Tag Archives: Robert Downey Jr

Spider-Man: Homecoming

Unfortunately there are no instructional videos presented by Captain America to teach us how to write a good wholesome film review of the latest attempt at repackaging Spider-Man. Alas, you’ll just have to make do with Owen Hughes’s thoughts on this Sony / Marvel concoction.

Continue reading Spider-Man: Homecoming

Captain America: Civil War

Civil War

“Sorry” might always seem to be hardest word, Elton, but “accountability” might be the most unsexy. Particularly so if you’re trying to build a 147 minute long action movie around such a concept.

Let’s chuck in a few more terms, shall we? How about “legislation”, “treaty” and “U.N.-Accord”?

Captain America: Civil War could easily have suffered from dry, phlegmatic, po-faced earnestness, wallowing in miserableness as a collection of dumbfounded superheroes sit on the naughty step and think about what they’ve done.

Instead, fresh from the Sokovia fallout of the dreary misstepping Avengers: Age of Ultron, our eclectic band of merry super-powered chums begin the third instalment of Marvel’s Captain America trilogy with a skirmish in Lagos. As perpetually happens around these unregulated vigilantes / brave protectors (delete as applicable), chaos, destruction and collateral damage is never too far behind.

Just as they were after the hundreds of deaths from the New York alien-attack in Avengers Assemble, the crashing helicarriers in Washington DC during The Winter Soldier, and of course the omni-shambles of Age of Ultron‘s Sokovia rescue, it’s the Avengers who are held responsible for the loss of innocents’ lives in Nigeria. Thus begins a slow dissection of the role played by a group existing outside of the law, punctuated by enormous and often exceptionally well paced inter-fighting punch-ups.

Policing the planet as they see fit in this fantasy world of magic crystals, impenetrable metals and super soldiers, it takes no time at all for General Secretary of State Ross (William Hurt) to step in on behalf of a world scared half to death by a rogue, unregulated group of suited, walking, fighting nuclear bombs, tick-tocking their way towards a potential armageddon.

Although in name this is a Captain America sequel, it certainly feels much more comfortable as the Avengers follow-up many hoped for last year. Returning after a successful stint helming The Winter Soldier, directors Anthony and Joe Russo’s wizardry with a camera has thankfully kept consistency in tone with the franchise, as Civil War continues to be a hard-hitting, politically-charged commentary with genre-defining action sequences and equally solid performances from a cast slotting back into place like a well-worn suit made of iron with a robot friend called Friday inside of it.

Friends and ideologies clash frequently during the blockbuster – and only some of the time by using their words and not their vibranium inventions. OK, most of the time the hullabaloo breaks out into bouts of armour-clad blows, rather than democratic discussions. But it’s still much more “talky” for a blockbuster than perhaps one is used to. And, crucially, it just isn’t boring. It’s full of engaging and often thought-provoking dialogue. Quips and visual gags worm their way into some of the more serious conversations, but it still attempts to raise some tough topics.

Just as Mark Millar’s 2006 comicbook series (upon which this film is loosely based) dealt with a post-9/11 society, fearing a self-appointed world-police, too powerful to stop – or even if stopping them was the right or wrong thing to do – so too does the Russo’s version relate events to the real world. Civil War could quite passably be an analogy for gun control in the US, amongst other things.

For example, on one side, there’s Tony Stark’s (Robert Downey Jr) position as the man doing his best to negotiate a fair deal for his pals, arguing that the best way to arm is to disarm and sign the UN’s proposed Sokovia Accord (akin to the “superhero registration act” in the comics). On the opposite side is Steve Rogers’s (Chris Evans) team who feel it’s their duty to step-up whenever they need to, operating without the bias of any government agendas.

It could be argued that one side represents the regulation and control of firearms, with the other in support of the people’s right to bear arms (albeit briefly). The moment that the two teams clash in an epic showdown – the likes of which we haven’t seen performed as accomplished as this since Whedon’s Phase One concluding team-up some four years and six movies ago – puts paid to this exact notion from that point onwards. But there’s still a lot to be read into this movie. Prepare for more astute observations crossing your path in the weeks and months to come from thousands of other bloggers and writers.

Anyway, let’s take a quick look at the teams on either side of the scrap:

Team Cap
Against the idea of becoming United Nations controlled agents, restricted to fighting only the causes upon which they determine suitable

  • Captain America / Steve Rogers (Chris Evans) – Leader of the movement and the main protaganist for whom the film’s perspective is mainly viewed from. Evans appears to be having a blast and his enthusiasm is infectious – but my God those are some seriously intimidatingly large muscles.
  • Falcon / Sam Wilson (Anthony Mackie) – Cap’s best friend and winged companion has an increased role in Civil War and benefits greatly from it. The first time that Falcon has been more than a bit-part character and Mackie handles the responsibility with aplomb. He actually appears to have a purpose on the team rather than being Cap’s fluffer.
  • Winter Soldier / Bucky Barnes (Sebastian Stan) – Previously the ex-Hydra assassin was a feared villain, but Stan’s portrayal of the man, turned into a complex and emotionally fragile victim with an edge of danger, sees him sit comfortably alongside his former buddy in Rogers’ motley crew.
  • Scarlet Witch / Wanda Maximoff (Elizabeth Olsen) – The only Sokovian in the Avengers; traumatised and emotionally scarred by the events in her home country and those in Lagos, Wanda adds an extra dimension to the story, even if it is somewhat unrealised potential.
  • Hawkeye / Clint Barton (Jeremy Renner) – Thank Christ there’s no longer any weak attempts to puff out Hawkeye’s background with side-plots about his family that go nowhere and add nothing. He’s about as close to writer Matt Fraction’s version of the character that we’ve had so far and, although brief, is Renner’s best turn as Hawkguy yet.
  • Ant Man / Scott Lang (Paul Rudd) – Continuing to surprise, despite only a small (excuse the pun) part to play in Civil War, what Rudd does, Rudd does well. Fantastically well, even. He’s a highlight in what was already the best scene in the entire movie.

Team Iron Man
In favour of the UN’s Sokovia Accord, ensuring the Avengers are regulated by defence experts in order to limit the civilian casualties from their endeavours to save mankind

  •  Iron Man / Tony Stark (Robert Downey Jr) – For all intents and purposes, RDJ might as well share equal billing. It’s as much Iron Man 4 as it is Captain America 3. His role shows just how much the former weapons manufacturer has developed since first outing himself as a superhero in 2008’s Iron Man, bringing things full circle.
  • War Machine / James Rhodes (Don Cheadle) – If Falcon plays the role of Captain America’s sidekick, then War Machine fits as Iron Man’s. Provides the logos to the debate relative to Falcon’s pathos. But man, Don Cheadle is looking old.
  • Black Widow / Natasha Romanov (Scarlett Johansson) – The cynical may say Black Widow is only on this side of the fence to balance the teams’ female quotas. Nevertheless, the role she plays provides a contrarian narrative and further develops her relationship with Rogers from The Winter Soldier.
  • Vision (Paul Bettany) – The suave-voiced red-skinned being is reduced to the role of babysitter for much of his screentime, but twice Bettany gets to show off his acting talents with moments of profundity that keep the near God-like being grounded and relatable.
  • Black Panther / T’Challa (Chadwick Boseman) – Making his debut, the Prince of fictional African country Wakanda is forced to pick a side in his pursuit of vengeance. Boseman’s suitably unplaceable accent aside, he makes as much of an impact as one could hope for (if not more) in such a role. Bring on his solo film in 2018!
  • Spider-Man / Peter Parker (Tom Holland) – Yes. Yes, yes, yes. This is how to do Spider-Man. It’s only taken 14 years, but this is it. Holland is perfect as the web-slinging wall-crawler in a larger role than perhaps expected. Currently in pre-production ahead of release next year, Homecoming looks set to be the fun adventure that the character deserves, if Civil War is any evidence to go by.

Regardless of the fact that we already have twelve characters squished into the two-and-a-half-hour long film, some people might be wondering where the other chaps are. Where’s Thor, Hulk, Fury, Maria Hill, Phil Coulson (still) – heck, why are Ant Man and Spider-Man being invited to the big leagues but Daredevil, Jessica Jones, et al left un-namechecked?

It’d be pure speculation to suggest answers. It could have been a creative decision made by the Russo brothers or writers Christopher Markus and Stephen McFeely, with Thor and Hulk especially deemed too over-powered for a film like this.

It could have been Marvel big cheese Kevin Feige laying down the law. Ruffalo and Hemsworth might have been too busy with other projects. Who really knows? The same principle applies as it always does in these situations: It really doesn’t matter. These are the characters selected. This is all you’re getting. Deal with it, as the meme goes.

The biggest issue lies not with who isn’t in it, but with who it does include. Incorporating Daniel Brühl as Baron Zemo (an arch-nemesis of Captain America’s in the comics) structurally speaking makes a lot of sense when you lay out a blueprint for the entire movie.

However, the motivations behind his actions are at best understandable and at worst weak, predictable and a disservice to the character’s history. Also, he doesn’t wear purple pyiamas. What’s up with that?

Oh, right, yeah. It’s a bit naff.

Realistically, Zemo is somewhere in between the two, languishing around the “ordinary” mark. Hats off to Brühl for a competent account of himself as an actor, but Zemo is far from necessary in a film already overstuffed with characters. He adds nothing that couldn’t have been done equally well with, say, the returning Frank Grillo in a beefed up role as Crossbones.

Either way, it’s irrelevant as Captain America: Civil War is still very much worthy of your time. With a larger cast than any previous Marvel film, it somehow manages to balance screen time to an extraordinarily even degree, putting much of Phase 2 of the Marvel Cinematic Universe to shame.

Yes, it may gradually escalate towards a big climactic fight scene, as happens in every Marvel superhero comic book action film ever, but the route it takes to get there combined with the rationale behind it makes the deciding brawl more meaningful than your average crash-bang-wallop finale.

Civil War is interesting, exciting, often fun and slightly unconventional. It goes straight into the top tier of the studio’s output and will doubtless only improve on future rewatches.

It’s Getting A Bit ‘Diane Sawyer’

by Callum Petch (Twitter: @CallumPetch)

Full Disclosure: this piece is written by somebody who has never attended a press event of any sort in his life.

By now, you have probably seen or heard about Robert Downey, Jr. walking out of his interview with Krishnan Guru-Murthy of Channel 4 News after the latter took their Avengers: Age of Ultron interview off-script and instead started pushing the former to answer questions about a quote he made about not being a “liberal” from roughly 7 years ago, his past experiences with drug addiction, and his father.  If you haven’t seen it, maybe don’t watch it, since it gives Channel 4 and Guru-Murthy exactly what they want, but I will admit that it’s rather entertaining seeing Downey, Jr. forcefully resist his clearly-mounting urge to punch Guru-Murthy in the face.

The thing’s been sat in my head all-day, now – I’m writing this on Thursday – and it annoys me for multiple reasons.  The first is that Guru-Murphy was just awful during this thing.  For a professional journalist, you’d think that he’d do a better job of reading the situation, realising that his interview is going to end very abruptly unless he changed tactics fast, and work to get Downey, Jr. to open up more.  There’s also the fact that his questions were terrible – the addiction and father situations have been covered most everywhere else before and there’s nothing to gain from going back down those holes again, and the quote thing was almost as stupid as when he sincerely asked Richard Ayoade whether he felt he was a role model for British Norwegians (not joking, and you should watch that interview because Ayoade is amazing in it) – and that he asked them like a kid who’s been called into the principal’s office for punishment.

The second reason is because a promotional interview is not the time or place to conduct hard-hitting journalism.  This is what Quentin Tarantino explicitly noted during that famous Guru-Murthy interview from two years back: a press interview is an advertisement for a film.  It’s where the film’s stars and/or directors are shunted along a conveyer belt from interview to interview, getting anywhere between 5 or 10 minutes to answer the same or incredibly similar inane questions about their film over and over again, having to reveal new titbits each time lest they appear overly mechanical, in order to drum up buzz about the film they’re selling.  It’s long, exhausting, and an advertisement.

So read: not the time to pry into an actor’s personal life if they’re not up for it, which they likely aren’t because they’re tired and would rather be literally anywhere else at this point.  Best case scenario: they play along reluctantly or say something stupid that they have to spend the next week or so apologising for.  Worst case scenario: the interviewee correctly gets angry at you and walks out.  The time and place for such things are in actual interviews about said subject, expressly arranged with the intention of being about them and their personal life.  Ambush interviewing does not work at an advertisement.  In fact, Channel 4 aren’t even allowed to promote products and, since a promotional interview is about promoting a product, that leads to the question of why Guru-Murthy and crew were even there in the first place.

A question with the answer of 3,819,824 as of 9:27pm on Thursday the 23rd of April, in case you’re wondering.

But then this led to the third reason why this whole thing annoys me… why do we still have press interviews like this nowadays?  I don’t mean like this specific example, but I mean in general.  Why do we still have them on this kind of scale?  In this era of cinema where marketing and promotion for major Hollywood blockbusters can begin years before the first official teaser trailer has dropped and not let up until well after the film has been released, where most big stars are on some kind of social media, and where certain films are in the news damn near every single day, do we really need to send the cast of a film on a whirlwind tour of 800 million press outlets anymore?

Look, sometimes you strike gold – you get things like Christian Bale singing The Powerpuff Girls theme song, or Joss Whedon expanding upon his Jurassic World tweet, or Chris Rock spending his entire press tour for Top Five dropping truth bombs the size of Ultron’s prospective box office – but most times you just get stars who are tired and uninterested and journalists/interviewers who can’t go too far off-script because that’s not what these are for and you run the risk of pissing off the interviewee or, even worse for your outlet, the studio.  That’s likely why you get sequences in which places like Digital Spy won’t call out Jeremy Renner and Chris Evans for jokingly – although that does not make it OK, I must stress – calling Black Widow a “slut” and being insinuatingly ablest during their own interview; they have to leave it to the full force of the Internet Outrage Machine, instead.

So, why do we still have them?  Why go to that expense?  Much like the “why did Channel 4 news bother to go” question, the answer to this one is also very simple: because the film industry is still tightly controlled and things like this are still seen as important to Hollywood.  In the same way that The Oscars will nearly always matter because Hollywood continues to insist that they do, promotional interviews will continue to matter because Hollywood believes that they are still a vital part of the marketing cycle.  And in a way, they are – you need to drum up excitement for a film, and short soundbite-ready interview sessions are a good way of doing so.  After all, if yours is the lucky film and outlet whose interview contains something that goes viral, then you don’t have to worry about a lack-of-attention over the next week.  Plus, nothing makes a foreign market feel valued like having a movie star grace it with their presence, apparently.

If Hollywood says something’s important, then it’s important, even when it usually isn’t.  Surprising nobody, I’d prefer it if this kind of thing was either severely minimised or scrapped completely since these almost never provide anything of particular interest or substance, like one could get in a real interview, and the sheer gruelling marathon that the process is for those being interviewed keeps them from really letting loose and having fun in ways that people like myself like seeing them be.  It’s the worst of both worlds, but it’s sadly a game that we will all continue to play regardless because the overlords of the film industry deem it necessary.  The best thing that all involved can do by now I guess is grin and bear it, and maybe not try and force it into something it’s not in ways that make you look like a pompous asshat.  It’s an advertisement, after all, not Frost/Nixon.

Callum Petch be the type to always beat ya to the punch faster.  Follow him on the Twitters (@CallumPetch) and listen to Screen 1 on Hullfire Radio every Monday at 9PM BST (site link)!

Avengers: Age of Ultron

by Carole Petts (@DeathByJigsaws)

url2 Let’s not mess around here – if you’re a Marvel fan, two things are all but guaranteed.  Firstly, you will have likely loved Avengers (in the UK it was called Avengers Assemble, but my version just says Avengers, and AA is a silly name, so there) and rated it high in Marvel Studios’ output so far, if not top of the pile.  Following on from that, you will go and see Age of Ultron regardless of what anyone says.  That’s fine!  But I need to say something straight away – you will not get the same giddy thrill from this film that you got from Avengers.  Save for a shot (shown in the trailer) of the entire team flying towards an unknown enemy in the first two minutes – a nod back to the climatic battle of Avengers – this film is about moving the team and the universe forward, for better or worse.

The film opens with the afore-mentioned battle, a mission to retrieve a artefact we’ve met before in the series.  Tony Stark (Robert Downey Jr) realises the implications of this – the idea of Avengers has always been to eventually render them surplus to requirements by seeing off all threats.  Throw in a little encounter with a pair of newcomers along the way – Wanda and Pietro Maximoff (Elizabeth Olsen and Aaron Taylor-Johnson) and the need to protect the world before any of the team perish becomes more urgent.  With the help of an unconvinced Bruce Banner (Mark Ruffalo) he creates probably his most impressive invention yet, but quickly realises he is out of his depth as his creation threatens the world.  Thus the stage is set for an epic battle which takes in mind control (pitting Avengers against each other to divide and conquer) and some truly mighty action sequences.

And the sequences are huge.  The action scenes in Avengers felt slightly small in scale until the climatic Battle of New York, but here they are amplified, taking in whole cities and towns at a time.  The much-vaunted Hulk vs Hulkbuster smackdown is an excellent piece of fight choreography, never spilling into Transformers territory (“I don’t know what’s going on”, “Why can’t they fit the whole robot into the screen”, etc.).  There’s a great sense of scale here – this is a global threat being realised globally, not funnelled through the metaphor of one city as shorthand.  The action travels from the fictional Eastern-European city of Sokovia to South Africa, South Korea and rural America.

In between big fight scenes, however, we do get a decent amount of character development.  This is especially concentrated around the Avengers who aren’t the subject of solo films – Black Widow, Hulk and Hawkeye all get significant amounts of screen time.  Hawkeye benefits the most, making up for his side-lining in Avengers with a fully realised back story.  This does mean that the big three of Iron Man, Captain America and Thor feel sidelined – there is a Thor sequence which sorely feels like it was chopped for running time, ultimately having no impact on the film but setting up Ragnarok instead.  In a film with at least 15 named and principle characters, this is going to be an occupational hazard.  It was managed well in Avengers, but that was with less leads – this can feel overburdened at times, with everyone from War Machine/Iron Patriot (Don Cheadle, making the most of some very limited screen time) to Maria Hill (Cobie Smulders) popping up in slightly beefed-up cameos.  This leads me to my main gripe with the film – Quicksilver and Scarlet Witch feel like the chips you still have to eat after you’ve finished your burger.  It was a good idea when you ordered them, but now you’re looking at them and wondering if they were necessary.  Scarlet Witch does redeem herself somewhat during the final battle, and provides a handy jumping-off point for the creation of Ultron, but these beats could have been allocated elsewhere.

Having said that, the best new character doesn’t even exist for the first two-thirds of the film.  We’ve heard Paul Bettany as JARVIS for years, but he’s finally rewarded with a physical presence as Vision.  I really like Bettany and it was a real delight to see him here – Vision could look a bit more ethereal, but he nails the tone of the character completely and again makes the most of a small amount of screen time.  It probably helps that he gets the best “HELL YES!” moment of the entire film as well.

The main plaudits have to be saved for James Spader as Ultron.  Created to protect the world, he quickly realises the best way to do that is to eliminate the Avengers.  Spader’s crafty delivery is wonderful, and Ultron has the swagger of his motion-captured performance down – if you’ve ever watched Spader in anything, it’s easy to picture him instead of the menacing robot.  His wisecracking delivery makes him the son that Tony Stark has never had, and is a real highlight.

There are parts that don’t work.  A blossoming romantic subplot feels slightly unnecessary, and the whole thing at times feels overburdened by what it has to set up in context of the wider universe (the events of Civil War, Infinity War and the aforementioned Ragnarok are all foreshadowed here).  But ultimately it’s lots and lots of fun, despite being much darker than the first outing.  And that’s all we can ever really ask for from Marvel – it’s what they’ve done best for years, in print and now on film.

Avengers Minisodes: Episode 7 – Iron Man 3

In the run up to the latest hotly anticipated Marvel blockbuster Avengers: Age of Ultron, Steve and Owen have been busy putting together a series of short 20-25 minute long minisode podcasts. With clips from the films, trailers, retro reviews taken from our archived podcasts as well as brand new retrospective reviews featuring a varied mix of different guests for each episode, we’ll be running through all of the MCU movies thus far in chronological order.

Ushering in phase two of the Marvel Cinematic Universe was the third and final part in the Iron Man trilogy. With a change in director from John Favreau to the one-time highest paid screenwriter in the world, Shane Black, Iron Man 3 was the first film to deal with the fall-out from Avengers Assemble. Particularly on a personal level for the man who thwarted the invaders.

Whilst Robert Downey Jr’s contract talks were still up in the air, he returned for the fifth time in a feature film as the genius, billionaire, playboy philanthropist Tony Stark another spurned former colleague (Guy Pearce) and evil terrorist megalomaniac. Incredibly exciting for fans of the source material, the big-bad Hell bent on destruction this time was the Mandarin, Iron Man’s arch nemesis finally brought to the big screen, portrayed by Sir Ben Kingsley.

The film itself was quite controversial for fans of the source material. A twist in the way the Mandarin was presented proved to be a step too far for some viewers; particularly for those listening to our original Iron Man 3 podcast back in 2013 who didn’t switch off before our “spoiler alert” section and hadn’t yet seen the movie. Such as Matt Lambourne – who between the trailers and clips we have in this episode will be featured in our retrospective review to finally let us know his opinion on the seventh Marvel Cinematic Universe film.

You can keep up with all of the episodes released so far and those to come here.

Warning: these Avengers Minisodes may contain spoilers

LISTEN VIA ACAST FOR THE MOST INTERACTIVE EXPERIENCE

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Avengers Minisodes: Episode 6 – Avengers Assemble

In the run up to the latest hotly anticipated Marvel blockbuster Avengers: Age of Ultron, Steve and Owen have been busy putting together a series of short 20-25 minute long minisode podcasts. With clips from the films, trailers, retro reviews taken from our archived podcasts as well as brand new retrospective reviews featuring a varied mix of different guests for each episode, we’ll be running through all of the MCU movies thus far in chronological order.

The longest episode in our Avengers Minisode series sees us clock in at a bumper 30 minutes! But it’s worth it for Avengers Assemble, the film that truly cemented Marvel Studios as the groundbreaking film company they are today. The third highest grossing film of all time, earning over $1bn in ticket sales alone, The Avengers was an unstoppable juggernaut of a film that earned almost as much critical praise as it did in box office revenue.

It was the final stamp on a project that began all the way back in 2005 and closed out Marvel’s Phase 1 in style. The heroes we’d seen develop in the five preceding movies finally got together on screen for the first time under the direction of Joss Whedon.  To see Iron Man (Robert Downey Jr.), Captain America (Chris Evans), Bruce Banner (Mark Ruffalo), Thor (Chris Hemsworth), Black Widow (Scarlett Johansson), Hawkeye (Jeremy Renner), finally together alongside Agent Coulson (Clark Gregg), Maria Hill (Cobie Smulders) and Nick Fury (Samuel L. Jackson) of SHIELD as they tried to thwart an alien invasion, led by Loki (Tom Hiddleston), the movie was the massive pay-off that the franchise so richly deserved.

Long time listeners to the podcast will recognise our retro review here has been taken from the second ever episode of the Failed Critics Podcast with James, Steve and Gerry, back when the film was first released in 2012. Joining Owen for a brand new retrospective look back on the film is our special guest – and former podcast regular – Carole Petts to assess whether or not the film still holds up considering all that’s come after it in Phase 2.

You can keep up with all of the episodes released so far and those to come here.

Warning: our Avengers Minisodes may contain spoilers

LISTEN VIA ACAST FOR THE MOST INTERACTIVE EXPERIENCE

DIRECT DOWNLOAD LINK

Avengers Minisodes: Episode 3 – Iron Man 2

In the run up to the latest hotly anticipated Marvel blockbuster Avengers: Age of Ultron, Steve and Owen have been busy putting together a series of short 20-25 minute long minisode podcasts. With clips from the films, trailers, retro reviews taken from our archived podcasts as well as brand new retrospective reviews featuring a varied mix of different guests for each episode, we’ll be running through all of the MCU movies thus far in chronological order.

Up next we’re taking a look at the first sequel to pop up in the Marvel Cinematic Universe as Robert Downey Jr returned as the first superhero some two year’s after 2008’s Iron Man. With his secret identity now out in the public, Tony Stark has to pit his wits against a vengeful Mickey Rourke as Ivan Vanko (aka Whiplash), the authorities who want his suit for their armed services, as well as a rival businessman and weapons manufacturer Justin Hammer, played by the always reliable Sam Rockwell. An actor who was also considered for the role of Tony Stark in the first film.

It was also a first for the franchise as it saw a superhero team-up, with the introduction of secret agent and eventual Avenger, Black Widow (Scarlett Johansson). If that wasn’t enough teaming up for you, Don Cheadle, who replaced the departing Terrence Howard, also got in on the action – and his own suit of armour – as War Machine. After his cameo role in the post-credits stinger for Iron Man, there was even time for a greater part for the head of SHIELD, Nick Fury (Samuel L. Jackson).

Whilst the film’s critical success is often debated, it was a financial success that further helped to establish Marvel Studios as the emerging beacon of light in a sea of its flailing contemporary film companies and steadied the ship after The Incredible Hulk‘s wobble. We take a look at why that might be with our retro review following clips and trailers from the film, as well as in our recently recorded retrospective review with our special guest Leighton – who you can find at @LastFilmSeen on Twitter… or if you happen to be passing any rooftop forts in India. You can also check out his incredibly comprehensive list of intertwining MCU timelines, Easter eggs and trivia over on Letterboxd.com.

Our next minisode will feature more clips, more trailers, more retro reviews and retrospective reviews as we look at 2011’s Thor.

You can keep up with all of the episodes released so far and those to come here.

Warning: This episode contains spoilers

LISTEN VIA ACAST FOR THE MOST INTERACTIVE EXPERIENCE

DIRECT DOWNLOAD LINK

Avengers Minisodes: Episode 1 – Iron Man

In the run up to the latest hotly anticipated Marvel blockbuster Avengers: Age of Ultron, Steve and Owen have been busy putting together a series of short 20-25 minute long minisode podcasts. With clips from the films, trailers, retro reviews taken from our archived podcasts as well as brand new retrospective reviews featuring a varied mix of different guests for each episode, we’ll be running through all of the MCU movies thus far in chronological order.

Therefore, in this episode we go right back to the start, where it all began, with John Favreau’s 2008 breakout hit, Iron Man. It stars Robert Downey Jr in the lead role as billionaire weapons manufacturer Tony Stark, as he battles to keep the arc reactor that is saving his life from falling into the wrong hands. Chiefly those of his shady business partner at Stark Industries, Obadiah Stane (Jeff Bridges) and those of a terrorist faction led by Raza (Faran Tahir).

As well as featuring Robert Downey Jr as the flashy, impulsive, genius superhero, rebuilding his life after an existential (and very real) crisis in the guise of a sophisticated flying suit of armour, we were also introduced to recurring characters such as: Gwyneth Paltrow as Tony’s assistant Pepper Potts; Clark Gregg as the SHIELD operative Agent Coulson; Paul Bettany as the voice of Stark’s in-flight suit of armour Jarvis; and of course Jon Favreau himself as Tony’s security, Hogan.

The film proved to be both a financial and critical success, laying the foundations for what would eventually become what we now know as the expanded Marvel Cinematic Universe. It was the first self-financed Marvel movie after they sold the film rights to their more popular characters such as Spider-Man, the X-Men, The Punisher and so on. A lot was riding on how well this movie would do – and we’re pretty damn glad it was as successful as it was.

Here you’ll find our retro review with James Diamond, which raises the point about how much of a gamble the casting of the film’s leading actor was and what impact he’s had on the character’s rise in popularity since. A topic of conversation carried into our retrospective review, where we’re joined by special guest Gerry McAuley.

In our next minisode, we’ll be moving onto the second movie of Marvel’s Phase 1 with the much maligned The Incredible Hulk.

You can keep up with all of the episodes as they are released here.

LISTEN VIA ACAST FOR THE MOST INTERACTIVE EXPERIENCE

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The Week In Film – 9 October 2014: Who Do They Think They’re Kidding?

Tell us, Steve. What’s happened in the world of film news in the past week..?

by Steve Norman (@StevePN86)

dads army 2DON’T PANIC

Sitcom Dad’s Army is being given a big screen makeover nearly 40 years after the T.V. show stopped being made.

Rumours of a film adaptation have been around for some time but this week a cast has been announced, some four decades after Captain Mainwaring uttered the fantastic line ‘don’t tell them your name, Pike’.

Toby Jones will play Mainwaring, the man in charge of Walmington On Sea’s Home Guard unit during World War 2. Billy Nighy takes on the role of Sergeant Arthur Wilson and the Inbetweeners Blake Harrison steps into Ian Lavender’s shoes as Private Pike while Michael Gambon, Danny Mays and Catherine Zeta-Jones are all set to feature.

The cast is pretty impressive and encouraging but the writer is the man behind Johnny English: Reborn and Mr Bean’s Holiday. So there is cause for both concern and positivity around this venture.

Anyway since the announcement the theme tune has been stuck in my head and I like most of you have it committed to memory.

Who do you think you are kidding Mr Hitler…

Hubble, Bubble, Toil and Befuddle

J.K Rowling was in cryptic form this week tweeting the following anagram

Cry, foe! Run amok! Fa awry! My wand won’t tolerate this nonsense.

Some believed this to mean a return to either the silver screen or to book/e-book for Harry Potter but apparently not. However, the Potter universe, or the Potterverse as it will be hereby be known, is to be expanded with a movie based on a minor character from the books/films, Newt Scamander.

I Do It On The Night

Hugh Grant revealed live on television that he is a lazy so and so who does not prepare for roles.

He told some ITV morning programme (not Jeremey Kyle – now that would be an interesting lie detector) “I’ve barely ever done any research for a film. I just turn up and say the lines and hope they sound convincing.”

Sometimes it really does show Hugh.

Indecisive Man

Robert Downey Jr. signs on to Iron Man 4 according to reports, but then the man himself denies it on US T.V.

This leaves the Iron Man section of the Avengers/Marvel franchise up in the air. Will they leave it alone or will War Machine or someone else become Iron Man?

Downey Jr. did however reveal he would remain involved with Marvel suggesting that while he may no longer be up for standalone Iron Man outings he will stick around for future Avengers assembles.iron man 2

Comic Book News

With Comic Book movies and shows so popular and rife it may just be worth having a section of this weekly roundup dedicated to anything from the genre.

So briefly there may be an X-Men live action T.V series from Fox to partner the upcoming Deadpool; Dredd looks set for a seven episode mini-series although there is no news on Karl Urban’s involvement; and once again tentative whispers about Sony and Marvel working together to see Spider-Man appear in something produced by Marvel.

Join us again next week, where we will return to give you another round up of the latest in film news.

The Week In Film – 17 September 2014: The Age of Remakes

Welcome to the Week In Film! Steve returns from a short break to provide you with a round-up of everything worth knowing in the world of film that has occurred in the past week.

by Steve Norman (@StevePN86)

age of ultronAge of Ultron

The slow drip feed of info about the next instalment of the Marvel Cinematic Universe continued this week as a brief synopsis of Avengers: Age of Ultron was released.

It revealed that Ultron was not created by Tony Stark, as previously thought due to Hank Pym not being introduced as of yet, but Tony Stark ‘releases’ Ultron by messing about with some old tech stuff.

With this in mind could we be seeing a Pym/Ant-Man cameo in Age of Ultron? And with a Doctor Strange movie announced and strong rumours of a Black Panther movie could we see either a cameo or mention of these popular Marvel characters?

I Know What You Did In a Summer Ages and Ages Ago

Sony are looking to remake I Know What You Did Last Summer. While it was an enjoyable teen slasher film, is there really any need to reboot it? I imagine they will attempt to spawn a franchise.

Hollywood needs some new ideas. The amount of remakes, reimaginings, prequels and sequels is getting pathetic.

Another Remake

Ben Hur is set for a rehash by Hollywood. Charlton Heston starred in the successful original, famous for its chariot race and Jack Huston and Morgan Freeman are set to star in a new version written by 12 Years A Slave’s John Ridley due for a 2016 release.

Despite a good cast and noted writer on board, whenever a film of this ilk is due for modernising it makes me think of a mediocre singer trying to belt out Whitney Huston on the X-Factor.ben hur

Bourne Again

More sequel news as Matt Damon and Paul Greengrass have agreed to return to the Bourne franchise. Previously it was thought that the character had gone as far as it could and Damon stated he would not return without Greengrass, which is what led to the reasonable but not as good as the originals Jeremy Renner outing.

How this will tie in with the Renner ‘Legacy’ film (if at all) and any further plot details are some way off, but if it is as good as the first three…? There’s certainly potential for expansion in this franchise.

An Original Origin Story

It appears that almost every character on the silver screen must, at some point, have an origin story movie. Judge Dredd looks set to have one, based on the comics, but King Kong, whose early life on Skull Island has only been briefly touched on in other cinematic outings, and looks set to get his own movie looking at the back story of the big monkey.

Max Borenstein is set to write. He is the same man who wrote the recent Godzilla movie so he has experience when it comes to monster movies and perhaps we could see some lizard vs. ape action in the future.

Tom Hiddleston is set to star, in what role we do not know. Perhaps as a motion capture monkey.

Join us again next week, where we will return to give us another round up of the latest in film news.

Chef

ChefChef is basically two hours of Jon Favreau working through his issues with the studio system.  Mainly because of this, it’s rather entertaining.

by Callum Petch (Twitter: @CallumPetch)

Chef is Jon Favreau: The Movie.  Any pretence that this film is telling a story about characters that have no relation to the film’s writer, director and star is jettisoned the moment Dustin Hoffman swaggers in and orders Jon Favreau’s chef to cook by menu, “play [his] hits,” as it were, and that, if he doesn’t like it, there are a million other people that Dustin Hoffman could easily replace Jon Favreau with as director of the kitchen.  If not by then, then it will most certainly become clear when Jon blows up at a food critic who trashed his cooking, questioning whether he cares that the hurtful stuff he writes genuinely hurts those he writes about.  This is not subtle.  It makes the high school parallels in Divergent look like the lyrics to a They Might Be Giants song.  The film permanently seems five seconds away from actually dropping all of the pretence and having everyone just dramatize Jon Favreau’s post-Iron Man life.

One, therefore, may see Chef as a vanity project and little more, what with its extremely unsubtle real-life parallels, starring role for Favreau that lets him stretch himself beyond ‘funny comic relief guy’ and that he casts both Sofia Vergara and Scarlett Johansson as his ex-wife and possible ex-lover respectively (the latter of which outright tells Favreau’s character at one point that he’s the best chef she ever worked with).  And… well… yeah, it kinda is.  The actual character work, and characters in general, populating the film are flimsy and undercooked and, once things head to Miami, nothing ever goes wrong for Favreau ever because he is the world’s greatest chef if people will just LET HIM DO WHAT HE DOES BEST INSTEAD OF CONSTRAINING HIS CREATIVE GENIUS, DAMMIT!!  That being said, I’d recommend not writing off Chef sight unseen.  It’s nothing revolutionary, it’s nothing memorable, but it is mildly amusing, rather entertaining, nearly always interesting and, brace yourself for the big one, it’s a comedy that runs for two hours… that I can’t see cutting down to 100 minutes!

Oh, I have your attention now, do I?

Our story, then.  By the by, I’m going to dispense with much of the pretence and just straight up tell you the “subtext” cos it’s that unsubtle and it saves me time later on.  Jon Favreau is a chef, a very well-respected chef, at that, who caused a splash ten years ago as a hungry guy wanting to make a name for himself.  He’s currently employed at a big, fancy and relatively famous restaurant that’s about to get reviewed by the biggest food blogger in town and he wants to surprise the guy, cook up something original and shocking and biting and all that jazz.  The restaurant’s owner, Dustin Hoffman, thinks that’s not a good idea, being too risk-averse, and orders Favreau to cook by menu, reasoning that people who go to see The Rolling Stones want to hear them play ‘Satisfaction’.  This ends disastrously, Favreau’s heart is clearly not in it and the critic tears apart both the food, which is too safe and generic, and Favreau himself, believing him to be over-the-hill and also fat jokes cos critics are dicks.

Favreau does not take this well, with the review and Favreau’s resulting meltdown at the critic going viral.  Fired from his job for refusing to follow orders, Favreau’s ex-wife (played by Sofia Vergara) convinces him to meet her successful first ex-husband, Robert Downey Jr., and get back to basics.  Gifted a food truck, Favreau decides to take his little low budget venture on the road, making smaller products with more heart that may connect with the public more and revitalise his love for his art.  Tagging along are his son, EmJay Anthony, who doesn’t see his dad much but aspires to follow in his culinary footsteps, and his old workmate, represented here by John Leguizamo, where father and son may just bond together and learn a thing or two about a thing or two.

It’s even less subtle than that, before you ask.  A good 50-60% of Chef really is just Jon Favreau working through his frustrating studio experiences via the thinnest of metaphors.  Not that that’s a bad thing inherently, mind.  A fair bit of the film’s entertainment value comes from just how far the metaphor goes, in much the same way that 22 Jump Street’s appeal comes from just how far that film is willing to push its central joke, “we are a pointless sequel and we’re well aware of that fact.”  It also helps that the execution is rarely cringe worthy or overly blatant, the lone exceptions come during the times when Favreau meets up with the critic that wrote the nasty things about him (embodied by Oliver Platt).  Those times trot out the usual “what you say hurts me! I make art, what do you do?  Just sit behind your computer and vomit words” clichés that typically accompany artists ranting against critics.  (It’s not the heckler bit from Louie, is what I’m getting at.)  Otherwise, the execution remains interesting, it becomes a kind of fun little exercise to see Favreau working through his problems and seemingly rediscovering his love for filmmaking.

See, the film does have characters, which makes this a landmark point in Sofia Vergara’s acting career if nothing else, but they take a backseat, along with nearly everything else that’s not related to the metaphor.  Even the food stuff feels more like an extension of that metaphor instead of a total love of food, there are several scenes where Favreau explains his creative process to his son that come across far more as his creative process to filmmaking than food-making (especially when he mentions that he first goes looking for ingredients and only then decides what he’s going to cook, he doesn’t go in with a fully-formed pl-it’s a reference to the creation of Iron Man, alright).  The whole enterprise feels less like a story that Favreau wanted to tell and more like he just decided to make a film and see if it made him fall in love with filmmaking again.  Such a theory is practically confirmed when it comes time for the film’s ending to occur, which the film practically crashes into and is over before it has a chance to become satisfying.  Again, though, it is fascinating to watch, feeling relatively raw and personal instead of pretentious and whiney.

Look, I apologise for spending so long fixated on the metaphor side of Chef.  I know a lot of you will be able to get past it, or maybe not even clock onto it (although I have no idea how you would, I have seen South Park episodes with subtler allusions and metaphors), but it really does constitute the meat of the film.  Outside of it, you have the barest of plots about a father and son bonding over a shared enthusiasm (if you choose to read it like that and not, say, as the kid merely being a representative vessel for Favreau’s increasing realisation that he does still love making movies) and a very glossed over subplot of Favreau reconnecting with his ex-wife Vergara because… I actually don’t know, it’s that glossed over.  I should note that I’m not knocking the film for these things, I’m just letting you know how incidental the whole thing is.

Besides, there’s really not a whole lot to talk about with regards to the film outside of that subtext.  It’s all fine and pleasant.  There’s a runtime that’s just shy of two hours and though it feels like that at times, the film is paced well enough, and its content serves the whole metaphor point enough, to make it hard for me to find scenes to cut out to reduce that time to 90-or-so minutes.  There aren’t really any big laugh out loud moments and I guarantee that there are no jokes you’ll think back to 12 hours after seeing the film and go “that was hilarious” or some such, but the film is still funny.  It has very charming actors and actresses striking up a great enough chemistry with one another to make exchanges amusing, even if nothing particularly funny is being said.  Praise should especially go to EmJay Anthony who is not only hugely non-irritating, he’s able to keep up with Jo(h)ns Favreau and Leguizamo.  Food, meanwhile, is very often shot excellently, which is a hard thing to do right on film and television.  Not up to Hannibal standards of “mmm, that looks de-licious” but enough that I felt legitimately peckish for some high-quality grub as I left the cinema.  Also, for whatever it’s worth, I really like the film’s soul, Cuban and groove-laced soundtrack; Jon Favreau (and/or his music supervisor) has excellent taste in music.

Yes, I am stretching for stuff to talk about but there’s one last thing that deserves some conversation.  Chef loves social media.  Chef loves social media.  If social media and Chef were embodied by real life people (which the film kinda is, anyway), they would have a hopelessly romantic meet-cute, followed by a whirlwind fairy-tale romance that culminates in a magical beach-side wedding at sunset.  Twitter, Facebook, YouTube, Vine, the celebrity gossip website Holy Moly!; all these and more get prominent screen time and are actually relevant to the plot, as well as being the subject of hi-larious gags about how Favreau has no idea how the Internet works (he tweets an insult at the food critic who wrote the negative review cos he thought the service worked like text messaging).  It’s equal parts toe-curlingly awkward, like when your dad posts a “selfie” of himself having a day out in Scarborough, and strangely progressive.  Like, yeah, the film does mine the expected jokes out of Favreau not knowing how social media works and his son being a whizz with it because kids today and their computermabobs, but the usage of social media is actually vital to the plot.  It ends up being utilised as a tool for good, a way for Favreau and his low-budget venture to travel around drumming up buzz and connecting with the people who matter.  It’s refreshingly free of cynicism or confused-dad-“when-I-was-YOUR-age”-ness which, if nothing else, puts it above f*cking Transcendence.  It does officially go too far when 1 Second Everyday comes up for the sole purpose of adding some feels to the finale, but get over the initial “oh, no, Dad’s trying to get down with the kids” response you will inevitably have when it comes up and it’s not actually a problem.

Chef, then, is more of an extended therapy session for Jon Favreau than it is a movie in its own standalone right.  That therapy session, though, is always interesting and frequently entertaining; it’s definitely the most personal thing Favreau has been involved in in a good decade and it’s nice to see him seemingly fall back in love with his art again.  Outside of that, there’s not much here.  There are funnier films available now, there are more heartwarming films available now, there are TV shows with better food porn on the air right now.  On the surface level, it’s a mildly entertaining way to spend two hours.  I would, however, be lying if I said that I didn’t enjoy the film for what it is under that surface.  You may too, but that depends on both your knowledge of the film industry and your tolerance for “inside-baseball” stuff.

So, with Favreau having rediscovered his passion for filmmaking by going back to his roots and delivering a deeply personal work, I look forward to seeing what he’s going to transfer that passion into next!  … …“he’s making a live-action, CG version of The Jungle Book for Disney?”  Well, in that case, either he’s a quick forgiver, or I eagerly await the spiritual successor to this in 2020!

Callum Petch saw you standing on the opposite shore.  Follow him on the Twitters (@CallumPetch)!

Failed Critics Podcast: Iron Man 3

Iron Man 3 Ben Kingsley MandarinA year older, wiser, and fatter (in some cases) and the Failed Critics Podcast is back with a bit of a redbranding and format shake-up. Worry not, it’s still the same four idiots (three this week) talking about film from our respective bedrooms via an unstable network connection.

This week we review the start of Marvel Cinematic Universe Phase 2 with Shane Black’s Iron Man 3. We’ve dusted off Spoiler Alert especially for the occasion  and James even finally got around to watching all the Marvel Phase 1 movies. He gives his opinions on those in What We’ve Been Watching, while Steve struggles to make head or tail out of the utterly bonkers and surreal Holy Motors.

We’re back next week, hopefully with Gerry and a discussion on Studio Ghibli.

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The Failed Critic Podcast – Episode 2: Avengers Assemble

Critics assemble! They have an army – we have the Failed Critic podcast, featuring Steve Norman, James Diamond, and Gerry McAuley.

This week the Failed Critics review the first BIG blockbuster of the summer Avengers Assemble, and discuss this weeks Triple Bill theme – Child Protaganists. We also have their thoughts on recent releases Lockout, and The Kid With a Bike, and a little-known gem called The Third Man – starring some up-and-comer called Orson Welles. There is also scintilating chat about frame rates, more Mighty Ducks chat, and one of the contributors gets all tongue-tied when proposing to Cobie Smulders. Also a little bit of bad language right at the end. It’s worth it though.

Spoiler Alert! If you want to avoid the Avengers review, then skip 6 minutes through to 31 minutes. Also, completely avoid the podcast if you’re desperate to avoid the endings of The Sixth Sense and My Girl.

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