Review: GI Joe: Retaliation

Review: GI Joe: Retaliation

Okay so the first instalment in this action-packed series (GI Joe: The Rise Of Cobra) wasn't that great despite its A-List cast and ambitious scale. Yet with a revitalized group of heroes, a new director and a slightly more serious story, can GI Joe: Retaliation fight back and impress?

Well, yes and no. If you like your movies loud, fast, relentlessly action packed and borderline headache inducing, GI Joe: Retaliation is definitely for you. What it has in its favour is, unfortunately, low expectations thanks to both the dodgy quality of its predecessor and the unease that comes along with Paramount delaying the release of the movie for almost a year. 

What works against it, however, is that the year-long 3D conversion (the reason behind the delay) amounts to very little at all and despite action heavyweights Dwayne "The Rock" Johnson and Bruce Willis strolling into the fray, the real star of the film seems to be completely ambiguous. At least in The Rise Of Cobra, Channing Tatum was our clear protagonist - Retaliation has so many good guys it's hard to focus on one in particular.

Still, it is better than the first one thanks to its global scale. The finale of part one saw the American president's body taken over by an alien being known as Zartan, the leader of an evil intergalactic force called Cobra. With the government and all of its weapons at his fingertips, he utilizes them to destroy the elite military force known as the GI Joes, claiming that they are traitors and a threat to the safety of the United States. 

After the strike, only a few members of the force survive. Led by Roadblock (Johnson), they team up with the original Joe (Willis) to stop Zartan's plan, which is to persuade all other nations to disable their nuclear weapons so that he may unleash Cobra's secret space-based weapon.

It's a good idea, but it's not good enough. Moving past the fact that it's a sci-fi, the narrative still feels incredibly far-fetched. Are we to believe that all of the United Nations would simply disarm their weapons if one leader commanded it? 

The story won't have you scratching your head anyway. If (like me) you haven't read the comics, you may feel yourself getting lost amongst all the terminology and history here and there, but Retaliation is not about a gripping narrative - it's just a cartoonish, buoyant and over the top summer popcorn flick that's arrived a few months early. In the absence of a Transformers movie this year, the endless (pointless) explosions, ricocheted bullets and samurai swords should please those looking for an hour or two of mindless fun. 

And fun it is - at least now and again. Retaliation may find even the most cynical audience member grinning a little at the cheesy one-liners ("Drive it like you stole it!"), but at times this sequel takes itself a little too seriously for a movie that is essentially, for all intents and purposes, a comic book film. Retaliation does boast some fantastic action scenes though, with one stand out sequence involving ninjas fighting in mid-air miles above the ground. It's all filmed really well and the stunts are carried out skilfully of course. Eagle eyed cinema-goers will know that Ray Park (who played Darth Maul in the Star Wars movies) performs some of the best choreographed fights in the film.

On a personal level though, Retaliation does manage to flesh out a few of its characters pretty well. Johnson's Roadblock is even given the cliche of having two "adorable" kids to look after, while other characters are forced to deal with the loss of their fellow Joes. 

As for Bruce Willis, he gives a pretty disappointing turn as General Joseph Colton, the original Joe. Forced out of retirement to help Roadblock and his gang, Colton is incredibly one-dimensional and it couldn't be clearer that Willis has very little (if any) knowledge of the GI Joe toys and their history - but sticking on his trademark smirk, occasional one-liners and generic bullet spraying, Willis does at least manage to give some well needed attitude to the cast. 

That said, it's hard not to feel as though the Die Hard star was only approached for the part because Retaliation needed to be taken more seriously than it could ever have been without a veteran action star. The rest of the cast is relatively thin on A-listers, and the less said about Channing Tatum's character the better, but suffice to say that his entire two-hour story arc in The Rise Of Cobra is made redundant early on here.

Everything else isn't really worth worrying about. There are of course references to the original film that will be lost on most viewers, and with Cobra Commander (the antagonist from that movie) acting as nothing more than a weak supporting character here, the resolution of the whole story is just far too stupid. Seriously, who has an enormous red button installed on a briefcase to detonate a live nuclear warhead in mid-air? Oh right, of course. Everyone in sci-fi.

Summary

Is GI Joe: Retaliation better than its predecessor, The Rise Of Cobra? Damn straight. Is it a good movie? Well, it depends what you're looking for. If you like your action ridiculous, your headaches strong and your Bruce Willis not really caring about which movie he's in, GI Joe: Retaliation should be on your list.  If, however, you aren't an easily entertained 12-16 year old boy, Retaliation may waste your time. Still, the effective presence of Dwayne Johnson and some really well produced action scenes make Retaliation one of the competitors for best (but pointless) action movie of the year - but it just really wasn't worth the extra year's wait.

5.5/10 - Okay

See it if you liked: GI Joe: The Rise Of Cobra (2009), Transformers: Dark Of The Moon (2011), The Avengers (2012)

The Stark Knight's Top 5 Moments

The Stark Knight's Top 5 Moments

Tony Stark is a self confessed "genius billionaire playboy philanthropist." He also happens to be Iron Man, the world's coolest superhero. 

Thus far, he has appeared in four of Marvel's Avengers movies: Iron Man, Iron Man 2, The Avengers and a small albeit effective cameo in The Incredible Hulk. Now, with Iron Man 3 approaching at the end of April, it's time to look back at Tony Stark's top 5 cinematic moments.

5 - Becoming Iron Man

The movie: Iron Man

The moment: After his military convoy is suddenly attacked by terrorists, famous inventor Tony Stark is forced to create the ultimate weapon of mass destruction for his captors. Yet with the help of fellow captured scientist Ho Yinsen, Tony instead builds his own weapon: a man-sized suit of armour equipped with some surprises of its own. "Now it's my turn."

Why it's awesome: This is the start of something huge not just for The Avengers franchise but for Tony Stark himself. As a weapons manufacturer, Tony realises that not only have his weapons somehow been sold to the wrong side, but that they are being used to kill innocent people. Time for change.

4 - Turning The Tide

The movie: The Avengers

The moment: Just when it seems that Loki may be gaining the upper hand against Captain America, Iron Man swoops in with style to save the day. "Make a move, reindeer games."

..

Why it's awesome: AC/DC blaring in the background as Stark blasts Loki from the air and floors him; the cocky attitude as he taunts Captain America's past; the pure skill of his landing. This is Iron Man at his coolest. 

3 - War Machine

The movie: Iron Man 2

The moment: Depressed at the thought that the reactor in his chest is slowly killing him, despite its function to keep the shrapnel in his body away from his heart, Tony goes on a rampage of drunken stupidity. Only Lt. Rhodes (Don Cheadle) can stop him. Suiting up in Tony's Mark II armour, he takes on the Iron Man. "You wanna be a War Machine?"

Why it's awesome: War Machine is Tony's best friend and ally Lt. Rhodes (or Rhodey). This is the birth of his story, although where the hell he was during the events of The Avengers is anyone's guess for now.

2 - Saving The World

The movie: The Avengers

The moment: The Avengers are still fighting to gain the upper hand against Loki and his minions in New York. With a nuke headed straight towards the city, Tony grabs the missile and in an uncharacteristic act of self-sacrifice, he sends it back through the portal and into the mother ship subsequently killing all of the Chitauri. "Who wants schwarma?"

Why it's awesome: This is a moment of personal absolution for Tony, as he proves Captain America's opinion of him to be false. "You're not the guy to make the sacrifice play." Thanks to a little help from the one and only Incredible Hulk, Tony survives but it was a very close call indeed.

1 - This Isn't Flying, This Is Falling - With Style

The movie: The Avengers

The moment: After some fantastic banter between Loki and Tony, the former decides enough is enough and angrily throws Tony from the roof of Stark Tower. Plunging to his death, Tony has one hope - from the top of the building, his Mark VII armour latches onto him mid-flight just in time. "Oh, and there's one more person you pissed off..."

Why it's awesome: It just is! 

So there you have it, there are Tony Stark's top 5 moments - but Iron Man 3 sees Tony on a much more personal journey of revenge against his most fearsome enemy The Mandarin. Judging by the trailer below, this list will be subject to change!

Check back to Movies Under The Microscope on April 25th for a full review of Iron Man 3.

Review: Trance

Review: Trance

If, like me, you enjoy a particularly cool trend known as "retro", you may have once upon a time played the game Snake which was of course a huge hit on mobile phones. The snake goes round and round, eating up points and circling itself, but if the player makes one wrong move then the snake hits itself and it's game over.

Danny Boyle's current movie Trance is exactly like a game of Snake. The narrative is twisty, the plot points are thrown at us in waves and the expectations of the psychological thriller genre are turned on its head to great effect but the story becomes convoluted. Despite an incredible first half, the latter fails to measure up to the promise delivered by this usually fantastic director. Trance winds up twisting into itself so much so that when we finally reach the end, there is a lingering question: what was the point of all that? Game over.

That's not at all to say that Trance isn't a work of brilliance. Sublime artistic direction from Boyle and incredible performances from the three leads James McAvoy, Rosario Dawson and Vincent Cassel ensure that the movie is gripping and psychologically unsettling. There's just something about the twist-a-minute script that irritates - sometimes less is more. Throw in an ambiguous ending that's basically a rip off of Inception and Boyle's latest feels much less hypnotic than it should have been.

It is hypnotic though: there's something brilliant about McAvoy's voice over in the opening moments describing to us the importance of an auctioned painting and the procedures in place to prevent it from being stolen. "No piece of art is worth a human life," McAvoy's Simon says, but when a heist takes place for a painting worth over £25million, he is knocked unconscious after trying to be a hero. 

The painting is lost, however, as Simon cut the art from its canvas before the criminals caught it. With no memory of where he stashed it, Simon is interrogated brutally by Frank (Cassel) and his criminal gang. When physical torture doesn't work, Frank forces Simon to see hypnotherapist Elizabeth Lamb (Dawson) to delve into his mind and find where the painting is. As Elizabeth breaks further and further into Simon's subconscious, the lines between truth, lies and suggestion begin to blur for everyone.

Sounds a lot like Inception, right? Well, it's not all it seems. Where Inception had epic James Bond-inspired set pieces, Trance focuses more on the interaction between its three leads, using effectively off-putting camera work and stylish cinematography to throw our expectations out of the window. As usual Boyle has a decent sense of humour even when it comes to the creepy or gory elements of the scenes and he has clearly enjoyed playing with what we have come to understand about the psychological "mind" genre.

McAvoy anchors us down though. The Scottish actor is fantastic in his lead role balancing borderline insanity well with emphatic, understated curiosity and helplessness while Dawson and Cassel play the good guy/bad guy (delete where appropriate) pretty well giving the already topsy turvy plot some more ambiguity and curiosity.

Superficial pleasures aside Trance does boast an impressive story which, despite its lacklustre final 45 minutes, entertains and intrigues in equal measure. However, sometimes less is more and before long the relentless twist after twist becomes tiresome until by the time the final plot reveal has been let loose we're just not that bothered. The emotional impact of these three characters and their experiences with each other is lost amongst the labyrinth that is the plot.

Summary

Pulsing with style and effortless genius, the first half of Trance is some of Danny Boyle's best work to date. Unfortunately however, as we learn more and more about the three lead characters and our suspicion and curiosity is toyed with, the shocks are weakened thanks to a story which bends in on itself with little impact. That said, this tale of hypnosis does hold the attention from start to finish and for all its flaws (particularly its unoriginal ending) it still has most of the genius and wit of any thriller you'd expect from the man behind Shallow Grave and Slumdog Millionaire.

7/10 - Good

See it if you liked: Shallow Grave (1994), Inception (2010), Looper (2012)

Review: Side Effects

Review: Side Effects

It's been a very long time since a movie with no special effects, gunfights, laugh-out-loud comedy or superheroes has had the ability to grip an audience's attention like Side Effects. 

Acting as acclaimed director Steven Soderbergh's (the man behind Ocean's Eleven, Solaris and Magic Mike) last movie, Side Effects is a highly engaging, morally ambiguous thriller centred around the dependence of medication in America. No, it's not an addiction story - more a narrative masterpiece in which various seemingly unconnected plot threads become intertwined brilliantly. It's like the best non-comical Guy Ritchie movie that Guy Ritchie never made.

Perhaps the biggest twist in the first few moments before you've even got comfortable in your seat is that Channing Tatum can actually be a great actor when given the right material. He and Rooney Mara (who is unrecognisable from film to film) star as Martin and Emily, a successful couple in New York whose relationship takes a turn for the worse when Emily seemingly attempts to commit suicide. 

Dr. Jonathan Banks (Jude Law) prescribes a new anti-depressant for her as part of a paid trial, but the side effects of the drug soon become a danger to Emily and the people around her. Who is to blame - the drug, the doctor or Emily herself?

To disclose any further details would be an injustice to the intricate twists and turns of the plot, but it suffices to say that as the focus shifts towards Dr. Banks' desperation to clear his own name, the true nature of Side Effects remains a closely guarded secret right up to the very end of the movie. 

Soderbergh certainly does get the best results from his actors as well - Rooney Mara is quietly unsettling as Emily, while Channing Tatum is surprisingly heartfelt and emphatic as Martin. It would be easy to hate his character, as at the beginning of the movie he shows little remorse for his time in jail, but Tatum manages to give Martin a sense of likeability that wouldn't be possible with a less charismatic star. 

Still, this is really Jude Law's show. The Sherlock Holmes actor goes around the bend throughout the film as Dr. Banks faces the consequences of what he believed to be a decent thing to do, and without Law's grounded presence it's possible that the potentially far-fetched story could have gone off the rails. The actor excels in what is initially presumed to be a supporting role that slowly develops into far more.

The cinematography disturbs and disquiets in equal measure; as Side Effects opens with a bloodstained floor and an ambient soundtrack, we feel consistently on edge. Yet it's not the tension or grit that grabs the attention, it's the consistently ambiguous morality of the narrative. Whose side are we supposed to be on? Clearly, Dr Banks is the driving force but there's an inkling consistently driven into the back of our minds that there's always another twist round the corner.

What makes Side Effects so much of an excellent experience though is the fact that it starts one place and ends in completely different territory. The film occasionally takes pot-shots at the negativity behind some medical services (when asked why the England-born Dr Banks decided to work in the US, he replies that in Britain patients are simply seen as sick whereas overseas they are considered "getting better"), but the fact remains that Side Effects stays true to its wit and genius rather than making too much social commentary.

It doesn't feel rehashed either; despite Soderbergh claiming that his film-making career has come to an end, Side Effects feels more like a "here's what I can do" debut from a fresh director rather than a sentimental goodbye from an experienced one. 

Summary

If this truly is Steven Soderbergh's last movie then he's clocked out on a high. Stunning performances from its cast, particularly Rooney Mara and Jude Law, ensure that Side Effects is an unsettling and thrilling experience throughout every shocking twist and turn. In these times of superhero franchises, special effects driven fantasies and daft albeit enjoyable Seth Rogen-esque comedies, it's good to see that sharp, engaging dialogue can be just as thrilling as an on-screen gunfight. Side Effects is a masterpiece. See it.

10/10 - Amazing

See it if you liked: Fight Club (1999), Trust (2010), The Girl With The Dragon Tattoo (2011)

Review: The Incredible Burt Wonderstone

Review: The Incredible Burt Wonderstone

Traditional forms of magic are becoming a dying trend save for those glossy Las Vegas casinos. It's not often these days you'll find a magician performing card tricks or that trick with the rings. Now, increasingly daring and spectacular illusionists such as Dynamo and Derren Brown own the stage, taking over from the likes of Paul Daniels and David Copperfield to enchant audiences with their logic-defying stunts and tricks.

Perhaps that's what makes The Incredible Burt Wonderstone, the latest comedy from Steve Carrell and Jim Carrey, such a surprisingly endearing and heartfelt movie. Sure, there's the usual mixture of improvised comedy and gross-out gags, but at the heart of it all this is a nice, albeit a little unfocused, love letter to a form of entertainment that's slowly and sadly expiring.

Carrell plays Burt, a millionaire Vegas magician whose friendship with his long time stage partner Anton (Steve Buscemi) has soured. As ticket sales begin to flop for Burt and his career becomes questionable, a new cult following has popped up for outrageous street magician Steve Gray (Carrey), whose TV show "Steve Gray: Brain Rapist" has catapulted him into super-stardom. 

When his assistant Jane (Olivia Wilde) and Anton abandon him, Burt's act dies along with their friendship. To save his career, the incredible Burt Wonderstone has to find a way to get back in touch with what made him love magic in the first place.

The story is likely to perform a vanishing act on your mind once you leave the cinema, but the narrative doesn't really try to be any more than it is. The rivalry between Carrell and Carrey is played out brilliantly, with Carrey giving a hilarious performance that entertains as much as his character shocks. Steve Gray is clearly a representation of the likes of Dynamo - with a little more crazy, of course (at one point his trick involves "harmlessly" drilling through his own skull) and, for all his best efforts, Burt's once mesmerising act is just old news.

The only problem is that Burt's emotional growth seems to be pulled in all directions throughout the film - had it focused more on his rivalry with Steve Gray or his friendship with Buscemi's Anton, his stunted relationship with Olivia Wilde's blatant love interest Jane or even his deep affection for Alan Arkin's retired legendary magician Rance Holloway, we may have been more engrossed. 

It's a shame, really, because although The Incredible Burt Wonderstone is hilarious in parts with its witty commentary on celebrity desperation to remain famous, it barely skims the surface of its potential. Some of the plot points are standard issue Carrell material, while Olivia Wilde and Steve Buscemi are wasted in their supporting roles (although Wilde does get a brilliant monologue about the importance of magic to kids).

Still, there are some brilliant moments that ring true to our world, such as Burt's last ditch attempt to regain popularity by spending an entire week in a suspended glass box with Anton (remind you of a particular David?). Then there's Buscemi's vanity project in an African jungle attempting to bring joy to starving kids by introducing them to magic, when all they want to do is eat the rabbit which pops out of the hat.

The tone does bounce around too much, though, as one moment we see an increasingly sentimental Burt reconnect with his childhood hero - then immediately throwing in another gross gag from Steve Gray. There's no particular focus on one feeling at a time, so it's tough to know when to fix on what. 

Yet what's more appealing about this exuberant comedy is its message: just because something's old, doesn't mean it hasn't got one last trick up its sleeve.

Summary

As ever with outings from the likes of Carrell, the funniest parts of The Incredible Burt Wonderstone are in the first half an hour. Yet, as the movie drifts into more sentimental and thoughtful territory, this nice comedy delivers a powerful finale that should entertain even on repeat viewings. It's hardly The Prestige with fake tan, but The Incredible Burt Wonderstone is a gently satisfying feature with some fantastic performances from its central cast. 

8/10 - Great

See it if you liked: Anchorman (2004), The Prestige (2006) Magicians (2007)

Review: Welcome To The Punch

Review: Welcome To The Punch

From executive producer Ridley Scott and a cast of current British greats comes the excitingly action packed thriller Welcome To The Punch. 

As far as London-based cop movies go, Welcome To The Punch is a rather unconventional piece of work, thanks to the fact that the movie was shot almost entirely in Hong Kong. Choosing to highlight the flashy neon-covered side of England's capital rather than the usual world of black taxis and post boxes, director Eran Creevy  gives the film a glossy sheen that contrasts well with the gritty plot.

And what a gritty plot it is - not that it's anything spectacular. Despite the originality of the cinematography, Welcome To The Punch fails to deliver on the narrative front. Unsurprising plot reveals shine like a beacon from miles away, while the dialogue and eventual resolutions seem like a contrived mix of bullet points from every crime movie that most audiences have ever seen. When the credits roll, all most people will remember is a hailstorm of bullets and shiny buildings.

Still, that doesn't stop Welcome To The Punch from being an entertaining if unsatisfying burst of adrenaline that all kicks off with a late-night car chase down the smooth streets of London. James McAvoy plays Max, a detective determined to take down Jacob Sternwood (Mark Strong) for good - but before he can put the cuffs on, Sternwood escapes and shoots him in the leg.

Years later, haunted by his failure and the pain in his leg, Max becomes involved in an investigation regarding the shooting of Sternwood's son. Positive that Sternwood will return to see his son in hospital, Max's obsession with Sternwood takes hold of his life again - but when the criminal finally returns, an even bigger threat emerges that sees Max and Sternwood form an uneasy alliance against their common enemy. 

Foe becoming friend isn't a hugely original concept, but thanks to brilliant acting from McAvoy and the criminally (tehe) underrated Strong, it's clear that there is nothing these polar opposite people despise less than each other. Strong particularly excels in his role, perhaps because thus far in his career he has been typecast as a villain, but in Welcome To The Punch he is allowed to act out a few different sides to his character, particularly in one scene regarding the death of his son. The only frustrating aspect of their characterization is that Sternwood is never given a full back story - we never discover why exactly he was a wanted criminal in the first place. 

This isn't the only narrative flaw either. Obviously teasing dialogue gives way to predictable plot twists, while the ending is the most annoyingly ambiguous conclusion of a movie since Inception, only this time it's blatantly obvious that a money-making sequel is the desirable next step.

There are forgotten strands too. While all of this action is kicking off a nationwide election is on the go, with one of the key aspects of its debate the matter of gun crime and lack of police equipment and armour. In the world that we live in today, Welcome To The Punch would have done well to make this a more primary aspect of its dialogue, as the campaign is completely forgotten about come the third act.



Still, what this feature lacks in storytelling genius it makes up for with an excellent cast. As well as McAvoy and Strong, Andrea Riseborough is on top form as Max's strong-hearted colleague Sarah, while Peter Mullen and The Walking Dead's David Morrissey also pop up as allies of Sternwood and Max respectively. The fantastic Jason Flemyng also makes an appearance - for one whole scene. What a waste!

Perhaps the reason Welcome To The Punch lets itself down is its overbearing similarities to hundreds of older, better and wiser cop versus criminal movies that have come before. It's tough to elaborate without giving away spoilers, but it suffices to say that dialogue such as "not everyone can be trusted" isn't as shocking as screenwriters assume these days.

Summary

It's uninspired but entertaining, low on wit but high on action and predictable but good looking. Welcome To The Punch is actually a very good movie, but for those who have seen more than a couple of crime movies it will all seem a little too familiar and frankly very dull. A brilliant cast saves Creevy's action flick from complete boredom, and despite a frustratingly ambiguous ending that's clearly designed for sequel-spinning, Welcome To The Punch does manage to pack a weak but noticeable right hook. 

6/10 - Not Bad

See it if you liked: Law Abiding Citizen (2009), Jack Reacher (2012), The Sweeney (2012)

Review: Maniac

Review: Maniac

From Frodo to Frodon't, Elijah Wood stars in the psychotic horror Maniac, a remake of the 1980's movie of the same name. Shot almost entirely from the killer's POV, Maniac is a fantastic horror movie with buckets of gore and plenty of tension.

The plot is very far-fetched to the point of distraction sometimes though and, despite its psychologically complex central character and a stunning performance from Wood, there are times when he teeters on being a little too goofy - but I wouldn't tell him that.

Frank is a shy mannequin store owner who also moonlights as a serial killer with a sick obsession for scalps. Just when the streets of New York were assumed safe, Frank returns to stalk the streets for his victims - but these are not just the insane acts of a madman. Frank suffers from deeply disturbing childhood memories of his mother who had sex and took drugs in front of him. 

Her death is the catalyst for his desire to kill and as the death toll rises, Frank meets the gorgeous Anna, a girl who shares his artistic passion for mannequins. As their relationship deepens and Frank's violent insanity takes a stronger hold, he struggles to decide what he really wants: another scalp as a trophy or a real relationship.

During the first half an hour or so, Maniac struggles to find its feet as it initially feels a little aimless. As each murder becomes more gruesome, we begin to wonder - where's the point (other than at the edge of a brandished knife)? 

All of these worries soon subside, however, as Anna walks into the picture. She acts as an accelerator for Frank's emotions, giving the formerly quiet murderer a reason to explain his true natures where beforehand we only had his own deranged commentary.

As for Frank himself, he is played excellently by Elijah Wood. The former Lord of the Rings actor gives an unhinged performance that's so true to life that even the most stalwart cinema-goer will find themselves creeped out. Wood is only glimpsed occasionally in reflections or flashbacks, but his erratic breathing and psychotic mumblings are enough to bring Frank to terrifying life.

Still, there's something that doesn't make sense about Maniac. With so many murders on the go, surely a major investigation would be under way by the police? Then there's the fact that most of them take place in easily traceable areas; one grisly stabbing occurs in a car park, while another very very brutal killing is carried out in a posh hotel with security guards outside - where's the CCTV? Given that Frank doesn't even bother to shield his face during the murders, he should have been caught almost immediately.

Putting aside the manic plot holes of Maniac, though, we can't ignore that this is a fine horror movie. Different from the typical slasher thanks to the fact that it's shot from the killer's point-of-view, Maniac manages to unsettle us with the way the camera violently shakes when Frank starts feeling murderous; its soundtrack ushers it into even creepier territory, the synthesizers kicking in every time we are led into the oddity of Frank's mannequin workshop. While the movie is low on Paranormal Activity-esque jumps and shocks, it makes up for it with relentless gore which should please horror fans of all varieties.

While film does run the risk of being accused of promoting sadism, Maniac makes no bones about the fact that, while it is occasionally possible to sympathise with Frank's past, the sheer brutality his victims experience (gorily enhanced by some fantastic CGI) is always the scariest and most shocking aspect of this gruesome horror.

Summary

Maniac is a brilliant horror movie and an absolutely fantastic representation of the fact that the slasher genre can still surprise and entertain the masses. Elijah Wood is brilliant in his relatively minimalist role, and while there are some very distracting plot holes, Maniac consistently demands your attention all the way to the nail-biting climax. One thing's for sure anyway - you won't be walking home alone for a while. 

9/10 - Brilliant

See it if you liked: Scream (1996), The Faculty (1998), The Cabin In The Woods (2012

Review: Oz: The Great And Powerful

Review: Oz: The Great And Powerful

You'll be hard pressed to find a more dazzlingly beautiful and captivating cinematic journey this year than director Sam Raimi's The Wizard of Oz prequel. Serving as the origin story of both the famed wizard himself and the Wicked Witch of the West, Oz: The Great And Powerful suffers from some tonal inconsistencies and some surprisingly wooden acting, but on the whole this is a real treat for the senses that's not to be missed.

It's always a challenge when movies tread on familiar ground. Despite the 1939 Wizard Of Oz movie written as a screen adaptation of L.Frank Baum's imaginative novel, Oz: The Great And Powerful is an entirely new narrative, albeit with plenty of inspiration to draw from. Luckily though, thanks to its witty script and interesting characters, this prequel should manage to entertain both fans of the original work and newcomers to the land of Oz. 

The only disappointing aspect is that the latter half of the movie feels more like a pantomime than a cinematic experience with the dialogue and acting clearly aiming to impress nobody over six years old.

Oz himself is a greedy, conning circus magician in Kansas who dreams of having more influence on the world, citing his ambitions as becoming a cross between Thomas Edison and Harry Houdini. Before long, he is on the run from his fellow carnies and (in true fantasy world style) whisked away in a fierce storm to the magical land of Oz. 

There, he is told that his destiny is to become the wizard who will save the vibrant land from the evil Wicked Witch threatening its inhabitants - but how can an illusionist convince the world that he is a real wizard? And how can he defeat a witch who poses a very real threat? Along the way, Oz discovers not just how to be a better magician but also how to be a better man.

The story stands strong enough to ensure that Oz The Great And Powerful manages to entertain in its own right rather than make us long for the original, and while James Franco's Oz isn't particularly likeable at first (he's selfish, self-obsessed and treats the only man willing to be his friend like dirt) as the movie progresses, he becomes an enjoyable hero and Franco's effortless charisma enables us to route for him. 

The three witches fare less well, however. Of the siblings, only Mila Kunis succeeds in giving her character some emotional weight - Michelle Williams' "Good Witch" is so angelically one-dimensional that she becomes boring within the first five minutes of her arrival, and Rachel Weisz is simply an over the top theatre villain. 

Luckily, we have Zach Braff's humorously written flying monkey Finley to provide some well-needed comic relief ("I think I saw a yellow brick pothole back there"), and Braff is a welcome addition to a cast of competitively over-acting buffoonery. 

The genius of Oz The Great And Powerful lies not in the narrative or cast however - usually I champion the idea that effects are nothing without a story, but with a sight so wonderfully bright and bold as the land of Oz, it's hard not to feel as though the environment itself is a character. 

Crystal flowers, coloured clouds and floating bubbles give a real sense of magic to the screen - but the best part is where Franco travels into Oz for the first time. For the first ten minutes or so as he attempts to make ends meet as a small-time magician, our star is shown in a black and white traditional 4:3 ratio. Yet that all ends as soon as we enter the new world, and the silver screen opens up to the now conventional 16:9, adding ever more impact to the colourful land. It's an excellent idea and one that works brilliantly, so the special effects team can applaud themselves for a technique that may start a trend.

Summary

As family entertainment, Oz The Great And Powerful can do no wrong. It's vibrant, it's humorous and most importantly it has a hero who changes immensely from beginning to end. Older audiences may find themselves becoming bored however, as the second act dissolves from an exciting study of heroism into pantomime incredulity ("I'll get you next time, Wizard!" is just one of the cheesy lines offered) mainly due to the over the top performances from the central cast. Still, with a sequel on the way already and a whole new generation introduced to the world of the Wizard of Oz, Sam Raimi's prequel to one of the world's most beloved stories is an undeniable success. Magic.

8/10 - Great

See it if you liked: The Wizard of Oz (1939), Alice In Wonderland (2010), The Hobbit: An Unexpected Journey (2012)

The Avengers - Phase Two

The Avengers - Phase Two

Marvel had a lot of fans drooling this week as they released the latest (and probably final) trailer for Iron Man 3 which hits our screens on April 25th. So, it's about time we paused for a moment and had a look at the bigger picture of Marvel Studios' massive schedule for all of our avenging superheroes. Here's what's happening so far in "Phase Two":

Iron Man 3

Director: Shane Black

Cast: Robert Downey Jr, Gwyneth Paltrow, Don Cheadle, Ben Kingsley

Release Date: April 25th 2013

The pitch: A year after Manhattan was almost annihilated in The Avengers, Tony Stark sets out on a fierce quest for revenge when his personal world is destroyed at the hands of a terrorist calling himself "The Mandarin". Meanwhile, scientists are perfecting a nanotechnology called "Extremis", a project which can turn humans into genocidal killing machines. 

Behind the scenes: Iron Man 3 is the third theatrical Iron Man movie, however (including The Avengers) it is actually the fourth to feature Robert Downey Jr. as Tony Stark and his metal alter-ego. Downey's contract with Marvel is up after this outing - but nobody else could ever play Tony Stark, surely?

The bigger picture: Iron Man 3 takes place a year after the events of The Avengers and Tony is now alone again. However, rumours have circulated that the cast of Guardians of the Galaxy could make an appearance in the end credits potentially setting up The Avengers 2, while shots of the "Hulkbuster" armour in the latest trailer suggest that Tony has taken some inspiration from his new friends.

Thor: The Dark World

Director: Alan Taylor
Cast: Chris Hemsworth, Natalie Portman, Anthony Hopkins, Tom Hiddleston
Release Date: November 18th 2013

The pitch: Having successfully assisted his Avenger buddies on Earth, Thor has now transported his evil half-brother Loki back to Asgard. But when a powerful new nemesis in the form of Malekith the Accursed attacks the God of Thunder's home, Thor must venture into the darkest parts of the nine realms in order to seek revenge. The only person who has access to these places, however, is none other than Loki - to save Asgard, Earth and all the nine realms, the siblings-at-war must work together.

Behind the scenes: Alan Taylor (director of HBO's Game of Thrones) takes over Kenneth Branagh to helm Thor: The Dark World, giving this sequel what Chris Hemsworth describes as a "very kingly, medieval tone." Almost all of the cast from the original are reprising their roles, with Christopher Eccleston and Zachary Levi notable additions.

The bigger picture: Without the events of the original Thor movie, The Avengers would never have happened. Now, as we depart Earth and return to the kingly realm of Asgard, we're back in outer space in the most original and cosmic Marvel movie yet. However, with Guardians of the Galaxy set to be released in 2014, Thor: The Dark World could prove to be a successful stepping stone into the deeper space of Marvel's universe.

Captain America: The Winter Soldier

Directors: Joe and Anthony Russo

Cast: Chris Evans, Emily VanCamp, Anthony Mackie, Samuel L. Jackson

Release Date: April 4th 2014

The pitch: Steve Rogers (or Captain America) remains the only Avenger to willingly continue his affiliation with S.H.I.E.L.D, the public defence organisation spearheaded by Nick Fury. Still attempting to adjust to life in the modern world, Steve is haunted by ghosts of his past life as a World War Two soldier but when he is reunited with a friend he thought long dead, those ghosts become real threats to both himself and the security of America.

Behind the scenes: Emily VanCamp (star of TV show Revenge) will play the female lead Sharon Carter, the grand-daughter of Steve's love interest Peggy Carter from the first film. Also, Anthony Mackie will play "Falcon", a superhero who fights alongside Captain America with the ability to fly.

The bigger picture: With appearances from Samuel L. Jackson as Nick Fury, Cobie Smulders as Maria Hill and Scarlett Johansson as Black Widow, Captain America: The Winter Soldier will be the Phase 2 movie with the most tie-ins to The Avengers. 

Guardians Of The Galaxy

Director: James Gunn

Cast: Chris Pratt - others currently TBC.

Release Date: August 1st 2014

The pitch: The Guardians of the Galaxy are a group of galactic freedom fighters whose mission in outer space is to (as you would assume) defend the universe from evil. When US pilot Peter Quill accidentally ends up in space, he finds himself caught up in the midst of an age old intergalactic conflict where he then goes on the run with The Guardians, thus accepting his destiny as Star Lord.

Behind the scenes: Since the announcement of a Guardians of the Galaxy movie, speculation has been wild regarding who will bag the lead role of Star Lord. From Dark Knight Rises star Joseph Gordon-Levitt to the likes of Lee Pace, Joel Edgerton and even Simon Pegg, tons of big name leads were touted for the job - but the pivotal role eventually went to none other than up and coming Parks And Recreation actor Chris Pratt.

The bigger picture: In the end credits of The Avengers, comic-book bad guy Thanos can be glimpsed, and it has thus far been confirmed that the Titan warrior will be the central antagonist in the Guardians movie. Given that Guardians will be the last movie in Marvel's Phase Two, there's a good chance that this will lead straight into The Avengers 2 with Thanos as the main villain - and the possibility of the Guardians of the Galaxy teaming up with the likes of Iron Man and Captain America to bring him down.

Marvel's Phase Two begins with Iron Man 3 on April 25th - check back to Movies Under The Microscope then for a full review. In the meantime, stay chilled!

Review: Broken City

Review: Broken City

Broken City is an intriguing political thriller which sees a shamed ex-cop turned private investigator, Billy Taggart (Mark Wahlberg) hired by the city's slimy Mayor Hostetler (Russell Crowe) to investigate the suspicion that his wife (Catherine Zeta-Jones) is cheating on him. 

However, Taggart (pun intended, surely?) unwittingly uncovers a conspiracy on a city-wide scale that tangles him in a web of back room deals, lies and consistently ominous dialogue such as "This isn't what you think it is," and "Everything is not as it seems."

Mark Wahlberg's usual brand of under-stated acting works about 90% of the time - unfortunately, Broken City falls into the 10%. With Russell Crowe giving it his all as the city's corrupt mayor, it's tough to feel that Broken City isn't missing a leading man for us to route for. Strangely, despite some decent scenes where Taggart's dark past is revealed, Wahlberg's performance simply falls flat opposite Crowe. 

Still, where the acting fails the narrative (mostly) succeeds. Broken City's tale of corruption and deceit in a city about to face election day is gripping, particularly where the politics are concerned. As Taggart  searches for answers regarding the mayor's wife, a fierce public campaign is raging and, despite Mayor Hostetler's numbers "holding steady", his willingness to do whatever it takes (murder is not out of the question) to win votes allows for some gasp-out-loud twists in the tale.

Other side-plots involving Taggart's girlfriend pursuing an acting career are less exciting however, and the vast majority of the scenes are pointless to the central story. Another iffy chunk of the running time is skewered by Taggart's wobbly on/off drinking problem - unoriginal and clichéd, this only attempts to add some more emotional realism to the story but with the reveal of Taggart's past and the affair regarding the Mayor's wife, the film is already fit to burst with intriguing plot points. Sometimes less is more.

On the plus side, Broken City boasts a witty script that manages to shove in plenty of fantastic one-liners ("Ha, nobody gets that," replies Hostetler when asked for justice) and its cinematography is great; from the ominous opening sequence featuring Wahlberg with a smoking gun to the stunning aerial shots of New York city, Broken City visually impresses with its gritty tone.

Yet good looks can't distract from the bold truth, which is that this particular political thriller is simply a hybrid of every other cop-politician movie out there. It wants to be taken seriously - so seriously that any fun that could have been had has been deleted from the narrative in favour of constant doom and gloom. The action only particularly ramps up during a short but sweet car chase, and when it's over we're left with a bitter realisation that this movie, however intelligent, is all work and no play.

Summary

For all its intrigue, scheming and twists, Broken City fails to be much more than a by-the-numbers drama. The narrative is interesting but a little convoluted, with some easily forgotten plot strands failing to raise any excitement, and opposite a fantastic performance from Russell Crowe, Mark Wahlberg seems to retreat into a bland shell, failing to give our protagonist a sense of urgency or heroism that is required in  a movie of this genre. Still, the political themes are explored brilliantly and reflect well on today's world - it's just a shame that Broken City suffers from a mix of broken clichés.

5/10 - Mediocre

See it if you liked: Enemy Of The State (1998), Frost/Nixon (2008), The Town (2010)