Prime Time: Crime 101 (2026)

I doubt there will be any other movie this year that will have a more suitable descriptive title than Crime 101. It's not a terrible film, but it's very easy to figure out as you watch every piece being slowly moved into place. 

Chris Hemsworth plays Mike, a man who has become very adept at committing non-violent robberies within the general area of the 101 freeway. Nobody else really suspects all of his crimes are connected, apart from one determined cop (Mark Ruffalo). There's a big job looming on the horizon, one that could be classed as one last job, but Mike will need the help of a disgruntled insurance broker (Halle Berry), as well as a good bit of luck. His fence (Nick Nolte) is also working against Mike at this point, trying to make use of a young violent lad (Barry Keoghan) who has a very different approach to his work.

Written and directed by Bart Layton, based on a novella by Don Winslow, this is, as I am sure you have seen mentioned elsewhere, very much Heat-lite. You have the professional criminal, the flawed but dogged cop, the woman (Monica Barbaro) who comes into the life of the criminal and makes him consider what he might do with the next stage of his life, and the unhinged crook able to turn a good thing into a huge mess with one bad decision. There's a bit more to it, but nothing that is any further removed from the pages of a book entitled "Writing Crime 101". Of course.

I would say that everything here is fine, when it comes to the actual production, but that wouldn't be strictly true. Layton knows the tropes that he wants to make use of, but he doesn't put enough care into crafting them. When Hemsworth starts to become interested in Barbaro's character it quickly becomes harder to believe than any of the well-executed criminal plans. The same goes for the numerous moments that show our main character making far too obvious mistakes for someone who has maintained a successful streak for so many years.

Hemsworth is decent in the main role, often going through the motions with very little going on behind his eyes. He's focused on the jobs, or focused on not being caught after the jobs are done, and his behaviour conveys that, whether he's being flustered or managing to maintain his cool. Ruffalo plays the kind of Columbo-esque character that I feel he's already played quite a few times before this, whether as a part of the police or in the world of journalism, and he can do it effortlessly. Keoghan is great, despite how irritating and careless his character is, and Berry has a couple of scenes that really allow her to sink her teeth into things in a way that is missing from the rest of the film. Barbaro is pleasant enough, Nolte does what Nolte does, and there's just about enough time for scenes that include Tate Donovan, Corey Hawkins, Paul Adelstein, and Jennifer Jason Leigh, the latter in the film for such a bewilderingly short amount of time that I admit I spent a good 5-10 minutes asking myself "WAS that Jennifer Jason Leigh?"

There are a few decent vehicle stunts and a satisfying resolution for most of the characters, but the 140-minute runtime is a bit of a slog, especially when you get to the point where you can see how all of the characters are going to interconnect and affect one another during the final act.

6/10

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Furiosa: A Mad Max Saga (2024)

It may seem like a long time since we had Mad Max: Fury Road, but at least we have known that this movie was coming along at some point. There was a time when we didn't expect to spend more time in this world after Mad Max: Beyond Thunderdome. But the most important thing to remember before sitting down to watch Furiosa: A Mad Max Saga is that this isn’t Mad Max: Fury Road. Every Mad Max movie has been surprisingly different from the one preceding it, with the action and characters allowing George Miller to continue his exploration of heroes, storytelling, and how reality is hammered into shape by those living in it long enough. This film has some great action, but it’s mostly concerned with showing us a world in which a good person is forced to become stronger and smarter as they are passed from one villain to another.

We first meet Furiosa as a child here, played brilliantly by Alyla Browne. She is snatched by bad men, ending up in the care of Dementus (Chris Hemsworth). Dementus thinks he is a grand warlord, but his perspective is changed when he comes face to face with Immortan Joe (Lachy Hulme) and his dedicated army of warboys. Furiosa is handed over to Joe, Dementus becomes the ruler of Gastown, and time ticks merrily along for all involved. Eventually getting herself a job working alongside a talented “road warrior” named Praetorian Jack (Tom Burke), Furiosa (played as an adult by Anya Taylor-Joy) develops instincts and skills that will make her a valuable asset when Dementus decides that he wants to rule over more than just the denizens of Gastown. There could be a war brewing, but Furiosa still has a personal score to settle anyway.

With Miller comfortably in the director’s chair yet again, having also co-written the script with Nick Lathouris, this is a film that fans of the franchise should be happy to support. Few people are as good at somehow both meeting and subverting expectations as Miller, and he does exactly that once again. I would say there are three action sequences here that are astonishingly good, up there with the best you will ever see on the big screen, but they are deliberately couched within a movie that spends most of the runtime showing us the harsh and crazy world that leads to the creation of such harsh and crazy characters. It laughs at the people unprepared to do whatever needs to be done for the sake of survival and prosperity, and then shows how painful the process of adaption and transition can be. What is the point of being a big fish in a small pond when that small pond is actually a barren desert?

The more I think about Furiosa: A Mad Max Saga the more I am inclined to absolutely love it. I think a rewatch or two will see me bump up my rating slightly, but it’s hard to be so unreservedly effusive about it right now. First, it does inevitably suffer slightly when compared to the non-stop juggernaut of the film that preceded it. Second, there’s so much to take in, in terms of the detailing of the world and the connective tissue throughout the franchise, that one viewing just isn’t enough to fully appreciate it. I would advise everyone, if possible, to see it on the big screen though. This is cinema.

The cast are generally great. Alyla Browne is absolutely superb as the young Furiosa, a ball of resentment and unnerving patience. As much as I like Taylor-Joy, she is the one slightly weak link here. Not bad, and she certainly doesn’t unbalance the film, but her performance just feels slightly less convincing when she isn’t ensconced within the supporting armour of a powerful vehicle. Thankfully, she is surrounded by some other people on top form. Hemsworth steals the show, the facial prosthetics somehow helping to define his character as equal parts braggart warrior and sniveling politician, and Hulme takes on the role of Joe (previously played by the late Hugh Keays-Burn) with an admirable dedication to the physicality and eye-acting required. As for Burke, he proves himself to be a surprisingly great fit for this kind of gruff hero role, and I could easily imagine a spin-off movie showing us his adventures (Praetorian Jack: A Furiosa Saga From A Mad Max Saga, or something like that). There are others worth mentioning, but I would worry about starting a list of names that would go on and on for ages. Needless to say, almost every supporting cast member does a brilliant job of playing someone who feels like a part of this world.

Despite the CGI here, despite the prosthetics, and despite the confident plotting, the major achievement here is the consistent continuation of Miller’s vision that has spanned almost five decades now. This is more than just a movie. You will feel the dry heat, smell the engines, and tense up as vehicles cause the expected amounts of carnage. This is the closest you will get to a full immersive experience without adding any gimmickry to the process. It’s long, it can be a bit tiring by the time you get to the end credits, but it’s definitely worth it. There’s a point in this film when Hemsworth asks “do you have it in you to make it epic?” I would argue that Miller can’t give us Mad Max movies any other way. And we should all be thankful for that.

9/10

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Netflix And Chill: Extraction 2 (2023)

If you have heard about Extraction 2 then you have heard about the impressive action sequence near the start of the movie that plays out for just over 20 minutes. It's an impressive spectacle, despite containing at least 50 hidden edits (according to director Sam Hargrave in an article published online by Variety just a few days ago), but one impressive spectacle doesn't necessarily make a movie a complete success.

Although we saw him looking quite close to death at the end of the first film, Chris Hemsworth returns in the role of Tyler Rake. As the title may already have made you aware, he is asked to undertake a mission that requires him to extract someone from hostile territory. This time he is trying to save a family, which puts him in the cross-hairs of two very powerful and dangerous brothers (Zurab Radiani, played by Tornike Gogrichiani, and Davit Radiani, played by Tornike Bziava). At least he's being helped by Nik Khan (Golshifteh Farahani) and Yaz Khan (Adam Bessa), but their plans may be scuppered by the scheming of one of the misguided children being extracted (Sandro, played by Andro Japaridze). 

With every main player returning to their role, including Joe Russo at the writing desk, Extraction 2 feels very much like something made by people who enjoyed working together on the first film and wanted to push themselves a bit further this time around. There are more complex sequences, there's a bigger scale to some of the set-pieces, and Hemsworth somehow looks to have added more muscles on to his writhing mass of muscles. It is, in some ways, a bit better than the first film, but it's also inherently more ridiculous and unbelievable, and becomes more and more removed from anything close to reality as it hurtles towards the finish line.

Hemsworth is good enough in the lead role, certainly convincing in the physical side of his performance, and both Farahani and Bessa work well enough alongside him. Nobody is giving their best performance, but this is Extraction 2, a film in which the focus is on the punches and gunshots ahead of any actual characterisation. Both Gogrichiani and Bziava are good villains, although one gets more screentime than the other, and Tinatin Dalakshvili does a good job of being a strong mother finding even more reserves of courage as she and her children are shepherded to what she hopes will be a much safer life for them all. Japaridze is a bit annoying in his role, but does what is asked of him, and his younger sister is portrayed by both Mariami and Marta Kovziashvili (twins who both do just fine in the role). It's also worth mentioning Daniel Bernhardt, a recognisable cinema "heavy" who here plays a . . . cinema "heavy", and plays him well.

This isn't a film you will watch to see commentary on society or human nature (although there is some clunky backstory here that shows why Rake is so determined to successfully complete his mission, and what big mistake he made in his past that he is trying to make up for), but it's a fun time for fans of action. This is the film to watch when you want to see Chris Hemsworth have his arm set on fire and then extinguish the flames with the force of him repeatedly punching other people around him. If that sounds like a treat, and it definitely is, then this is well worth a couple of hours of your time.

7/10

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Netflix And Chill: Interceptor (2022)

If you want some slick action entertainment that also feels smart and fresh then you need to look elsewhere. Interceptor is not interested in that. It's a ridiculous film that feels like a throwback to a time when every other straight-to-video title was a Die Hard rip-off. That works though, it's sometimes refreshing to watch a film that doesn't want to show off or reinvent action cinema. I'll rewatch every John Wick movie numerous times ahead of this, but I didn't resent the time spent watching this.

Elsa Pataky plays Captain J. J. Collins, an army officer who ends up being the one person in the way of a group of terrorists that want to take control of the remote missile interceptor (hence the title) station under her command. These terrorists possess a number of nuclear weapons, but to follow through on their threat to use those weapons they need to neutralise the interceptor system. Luke Bracey plays Alexander Kessel, the leader of the terrorists, and the film basically amounts to little more than Pataky versus Bracey for most of the runtime.

Ticking the boxes in a way that sometimes feels like it's bordering on parody, Interceptor is comforting in the familiarity it provides. Aside from the backstory that shows why some view Collins as "trouble", this does everything you expect. There are a number of disposable characters, there's someone due to make a major sacrifice when the time is right, there's an enemy who believes in the principles of his mission, and there's even a traitor who you can point to and call "traitor" from their first minute of screentime. 

Debut director Matthew Reilly, who also co-wrote the screenplay with Stuart Beattie (a man with one or two modern classic tucked away in his back catalogue), does a good enough job, despite the fact that someone with a bit more experience may have been able to paper over some of the cracks. Give them their due though, Reilly and Beattie develop a backstory that both develops the central character and also comments on an ongoing problem within, but not exclusive to, the military.

The biggest problem, sadly, is the cast. Pataky isn't bad, and she ends up surprisingly convincing in some of the more ridiculous set-pieces, but she never feels like a strong enough lead (in any sense). Bracey suffers in a different way, his villain being played far too nice in between the occasional moments of ruthlessness. I don't want to name any other cast members because that will just make it even more obvious who is the traitor, who is there to make a noble sacrifice, and who is just standing around until they get shot in the face.

This is fun. No more, no less. It's never remotely believable. It's not as violent or as bloody as it could be. There's a slightly annoying, obviously intended to be cutesy, cameo for Chris Hemsworth (aka Mr. Pataky). It's as predictable as a Hallmark Christmas movie. But it's fun. Which is fine by me.

6/10

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Thor: Love And Thunder (2022)

I really liked Thor: Ragnarok. REALLY liked it. For me, it was the best of the Thor films so far, and the comedy worked for me throughout. I could see why some might dislike it though, especially if they didn't appreciate the comedy. Funnily enough, watching Thor: Love And Thunder has put me in an even better position to sympathise with people who disliked Thor: Ragnarok. Because I really disliked this.

The plot this time around revolves around Gorr (Christian Bale), a grieving father who ends up turning himself into a killer of gods. That puts Thor in the way of danger again, of course, but he's not alone. He has the help of King Valkyrie (Tessa Thompson) and a returning Jane Foster (Natalie Portman). There's also Korg (voiced once again by director Taika Waititi) by his side, and a few other familiar faces scattered throughout the runtime.

There's a very obvious problem with Thor: Love And Thunder. In fact, there are two things worth noting as the obvious problems. First of all, the comedy doesn't really work. It feels tired this time around, like a joke you laughed at on the first day of your new job but now hate because you know that your colleague makes the same damn joke every single morning. Second, the more serious aspects of the film aren't given enough room to breathe, which means nothing is as effective as it could be, and nothing really feels earned on the way to the end credits (and don't even get me started on the mid-credits and post-credits scenes here . . . because URGH).

Waititi works as the voice of Korg, but he falls flat on his face in his role as writer (working out the story that was further hammered into screenplay form by Jennifer Kaytin Robinson) and director. There are some nice visuals here, and some entertaining set-pieces, but so many of the best moments do little more than remind viewers of very similar moments in the previous Thor movie. 

At least the cast all work well though . . . is something you could easily say if the cast worked well. Sadly, that's not the case. Portman and Thompson are both good, dealing well with clumsy plotting that asks them to do some heavier lifting with their performances. Bale is also good. He's the highlight of the film, an impressive and scary presence for every minute of his screentime. Hemsworth, sadly, is on autopilot. This is his worst turn in the MCU yet, having forgotten how he once played a character that has now become a messy mass of mugging and ridiculousness. The first ever Thor movie managed to burst the bubble of pomposity that viewers worried about, but also balanced the fish-out-of-water comedy with the weight and seriousness of Thor's responsibilities. This film forgets about that balance, and Hemsworth suffers because of it. The same can be said for Russell Crowe, who turns up as Zeus, sporting a terrible attempt at a Greek accent and an equally terrible line in over the top swagger. At least Crowe is more fun though, simply because he's a newcomer to the silliness.

There are still some good moments here and there, especially whenever Bale is involved, but this is a film that generally feels misguided, at best, lazy, and out of touch with what viewers want to see. The transformation of Portman's character is pretty great, the Guns ‘n’ Roses soundtrack choices are pretty great, the rest of the film . . . not so great. And the rest includes unfunny voiceover commentary moments, unfunny depictions of Thor "comedically" trying to deal with jealousy and regret, and a running gag involving screaming goats.

3/10

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Netflix And Chill: Spiderhead (2022)

Based on a short story by George Saunders, Spiderhead is an interesting little sci-fi flick that reunites director Joseph Kosinski with star Miles Teller (the pair having just previously worked together on the much more successful Top Gun: Maverick). I was looking forward to this, mainly because I have enjoyed the first two features from Kosinski, two visually impressive sci-fi movies (TRON: Legacy and Oblivion). It's a shame then that writers Rhett Reese and Paul Wernick seemed intent at every turn to fight against the darkness of the material.

Teller plays Jeff, a young man who is incarcerated in a fairly pleasant prison setting. It's an easier life than some prisons, mainly because he has agreed to be a test subject for a variety of drugs, all administered from vials placed in a pack that is attached to his back. The person running the many tests on these drugs, and acting like a friendly warden, is Abnesti (Chris Hemsworth). One drug can make you very happy, one drug can make you sexually attracted to someone else in a way that means you have to act on your urges there and then, and one drug plunges you into a sudden and deep depression. There are also some other drugs being tested, and there's a chance that the test subjects, who always have to approve each testing session by saying "acknowledge", don't realise what is really going on. 

The first half of Spiderhead is quite good. You get a fun selection of scenes that set up the scenario, the main characters, and the potential for things to quickly get darker than expected. Then things get darker, which is where it starts to come unstuck. Nothing here gets as dark as it should, and the action is still punctuated by strange attempts at humour and needle drop song moments (which were appreciated in the first third, less so in the finale). I didn't dislike it, thanks mainly to the lead performances, but I never loved it, and it came perilously close to squandering all of my goodwill as the last third played out.

Hemsworth is arguably the best thing here, playing his character with a wonderful blend of charm, forced attempts to be more of a friend than an authority figure, and sinister manipulation. Using Hemsworth's innate charm and charisma helps a lot, although this is maybe part of the reason why the finale doesn't work as well as it should. Teller is a solid "everyman" figure, and I'm happy to see him continue to appear onscreens this year. There's something about him that I like, although he looked at one point as if he'd missed his moment in the spotlight after the phenomenal Whiplash. Mark Paguio is also very good, playing the assistant to Hemsworth's character, showing someone becoming more and more perturbed by how the tests are being conducted, and Jurnee Smollett does well as one of the other test subjects/prisoners, someone who feels that she has committed an unforgivable sin. 

Although the lightness of tone is the biggest problem that the film has, it's also disappointingly uninventive and bland when it comes to the visuals. Say what you like about Kosinski, his films have usually been feasts for the eyes. This isn't, a problem that obviously stems from the heart of the material, but I can't help thinking that things could have been adapted to bring some more style and cool to the whole thing, especially if they weren't aiming for gritty realism.

Enjoy the leads, enjoy the songs dropped into the soundtrack, and enjoy some of the ideas at the heart of this. But you may struggle to enjoy the whole movie. As kind and forgiving as I am, even I ended up rating it as something JUST above average.

6/10

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Netflix And Chill: Extraction (2020)

The directorial feature debut from stunt actor Sam Hargrave (who has worked many times on the Marvel movies with Joe Russo, who takes on writing duties here, adapting a graphic novel into a star vehicle for Chris Hemsworth, who you may also know from his small part in helping the Marvel machine grind through the cinematic competition), Extraction is sort of what you might expect from someone with his background. It's pretty light on plot, pretty thin on the characterisations, and pretty great when it comes to some of the stunt work.

Taking place in Dhaka, Bangladesh, the story concerns the son of one crime lord taken hostage by people working for another crime lord (Amir Asif, played by Priyanshu Painyuli). Hemsworth is Tyler Rake, a skilled mercenary hired to retrieve the child and extract him to safety. The initial encounter is easy enough, but it soon becomes obvious that others are after the young boy, and local law enforcement are also on the payroll of Asif.

Once the action properly begins here, at about twenty minutes in, it rarely lets up for the rest of the runtime. And viewers should be prepared for a lot of brutality, this is wince-inducing stuff, whether it's the close quarters combat between Hemsworth and everyone, including a lot of kids, trying to overwhelm him or the constant fatal gunshot wounds.

Being unfamiliar with the source material (a phrase I am aware that I tend to use in every other review lately), I'm not sure how well this has been adapted by Russo. It certainly feels more like a videogame movie than a graphic novel adaptation, a cross between the standard Call Of Duty antics and some Uncharted chase sequences through buildings being pretty thoroughly destroyed as our hero attempts to defy ever-increasing odds to get one boy to safety.

Hargrave directs well enough, often distracting you from the elements lacking in the film with some impressive set-pieces. The first big fight sets the tone for everything to come, and sets up Hemsworth as someone more than capable of battling his way through a city of potential enemies, and there's also a vehicle chase sequence that stands out as one of the best I have seen in some time. No doubt, if you love your action movies then you should definitely give this a watch. It's just a shame that the plot feels either too clichéd at times, or just too clumsy in the way it attempts to manipulate viewers into caring a little bit more about someone who is, as I have just mentioned, essentially a lead character in a videogame.

Hemsworth is superb in the lead role though, never looking unsure of himself and his abilities. It's possibly his most physical action role yet, and he's more than up to the task. Rudhraksh Jaiswal is very good as the young boy being dragged through fire and blood to a place where he can hopefully be safe. The other main character to make a good impression is Saju, played by Randeep Hooda, another ex-military man sent to rescue the boy, putting him in direct conflict with Hemsworth while both parties view the other as a major obstacle. Golshifteh Farahani and David Harbour do okay as potential allies, Painyuli is your typically ruthless crime boss, and lots of other people do well in ensuring that they hit the right spot before being kicked around or shot in the head.

I can see some people hating this. The style and the simple nature of the way it is plotted mean some will be made weary by it, this is a plot so simple that it really NEEDS to take that big starting point and maintain the momentum all the way through to the end, which it does, impressively. While the characters are paper-thin, and it doesn't have anything more to say beyond "isn't Hemsworth a handsome badass", the action has enough variety, the choreography and editing work to keep the energy high without becoming headache-inducing, and it's a perfectly fine way to kill some time during the weekend, with your snacks and beverages of choice lined up beside you.

6/10

Men In Black: International (2019)

None of the trailers made me want to see this latest Men In Black movie. The stars didn't do anything for me either. As much as I like both Hemsworth and both Thompsons, they just didn't feel like they could do enough to stop me from missing Will Smith and Tommy Lee Jones (or even Josh Brolin). And then I started to hear more and more negative comments from people who had seen it. Yet I ended up at my local cinema to see it, despite all of these marks against it.

And I'm glad. Men In Black: International is another fun sci-fi comedy in the series. I have enjoyed all of these movies, even the oft-maligned second one, and am glad to spend some more time in this world. It's a fun place, often overflowing with imagination and wonderful little touches, and one that consistently works well running parallel to the everyday world around us.

This time around, the MIB are facing a danger from a species known as The Hive, who can take on the identity of other people once they have access to their DNA. There's also an incredibly powerful weapon to be kept in safe hands, all of this while Tessa Thompson (as M) tries to learn on the job during her probationary period with Chris Hemsworth (H). M is a bit of a natural in her new role, H is a top agent who appears to be getting more and more reckless and slapdash on each mission, able to coast along on former glory and the protection of his mentor, Liam Neeson (playing T). You also have Emma Thompson as Agent O, the head of MIB, Rebecca Ferguson as an arms dealer who used to date Hemsworth, Rafe Spall as Agent C, determined to bring down those he sees as playing too fast and loose with the rules, and Kumail Nanjiani as the voice of a small alien named Pawny.

Look, there are other ways I would have liked to see this play out. Other directions for the series that seemed so ridiculous that they also seemed more intriguing (that Jump Street crossover could have been great). The two biggest strikes against MIBI (as none of the cool kids are calling it) are the fact that a) it plays everything a bit too safe and b) it's not Men In Black.

Director F. Gary Gray has a filmography full of solid outings, but very few of them are amazing. He's a dependable pair of hands (in fact, from 2000 onwards you could view him as an African American version of Ron Howard, with the exception of the grim violence in Law Abiding Citizen). He does fine here, once again not really stamping any identity on the proceedings. That's fine though, this film is MIB-branded, and it at least feels consistent with the others in terms of the look, sound, and score.

The biggest problem comes from the script, by Matt Holloway and Art Marcum. Not only do they forget to include enough decent laughs, although there's a lot of fun to be had in the interplay between most of the main characters, but they flag up a couple of major plot developments with the structuring of the movie, starting everything off with a couple of big scenes that you just know are going to become relevant again in the third act. And isn't "pulling a David Ayer" (as I am calling it now, you'll know what I mean when you see it) already a worn out plot beat?

It's a good job that the script is being delivered by a charismatic cast. Hemsworth and Thompson still work well together (although they had a lot more fun with their last main pairing, Thor Ragnarok), Emma Thompson is a treat as the exasperated and wise boss, and Rafe Spall is admirably happy to be the "bad guy" who knows that something is going on, despite being unable to pinpoint exactly what. Neeson doesn't do much, but he does it with his usual stoic manner, and Ferguson makes a great impression with her one main scene, complemented by some interesting VFX work. Nanjiani has the perfect voice for his character, which is very cute and will most definitely please younger viewers.

As a completist, I would have probably picked this up for my own collection at some point anyway. So I'm glad that it's not as bad as some have made it out to be. It's just a shame that there isn't more packed in here, in terms of one-liners and memorable set-pieces. I came out of the cinema with a smile on my face but no great moments to single out as highlights.

6/10

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Bad Times At The El Royale (2018)

I have just finished watching Bad Times At The El Royale for a second time and I think that may already tell you how this review is going to go (considering I just bought it this week, and I rarely have time for rewatches lately). A first viewing left me in the rare mindset of having enjoyed what I watched but immediately wondering how it would hold up on a second viewing. Because I had issues with the film, with the pacing across the excessive runtime being the main one, and wondered if these would become more or less problematic upon a rewatch. The answer is less, with me knowing what was still to come I wasn't surprised by how far (or, indeed, not far) through the movie I was. Knowing that the plot wasn't setting up to pull the rug from under my feet, I was also able to relax more into the viewing experience and absorb all of the wonderful separate characters who are thrown together into an enjoyably pulpy crime thriller.

A number of people converge at the titular hotel. There's Father Daniel Flynn (Jeff Bridges), a salesman named Laramie Seymour Sullivan (Jon Hamm), a black singer named Darlene Sweet (Cynthia Erivo), and a young woman named Emily Summerspring (Dakota Johnson). None of these people care much for the spiel given by the one hotel staff member, Miles (Lewis Pullman), who reminds them all of the unique placement of the building, one half in California and one half in Nevada, but that's mainly because they all have their own agendas to be getting on with. Secretive stuff, few people are as they initially appear to be. And, considering his placement on the poster, it's only a matter of time until Chris Hemsworth appears, playing a cult leader named Billy Lee.

Written and directed by Drew Goddard, Bad Times At The El Royale is a fantastic collage of cool moments that have been pieced together by someone obviously in love with the tropes and archetypes found in crime thrillers. You get the crook in disguise, the lawman (also in disguise), the femme fatale, two-way mirrors, a stash of stolen loot, and some inflammatory film footage. All the ingredients you need for a fine bit of intrigue and danger. Goddard is a major strength here, thanks to his writing and directorial style (he's not afraid to just sit back and show some moments that are cinematically cool), but it's also his name being attached to it that made me less appreciative of the movie the first time around, as I was expecting this to keep me on my toes and twist everything around a la The Cabin In The Woods. It's good that he doesn't just repeat the same trick, of course, but it's also so unexpected that you spend a lot of time waiting for a big twist that doesn't come (on the first viewing anyway). There are lots of little twists and turns, all nicely done and never feeling like cheats, but nothing that has Goddard turning everything inside out.

The solid script is helped by a cast who are all on great form. Bridges gives one of his more atypical performances in recent years, and is bloody wonderful in his role, Hamm is comfortable in another role that relies on his ability to be both arrogant and charming, Johnson is very good, and Pullman feels like a completely insignificant character caught up in the middle of things until he is given a chance to shine. But the standouts are Erivo, absolutely charming as the singer trying to work as hard as she can for her big break, and Hemsworth, who is only seen in flashback form until it's time for him to swagger into the hotel, bringing an energy and charisma that helps to revive the film en route to the (slightly overdue) third act. Cailee Spaeny is decent enough in her role, and there are nice cameos from Nick Offerman and Shea Whigham.

The positives far outweigh the negative here. The script, the cast, the design, the directorial and editing choices, etc. The only thing I will hold against it as a major minus is that bloated runtime, which should have been trimmed down by about 20 minutes, at least, to tighten it all up (the backstory to the Hemsworth character could have easily been truncated, as could some of the details we get as we see what eventually brought Bridges to the hotel).

Although it may seem unlikely as a film that you may end up returning to for comfort viewing, I can see this one becoming a constant favourite for those who warm to it as much as I have. I can't think of any main sequence that wasn't full of little moments I loved, and the finale was a lot more satisfying than I expected it to be. And that's before I start thinking of the potential allegory underpinning the storyline. Yeah, I'll end up rewatching this one before many other, brisker, films.

8/10

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Avengers: Infinity War (2018)

Here we go with another Marvel blockbuster and another superhero ensemble, this time the much-anticipated feature that finally pits our familiar heroes against the mighty Thanos (Josh Brolin, in motion captured form). Things look bleak from the start, with Thanos having control of two of the infinity stones, placed in his gauntlet, within the first ten minutes. And viewers are under no illusion that everything will get worse before it gets better. Earth is a target, other planets have already been decimated, and nobody has anything approaching a proper plan to stop Thanos in his tracks.

Directed by Anthony and Joe Russo, the men who did such great work with the second and third Captain America movies, Avengers: Infinity War is a LOT of fun. It's all about great power, great battles, and the ultimate stakes. And all of it is elevated by the cast, including, but not limited to, Robert Downey Jr, Chris Evans, Benedict Cumberbatch, Tom Holland, Chris Hemsworth, Chris Pratt, Scarlett Johansson, Zoe Saldana, Dave Bautista, Karen Gillan, Paul Bettany, Elizabeth Olsen, Chadwick Boseman, Anthony Mackie, and Peter Dinklage. They are all perfect in their roles, as anyone who has seen any of the previous Marvel movies will already know.

Which is why it's a shame that the script, by Christopher Markus and Stephen McFeely, doesn't always treat them as well as they deserve. The writers deserve credit for the plotting, for trying to make something that will please fans and also allow relative newcomers to enjoy everything, and for somehow making sure that every single character has at least one great line, despite the crowded cast. They also deserve credit for a couple of the choices made, but let's not rush to highlight anything here as particularly unpredictable or brave. Considering the elements in place, the grand finale didn't resonate with me as it seems to have resonated with some others. But I started this paragraph about to criticise the writers for their treatment of the characters and I should really finish that thought. One or two examples aside, mainly from the Guardians Of The Galaxy, most of these characters feel either a bit too removed from what they used to be, or just a bit too convenient in their geography and timing. I do understand that they've all been through a lot in recent years, which would change anyone, but these don't feel like natural developments. They feel like the writers forgot the essence of the characters at times, sometimes within the runtime of this very film. And don't even start me on how the opening scenes of this film spoil the end of a certain other superhero movie (not going to name it, watch and you'll see what I mean).

That isn't the only problem that the film has. First of all, things are now TOO big. The threat, the scope, the runtime, this is a film that may will certainly be held up as a prime example by anyone who wants to show how superhero movie fatigue is a rot that has been developing in multiplexes over the past decade or so. I am not one of those people, but even I was starting to feel a bit weary by just the end of the first act.

It's also a shame that the Russo brothers don't keep the action as smooth and satisfying as it was in their previous two movies. I assume that has to do with the increase in size, leading to more stunts and effects and a need for more editing in most of the main action sequences. The most satisfying set-piece for me was one set in the streets of Edinburgh, but that is just because I live here (rather than the quality of the action itself). When even the fluidity and grace of Black Panther is turned into something looking clumsy and erratic you have to think that something is a bit off with the way the fights were filmed.

Despite my criticisms here, the good far outweighs the bad, and I don't want the above thoughts to make anyone think that I disliked it. I definitely liked it. I REALLY liked it. Mainly because of the cast being so effortlessly brillant, but there are also plenty of fun lines of dialogue, some great exchanges, a very real sense of danger throughout, and satisfying callbacks to previous adventures and connections. The special effects are fantastic, with Thanos looking a lot better here than he did in the trailers for the movie, and the lengthy 149-minute runtime goes by quickly enough (although it could have certainly been trimmed in at least one or two places). Oh, and there's the inevitable post-credits sequence. Just the one, but worth sticking around for.

8/10

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Avengers Assemble (2012)

And so it appears at last (albeit with an annoying title change so that we easily confused Brits don't think Steed and Emma Peel are coming back to the big screen this year), the  film that looks set to be the mightiest of superhero movies, the royal rumble of the Marvel cinematic universe, the geekgasm for comic book fans. With Joss Whedon directing (and co-writing the script with Zak Penn), Avengers Assemble actually manages to be all of this and more.

For anyone adjusting to the sunlight and the sights around them after coming out of some decade-long hibernation, here is the plot. Loki (Tom Hiddleston), last seen causing major trouble for Thor (Chris Hemsworth), has managed to get himself to Earth with a device that can run on self-sustaining energy and grow more and more powerful. Loki hopes to use this device to bring a warring alien race to Earth, cause mayhem and chaos, and then lord it over all he surveys. Nick Fury (Samuel L. Jackson) really doesn't want this to happen so he enlists the help of the superheroes that he knows and thinks up to the task. Captain America (Chris Evans), Iron Man (Robert Downey Jr.), Thor, Dr. Bruce Banner/The Incredible Hulk (played by Mark Ruffalo in both forms), Black Widow (Scarlett Johansson) and, hopefully, Hawkeye (Jeremy Renner). The biggest problem is that these characters don't play well together, something that Loki soon realises as he puts strain upon strain on their relationships (even completely taking over one or two characters to do his bidding). There's also the ever-dependable Agent Phil Coulson (Clark Gregg) and Agent Maria Hill (Cobie Smulders).

Most of the cast here have already grown into their characters in a previous movie (with Robert Downey Jr. perfecting his great patter in two enjoyable Iron Man films) but viewers may be most surprised to find that the person who comes near to stealing every scene here is Mark Ruffalo, arguably the best onscreen interpretation yet of the man who fears his own uncontrollable strength and rage. In a script full of great one-liners he also comes close to bagging two of the top five spots (though the absolutely greatest retort comes from Loki in a comment so funny that the cinema audience I saw the film with was laughing hard for the next full minute). But the best, and most impressive, thing about Avengers Assemble is just how everyone gets their share of great moments without the movie feeling overlong or bloated in any way. You may go into this film with a favourite that you're looking forward to seeing but I guarantee that you come out of it loving the entire group and struggling to pick an outright favourite moment. Which all goes to show just how much praise Tom Hiddleston also deserves for making Loki such a memorable and worthy villain, a perfect mix of camp and menace and scheming (his outburst to Black Widow in one particular scene ranks up there with some of the very best rants by cinematic baddies ever).

The writing is as sharp as you would expect. Okay, this isn't necessarily a film for complete newcomers (if there ARE any) but it sketches out enough details to keep most people happy and it does a great job of following major plot strands through a whole cat's cradle of different sub-strings. There are also at least four great action set-pieces, just as important to a film of this type, and the barnstorming finale features a superb mix of CGI, witticisms and sheer spectacle.

As you would expect from Whedon, he knows what fans want. I think that most people will be like myself, eager to like the film even before the opening titles come up. But with great anticipation comes, of course, the chance for great disappointment. Thankfully, there's absolutely nothing to worry about here. Whedon shows in almost every sequence that he knows just what audiences want, the action may be fast and frantic on many occasions but there are many times when the camera is pulled back and viewers are allowed to revel in a moment of sheer fan-pleasing awesomeness (be it simple joy at the scale of the action or an extended shot of Hulk having a smashing time).

2012 is already shaping up to be a great year for BIG cinematic spectacle (I am also drooling with anticipation at the thought of going to see Prometheus and The Dark Knight Rises) and Avengers Assemble has already set a very high bar for blockbuster quality. Did I want to go back and watch it again as soon as the credits rolled? Yes. Am I looking forward to reliving the whole thing on shiny disc format? Yes. Am I already very, VERY eager for a sequel? I think you know the answer to that one.

9/10

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