Produced by: Guymon Casady, David Leitch, Kelly McCormick
Starring: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Teresa Palmer, Stephanie Hsu, Winston Duke, Zara Michales, Ben Knight.
‘I’m just the stunt guy.’
Ryan Gosling as stunt man Colt Seavers to super star, Tom Ryder (Aaron Taylor-Johnson) brings back the adorable to a tough guy role, ‘Did she say anything about me?’
Because after Colt breaks his back during a stunt on set, he disappears from his girlfriend, camera person, Jody Moreno (Emily Blunt).
Colt changes his number.
He gets a job parking cars.
Then Colt gets called back to work by Tom’s agent Gail (Hannah Waddingham) directed by none other than his ex, Jody.
Gail tells him Jody wants him back.
Colt definitely wants her back.
He just doesn’t know how to say it. He just does things like cry his eyes out to Taylor Swift and pulls the tie under Jody’s gardening hat snug under her chin.
Did I say adorable?
I was surprised about how much of this movie is a romance between these two: stunt man and camera person turned director.
And as advertised, The Fall Guy is also a stunt movie, based on the TV series from the 80s, filmed in Sydney Australia which is pretty cool, with so very many explosions and I have to say terrible humour.
Think a Post-it note with, ‘Sell cockatoo’ written on one side and on the other, ‘Buy koala.’
The Aussie references hit like a lead balloon.
And the not so subtle dual meaning of the movie storyline and romance was overcooked, as was the fast forward dialogue. It felt like there was one speed and it was run around, talk fast at highly agitated levels and again, explosions. It was too much.
Colt when tied up and trying to talk his way out even talks about movies made with ‘too much.’
But I have to say those hesitations and head flicks from Gosling added just the right amount of giggle because it was subtle.
And yes, the addition of a unicorn to illustrate Colt’s state of mind was clever and genuinely funny.
So, yes there’s a lot of fun here, but unlike the stunts, not all the humour landed.
Produced by: Andrew Macdonald, Allon Reich, Gregory Goodman
Starring: Kirsten Dunst, Nick Offerman, Wagner Moura, Jefferson White, Nelson Lee, Evan Lai, Cailee Spaeny, Stephen McKinley Henderson, Greg Hill, Edmund Donovan.
‘Mines ahead.’
In a word, Civil War is unflinching.
Set in the near future, the fourth film directed by Alex Garland, follows war photographer, Lee (Kirsten Dunst), along with fellow journalist Joel (Wagner Moura) and veteran journalist Sammy (Stephen McKinley Henderson) as they document a civil war in America.
The Western Forces, an armed alliance of states rebel against the federal government as the film opens out of focus, to a closeup of the president (Nick Offerman) prepping himself to tell lies to the nation, rehearsing in between flashes of war on the streets.
A crowd waits while soldiers hold machine guns. The press take photos. The soundtrack builds. A young girl, Jessie (Cailee Spaeny) with a camera gets in close to the action as pressure builds, as the violence builds with the music.
Jessie gets smacked in the face; unprotected, she puts herself in the face of violence until Lee shepherds her away.
Then a bomb explodes.
Then silence as Lee takes photos of the carnage.
Jessie wants to be just like Lee.
So when Lee and Joel decide to go to DC, to photograph and interview the president before the The Western Forces take over the capitol, forcing surrender, Jessie talks her way into coming along.
After decades of being a journalist, Sammy wants a lift a Charlottesville, not DC. Not where journalists are views as combatants. He doesn’t want in on their suicide pact. And Lee doesn’t want to be burdened by a journalist who’s too old to run away.
It’s 857 miles to DC.
The countdown a timeline of the film as the four determined documenters of war make their way into an ever-increasing crisis of violence.
It gets brutal.
There’s a callous tone to this film. The violence has that element of senselessness that comes with war movies, Garland making a point not to sensationalise the violence, “‘It is exceptionally difficult’, Garland says, ‘to make a war movie that is, in fact, anti-war.’”
The perspective of the film is watching the journalists document the war, adding another dimension of psychological callousness, or how the callous mindset develops – Lee has a duty to record, wanting to capture that perfect shot. The questions about what is happening is for other people to ask.
Joel is addicted to the adrenaline of being on the front line, ‘What a fucking rush.’
Jessie has never felt more alive as when she thought she was going to die.
It’s senseless and brutal. But I couldn’t look away.
Civil War is a film that finds that edge, to walk that fine line to understand the need to document; the journalist not only risking life but also harnessing the ability to close the door on feeling empathy, even morality.
To only be the observer, a lens.
It’s disturbing.
The balance of that loss of humanity is the toll the job takes on Lee.
The superstar photographer, losing her belief in journalism.
Difficult themes to unpack and like Garland’s previous films (Men (2022), Annihilation (2018), Ex Machina (2014)) Civil War feels unique but not in a fantastical way; this time he’s grabbed the truth by the throat and has not held back shining a bright light on what people are capable of closing their eyes to – the journalists taking photos to show the world while closing their eyes to what they’re documenting.
And the point is made because this is a very well-made film: the camera work, the cast and performances, Kirsten Dunst of course, but Jesse Plemons as an unknown soldier asking the question, ‘What kind of American are you?’ is unforgettable.
Some of the images stain the mind and remain long after the credits roll.
I really don’t like war movies because of that senseless violence, but Civil War is worth seeing because there’s something different here, the unpacking of the complex psychology of the characters adds a thought-provoking darkness that is uniquely Alex Garland.
With red font and the stance of a menacing man holding a knife, I was expecting blood in Dev Patel’s directional debut. And Monkey Man did not disappoint. There is just the right amount of bloody action here that builds throughout the film.
Also starring, this is a different style to Patel’s previous roles, notably, Lion (2016) and Slumdog Millionaire (2008).
As Monkey Man, he still has those soulful eyes, here to echo the tragedy of his childhood, losing his parents and home during a land grab, a reclaiming of his parents and fellow farmers’ land for spiritual purposes. But really, for dodgy deeds by a conducted by a corrupt guru backing bent police and the soon to be elected Sovereign Party.
Here, those soulful eyes reflect fire while his hands drip with blood.
The film opens with the legend of Hanuman, told by Monkey Man’s mother (Adithi Kalkunte) when he was a child.
Hanuman was very hungry.
A spell was cast.
He saw a shiny mango up in the sky.
Hanuman flew to grab the mango only to discover it was the sun.
So the Gods punished him. Took his power.
Then the film cuts to Monkey Man fighting in an underground fight club. The men wear masks. Monkey Man wears a gorilla mask, like he’s Hanuman without his power.
The crowd roars, stamping their feet.
The manager (Sharlto Copley) tells him, ‘They fucking hate you.’
But Monkey Man doesn’t care.
If he bleeds, he gets the blood bonus.
And he needs money so he can buy a gun.
And he needs a gun to take revenge.
To get revenge he must get access to those who slaughtered his family to steal their land.
And to get access he needs to get a job at, Kings; a restaurant and club for the rich and powerful where drinks, women and drugs are served without question.
The film is a study in colour, the club drenched in red light, the film set in Mumbai (but filmed in Indonesia); a city that lends a vibrant backdrop to the constant shifting and refocussed camera work.
What stood out was the handheld cam moments, following a dog through the streets, the theft of a purse followed through a dozen hands like a cleverly orchestrated ballet.
Then the flow stops, the soundtrack lifts (fantastic soundtrack!) for a moment, breath held, before the abrupt return to the action where the jolting camera makes the movement feel like desperation.
There’s a lot of thought put into each scene, with a definite beginning, middle and end to the storyline – for me the beginning and end amazing, the transition of Monkey Man in the middle gets lost. Like a Rocky transformation that jars with the tone of the rest of the film because what comes at the beginning and end feels unique – the transformation felt like a loss of confidence, harking back to what has already been done before. But I get the necessary transition before the… Revenge.
‘You need to destroy in order to grow, to create space in your life.’
And Monkey Man is definitely a revenge film with the added difference of the legend of Hanuman at the storyline’s foundation.
The Gods took his power and then Monkey Man took it back.
Screenplay Written by: Terry Rossio, Simon Barrett, Jeremy Slater
From a Story by: Rossio & Wingard & Barrett,
Based on the Character, Godzilla owned and created by TOHO Co., Ltd.
Produced by: May Parent, Alex Garcia, Eric Mcleod, Thomas Tull and Brian Rogers
Starring: Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns and Fala Chen.
‘Aggression is his love language.’
The next instalment of the Monster verse, Godzilla X Kong: The New Empire opens in a familiar green.
Fluorescent crystals rise towards the sky. And somewhere in Hollow Earth, Kong runs.
Old timey music plays.
The world tilts.
That feeling of vertigo persists throughout the film as Dr. Ilene Andrews (Rebecca Hall) continues working for Monarch with adopted daughter, Jia (Kaylee Hottle), the last of the Iwis, to monitor Kong in his new home.
The only way to stop Godzilla and Kong fighting was to keep them apart: Kong in the Hollow Earth and Godzilla on the surface, where he, ‘can fight battles we can’t.’
Monarch monitor Godzilla because he’s the alarm for any threat from a titan.
So when signals start registering that can’t be explained, and Jia starts dreaming while awake, like something’s calling her, they know when Godzilla starts charging from a nuclear reactor that something big is about to threaten the surface.
Without giving too much away, Kong and Godzilla must unite to face the threat that lurks even deeper within the earth. Within the Subterranean Realm. Uncharted territory closed off. Until now.
It’s a little cheesy.
But there’s tongue-in-cheek humour sprinkled throughout, note the return of Trapper (Dan Stevens) now vet / dentist to the titans, and Podcaster Burnie (Brian Tyree Henry) who comments to Trapper, ‘I think there’s something seriously wrong with you.’
Sometimes the humour hit, sometimes it didn’t.
There’s a lot of gooey green stuff, including Kong tearing a death jackal apart over his head to cover himself in its gizzards.
And there’s a lot of blasting action trapezing across the globe, scenes shot in Hawaii, Brazil, Marocco and Iceland, the scenery spectacular to watch on the big screen.
This instalment is directed by Adam Wingard who also directed Kong Vs Godzilla (2021), so there’s a similar feeling to the action, yet there’s a refresh to the cast with Jia taking a lead role who’s enchanting in her silence.
I just didn’t warm to the story to really get behind the drama.
Kong’s facial expressions were more nuisance and there’s a lot of communication conveyed through sign and expression.
A highlight when Burnie is confronted by a tribesman, where it’s polite to make real close eye contact, the expression of the eyes the communication. Burnie did not like the forced eye contact. I’m still giggling at the memory of it.
I re-read my review of Godzilla Vs Kong to recall a comparison and found I was using the same language to describe Godzilla x Kong: rollercoaster, cheesy, worth seeing on the big screen.
So if you liked Adam Wingard’s previous Kong / Godzilla movie, you’ll like this one.
Screenplay Written by: Michael Lesslie and Michael Arndt
Based on the Novel by: Suzanne Collins
Produced by: Nina Jacobson, p. g. a, Brad Simpson, p. g. a., Francis Lawrence, p. g. a
Executive Producers: Suzanne Collins, Mika Saito, Jim Miller, Tim Palen
Starring: Tom Blyth, Rachel Zegler, Peter Dinklage, Jason Schwartzman, Hunter Schafer, Josh Andrés Rivera and Viola Davis.
‘Run.’
The prequel to the Hunger Games series: The Hunger Games, Catching Fire and Mockingjay, The Ballad of Songbirds and Snakes follows Coriolanus Snow (Tom Blyth) in his younger years. Before he becomes President of Panem.
He runs with his little cousin, Tigris (Hunter Schafer) through the snow searching for something to eat. The dark days. The hungry days.
His once prosperous family struggle to survive in the Capitol after his father Crassus dies in a trap, set by the rebels.
Their survival depends on Coriolanus making a name for himself in the Capitol, starting with the 10th Annual Reaping Ceremony. Only this year, Head Gamesmaker Dr. Volumnia Gaul decides to shake things up. The people have stopped watching the Hunger Games. She needs to make the Games more entertaining.
This tenth year, each Tribute will be nominated a Mentor to liven things up. Each Mentor is tasked to showcase their Tribute, to make the people love them, to want to watch them; to hope they don’t die and to then become the winner.
When each of the Tributes are introduced via the small black and white television screen, Snow sees his Tribute for the first time: the defiant, Lucy Gray Baird (Rachel Zegler).
When selected, she sings then tells the world to kiss her arse.
And so begins the story of the Songbird and the Snake.
Watching the evolution of Coriolanus is set into three parts.
The end of Part II: The Prize, saw a hopeful end to what felt like a long movie.
Then Part III appeared on screen.
Did I say this is a long movie? It goes for 2 hours and 37 minutes. It felt longer.
But Part III is what pulls the story together, lifting the experience with a nod of understanding, so if you can make it to the end, it makes the rest of the film worth watching. Not a great endorsement, and I say that because it’s more than a bit cheesy. Like the film’s trying to be a musical in between the rest of what is traditionally, The Hunger Games so the tone of the film felt off.
Rachel Zegler as Lucy Gray has an amazing voice, but the introduction was premature, felt forced and was far overshadowed by the lament of the Mockingjay in the previous series.
There’s still the action of fighting to the death, and aside humour from host, weatherman, ‘And smile. That’s why we have teeth,’ amateur magician, Lucky Flickerman (Jason Schwartzman).
And the villainous, Dr. Volumnia Gaul, has some twisted theories about humanity that evolve in conflict with the Academy’s dean, Highbottom (Peter Dinklage).
Peter Dinklage as the dean gives some gravitas to the superficial tone of the young adult story – but the feeling of superficial persisted.
I didn’t relate to any of the characters. And there were plenty in the film. It all felt like bit parts, even Lucy Gray felt superficial. Only the character Coriolanus was rounded-out, which was the point, to understand the origin story of the character, I guess.
But wow, this film takes commitment, all the way to the end to get any satisfaction from watching; it’s somehow bloody yet dry, until that last chapter.
Story by: John Francis Daley, Jonathan Goldstein, Joby Harold
Based on Characters from: DC
Produced by: Barbara Muschietti, Michael Disco
Starring: Ezra Miller, Ben Affleck, Sasha Calle, Michael Shannon, Ron Livingston, Maribel Verdú, Kiersey Clemons, Antje Traue and Michael Keaton.
The Flash (Ezra Miller) naming himself, ‘The janitor of the Justice League’ feels like he’s always cleaning up after Batman.
But Batman’s his besty.
So when the latest disaster hits Gotham City and the Justice League are busy elsewhere, it’s up to The Flash AKA Barry Allen, who’s in the middle of trying to buy a sandwich from a server who isn’t his usual server and he’s going to be late AND he’s hungry and trying to feed himself because if he doesn’t his body will literally run out of fuel… Well, Barry steps up, or rather, steps forward with arms bent at the ready.
It’s a silly beginning – think falling babies from a collapsing skyscraper while The Flash breaks into a falling vending machine to eat.
The film takes a moment to get traction (ha, ha).
Then the film shifts gear, cue the strings of the soundtrack, pan to dad in jail for the murder of his wife and mother of Barry:
‘I loved you first’.
It’s an unsubtle shift but leads to a poignant moment with Batman (Ben Affleck) – he’s a character who can relate.
Then flash again (ha, ha, sorry, can’t seem to help myself with this one), the film flashes back to a time when Barry’s mother was alive. Back to a time when he can save her, because if he can run faster than the speed of light, the theory runs, he can turn back time.
Enter, The Chrono Ball.
This is where most of the effects come into play: the surrounding faces of the past nightmarish as The Flash runs in the Ball’s centre, making time warp backwards.
But of course, changing the course of the past will always lead to changes to the future and added to the risk of changing the world forever, General Zod (Michael Shannon) returns to the past. To a past that no longer has metahumans.
Until Supergirl (Sasha Calle) is rescued.
They need all the hero’s they can muster to beat the Kryptonian general from destroying the Earth completely this time. In the past.
The film gets entertaining once Barry meets his past self so that verging on the silly overacting tones down to an overly enthusiastic Barry who meets older and wiser future Barry.
The effects also help off-set some of the silliness – The Flash quoting himself as a Barbie Girl in a Barbie world, well, that was one of the OK funny bits, but you get where I’m going. The humour just did not hit until The Flash meets his younger self – the chemistry better and more balanced.
And then there’s the return of Michael Keaton as the hermit Batman of the past (who is somehow older and yet explained so well with a bowl of spaghetti by said hermit Batman).
Really, I can’t believe how good it was to see Michael Keaton as Batman again.
Once the balance got going with the characters, there were some genuinely funny moments – seeing The Flash run around without being able to flash around did tickle.
And there’s some themes running (ha, ha) through the storyline so it’s not all superficial flashy trash – ‘not every problem has a solution,’ etc.
The future self, teaching the past self, worked better than expected.
And the film felt full, with every second of every frame brimming with as much dialogue and effects as possible.
Didn’t always hit the mark, but there’s enough of a foundation here to enjoy the entertainment.
Produced by: Basil Iwanyk, Erica Lee, Chad Stahelski
Executive Producers: Keanu Reeves, Louise Rosner, David Leitch, Michael Paseornek
Starring: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Hiroyuki Sanada, Shamier Anderson, Lance Reddick, Rina Sawayama, Scott Adkins, Clancy Brown and Ian McShane, Marko Zaror, Natalia Tena.
‘Such is life,’ is the playful yet deadly theme in this forth chapter of John Wick, spoken by Winston (Ian McShane), New York manager in explanation of another sour turn of events surrounding the ever-increasing reward for the fulfilment of the Kill Contract for the unstoppable, John Wick (Keanu Reeves).
This time, the Marquis (Bill Skarsgård) of The High Table has been granted the power to do anything necessary to bring John Wick down.
‘Why won’t you die!’
German assassin Killa (Scott Adkins) exclaims through his bloody, gold capped teeth.
Because fueled by his need for revenge, Wick continues to kill anyone in his way towards freedom.
There’re 14 action sequences in this forth chapter, which is four times more than any previous John Wick film.
I didn’t relish the idea of sitting through nothing but fight scenes but the film draws you into the story before the action kicks in. And it’s this attention to the story as well as the mind-blowing action that sets the John Wick franchise apart.
I had massively high expectations after being blown away by John Wick 3, but returning Keanu Reeves in the lead role (he’s also an executive producer here) and director, Chad Stahelski, did not disappoint.
Producer Erica Lee notes, it’s, ‘the “bond and trust” between Reeves and Stahelski that has defined the John Wick franchise. “Chad has given so much to the films for the better part of a decade. Keanu loves the series so much – he’s in every script meeting and casting discussion and has come up with some amazing story ideas. Very few franchises have the consistency we’ve enjoyed with our core team.”
Chapter 4 opens in Jordan, with John riding horseback, riffle in hand, to Japan, Berlin and Paris, so there’s some interesting sets for those explosive action scenes here. And the inventive fights just get more intense from knives, num-chuks, exploding bullets of fire, to cars in traffic used like dodgem cars, where the would-be assassins don’t dodge so much. And neither does John.
Adding to the fight scenes is the additional body armour of the suits worn by John and The Table killers so weapons get added just to make an opening for a kill: thump with a num-chuk to expose a neck for the kill shot.
There are so many moments of cringe and ouch all the while grinning my face off. Particularly the last quarter of the movie – the grin just got wider as the action got ridiculous. In a good way.
The choreography is fast and brutal and smooth like a dance – the sheer number of stunt people in the credits understandable. “Reeves also did precision driving training and horseback riding training, in addition to instruction in many other disciplines. “Over the course of these films, Wick can sign, speak Russian, and, in CHAPTER 4, speak a little Japanese. So, I’m always picking up different skills,” says Reeves.
There’s also a play of light with John’s reintroduction set with a backing of red light so even the cherry blossoms in the background took on a sinister aspect. And that red light continues to follow Wick through-out the film, like an illustration of his unrelenting need for revenge.
In addition there’s thoughtful one-liners thrown in, strangely enough from the villain, the deadly Marquis, like: ‘A man’s ambition should never exceed his worth.’
Has to be said, Bill Skarsgård as the Marquis is genius casting and just one of the worthy additions to the story – The Tracker (Shamier Anderson) with his partner killer dog was a little obvious. But then ended up being one of my favourite characters. There’s also The Harbinger (Clancy Brown) that adds another layer to the story that is The High Table.
If you’re already a fan of the John Wick franchise, Chapter 4 is obviously a must-see and in my opinion, as good as the previous JW3: the detail, the humour, the dogs, the camera work, those shots from above a seriously successful device to show more of the action… Action at its very best.
Starring: Zachary Levi, Asher Angel, Lucy Liu, Helen Mirren, Rachel Zegler, Jack Dylan Grazer, Adam Brody, Ross Butler, Meagan Good, D. J. Cotrona, Grace Caroline Currey, Haithe Herman, Ian Chen, Jovan, Marta Milans, Cooper Andrews and Djimon Hounsou.
‘The most powerful thing about you, is you.’
Yes, there’s the expected underlying message that goes with any teen-starring superhero movie.
But there’s a balance in this sequel to Shazam!, released back in 2019 (see review here)
There’s the delightful humour of Zachary Levi returning as the superhero Shazam; his alter ego (or is it the other way around?), Billy Batson (Asher Angel) now turning 18, an older teen to his previous 14-year-old character, still revelling in his superhero’s man-body, his adoptive family, mum (Marta Milans) and dad (Cooper Andrews) blissfully oblivious to their adopted children’s superpowers:
The superhero powers don’t always go to plan though, hence being nicknamed by The Tribune – that no-one reads, it’s fake news! – the, Philly Fiascos.
There’s some genuinely funny moments here, with Shazam seeing a paediatrician, lying on a couch like he’s seeing a psychiatrist to unpack his issues – the doctor recommended by a friend, a youngish friend around Billy’s age because the doctor has dolls in the corner of his office.
Shazam has understandable issues. He doesn’t think he deserves his powers because he’s been rejected A LOT: his parents, the foster homes. Then of course The Tribune with front page, ‘Rejected by City.’
The main difference between the sequel to the original is the team aren’t kids anymore, so those jokes about the disparity of a child in a man’s body doesn’t have as much punch. But seeing Shazam rapidly chewing a mint to seal the deal on his Wonder Woman crush… I found myself laughing out loud at Zachary Levi’s antics as Shazam once again.
Has to be noted that Billy the superhero was less mature than Billy Batson the teen turning 18. But the idea of the school kids turning into fit superheros still worked and was a lot of fun.
And there’s blue fire-breathing dragons and the Staff of the Gods, the opening of the film above Athens. Spartan’s appear: Hespera (Helen Mirren) and Kalypso (Lucy Liu). Gods who have lost their power because of Shazam breaking the Staff in the previous film.
I like a bit of fantasy in a superhero movie. And director David F. Sandberg has handled the balance of humour, fantasy and drama well.
The young Darla felt, well, a bit young, at times. To appeal to a younger audience, no doubt. I could hear the response in the audience to her doe-eyed antics.
Didn’t always hit for me.
But, ‘I’m an idiot,’ Shazam is just as funny as the first film, even as he fights his growing pains while forever wondering, what is my superhero name?
It drags a bit, getting to the growing up moment, but overall, I was Shazam! entertained by this sequel, Sandberg getting the timing of the jokes just right.
Produced by: Christian Mercuri, James Harris, Mark Lane, Scott Mann, David Haring
Cinematography: Miguel ‘MacGregor’ Olaso
Starring: Grace Caroline Currey, Virginia Gardner, Jeffrey Dean Morgan, Mason Gooding.
‘No trespassing. Danger of death.’
Let me start by saying, I’m scared of heights.
So from the opening scene of vertical views down onto rock-climbers hanging onto cliffs and leaping for another hold. My heart was pumping from the get-go.
And it didn’t stop.
Fall is relentless in ratcheting up the tension, truly, edge-of-seat viewing.
But there’s cheese.
Adrenaline junkies, Becky (Grace Caroline Currey), hubby, Dan (Mason Gooding) and best buddy, Hunter (Virginia Gardner) push their limits together.
Seemingly unstoppable, until the worst happens, leaving Bec devastated. And her dad (Jeffrey Dean Morgan) concerned she’ll never snap out of her deepening grief.
It’s when Bec looks like she can’t go on, best buddy, she’s-my-cherry-pie, Hunter has the cure: climbing an abandoned radio tower via a rusty ladder, 2000ft into the air.
Time to tame fear, ‘And kick it’s arse.’
Cue the strings in the soundtrack. Cringe.
Up to this point, I wasn’t convinced I was going to get into this movie, I’d just be on edge because of that insane height, standing on a pancake platform, Bec and Hunter about to fall any second.
Then those rusty bolts started rattling.
The camera work here pushes that feeling of vertigo and the thought of falling is always there as the girls hang off the edge of the tower to take selfies.
There’s a lot from Hunter’s online persona, Danger D and #LifeOverDeath moments.
But this, ‘kick fear in the dick,’ mentality gradually won me over – you get the vibe though, a bit twee.
Then the shots widen, pushing the sky into the background of these crazy climbers as the bolts start to fall and I’m gripping the arms of the chair.
It just keeps pushing that tension to the point I was thankful for some of the cheesy drama of the story.
It’s not ALL tension; there’s some room to breathe.
But wow not much.
Be prepared for a bracing thrill and some unexpected moments in this intense survival film: worth seeing on the big screen.
Produced by: Nicolas Cage, Mike Nilon, Kristin Burr p.g.a., Kevin Turen
Starring: Nicolas Cage, Pedro Pascal, Sharon Horgan, Ike Barinholtz, Alesssandra, Mastronardi, Jacod Scipio, Lily Sheen, with Neil Patrick Harris and Tiffany Haddish.
‘You’re a fucking movie star and don’t you forget it.’
Massive talent is a clever movie because it has all the humour of the Nick Cage swagger, yet layered with Nick as Nick, then Nick writing a script about the movie that is Nick, which is an, ‘adult drama’ about the friendship of two men, that is to say Nick being invited to the house of Javi (Pedro Pascal), a supposed murderous weapons dealer, in Mallorca for his birthday.
For $1 million Nick hopes the request isn’t for anything more than a party invite.
Turns out Javi has a script he wants Nick to read.
He’s a huge fan.
They get along.
It’s like kids hanging out that click and know they’re going to be best friends.
It’s good fun with some decent belly laughs along with the clever fold of story over the actor that is Nick. He evens has an alter ego of himself as young Nick – ‘Never shit on yourself.’
There is more to the story of the film then the Cage-factor with kidnapping and cartels set on the coast of Spain.
Family drama gets involved with the ever suffering, thank-god-she’s-in-my-life ex-wife, Olivia (Sharon Horgan) with daughter Addy (Lily Sheen), ‘she thought Humphrey Bogart was a porn star.’
There’s some great dialogue here and Nick’s little flicks of the head and self-obsession in therapy with said family is gold. As is the sincerity of Javi’s fandom seen in his wide-eyed star-struck regard of Nick.
I felt like the film goes on a bit at the end (a bit like this review, but never shit on yourself ; ) and the soundtrack gets jaunty, letting down the tone down at times. But a good entertainer with some clever thrown in that doesn’t take itself too seriously.
