will be fulfilled as good rises against evil in the grand Star Wars tradition. 

            The very microsecond this new Star Wars film was announced, expectations and hype began building, reaching critical mass over the last few months. Even in this age of mega-blockbusters, few movies have arrived bearing such an enormous burden, with so much to live up to and so much to atone for. Ideally, The Force Awakens should sweep the audience up, taking them along for the ride, making them look beyond the labour that has gone into its conception and execution. In this regard, the film is largely successful. Director J.J. Abrams has strived to recapture the magic of the original trilogy, and its essence has been preserved. Where the prequel films belied a preoccupation with gee-whiz technology over compelling storytelling or genuine thrills, The Force Awakens possesses a crucial forward momentum, a genuine emotional core and a welcome humanity.

Abrams is fully cognisant of the honour bestowed upon him, yet this doesn’t feel like a film made by a director who is scared. The Force Awakens is very respectful of the venerated original trilogy and if anything, sometimes echoes A New Hope and bits of The Empire Strikes Back too strongly. There are many scenes that mirror ones from those earlier films almost beat for beat, but the exuberant energy that permeates The Force Awakens helps to keep it from feeling too slavish. Where the prequels were criticised for often jarringly stilted dialogue, the screenplay by Abrams, Lawrence Kasdan and Michael Arndt absolutely works. Han and Leia sound like we remember them, the nods to iconic lines are just obvious enough and there’s a wit and tonal assurance with the humour that comfortably eases the audience back into that wonderful original trilogy mode. Hearing those John Williams motifs again, plus new music from the master composer, brought the chills on big time for this reviewer.   

Just as it is with the story, there must have been multiple considerations to bear in mind with regards to the design. It’s got to be close to what we remember, what we love, but not too close. There is a satisfying tactility to The Force Awakens and Abrams’ decision to favour practical in-camera approaches to the effects work whenever possible does pay off. Elaborate animatronics, guys in suits, special effects makeup, that’s the good stuff. The digitally-rendered characters portrayed by Lupita Nyong’o and Andy Serkis via performance capture do not stick out as jar(jar)ringly as some of the characters in the prequels did.

The spherical astromech droid BB-8 is a true triumph of design, becoming an iconic character even before the film’s release because of how cleverly it’s been conceived. BB-8 was an actual physical prop on set, and the dynamism in its movement and how much expression the droid can convey via beeps and whistles and a slight tilt of its head does feel authentically Star Wars-y. Since most of the ships riff on established designs, we don’t get any particularly inventive spacecraft, but that’s fine because everything just looks so good. The action sequences are kinetic but easy to follow and a chase scene between the Millennium Falcon and a TIE Fighter squadron in the planet Jakku’s atmosphere is one of the most gripping of the entire series.

There was a simplicity and purity about Star Wars that made it so easy to get into, before the cinematic universe expanded to a daunting, intricate extent. The new characters introduced are archetypes through and through, but that doesn’t mean they’re boring ciphers. Ridley’s Rey is a resourceful, capable female lead and it’s to the relative newcomer’s credit that her performance doesn’t yell “look at me, I’m a resourceful, capable female lead!” every other second. Her hardscrabble existence and dusty home planet remind us of Luke Skywalker in A New Hope, but she comes into her own at a quicker pace. As the Stormtrooper who decides he no longer wants to be in service of the bad guys, Boyega has a likeability about him and displays some excellent comic timing. Isaac has often been cast in villainous roles, but he wears the part of the old-fashioned swashbuckling hero well, relishing the chance to yell “woo-hoo!” as his X-Wing swoops out of the sky.

Seeing Ford reprise the role of that loveable scoundrel and seeing him do so with such willingness and conviction is an almost unspeakable joy. This is exactly the same Han Solo we know and love, with all the smirking and wisecracks feeling entirely appropriate. At the same time, there is a sweetness, sincerity and maturity in his interactions with Leia that is actually touching. Fisher brings a dignity and a quietly commanding presence to General Leia and seeing the pair back on the screen does feel like a big warm hug. Chewbacca is on hand to provide actual big warm hugs, too. Where is Luke Skywalker (Hamill)? We’re not going to answer that!

            In the villains’ camp, Driver’s Kylo Ren has been shrouded in mystery, his true nature a closely guarded secret. There is the danger that he comes off as an ersatz Darth Vader, but this is somewhat justified in that Ren feels it is his duty to fulfil Vader’s legacy. There is a petulance to Driver’s portrayal of the character that sometimes veers dangerously close to Hayden Christensen’s pouty temper tantrums, but one can tell that there’s more going on beneath the surface with Ren. As General Hux, Gleeson does a lot of supercilious sneering and it harks back to Peter Cushing’s Grand Moff Tarkin in the most wonderful way. Christie’s Captain Phasma is a visually striking right-hand woman, but the character doesn’t have too much to do. Similarly, Indonesian martial artists/actors Yayan Ruhian, Iko Uwais and Cecep Arif Rahman make only the briefest appearance as members of the criminal Kanjiklub Gang. There are many characters to juggle as it is, but the film’s woeful underuse of Max von Sydow in particular is a shame.

            This is Star Wars in the same great original flavour we know and love. While there’s some rehashing going on, there are just enough new moves to keep audiences on their toes, while reminding them of what made those original three movies so spellbinding. This being the starting point for a new trilogy, there are plot threads that remain unresolved and there are tantalising hints of what’s to come in the sequel. While perhaps not 100% satisfying, Abrams has crafted a movie that is truly worthy of the name “Star Wars”. There are bound to be audiences this won’t please, but for this reviewer at least, The Force Awakens is quality entertainment.

Summary: The story beats and character types are familiar, but in embodying the soaring adventure and heartfelt simplicity that made the original trilogy so great, The Force Awakens is worth the agonising wait.

RATING: 4.5 out of 5 Stars

Jedd Jong

Sucker Punch

 As published in F*** Magazine Issue #15, Apr 2011

SUCKER PUNCH

2011 Release

Starring: Emily Browning, Abbie Cornish, Jena Malone

Directed by: Zack Snyder

            Having made only film adaptations of existing material, director Zack Snyder takes the opportunity to break out something original before making Superman: the Man of Steel – emphasis on “original”. A balls-out fantasy action adventure, Sucker Punch promises to be unlike everything we’ve ever seen, but ends up being more hit and miss than a knockout.

            Babydoll (Browning) is sent to a mental institution by her wicked stepfather, after the death of her mother and sister. Her only escape is an imaginary realm (and several more within that), in which missions against dragons, alien robots, monster Samurai and zombie WWI-era German soldiers serve as metaphorical goals as she and four other girls in the asylum fight for their freedom.

            Snyder has made his name with hyper-kinetic slow-motion camerawork and a keen eye for larger-than-life action sequences. It’s a given then that Sucker Punch is a very stylish film, and the fantasy and action are indeed kicked into high gear. The production design is eye-popping, the computer-generated animation work of high quality and the action itself pretty wham-bang.

            As such, it’s a big pity that all this is in service of what is pretty much a non-story. The Inception-styled world-within-worlds conceit, combined with the old-fashioned 50s asylum and brothel elements, make this quite a high concept that never quite takes root. The plot and characters quickly become reduced to little more than excuses to string the video game-style fantasy sequences together.

            The five girls are easy on the eye, but the characters are hardly distinguishable and with one or two exceptions they seem interchangeable for each other. Abbie Cornish is mostly flat and unlikable, Emily Browning in a constant daze. There’s something of a novelty factor in seeing High School Musical-alum Vanessa Hudgens in an action film, but not much more beyond that.

 Good thing that the supporting cast is decent – Carla Gugino hamming it up and enjoying herself as the Polish-accented Madam Gorski, Oscar Isaac sleazy and mean as asylum orderly/brothel-runner Blue and best of all Scott Glenn as the Wise Man, a character akin to Charlie in Charlie’s Angels who pops up in each of the fantasy realms to brief the girls on their mission.

Sucker Punch is more an experiment than a film, really, and “experiment-films” haven’t exactly had a sterling track record. An alien city straight out of Total Recall and a steampunk re-envisioning of the First World War are all well and good – if they do something, anything at all, for the story – which they don’t. A disparate patchwork that is in constant danger of falling apart, we wanted a cocktail with kick, but ended up with plain old fruit punch.

RATING: 2.5/5 STARS

Jedd Jong