Review: Thor: The Dark World (2D)

Released: 30^th October

Certificate: 12A

Directors: Alan Taylor, James Gunn

Cast: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Kat Dennings, Christopher Eccleston.

With Avengers Assemble in 2012, Iron Man 3 earlier this year and Marvel’s Agents of SHIELD currently airing on Channel 4, one might think it would be tempting superhero burnout to for Marvel to offer up another Avengers-flavoured cinematic outing. However, the sequel to 2011’s Thor still manages to find ways to keep the format fresh.

Despite getting off to a rather slow start with a hackneyed, exposition-laden opening sequence setting up the backstory of the main villain (Christopher Eccleston’s unfortunately unremarkable Malekith), the film finds its feet quickly within the first act. Scenes on Asgard and Earth are deftly interwoven to tell the stories of events unfolding in the parallel realms. After stashing a post-Avengers Assemble Loki (Tom Hiddleston) safely in the dungeons, Thor (Chris Hemsworth) leads his companions on ‘peacemaking’ trips around the nine realms, which seem to involve a lot of realm-dwellers being Mjolnir’d into submission. After a violent day’s peacemaking he tries not to pine too much for the absent Dr Jane Foster (Natalie Portman). On Earth, Jane is in London helping Erik Selvig (Stellan Skarsgård) with his research and attempting to date non-deities. When an investigation of a gravitational anomaly in an old building accidentally results in the release of ancient powerful maguffin and the awakening of Malakith, Thor returns to Earth to help out.

The script, despite being a little holey (among other things, a love triangle is hinted at but never followed up) and devoid of any credible physics is packed with genuinely funny moments. Portman and Hemsworth provide solid (if slightly bland) romantic leads, leaving the supporting cast (Hiddleston as Loki and Kat Dennings as Darcy) to steal every scene they’re in. There are also a few brilliant cameos, the least of which is the appearance of English dietary staples Shreddies and Digestives at Portman’s breakfast table. The well thought out, space-time continuum bending final battle builds to a satisfying crescendo, and lays the groundwork for further storytelling.

Occasional plot holes, a run-of-the-mill baddie and a formulaic set up are just about balanced out by razor-sharp dialogue, a strong supporting cast and more than a smattering of well-executed ideas.

Verdict: 3.5/5

A.E.S

Review: Gravity (3D)

Released: 7^th November

Certificate: 12A

Director: Alfonso Cuarón

Cast: Sandra Bullock, George Clooney

In space, life is impossible. So says the opening caption in Gravity’s short prelude, which soon gives way to a tense, beautiful and deeply engaging tale of survival in the most hostile of environments. The film follows Ryan Stone (Sandra Bullock) and Matt Kowlaski (George Clooney), two astronauts at opposite ends of their space-faring careers (this is her first mission and his last before retirement). The opening sequence unfolds in one long take as Stone and Clooney perform maintenance on the Hubble space telescope, the camera effortlessly gliding around them to take in their celestial surroundings as they exchange banter. The light mood doesn’t last long however, and things go awry when debris from a demolished Russian satellite come hurling through space towards the pair and their shuttle Explorer.

What’s particularly striking about Cuarón’s camerawork is how effortlessly he plots three dimensions onto the screen in a way that is both grandiose and unobtrusive. Objects in frame appear exactly where they should be, from the tiny dust particle floating past the viewer’s eye to the great shadow of the distant Earth. This is no mean feat given that in a zero-gravity environment concepts such as ‘up’ and ‘down’ are very much subjective, however Cuarón handles this with aplomb. The setting of most of the action in weightless environments adds a dream-like quality to Stone’s journey, with the balletic weightless effects achieved by some impressive wire-work. Many shots stand out: the long opener, Stone suspended foetus-like in the womb of the international space station airlock, and the oddly mesmerizing sight of a Marvin the Martian figurine floating at eye-level through a hole in a damaged shuttle are the most memorable among them.

But quite apart from the special effects, the film also works as a narrative, both in terms of thrilling action and an exploration of Stone’s character when stripped of the context of an earthly setting. If one were looking to criticise, the script is functional rather than extraordinary and the narrative becomes a little video-game like in the second and third acts. There is also rather a lot of religious imagery which is featured but not examined, however the viewer never feels preached at and the film remains generally (though admittedly at times frustratingly) apolitical. Bullock and Clooney are compelling leads, with Bullock demonstrating an impressive range in a challenging role. Clooney seems not to stray far from his usual archetype, but it’s something he does extremely well, providing a lighthearted foil for the more nervous Stone.

A ‘special effects’ film, but in the best possible way, Gravity is a thrilling 90 minutes of good storyline, made with a satisfyingly artistic approach to 3D filmmaking.

Verdict: 4.5/5

Quote: “I hate space.”

A.E.S.

Review: Short Term 12

Released: 1^st November

Certificate: 15

Director: Destin Cretton

Cast: Brie Larson, John Gallagher Jr., Kaitlyn Dever, Keith Stanfield

Brie Larson (Scott Pilgrim vs the World, 21 Jump Street) delivers a stunning performance in this neat indie drama that revolves around the titular care home for youngsters in difficult circumstances. As Larson’s character, Grace, says to a new staff member in one of the early scenes of the film ‘we aren’t their parents, we aren’t their therapist. We are here to provide them with a safe environment, that’s all.’ But this proves harder than expected for Grace when an unplanned pregnancy and a new arrival at the facility bring her face to face with a past she’d rather forget. What follows thereafter is an effective tale of emotional difficulty, crisis and ultimately catharsis.

Cretton’s script is tightly written, with every conversation serving to advance the story and provide insight into the actions and personalities of the characters. However, the audience is by no means spoon-fed, and Grace’s story is gradually revealed with expert pace, leading to a particularly impactful third act. An almost nail-biting dramatic tension is maintained throughout, but the bleaker moments never overwhelm and are balanced by a wry humour characteristic of people making the best of difficult circumstances. The direction- soft focus, natural light and tight frames- add to the emotional intimacy of the story, and the frequent close-ups never feel confrontational or claustrophobic.

Larson handles Grace’s emotional journey with skill, imbuing her with believability even in the more fanciful scenes, proving she is more than capable of carrying a story.  The supporting cast also delight, with Kaitlyn Dever providing a good foil for Grace as the apparently untouchable new arrival, Jayden, and Keith Stanfield bringing surprising depth and vulnerability to Marcus, a quiet and intense teenager whose life is about to change as he leaves the centre. John Gallagher Jr. also delivers a solid performance as the happy-go-lucky Mason, Grace’s colleague and long-term boyfriend.

Short Term 12 is a beautifully made film where every scene slots together to build a whole which leaves the viewer with great a sense of satisfaction that remains long after the credits have rolled.

Verdict: 5/5

A.E.S