The Man From U.N.C.L.E. review

The Man From U.N.C.L.E. (12A/PG-13, 116 mins)
Director: Guy Ritchie
★ ★ ☆ ☆ ☆

There can be little doubt that turning old TV programmes into movies can be a lucrative business, with Mission: Impossible – Rogue Nation currently lighting up box offices and flying the flag for a two-decade old franchise.

Unfortunately that magic has evaporated with the big screen adaptation of another 60s spy show in the shape of The Man From U.N.C.L.E. which deals in Cold War spy shenanigans, albeit coming up woefully short in the actual shenanigans department.

A dull opening sequence introduces us to CIA agent Napoleon Solo (Henry Cavill), who is in East Berlin trying to bust out Gaby (Alicia Vikander) over the wall. Trying to stop him is KGB agent Illya Kuryakin (Armie Hammer), by means of a pedestrian car chase and laboured banter.

It fails to pick up after this, as the pair are told by their superiors that they must work together to prevent a nuclear bomb being built, which has something or other to do with Gaby’s uncle. She poses as Kuryakin’s wife as the - for want of a better word - action moves to Rome and a lot of talking ensues.

It’s all punishingly dull, paced like treacle and the exact opposite of what you might reasonably have expected from a Guy Ritchie spy movie, given what he did with Sherlock Holmes. It’s also the exact opposite of a summer movie, entirely lacking life or energy, and absolutely nothing happens for the first hour or more. It’s supposed to be a sprightly caper and the music seems to think the film is jaunty, but that’s not backed up by what’s on screen.

It’s not even as though while nothing is happening we’re getting to know those involved or being entertained by them. Solo and Kuryakin are dull as individuals and chemistry-deficient when they get together.

Taking place mostly in Italy, it’s remarkably glamour-free, while the need to make it look like the 60s adds a horrible CG sheen to some of the locations. Elsewhere honking innuendo passes for humour and it treats the audience like idiots through painful exposition.

So the humour is lame, the action is non-existent and the espionage is thrill-less. It should be Bond, but it’s barely Johnny English, aiming for laid back but overdoing it to the extent that it becomes an immensely boring failure.

Mission: Impossible - Rogue Nation review

Mission: Impossible - Rogue Nation (12A/PG-13, 131 mins)
Director: Christopher McQuarrie
★ ★ ★ ★ ☆

It’s a sad state of affairs that Tom Cruise is the biggest star on the planet in every measure other than box office returns. For charisma, charm and sheer star wattage, on and off the camera, he’s still at the top of a tree he’s occupied for over 30 years now.

And yet for some reason cinemagoers, or perhaps more correctly, American cinemagoers, don’t want to look at his films anymore outside the Mission: Impossible franchise. In the face of this apathy he seems to have made it his mission to astonish audiences into submission by attempting things on screen that no human, never mind a pampered A-lister, should be doing.

That included dangling from the world’s tallest building in Ghost Protocol, the previous M:I movie, and now this fifth entry in the series showcases Cruise as superspy Ethan Hunt hanging on seemingly unharnessed from the side of a plane in take-off.

It’s pretty much what the entire film is being sold on, and looks like part of an elaborate climactic sequence, but in actual fact it happens in the first two minutes as Hunt and his team target a group of terrorists. He’s trying to get on the plane to rescue its dangerous cargo and, as prologues go, it’s magnificent stuff, brief but jaw-dropping and clearly completely real. See it in IMAX with the sound making the floor beneath you shake and you’ll feel like you’re taking off with him.

Such heights are hard to sustain, and for some of the next hour or so as plot elements are clicked into position, it can sometimes feel like you’re back down to earth and sitting in a traffic jam instead of flying high.

First off there’s the emergence of a shadowy organisation known as the Syndicate, rogue operatives responsible for worldwide atrocities. Then the Impossible Mission Force gets dissolved at the behest of Alec Baldwin’s CIA boss who doesn’t believe the Syndicate exists and thinks Hunt is himself rogue, leaving him on the CIA’s wanted list and on the run with only Simon Pegg’s analyst Benji to help him.

Ethan has already encountered Ilsa Faust (the excellent Rebecca Ferguson), a potential double agent who looks to be working for the Syndicate, led by a chilling bad guy in Solomon Lane (Sean Harris, who seems as though his many years of playing quietly dangerous nutters have been leading to this).

None of this is dull, but there’s a lot of it, interspersed with a bunch of fights and some country hopping. A polished sequence at the Vienna opera sets the film back on track while also setting up the mystery of just what exactly Ilsa is up to. And central to the Mission movies is having to steal a bit of tech from an impregnable stronghold, leading to a top notch underwater escapade that owes a lot to Gravity.

There’s a high-speed motorbike pursuit in Morocco that will leave you breathless, assuming you’ve got it back after the underwater stuff, but not all of these action moments feel like they're advancing the story, the bike chase in particular. So for all that these sequences look cool and offer fleeting excitement, there’s a bit of padding here, and a few too many computer generated cars despite protestations that it’s all for reals.

Critically though, as much of what makes these movies good is built on tension as it is on action. But even more importantly than that, it’s built on characters, and makes a virtue of Hunt’s doggedness and willingness to do what it takes for the mission. The result is a delicately balanced and extremely suspenseful chess game (not literally!) between Ethan and Lane that ratchets up as we head towards one of the best finales of the series.

Cruise is reliably excellent throughout and Jeremy Renner gets some funny lines but absolutely nothing to do in the action stakes (for some reason Benji has been promoted to second fiddle), which seems like a shame considering how able he was in Ghost Protocol. Overshadowing all of them is Ferguson, with the little-known Swede demonstrating serious combat chops as well as convincing us as an agent with a lot of secrets.

With 15 minutes shaved off and a little more clarity of focus, Rogue Nation might have claimed Best Mission: Impossible Movie. We’ll just have to settle for it being a first rate action movie and a terrific spy movie.

San Andreas review

San Andreas (12A/PG-13, 114 mins)
Director: Brad Peyton
★ ★ ★ ☆ ☆

A disaster movie of the old school, albeit one with lavish amounts of modern technology at its disposal, San Andreas is an enjoyably silly action ride that benefits from lowered expectations and no pretensions of being anything other than fun.

Dwayne Johnson, fresh from revitalising the Fast and Furious franchise, now has to save the whole of California when the San Andreas fault-line decides now is its time to fall into the Pacific, causing an enormous earthquake that wrecks most of the state. Or more specifically he has to save his daughter (Alexandra Daddario) who is trapped in San Francisco while he and his estranged wife (Carla Gugino) are in Los Angeles. Johnson is a helicopter rescue pilot who, for reasons not explored, isn’t required to actually rescue anyone during the earthquake but instead makes the trip up the coast for his family, delivering well-timed quips along the way.

The blueprint is a familiar one, opening with a rescue scene, followed by some sciencey stuff (Paul Giamatti is the seismologist who sees the quake coming), followed by character intros and family stuff and dealings in personal problems that don’t really belong. It’s all filled with honking dialogue that no one would ever say, but really all you're looking for from this kind of thing is pleasing spectacle and some people to care about.

So the Hoover Dam disintegrates, the whole of downtown Los Angeles ripples like a rug and the Golden Gate Bridge gets washed away in scenes that are often properly harrowing. It’s one of those movies where thousands of people are dying off screen, but we deal with only a handful, which is pretty much how it needs to be for focus.

The well spaced out tremors and sequences of peril build in intensity to some quite astonishing levels of devastation once the city starts collapsing, and the CGI is at times miraculous. We’re not here for anything else, and in terms of terror and chaos, this cheesy adventure really hits the spot and is every bit as good and as bad as it needs to be.

Mad Max: Fury Road review

Mad Max: Fury Road (15/R, 120 mins)
Director: George Miller
★ ★ ★ ★ ★

There have been reasons to be cheerful and reasons to be fearful regarding the release of Mad Max: Fury Road. On the one hand George Miller, director of the original trilogy of Mel Gibson movies, returns at the helm, and we know he knows how to shoot action.

But cameras started rolling on this reboot over three years ago, and that’s rarely a good sign, with potential release dates coming and going. Yet hopes were raised when the footage started to surface, until earlier this when we were granted quite simply the greatest movie trailer ever unleashed on the public, a fast and furious tease that promised us an action assault like no other.

For once the trailer wasn’t lying; in fact, it doesn’t begin to do justice to the finished film, a kinetic cinema experience probably unseen since Gravity. Taking place in a properly and completely demented world, it’s essentially a two hour chase, and there has quite simply never been anything like it.

Fury Road is not remotely a Mad Max remake, more a continuation of the universe, with backstory swiftly dealt with in an opening voiceover. We’re filled in on the apocalypse and on Max Rockatansky (Tom Hardy), the one-time cop whose family was murdered, sending him into a spiral of madness and barely surviving in the wasteland that is now Australia.

Chased through the desert by goons, Max is taken prisoner to a cliff-side community run by Immortan Joe (Hugh Keays-Byrne, who played villain Toecutter in the original Mad Max). Fuel was the driving force of the original movies, but the writers seem to have finally realised that water is more precious than oil, and the Immortan rations out the water as a way of keeping the people in check.

Charlize Theron is Imperator Furiosa (look at these character names!), a lieutenant of the Immortan who defies him and goes on the run with his wives in hope of finding the Green Place. With Max in tow, first as a prisoner and then a helper, what follows is not a series of action set pieces held together by a threadbare plot, it’s one action set piece that spans almost the entire course of the movie.

This is filmmaking to melt the eyeballs, packed to bursting with breathtaking stunt work and imagery and rapid, bruising fights. With Max, Furiosa and others driving a tanker, and the Immortan and his hordes chasing in heavily armoured cars, the carnage unleashed as people and vehicles leap and tumble every which way is enough to make you marvel at how they could have achieved it. And it’s CGI-augmented rather than CGI-driven, so even though once in a while you can see the join, it’s there to enhance the spectacle.

The pounding score propels the chase along, some of it provided by the Immortan’s own band, with one of his trucks loaded up with drums and a flame-spitting guitar. It’s exhilarating and insane and in constant motion, with maybe two points where they stop long enough to have a conversation and for the audience to remember to breathe.

If there's a sticking point, it's that Max is barely a character; he's a figurehead, a recognised name to hang the film on. This isn’t a world of heroes though, it’s survival that’s the only imperative, and with his growls and grunts and handful of words, Hardy makes him as enigmatic and dangerous as he needs to be. Theron is immense too, with Furiosa every bit as capable as Max and in many ways the real hero.

Also it could be argued that the best action is used up before the climactic melee, where the level drops slightly from astonishing to just very good. But that’s a small complaint, and if the world belongs to the mad as the film’s marketing suggests, then prepare to go crazy for this world of blood and sand.

Spooks: The Greater Good review

Spooks: The Greater Good (15, 104 mins)
Director: Bharat Nalluri
★ ★ ★ ★ ☆

Spooks finished its television run on the BBC four years ago after nearly a decade of spy action. It’s a curious thing to bring to the big screen, a show which no doubt has a loyal following, but also one that needs to work to satisfy long-term fans but also stand alone and be accessible to newcomers.

Whether it manages the first can only be answered by those in the know, but that it undoubtedly manages the second is to its great credit. It begins with a prisoner transport, with a terrorist named Qasim being moved in an armed convoy, with his bad guy cohorts in pursuit.

MI5 boss Harry Pearce (Peter Firth) makes the call to allow the prisoner to be rescued by his associates rather than risk a gunfight in an area busy with people. It might be realistic that they don’t put up much of a fight around civilians, but it doesn’t necessarily make for exciting cinema. What it does do is kick off the plot, which quickly reveals that it wasn’t so much feeble police work as it was about signs that point to a conspiracy.

The CIA are miffed that Qasim is on the loose, and Harry is forced to carry the can, leaving him out of a job and faking his own death in order to do his own digging. This in turn forces Harry’s former bosses to bring in Will Holloway (Kit Harington), an ex agent currently in Moscow who is brought back to London to track down Harry. Harry has disappeared, intent on finding the mole himself while also trying to stop Qasim from orchestrating a major attack on London.

It’s once Harry and Will get together that the film starts piling on backstory and histories which may or may not be part of the show’s mythology. It doesn’t really matter, since it works just fine either way, and it’s soon clear that this is serious, tough stuff, full of life and death decisions that give the title its resonance.

Harington may be the marquee guest star, but Firth is the beating heart of Spooks and Harry is a tremendous character, and pretty much the only main player to have made the transition from the TV show. Honourable, but also dangerous, uncompromising and full of tricks, his insistence that agents can either do well, which is to follow orders, or do good, which is to do the right thing, gives the film an edge of questionable morality over others of its ilk.

There’s not much glamour going on here though; this is British spying, where the reality is London traffic and pouring rain. Harington gets to do a small amount of Bourne-style clambering and acrobatics, but it’s playing wannabe in these scenes and close-up fights, something for the trailer rather than a true representation of what the film is.

Wisely it doesn’t try to overplay the action though, with the focus on intrigue making it gripping as a result. Mostly it’s very good at detailing actual spy-work, something that’s often missing from modern day espionage movies. It’s Bond without the superhero, mired in politics and really quite absorbing, with secrets and hidden codes all part of the shenanigans of this particular spy game.

The plot barrels along, twisting this way and that, stretching out several genuinely tense sequences, and always leaving the question hanging of who is on what side. Some previous investment in this world might offer even more value, but even for audiences discovering Spooks for the first time it’s still a lot of fun.

Midnight Run Blu-ray review

Midnight Run (18, 126 mins)
★ ★ ★ ★ ★

FILM
Once in a decade, or perhaps even less, a movie comes along where the chemistry of everyone involved just clicks and the results are far better than the constituent parts ever suggested they could be. On paper Midnight Run looks like a fairly standard crime caper, wherein a bounty hunter has only a couple of days to transport an embezzling accountant cross country, with both the police and the mob in chase.

But in practice it’s a work of rare brilliance, thanks first and foremost to its miraculous co-stars Robert De Niro and Charles Grodin, a pairing that has rarely if ever been matched in the annals of buddy comedy. Antagonising each other from minute one, both play it absolutely straight and mine every scene for maximum laughs, while director Martin Brest marshals the action superbly.

The structure is airtight, the profanity-laden script remains endlessly quotable, and perfectly cast supporting play from the likes of Joe Pantoliano, John Ashton and Dennis Farina as the bail bondsman, a rival bounty hunter and the gangster with whom De Niro and Grodin both have a connection just adds to the laughs. Throw in Yaphet Kotto as an exasperated fed and what you get is deep fried gold in every scene. De Niro may have sullied his comedy account with junk in the years since but be in no doubt, over a quarter of a century on, Midnight Run is still one of the best action comedies ever made.

DISC
You'd struggle to call the upgrade to Blu-ray a revelation, with an image that's generally on the soft side. But scenes have decent depth and detail and it's certainly a step up from DVD.

Extras are interview heavy but they're bang up to date and they're terrific. Top of the tree is Grodin, who talks about winning the role and who else was in the running (including, believe it or not, Cher!) alongside his disdain for pandering to class systems. Joey Pants and John Ashton chip in similarly fun anecdotes about getting their roles and their acting careers in general, and alongside screenwriter George Gallo, each of these chats is well worth checking out. They run over an hour in total, and while it would have been great to hear from De Niro, he probably wouldn't have offered anything remotely as interesting as these guys.

The Gunman review

The Gunman (15/R, 115 mins)
Director: Pierre Morel
★ ★ ☆ ☆ ☆

Sean Penn becomes the latest actor to take a shot at over-50 action stardom with this overwrought Euro-pudding that has ideas way above its station for a movie from the director of Taken. A prologue set a few years ago in war-torn Congo introduces us to Penn as part of a team of mercenaries protecting a humanitarian aid crew. While they're there they also happen to have a sideline in assassinations, and Penn’s shooting of a government official comes back to haunt him in the present day when he links an attempt to kill him to the plot. As an exercise in globe-trotting, The Gunman is slick, its fights are crunching and the body count is massive, and Penn does get to showcase some nice skills in a couple of decent action sequences. But it’s all rather dour and much too leisurely to convince, jazzed up with a classy cast (Javier Bardem, Mark Rylance and Idris Elba are in there too) yet hardly any more legitimate than The Expendables, with its attempt to call attention to humanitarian issues proving risible. It’s a Jason Statham movie that thinks it’s fancy, too silly to be taken seriously and too serious to be any fun.

Run All Night review

Run All Night (15/R, 114 mins)
Director: Jaume Collet-Serra
★ ★ ★ ☆ ☆

There’s something to be admired about the ambition of this thumping thriller that looks on paper like another delivery from the Liam Neeson action assembly line. Playing a much more interesting character than he often has recently, Neeson works as a hitman for neighbourhood mobster and long-time friend Ed Harris. When Harris’s wayward son botches a deal, Neeson is forced to kill him, in turn forcing him and his own estranged son to go on the run. It’s muscular stuff, featuring the standard punch-chase-shoot shenanigans, and every bit as daft as you could hope for. It may be called Run All Night, but it’s not quite as non-stop as the title suggests, with quite a few diversions along the way to slow the pace. Still, that offers some moments for reflection between Harris and Neeson, and a good deal more character depth than expected, even if it does borrow its plot points liberally from Road to Perdition. Neeson still has a particular set of skills, this time with some substance to back it up, topped off with a fun cameo from the only actor in the world even more grizzled than he is.

The Hunger Games: Mockingjay, Part 1 review

The Hunger Games: Mockingjay, Part 1 (12A/PG-13, 123 mins)
Director: Francis Lawrence
★ ★ ★ ★ ☆

The final book in Suzanne Collins’ Hunger Games trilogy gets a now standard two-movie split, and if you haven’t seen the films that have preceded it, you haven’t got a chance with this first part.

It begins immediately after the events of the second film, Catching Fire, with Katniss (Jennifer Lawrence) taken from the Games arena and waking up to find herself in the supposedly destroyed District 13.

We’ve had glimpses of the bigger picture before, but now that what was essentially training in the Games is out of the way, we can get down to the real business. And that aim is full-on revolution, the overthrow of the corrupt and authoritarian government of the Capital, led by President Snow (Donald Sutherland).

The rebels are fronted by Philip Seymour Hoffman and newcomer to the series Julianne Moore as President Coin. Katniss’s actions in the arena have been the spur for uprising in the Districts, and they want her to be the face of their campaign, to film propaganda videos that let the people see there’s hope.

She’s more interested in the fate of Peeta (Josh Hutcherson), who is being held in the Capital, and it’s this tension that drives the drama rather than a reliance on set pieces. Because, goodness knows, it sure ain’t an action film, which is far from a bad thing.

As the third part in a four-part trilogy, there were always likely to be some pacing issues, and occasionally events that could take up one minute of screen time can be stretched into three or four. Some characters are afforded more screen time than might otherwise be the case or we’re introduced to people who don’t feel entirely relevant.

It’s a bit like trying to make a full meal from a limited set of ingredients, but it’s compensated for by a dramatic escalation of the threat level. Snow is going to town to destroy every threat posed by the Districts, stopping at nothing short of genocide, and the dangers are very real indeed.

This is serious, sturdy stuff, looking at fascism and totalitarianism and evoking World War II with its air-raids and underground shelters and wars of information. It’s also reminiscent of the third Matrix film or Return of the Jedi with its hidden rebel base antics, and the groundwork is worth it for a number of powerful, stirring moments.

Lawrence holds it all together as ever, with another committed and impassioned performance that reveals the steel of Katniss and demonstrates that she’s the best young actress on the planet. By the time this series closes out next November, we’ll hopefully be left with a sci-fi saga to be treasured for years to come.

The Equalizer review

The Equalizer (15/R, 132 mins)
Director: Antoine Fuqua
★ ★ ★ ☆ ☆

Shave half an hour off this sporadically fun but often flabby thriller and you might well have the lean and mean action machine it ought to be, instead of the overegged, cheese-inflected pudding that it sometimes is. Based loosely on the old Edward Woodward TV show, Denzel Washington is Robert McCall, a seemingly saintly loner who works in a hardware store, never sleeps, and likes to help anyone and everyone. But it’s clear he’s hiding a mysterious past, and the catalyst for stirring this up is when a young girl (Chloe Grace Moretz) is beaten up by her pimp, taking McCall into a world of Russian mobsters who want him dead. A measured, deliberate opening is stretched to the point where we’re itching for the vengeance we know is coming, and when it does it’s certainly visceral and fleetingly satisfying. We’re signing up to see Washington battering everyone in sight, and even if too often all we see is the aftermath, he’s a monumental presence, dead-calm and dangerous as the silent protector. But there’s an awful lot of movie padded around these bones, and The Equalizer lumbers when it should sizzle and the finale, though at times exciting, borders on the interminable.

The Expendables 3 review

The Expendables 3 (12A/PG-13, 126 mins)
Director: Patrick Hughes
★ ★ ★ ☆ ☆

To borrow a quote from one of this week’s other releases, Hector and the Search for Happiness, nostalgia ain’t what it used to be.

And yet it’s pretty much all this creaky franchise has going for it. This third entry in the action star retirement home series is not well written, it’s 30 minutes too long and the action isn’t even particularly good. And yet, for reasons that are mostly to do with the unnameable magnetism of sheer star wattage, it remains oddly watchable throughout.

It begins with a massive attack on a prison train by a handful of ageing mercenaries, the Expendables (Sylvester Stallone, Jason Statham et al), to bust out old comrade Wesley Snipes. It’s cheesy and daft to the extent that it must be a parody, brimful of macho posturing, which to some degree has been diluted this time around by the lighter tone, even if the attempts at banter are generally pretty feeble.

It lumbers to another set piece where an old foe turns up in the shape of Mel Gibson, a former Expendable turned arms dealer. Gibson adds real value here, with an admirably composed nutjob performance that demonstrates how much he’s been missed from our screens in recent years.

And still the superstars get rolled out, with Harrison Ford securing a nice payday as a replacement for Bruce Willis, cameoing as a CIA boss who gives Stallone the mission to go after Gibson. Whatever passes for a theme in the movie arrives with an acknowledgment that the Expendables might be getting a little long in the tooth for such silliness; the problem is they (and the film) don’t really believe it.

But still we get a dead midsection where nothing happens while Stallone disbands the crew and teams up with Kelsey Grammer to recruit new younger members. This takes an age, but at least comes with the addition of Antonio Banderas, who adds a touch of pep to the otherwise taciturn team.

For a movie with a teen-friendly rating, the action is sturdy enough and the body count is astronomical (the climax see the Expendables take on literally an entire army) but a bit more blood might have helped. The problem with the action is a physical and logistical one, with little sense of space given and too often overloaded with CGI or cut together much too maniacally.

But it all boils down to watching these stars do their thing, and the pleasure in that is undeniable. Considering the cast is so massive it’s still very much the Stallone show, since he came up with the story and co-wrote the screenplay. Terry Crews, Dolph Lundgren and Jet Li barely get a look in, but every once in a while, just seeing Arnold Schwarzenegger and Harrison Ford sharing the screen can be enough to raise a smile.

There are many winks and nods to past glories, and while you can only coast on nostalgia so long, hearing Arnie trot out some of his classic lines will be good enough for many.

Guardians of the Galaxy review

Guardians of the Galaxy (12A/PG-13, 121 mins)
Director: James Gunn
★ ★ ★ ★ ☆

The Marvel cinematic universe took a step away from typical comic book shenanigans towards more serious fare earlier this year with Captain America: The Winter Soldier.

It’s all colour and flash again though for Guardians of the Galaxy, which arrives amid high anticipation levels as the summer’s last major blockbuster. It’s also the most standalone film set in this world, linked to previous Marvel entries only by post-credit Easter eggs in Avengers Assemble and Thor 2.

In fact in tone, humour and backdrop the film it most closely resembles is Serenity, and it’s unlikely to be a coincidence that the director of that film and Avengers Assemble are one and the same. Endlessly glib but rarely smug, it’s a thrilling diversion filled with more funny lines and perfectly timed comedic beats than many out-and-out comedies.

It’s not all yucks though, and there’s a danger of it sinking under the weight of its own ambitions during an opening salvo that can border on gibberish. We’re bombarded by character names and place names to the extent that it seems like there might be an in-between film somewhere that we haven’t seen where we were supposed to have learned all this.

That sense of confusion begins straight away with a prologue set on earth in 1988, where teenager Peter is confronted with the death of his mother. Moments later he’s whisked away by a spaceship and we jump without ceremony to outer space, where the adult Peter (Chris Pratt) is an outlaw adventurer in the Indiana Jones mould.

In a way it’s refreshing that over-explanation isn’t a problem, but a little more time spent on details might have been nice. But that passes reasonably quickly and what it boils down to is pretty much a treasure hunt between a bunch of interested parties who are after an orb that Peter has pilfered.

His efforts land him prison alongside a ragtag group of criminals and mercenaries. It takes quite a while for this lot to actually be announced as Guardians, and what it might be that they're guarding the galaxy from, but it’s worth the wait. The threat turns out to involve Lee Pace and Karen Gillan as murderous aliens whose stories and motivations are hashed out during the gibberish phase.

Despite the initial setbacks, it evolves into an effortlessly entertaining fantasy adventure. It’s an astonishing piece of world-building, filled with evocative locations, wildly imaginative gizmos and gadgets and some amazing characters. No one is able to steal the show among the Guardians because everyone, both the character and the actor playing them, is fantastic.

It’s a star-making turn from Pratt, who uses his roguish charisma to move up from amiable supporting roles in Her or voicing the lead in the Lego movie. Zoe Saldana is his match as the bloodthirsty Gamora, and while less might have been expected from wrestler-turned actor Dave Bautista, his portrayal of the vengeful Drax is as heartfelt and funny as any of the Guardians.

The computer generated Guardians are great too: Rocket, a raccoon with a plan voiced with real fizz by Bradley Cooper, and a walking tree voiced by Vin Diesel who can only say “I am Groot”. There’s an exuberance to the violence too, facilitated by all of the main characters being completely psychotic.

Pause for a moment to put Guardians of the Galaxy under any serious scrutiny and perhaps there isn’t really very much there. The plot is minor and the finale suffers from the same big-fight syndrome as most movies of its ilk, but it’s so slick, so entertaining and so funny that its flaws are easily overlooked.

Edge of Tomorrow review

Edge of Tomorrow (12A/PG-13, 113 mins)
Director: Doug Liman
★ ★ ★ ★ ☆

An early summer movie season that’s been fairly strong so far continues to tick along nicely with Edge of Tomorrow, a smart and fun sci-fi thriller which demonstrates that Tom Cruise is still one of the best in the business.

Even though this is a summer blockbuster that may have a premise like an episode of Star Trek, and even though it nods to most of the sci-fi action of the last 30 years, it still comes across as fairly original. It’s based on a novel called All You Need Is Kill and for all that it seems to be in the vein of Starship Troopers, the clear and unexpected touchstone is Groundhog Day.

News footage opens the film to fill us in on the backstory, which at first comes across as the kind of thing we’ve seen umpteen times before: an alien invasion has left earth on the brink of destruction and our forces are gearing up for one last make or break battle.

During this prologue we’ve been quietly introduced to Major William Cage (Cruise). In a nice twist, he’s not a hero but a media relations guy, prized more for his recruitment skills than his soldiering. But his superior (Brendan Gleeson) has plans to send him into the fray anyway during a low key start where he has to come to terms with being sent to the front line with no training and no clue.

The real hero is Rita (Emily Blunt), known as the Angel of Verdun since a successful mission against the aliens. Most of Europe has been destroyed and taken over, so the plan is for a Normandy landings-style incursion into France to take the fight to the enemy. These so-called Mimics are brilliantly designed many-tentacled beasties that recall the sentinels in The Matrix, scary, fast-moving and very hard to kill.

Saving Private Ryan is evoked as they drop onto the beaches of France to take on the aliens, only for everyone, including Cage and Rita, to be very quickly slaughtered. But here’s where the unique selling point of Edge of Tomorrow comes into play, as Cage wakes up to find himself at the start of the previous day. That day then plays out exactly as it did before, only he knows everything that’s going to happen because he’s already lived through it even if no one else has.

Day after day he sets out on the mission and day after he dies, unable to make much progress or save Rita. But finally something clicks on one of the days, and Rita tells Cage to come and find her when he, as it were, gets back to yesterday. She trains him how to better fight the Mimics, while he tells her what will happen tomorrow so they can survive for as long as possible.

That may sound like a complicated bit of shenanigans, but one of the key strengths here is that it’s all very clear to follow. Like a video game, Cage gets a bit further each time, learning from his mistakes and dying and restarting dozens, possibly hundreds of times until he gets it right.

It’s the very definition of repetitive action, with the beach landing and fight playing out over and over, but it’s far from a problem because we always get something a bit different. And it changes up as it progresses, taking us beyond the beach to the places their mission needs to go if it’s ever to succeed. There’s also room for some cheeky laughs in amongst all the dying, born out of Cage knowing the future and often at the expense of Bill Paxton’s hardnosed sergeant.

Blunt is convincing as a badass but no one sells this sort of thing like Cruise, who combines undimmed star power with the utmost sincerity so that we’re with him all the way no matter how preposterous the setup may be. His transformation into an action star may have come at the expense of more interesting dramatic roles but, even at the age of 51, all you need is Cruise.

X-Men: Days of Future Past review

X-Men: Days of Future Past (12A/PG-13, 131 mins)
Director: Bryan Singer
★ ★ ★ ★ ☆

For those not yet tired of mutant superhero action, here then is the seventh movie set in the X-Men universe. Some have been great, some have been misfires, but the series was shaken up a couple of years ago by X-Men: First Class, which showed us younger versions of the well-worn characters as they were in the 1960s.

Days of Future Past is a sequel to that prequel, and is being sold on the fact that it brings both casts together, so we get Patrick Stewart and James McAvoy as original and young Charles Xavier, and ditto Ian McKellen and Michael Fassbender as Erik/Magneto. The one constant has been Logan aka Wolverine (Hugh Jackman), because he doesn’t age.

It begins in the future following a devastating war, where the few remaining mutants are on the run from Sentinels, massive almost unstoppable machines that are threatening to wipe them out entirely. As Stewart asks in voiceover, is this future set or can it be changed?

The X-Men believe it can be changed and so come up with a plan to send Logan (or his consciousness at any rate) back to the 1970s to stop the chain of events that led to the creation of the Sentinels. In a nutshell this means stopping Mystique (Jennifer Lawrence) from killing the scientist (Peter Dinklage) who initiates the programme.

But of course it turns out to be a lot more complicated than that, leading to difficult decisions for many of the X-Men. This is a film that’s always more interested in its characters than its action, and that has to be thanks to its director. Bryan Singer hasn’t directed any of the films since X-Men 2 in 2003, but he shows why he was the right choice to return with a guiding hand, grounding it in the choices made by its protagonists while also being in complete command of the sprawling narrative.

The set pieces aren’t just elaborate displays of special effects and action, but driven by character and plot while moving the story forward at the same time. Generally the films end up turning into the Wolverine show, which as the original trilogy and two Wolverine spin-offs have demonstrated, can get a bit dull after a while. But this is the Mystique show, and everything depends on her.

An early sequence where the lightning-fast Quicksilver helps break Magneto out of the Pentagon is gloriously inventive and thrillingly executed. And it doesn’t skimp on humour either, offering good laughs without descending into camp.

There are a couple of niggles, generally to do with plot points that might find you asking “why?” a couple of times. If you attempted to draw a line through the chronology of the previous films, you’d probably find the timeline has been a bit squiffy anyway, so as with all time travel movies it might be best to just not worry about it. And Stewart, McKellen and co in the future end up getting a bit sidelined.

But there’s real-time danger and darkness linking the future and the past, and the stakes are massive. And thanks to the numerous highpoints and an ending that could possibly be described as perfect, in most regards this is as good as superhero movies get.

Godzilla review

Godzilla (12A/PG-13, 123 mins)
Director: Gareth Edwards
★ ★ ★ ☆ ☆

Director Gareth Edwards caused something of a splash with his no-budget sci-fi from a few years back, Monsters, albeit as much because of its cost than it actually being especially good.

The film’s reception and Edwards’ way with, well, monsters, was instrumental in landing him the gig for this mega-budget updating of a series that’s been a fixture of Japanese moviemaking for 60 years now.

A ropey Hollywood effort from 1998 was as much an excuse for director Roland Emmerich to blow up bits of New York in the style of his Independence Day as it was a remotely successful Godzilla movie, and is best quietly forgotten. But just a year on from Pacific Rim, whether audiences have the appetite for another monster mash remains to be seen.

Tonally this is very sober stuff compared to the cheesiness of the 1998 version, but it remains true to the origins of Godzilla, an allegorical product of post-Hiroshima disquiet and the thirst for nuclear testing in the 1950s.

We kick off in the Philippines in 1999 where scientists played by Ken Watanabe and Sally Hawkins discover enormous fossils underground. Meanwhile in Japan, Joe (Bryan Cranston) is an engineer at a nuclear plant which is experiencing tremors. Everyone thinks earthquake, but as Joe’s wife Sandra (Juliette Binoche) dies in the resulting meltdown, he believes something else is afoot.

Fifteen years on from this their son Ford (Aaron Taylor-Johnson) is in the navy, and has just returned to his wife (Elizabeth Olsen) and son in San Francisco. Joe is still in Japan, living like a crackpot and trying to expose the cover up and prove it wasn’t a natural disaster.

This is all part of a lengthy setup that ends up taking up more screen time than it merits because it never really pays off down the line. It’s just one of a checklist of flaws to be ticked off that explain why this is a movie with a debit column bigger than its credits. It offers a commendable centre but little momentum, but the upshot of all the preamble is the release of a pair of insect-like creatures called Muto that feed on radiation.

Like on Monsters, Edwards certainly has empathy for them, which is fine, but it does rather come at the expense of being interested in the humans. For all the effort to add poignancy and emotional depth, there are no interesting characters to speak of.

It also thoroughly wastes a very respectable cast. Watanabe and Hawkins disappear into the background after a while with nothing to do but deliver clunky exposition. Cranston just yells a lot and Olsen barely registers as a presence. We spend most of the time with Taylor-Johnson, as he and the military chase the Muto across the Pacific.

But then all that groundwork is abandoned anyway for monsters fighting, because obviously in a film called Godzilla, you need some Godzilla. The enormous dinosaur-like creature is awakened from the depths and could end up being mankind’s only hope against the Muto.

A blockbuster shouldn’t live and die by the special effects, but in many ways that’s often as much as Godzilla has going for it, alongside a number of exquisitely composed and atmospheric shots. The visuals are astonishing, whether it’s the creatures tearing down entire cities or a tsunami devastating Honolulu.

The first big sighting is just about worth the wait and the one thing Edwards certainly manages to get right are the reveals. As Godzilla or the Muto appear from out of smoke or out of the sky to maul each other or a skyscraper, he’s able to deliver a handful of truly jaw-dropping sequences. Godzilla is huge and really quite unsettling as a presence, and in one or two moments the film touches on being a proper horror, posing genuine danger from these massive Lovecraftian beasties.

And yet it’s often to be found skimping on the action, cutting out early from the scraps and only showing us the aftermath rather than the main event. As a result the first two-thirds consist of an awful lot of teasing, although it could be argued that an all-out assault would be exhausting in a Transformers sort of way.

A little lightness of touch might have worked wonders too. It’s an entirely humourless affair, which makes you question the point of having something as silly as two hours of monsters hitting each other when it doesn’t try to make you smile once.

Enjoy the thrill of the few times when Godzilla lets rip with all his might, but mayhem isn’t really enough if you're not having fun with it.

300: Rise of an Empire review

300: Rise of an Empire (15/R, 102 mins)
Director: Noam Murro
★ ★ ☆ ☆ ☆

The reams of backstory and exposition that make up much of this somewhat uncalled-for action sequel fill us in on how Greek general Themistocles (Sullivan Stapleton) made an enemy of Xerxes, who became the god-king that Gerard Butler and his Spartans fought in the original 300 seven years ago. None of this is particularly relevant to what’s being told here, a battle being waged by Xerxes’ second-in-command, Artemisia (Eva Green), and her massed Persian forces, with Themistocles wanting Sparta to join the fight. What follows is essentially the same sea battle played out over and over, doused in torrents of computer generated blood that passed muster back when this sort of thing was a novelty, but which is now just kinda boring. Grand-scale carnage and destruction it may be, but there’s very little to engage with thanks to woeful dialogue and scarcely more believable performances. A couple of stunning shots offer little respite, and it’s rather cheapened by the fact it’s all taking place at more or less the same time as the events of 300, meaning we’re watching this third division stuff while the Champions League is on. It seemed these words would never be written, but Gerard Butler is badly missed.

Non-Stop review

Non-Stop (12A/PG-13, 106 mins)
Director: Jaume Collet-Serra
★ ★ ★ ☆ ☆

Now firmly established as an action star, Liam Neeson’s latest sees him as an air marshal on a flight from the States to London who starts to receive messages from an anonymous threat that passengers on the plane will be killed if he doesn’t come up with a ransom. It’s all quite cat and mouse for a while, as he tries to work out which of the passengers could be behind it, followed by some decent rough and tumble. Tension is nicely held thanks to a steadily escalating pace, albeit with quite a bit of flim-flam and repetition to wade through in a saggy midsection, but the Agatha Christie-style vibe is fun, painting everyone as a potential suspect including Neeson himself. It’s a solid mystery, staying together almost until the silliness takes over, but sturdy enough overall to keep you on board.

The Hobbit: The Desolation of Smaug review

The Hobbit: The Desolation of Smaug (12A/PG-13, 161 mins)
Director: Peter Jackson
★ ★ ★ ★ ☆

A decade ago, Peter Jackson made our Christmases with his astonishing realisations of The Lord of the Rings trilogy.

This time last year he came to us more like Scrooge or Alan Rickman in Robin Hood with his cry of “call off Christmas”, with the plodding, ruinously boring The Hobbit: An Unexpected Journey, the first part of his new prequel trilogy based on J.R.R. Tolkien’s beloved (but quite thin) book.

With so much extraneous gubbins crammed in, fears grew that Jackson was milking a dead cow, but miraculously he’s managed to get the series back on track with this second episode, one that both cleanses the palette after the first film, and frustrates that it turned out to be so disappointing.

It begins with a flashback, which could be viewed as just another piece of stuffing designed to justify what is yet again a hefty running time. But it’s a fairly brief tidbit that shows us how the wizard Gandalf (Ian McKellen) met dwarf Thorin (Richard Armitage) to persuade him to try to unite the kingdoms and reclaim the throne that was taken from him.

Also give thanks that this serves as a very potted recap of all the setup done in Unexpected Journey, so that we can then get straight back in to the action and not have to worry about Jackson’s indulgences on the level of what we witnessed first time, when Elijah Wood’s Frodo and old Bilbo were wheeled out for no justifiable reason whatsoever.

So we find Gandalf, hobbit Bilbo (Martin Freeman) and his newly acquired dwarf pals being chased across Middle Earth by murderous orcs as they continue deep into their quest to reach the dwarf kingdom, Erebor.

This is an immediately pleasant reminder of what many have come to love about these movies: brilliantly costumed and made-up actors running across breathtaking New Zealand landscapes being filmed by swirling helicopters.

And it’s as a visual spectacle that The Desolation of Smaug really triumphs. It’s clear from the first frame that this is a richly textured world, brim-filled with exceptional production design, albeit much of it of the computer generated variety. That’s particularly true if you avoid the heinous High Frame Rate presentation that so hamstrung last year’s movie, making it look not so much like Middle Earth as a home-videoed pantomime.

The quest itself has also turned into a far more compelling one, as we bounce from chase to fight in a whiz-bang opening hour that introduces us to bear-men and giant spiders while backgrounding the threat of the Necromancer, a malevolent force hanging hanging over the world.

We also never lose sight of the dark power of the Ring, the trinket binding these movies together, and the effect this has on Bilbo. His encounter with the spiders reminds us that this isn’t just an action fantasy, but a work unafraid to tackle themes of greed and corruption, and we’re blessed to be in the hands of such splendid actors as McKellen and Freeman, though they do disappear for a stretch in a midsection that represents one of the few dips in pace as we arrive at a man-village.

But again, bigger themes are at hand, as we pause to blend in a real-world message of poverty and the gulf between the rich and the underprivileged, wrapped in the politics of a fantasy village. We even get an appearance from Stephen Fry.

Plenty has been added, as is Jackson’s way, but not too much that seems pointless or superfluous – silly dishwashing scenes and the like that slowed the first film to a crawl. But otherwise the movie rarely loses sight of its primary action goal. There’s loads of peril, even among the numerous pitstops, and the threat of a deadline helps too. And outwith that slight middle sag, this is rattling, exciting and executed with near-unparalleled technical bravado.

And Jackson has remembered how to do action again. A dwarf-orc-elf fight alongside and down a raging river is a masterclass in momentum, thrust and imagination, and stands as one of the highlights of all our time in Middle Earth.

Bilbo the character earns his corn too, after being a bit of a passenger in his own movie first time out. He displays increasing courage and fortitude, and actually does some burgling, fulfilling the role he was brought into the quest for in the first place. The titular Smaug, the dragon that laid waste to Erebor, is a fine creation too, and we get to see plenty of him in a second half where the raised stakes really come into play.

Mind you, more than half the dwarfs are still anonymous or interchangeable, perhaps inevitable with so many of them. Other new characters work fairly well though, particularly the snobby, dwarf-hating elves, each with their own motivations and desires. Old Fellowship member Legolas (Orlando Bloom) returns alongside newcomer Tauriel (Evangeline Lilly) to knock countless orc heads together (this is a remarkably violent film, by the way, surely setting the record for decapitations in a family-friendly certificate), one of a few nice touches to tie us in with the Lord of the Rings trilogy.

And we’re back to honouring those great films after the initial misstep. Though the decision to break a slim Hobbit story into three films is still an ethically shaky, financially driven one, at least audiences will be getting something for their money this time around. Christmas is saved, for now.

The Hunger Games: Catching Fire review

The Hunger Games: Catching Fire (12A/PG-13, 146 mins)
Director: Francis Lawrence
★ ★ ★ ★ ☆

On its release last spring, The Hunger Games was undoubtedly expected to be some sort of success. In fact it turned out to be a bona fide blockbuster, to the extent that not two but three more films were immediately greenlit from the two remaining books in the young adult trilogy by Suzanne Collins. That’s right procrastination fans, in a practice started by Harry Potter and for which Twilight then took up the baton, Mockingjay, will be two films; one released this time next year, and the final film the year after that.

That speaks of the massive cash cow the series has become, but any heightened expectations for a return to the world can also be attributed to the fact the first film was really rather good. If you skipped that first movie, there’s no hope for you here, as we’re thrust back into the life of our heroine, Katniss Everdeen (Jennifer Lawrence, now an Oscar winner, and an iconic presence throughout).

Katniss won the 74th Hunger Games and is now back in her District alongside Peeta (Josh Hutcherson), with the pair of champions tasked with a promotional tour of the 12 Districts of Panem.

The president (Donald Sutherland) sees her as a threat and, smelling rebellion and uprising in the air, hits on the idea of making the next Hunger Games a battle between previous champions, to eliminate as many of them as possible. Newly on board is Philip Seymour Hoffman as the Gamemaker, aiding the president in his schemes.

It’s a world of poverty and hunger, except for the rich and pampered in the Capitol, and is presented as even more of a sinister and dystopian future than before. This is not some bright and colourful fantasy land, but one cut through with a deep and abiding sorrow.

The story is told in ways that are intriguing, dangerous and smart, touching on the chasm between ordinary people and those in power, and the way in which our obsession with celebrity can be used to hide away from the real problems in the world.

Once the Games begin, it moves into a gripping and exciting jungle adventure that offers more than just a re-run of the first, only occasionally dipping in pace while keeping one eye on the bigger picture. Slightly letting down the side are combat scenes that can be a bit shaky and poorly edited, toning down what should really be brutal violence to nab the audience-friendly 12A certificate.

But it’s the themes and characters that count more than the action, and this is a stirring instalment that leaves it all to play for in the final two films.

Ender’s Game review

Ender’s Game (12A/PG-13, 114 mins)
Director: Gavin Hood
★ ★ ★ ★ ☆

Though it begins with the usual guff about aliens attacking earth years before, this sci-fi adventure continues with a sturdy and serious tone and actually ends being rather thoughtful. In anticipation of the aliens attacking again, the military is training up youngsters, and the fleet commander (Harrison Ford) has his hopes pinned on Ender (Asa Butterfield), whom he thinks can one day destroy their enemies. It’s Star Trek with kids, except not in any way juvenile, with the first half or more taking up by training, and though there’s a lot of stuff we’ve seen before in Harry Potter or The Hunger Games, it does provide moments of brilliance. But when it finally gets down to it, Ender’s Game proves itself to be surprisingly weighty in its tackling of military foreign policies, as well as providing a commanding character in Ender and some cracking action to boot.