The First Purge - review

Who knew that five years ago when The Purge was released, a high concept horror about a vision of America where all the violence and hatred was released in one night, that it would go on to become the most socially relevant and prescient franchise of the last decade?
Shockingly, what started out as a film listed as "Science Fiction" on Imdb.com, the concept and events witnessed in the four movies have become increasingly plausible and realistic.
As the franchise has grown and evolved, any pretence of being influenced by real world events has disappeared. While The Purge was self-contained and The Purge Anarchy broadened the scope of the action, in 2016's The Purge: Election Year had a female presidential candidate under attack from right wing Purge fanatics wanting to preserve their way of life.
In The First Purge, we witness the very first iteration of the experiment that would define a nation. It is localised to Staten Island and offers citizens $5000 to remain on the island during the experiment, along with higher incentives for active participation.
Much of the action is focused on one of the "Projects" and the African-Americans who live there. They are the ones that need the money most but what the Government don't count on is the sense of community within these areas. They would rather stay together in churches or host street parties dancing to "This Is America" than participate (okay, maybe not quite).
Yes, these people are angry. But not at each other, at the government.
When participation is deemed too low. The New Founding Fathers Association (NFFA) send in groups of white mercenaries disguised as the KKK and other racist organisations to wipe out large swaths of the population.
Only when their livelihood and lives are threatened, the community decides to fight back. Ending in a third act that sees a drug dealer D'Mitri (hey, drug dealers can be good people to) strip down to a white vest and go all John McClane in an apartment block.
I mean, it makes sense. Can't sell drugs to the community if there is no one left in the community!
Jokes aside, given everything that has happened (and is happening) in these communities in America over the last few years, this film feels chillingly real and that is what is truly scary.
"Just remember all the good the Purge does" i.e. makes perfectly adequate action/horror movies with a disturbingly authentic political subtext.

3 stars

Road to Infinity War - Phase 3 - Spider-Man Homecoming (2017)

Looking at that poster, you would be forgiven for thinking that Spider-Man Homecoming was actually Iron Man 3.5. In the same way that Civil War was potentially Avengers 2.5.
Thankfully, this was purely marketing and the focus is aimed straight at Peter Parker with Tony Stark appearing in a strictly advisorly capacity (either remotely or in person).
While there was a huge amount of excitement when it was announced that Sony and Marvel Studios had made a deal to have the character appear in the MCU, fans questioned whether we needed to see *another* version of Spider-Man so soon after Andrew Garfield's (less than) Amazing Spider-Man.
Within 30 seconds of Civil War, Tom Holland proved that he was the Peter Parker/Spider-Man we didn't realise we needed until that moment. What a difference it made to see an actual teenager play the character who is an awkward, excitable teenager rather than an (admittedly talented) guy in his late-twenties/early thirties.
Homecoming builds on those solid foundations and continues to focus on Peter coming to term with his powers and desire to join the Avengers, all while trying to balance the pressures of high school. Although the Homecoming title can refer to high school and Spidey returning to where he belongs in the MCU.
We can gloss over the fact that Peter and May's apartment seems to change layout and decoration in the week between Civil War and the start of Homecoming because it is so assured in the rest of its storytelling.
Kevin Feige and director Jon Waits know that those watching the Marvel Cinematic Universe have probably already seen the five previous Spider-Man films. (On a side note, let's not forget that in the 16 years we have had three different actors play Spidey over seven films, we only had Hugh Jackman as Wolverine across nine films!)
So they wisely decided that we don't need to see another origin story of how Peter got his powers (indeed it was brushed off by Tony in Civil War as something he didn't need to hear) and we don't need to see the death of Uncle Ben again...

What they do manage to do is subvert certain aspects of what we expect to see. For example, "hot" Aunt May played by Marisa Tomei; no "with great power comes great responsibility" speech from surrogate father figure Tony Stark; training sequences not with his natural abilities but with Stark tech instead such as the "training wheels" program.
The film provides its great share of action sequences, including that incredible vertigo-inducing shot of Spidey standing atop the Washington monument. *Notice how MCU Spidey is not afraid to step outside of New York if duty calls? Makes him more than just your "friendly neighbourhood Spider-Man"*
There is also the Staten Island Ferry set piece that simultaneously harks back to Spider-Man 2's train rescue and betters it (possibly because it doesn't feature Tobey Maguire's constipated face).
Where this film, and the other previous sixteen films by Marvel Studios, raise the bar for the genre and connect with audiences is in character. It is the performances, the writing and development over the ten years that causing such a deep connection that will pay off in Infinity War.
It is nice to see a vulnerable side to a superhero and the moment when Peter cries out when being crushed by rubble gets you, what is the phrase the kids use, "right in the feels". He also has conflicted emotions regarding the villain of the piece, Michael Keaton's Vulture.
It was a surprise to see Keaton in a Marvel movie given his past as Batman but he is one of the MCU's best villains... even if it does conjure up comparisons to his other "superhero" outing Birdman.
Adrian Toomes, screwed over by the system, justifies what he is doing because it helps him provide for his family. Plus Robin Hood-style, he is only stealing from the rich and powerful. He has had no issues with the Avengers as they have bigger fish to fry but then some kid in a onesie starts messing with his business. Spider-Man and the Vulture are put on a collision course that comes to a head in one of the most surprising, jaw-dropping moments in the MCU and 2017 when Peter knocks on the door of his date Liz's house only for him (and the audience) to find out that Toomes is her father.
The following scene in the car where Keaton figures out Parker's secret and proceeds to thank him for saving his daughter's life but threaten to kill him if he gets in his way again is perfectly suited to Keaton who can switch from charming to chilling in an instant.
Thankfully unlike the original Spider-Man and other MCU movies, this iteration of the character does not see the villain killed off at the end of the film which should hopefully allow for a more organic development of the Sinister Six and a welcome return for Vulture.
As for how Sony's Venom starring Tom Hardy will fit into all this? That's anyone's guess!
The future for Spider-Man and Tom Holland is very bright with a nice allusion at the end of the film to the Civil War comic storyline where Iron Man introduces Spidey to the world as the Iron Spider. Something we definitely will see very soon in Infinity War. Although one does worry for Peter. If Tony Stark does die at the hands of Thanos, how will Parker cope losing a third father figure in his lifetime?!


Infinity Stone counter = 5

The Rewrite - review

For a movie about screenwriting and teaching its rules and conventions, The Rewrite is so cliched and conventional that it desperately needed a few rewrites of its own to help it break away and stand out from of the dozens of Hugh Grant starring rom-coms already out there.

Indeed it could be seen as a reflection of Grant's own career.

A man striving to recapture the highs of the beginning of his career (Four Weddings And Funeral) but finds that an unexpected career change (fighting the tabloids) brings him the peace and happiness he has been searching for.

Recently his film roles have been few and far between, seeming like Grant had almost given up and at the beginning of the film he appears to be sleepwalking through the first act as he reproduces his About A Boy-schtick; behaving like a petulant child, sleeping with young women and doing as little as possible to coast through life but once he has his Dead Poet's Society moment of inspiration, Grant threatens to look like he might be enjoying himself on screen again.

Grant's Keith Michaels at one point claims screenwriting can't be taught and its certainly true with The Rewrite as anyone who has ever watched a movie could write the ending to this movie after reading a 30 page draft which takes its star for Granted,

2 stars

The Ides Of March - review

Whilst hardly reinventing the wheel in terms of political thrillers, The Ides of March confirms that the US Presidential race is much more exciting and, well, sexy than our British equivalents.
Of course, it's not that difficult when People's Sexiest Man Alive (1997 and 2006) is directing and co-starring as a smooth, suave Democratic candidate.  The best us Brits get is Hugh Grant as Prime Minister in Love Actually.
Man of the moment Ryan Gosling plays Stephen Myers, a junior campaign manager and media guru, who is working with Paul Zara (Hoffman) to get Governor Mike Morris (Clooney) elected as the Democratic candidate in the next Presidential election.  He is smooth, slick, has experience on the campaign trail but his youthful cockiness and naiviety could prove his undoing with a beautful young intern (Wood) and rival campaign manager Tom Duffy (Giamatti).

Clooney continues to mature as a director and has delivered an incredibly slick, polished and entertaining thriller which at times feels effortless in its pacing and storytelling.  Clooney combines his old school movie star charisma with a movie that brings back echoes of seventies films like All The President's Men.  The film is based on Farregut North but one of the most impressive aspects of the production is that it never feels like a play which is a fate that has befallen many other stage adaptations (Closer, Doubt, Glengarry Glen Ross).  Clooney's task was made easier by assembling a fantastic ensemble cast including several Oscar winners and nominees Philip Seymour Hoffman, Marisa Tomei, the wonderful Paul Giamatti and Gosling who delivers his fourth fantastic (and different) performance of the year as the wide eyed media man whose belief in the right thing is shattered.
Ides has been accused of lacking depth but I felt the script had a lot of snap, crackle and pop, a surprising amount of humour and there is, what feels like, some thinly veiled criticism of Obama's performance so far as Clooney's Morris describes what kind of candidate he doesn't want to be and his stance on certain policies.
The Ides of March is not only a entertaining night out at the cinema but also perfect for anyone needing to fill the void that was left when The West Wing ended.

4 stars