Mrs Earth-Prime and I saw Star Wars: The Rise of Skywalker last night and while it wasn’t the best film in the series, it played with my emotions in several scenes and genuinely made me a little teary at several points.
I’m not a fan of The Last Jedi – it’s the only one of the main Star Wars films that I never bothered seeing a second time in the cinema and only bought it on DVD a couple of months ago, thinking to give it a second viewing before seeing …Skywalker. I’m happy to report the slapstick from the last film is gone and while it’s replaced with a safer feeling of nostalgia in …Skywalker, it works for the most part.
The plot revolves mostly around Rey’s family, retconning Last Jedi‘s revelation about them being nobody special but in a way that makes sense. There’s a redemptive arc for some characters and, of course, the sad passing of Carrie Fisher necessitates the death of Princess Leia but it’s handled well and becomes an important plot point.
There were several scenes that genuinely surprised me (Force lightning! He’s back!) and, like I said, by the end I needed a moment to gather myself together before driving home.
I’m old enough to have watched the original Star Wars in the cinema and have seen each of them since. Again, while Episode IX isn’t a perfect film, it still – for me – gives the whole story a satisfying conclusion.
Relatively spoiler free review here – though if you’ve seen the trailer, you’ve pretty much seen the film.
This is a Superman film for a post/during-Trump world, one that’s seen the rise of populism and the far right over the last few years, a nihilistic film that holds out no real promise for us. I don’t mean it’s promoting any of those ideas – it’s not – but it can be read as a miserable take on the Superman origin which, arguably, can be seen as a reflection of the times we live in.
This is almost an Elseworlds Superman story – a baby is found in a spacecraft by a childless Kansas couple and raised into a 12 year old, happy go lucky kid who’s a little odd – he’s intelligent and intense and doesn’t mix well with other kids – but is otherwise normal. Until, that is, the craft he arrived in sends out some subconscious command that he take the world. Soon after that, he’s developing a standard set of powers (super speed, heat vision, flight) but rather than fight for truth, justice and the American way, he’s using them for his own ends.
The film’s quite predictable and holds no real surprises in terms of plot . . . but it is sort of interesting when viewed as a film of the current times. Is this the Superman film this generation, this time deserves? If Kal-El had arrived in that spaceship twelve years ago and looked at the world now, would he behave like this, despite the loving family he grew up with? It’s hard to answer that as the film puts a fair bit of emphasis on the spaceship waking up and triggering him; had that not happened, maybe things would have been different. It’s not brilliant, but it was interesting.
As Mrs Earth-Prime said as we left the screen, “Was that film made by Lex Luthor?”
Mrs Earth-Prime and I saw Avengers: Endgame this morning/afternoon and there’s a LOT going on in that film . . . and all of it is done really, really well.
I’m not going to do a full review as it would be difficult to discuss without spoilers (and I hate spoilers) but suffice to say, if you thought Avengers: Infinity War was good, you should love Endgame.
Spoiler free post here – unless you count the fact that the movie stinks as a spoiler.
If you’ve read THE WILD HUNT then you know much of what to expect in this latest Hellboy film. And if you enjoyed THE WILD HUNT, you will likely be disappointed by this film.
Credit where it’s due, David Harbour looks the part but then most people would under that amount of make-up. Ian McShane looks mostly bored throughout and the rest of the cast are forgettable, there to deliver a handful of lines peppered with F-words that are supposed to make you laugh, but fail throughout. The first trailer was criticised for focusing on the humour – I only wish that had carried over into the film.
It’s a mess: bogged down with exposition, moving from one CGI-heavy fight scene to another, with a tired, old seen-it-all-before ending where the protagonist is brought back from the brink by a timely pep talk.
It would be easy to blame director Neil Marshall – and Cthulhu knows I blame him for The Descent and Doomsday . . . Dog Soldiers was great but after that, it’s all been downhill – but nothing really works here. It’s just a mess of disappointing scenes bundled together.
The first Hellboy was great and even though Hellboy II: The Golden Army wasn’t brilliant, it was still much, much better than this offering.
You get two strong right hands, Hellboy, but only just.