Road to Infinity War - Phase 3 - Thor: Ragnarok (2017)

Coming off the back of Phase 2, the one main Avenger that people were not probably crying out for a threequel for, it was Thor.
He had made a promising debut in the original film in 2011 but lost his way in The Dark World, becoming rather dour and dull.
He had more success as part of the ensemble in the Avengers films, provided some excellent moments by Whedon who knew how to use him effectively e.g. "He's of Asgard and my brother.", "He killed 90 people", "He's adopted".
What Thor Ragnarok does so well is reinvent the character of Thor and take him in new directions but also remain grounded in the history of the MCU. For example, the moment that Loki leaps up in delight when Hulk grabs Thor and tosses him around, harking back to The Avengers.
Hemsworth had proved his comedic chops with a scene-stealing turn in the Ghostbusters remake/reboot/reimagining/sequel/whatever it technically was, so it was great to see Waititi harness this superpower for the purposes of good and Hemsworth delivered.
Not only is the character different but the entire film feels worlds (or realms) away from where Thor started his journey. When the first film was announced, there was a danger it could have been a bit too Flash Gordon-y but Kenneth Branagh gave the story a Shakespearean feel by focusing on the family drama side of things.
Director Taika Waititi captures the Eighties, fun, funky space adventure vibe perfectly and delivers Marvel first out-and-out comedy. Avengers has many funny, quotable lines, Ant-Man is very funny but this is a comic adventure through and through.
As already discussed, Hemsworth delivers on his comic promise and he is backed up by Waititi's hilarious revolutionary rock Korg, Mark Ruffalo is a great straight man and comic foil to Thor and then there is the cinematic treasure that is Jeff Goldblum as The Grandmaster, uh, Jeff Goldblum going full Goldblum.
Similar to What We Do In The Shadows, there was a lot of improvisation on set but the final film flows beautifully and there is never a sense of there were lots of scenes left on the cutting room floor.
While the comedy is at the forefront, it would not be a Thor movie without a family squabble for the throne and after a brief reconciliation with their father Odin, Thor and Loki are faced with a psychotic sister they did not know they had played with camp, crazy relish by Cate Blanchett. *Sounds very similar to the plot of the finale of Sherlock season 4*
In terms of the continuing build to Infinity War, it cleverly retcons a moment from the earlier Thor films which featured the Infinity Gauntlet, now in Thanos's possession, by having Hela knock it over and call it a "fake". It is also hinted that Loki, picks up the Tesseract before escaping Asgard which is what leads Thanos to their ship in the post-credit sting.
One suspects that things might not work out so well for the remaining Asgardians and we may have to say goodbye to some well-loved characters but only time will tell.
Until then, we still have a Hulking great slice of Ragnarok and Roll to enjoy.

Infinity Stone counter = 5

Road to Infinity War - Phase 2 - Thor: The Dark World (2013)

Thor The Dark World. The darkest moment in the Marvel Cinematic Universe. Not in terms of plot or backstage drama (that would come with Ant-Man) but in terms of colour palette and reviews.
The sequel to Thor is widely regarded as the least popular film in the MCU.
Following on from the excitement of Shane Black's Iron Man 3 straying from the convention and of Phase 1 Marvel movies, this feels disappointingly formulaic.
Following Patty Jenkins' departure (she would get her own back by directing Wonder Woman four years later), Alan Taylor was hired. Best known for Game Of Thrones, he brings a workman-like quality to the production but never threatens to bring the same level of wit or inventiveness to proceedings like Joss Whedon or Shane Black
The problem lies in the villain Malekith and the Dark Elves. Underneath the make up and auto tuned voice, you wouldn't be able to tell that Malekith is played by Christopher Eccleston (something he wants to forget as well).
There is a Macguffin about planetary convergences, eternal darkness and dark matter but really this is all there to introduce the third Infinity Stone... even if it is not currently in the form of a stone.
The real story is Thor's relationships. With Jane (who is moving on with a date with Chris O'Dowd), his father Odin and incarcerated brother (adopted) Loki.
There is double and triple crossing as the battle against the Elves and for the throne reaches its climax in... Greenwich, London of all places. I think this was during the two year period where every US blockbuster was contractually obligated to destroy Central London (G.I. Joe - Retaliation, Fast & Furious 6, London Has Fallen, Independence Day Resurgence, etc, etc).
Now there are continuity errors and goofs in every film. It's part and parcel of film making that things will go wrong.
This leads us to the single moment in the MCU that will wind up every Londoner or person from the UK who is familiar with the London Underground where Thor gets on a tube train at Charing Cross and asks how far to Greenwich and a woman tells him two stops. TWO STOPS! More like "two stops to Waterloo then change for the Jubilee line and then take it six stops to North Greenwich and walk to the Naval College mate"!
Still, it was nice to see Kat Dennings back as Darcy just for the moment she can shout "Meow Meow" at Mjolnir as the hammer goes flying by.

Infinity Stone counter = 3 (Reality Stone [Aether], Space Stone, Mind Stone)

Road to Infinity War - Phase 1 - Thor (2011)

Again, it seems hard to believe but at the time, Thor presented a huge gamble for Marvel Studios. It introduced Asgard, Norse Gods, Space, Alien races and monsters. It could have gone so horribly wrong. Yet this was the studio that would go on to give us a film starring a talking raccoon and a tree monster!
Thankfully for Marvel, under the guidance of director Kenneth Branagh, Thor was the best movie since Iron Man.
It works because Branagh does not treat it as a Flash Gordon-esque adventure (that would have to wait till Ragnarok) but as a Shakespearean tragedy with the focus on a family feud between a King and two squabbling Princes both with an eye on the throne.
It succeeds thanks to having British heavyweights like Anthony Hopkins spitting out lines like "You are a vain, greedy, cruel boy" and "But you're NOT King. Not yet". Plus it introduced the majority of the world to Tom Hiddleston as Marvel's number one villain you love to hate, Loki.
Chris Hemsworth was also a relative unknown at this point. Really only appearing in the first ten minutes of the Star Trek reboot. But he perfectly captures the fish out of water element of his character as the selfish, boorish warrior who is stripped of his power and forced to learn a lesson on earth... and find love along the way.
Thor continues the development of S.H.I.E.L.D. and Agent Coulson is firmly established as Fury's number two, running the whole show in New Mexico and even ordering around Clint Barton aka Hawkeye (Jeremy Renner).
It remains one of the strongest entries in Phase 1 but contains the single biggest mistake in the history of the MCU. One that was thankfully rectified come The Avengers and that was the decision to dye Hemsworth's eyebrows blonde!

Infinity Stone Counter = 1 (Brief glimpse of the Tesseract aka the Space Stone in the post credit sting)

Early Man - review

One minute into Nick Park's new Aardman animation Early Man, a meteor hits the Earth killing off the dinosaurs yet leaving cavemen alive and miraculously unharmed with a football shaped meteorite to covet and play games with.
Not only does that meteor wipe out two dinosaurs (revealed in the end credits to be called Ray and Harry, in one of the film's few deft touches) but any chances of a fish-out-of-water storyline where a Stone Age Caveman must struggle to interact with the dawning of a new Bronze Age are also gone in sixty seconds.
For Early Man is actually nothing more than a prehistoric tribute to the Beautiful Game. It's no coincidence that the film lasts 90 minutes, the same length as a match.
Even if the takeaway from the first couple of minutes could be that the only people interested in football are neanderthals, it is clear that Park has an affection for football. One can even deduce his favourite team is probably Arsenal given that the characters who is the most proficient at the sport is called Goona.
There was certainly huge potential here. The primitive Stone Age vs the wealth of the Bronze Age in a match for the valley? It's an underdog story as strong as Leicester City's in the Premiership.
An early scene in the Bronze Age market with shops like Flint Eastwood and food stalls like Jurassic Pork showcased gags are sharp as flint and potential for jokes about the early men adapting to this new age but they are shown the red card in a game of two halves in favour of tropes such as training montages and bad sports puns as tired and old as the savages playing the game.
Talented voices like Tom Hiddleston (doing his best French Knight from Monty Python and the Holy Grail) give it their best shot but they are in a league of their own and let down by a script that is second division at best.
Aardman had a open goal in front of them. Instead Early Man is sent for an early bath!

1 star

High-Rise - Glasgow Film Festival Review

 

There is an old saying in Hollywood: “Don’t kill the dog”.

 

You can get away with just about anything else in a movie but killing a dog (or other animal for that matter) can be seen by an audience as an unforgivable act. Just ask John Wick!

 

So for director Ben Wheatley to begin the film with the lovable Tom Hiddleston seemingly rescue a dog only to barbecue it on his patio, this is an incredibly bold move and one that signals all bets are off in this adaptation of JG Ballard’s 1975 yet incredibly prescient novel.

 

Now that is in no way a spoiler for the movie. In fact it is in the first line of the book; <i>”Later, as he sat on his balconyeating the dog, Dr. Robert Laing reflected on the unusual events that had taken place within this huge apartment building during the previous three months.”</i>

 

Tom Hiddleston plays Dr. Robert Laing who moves into an apartment on the 25th floor of the giant high-rise building designed by architect Anthony Royal (Jeremy Irons), who resides at the very top (obviously) while men like Richard Wilder (Luke Evans), a rambunctious family man, live nearer the bottom (again pay attention to the names).

 

At first, everything is normal. Laing is comfortable in his setting. Able to mix with everyone in the building whilst not belonging to any particular group. He is our cypher into this world. It is no coincidence that he paints the walls of his apartment grey. This is a man who wants to go unnoticed, blend in and not create waves or even a ripple.

 

And ripples do start to appear. Ripples that turn into cracks, that start at the base of the building and slowly work their way up to the top.

 

Increasingly we are of a generation where we don’t know our neighbours and no one really knows what goes on behind closed doors and there are a lot of doors in this high-rise, each with their own interesting characters such as Reece Shearsmith’s orthodontist, Sienna Miller’s socialite single mother, James Purefoy’s hedonistic lawyer and Sienna Guillory’s washed-up actress.

 

When the building begins to break down, so do the doors and the tenant’s true feelings and inhibitions are released.

 

The building suffers from power cuts, and when it does the power is cut off from the lower floors in order to keep the power in the higher floors, where the richer residents live. This is just the spark that threatens to ignite the whole powder keg as the lower classes start to rise up against the higher floors until all the residents are on an express elevator to hell. All set to the tune of ABBA’s S.O.S. (covered quite stunningly by Portishead).

Wheatley’s direction, coupled with Clint Mansell’s fantastic score, delivers a dizzying and demented ascent through many different stories as people desperately try to make their way to the top as society falls all around them in an orgy of sex, drugs and violence that they are incapable of escaping… despite the fact the front door is always open.

It’s as if everyone wants to be sitting at the head table on the Titanic as it charts a course to Sodom and Gomorrah!

 

It paints a similar picture to 2014’s Snowpiercer which saw a world destroyed by climate change, with the survivorsall on one train that continuously circled the earth. The dregs of society lived in squalor at the rear of the train while the 1% lived in opulence at the front. That is until one day the 99% decided they had had enough of being a shoe and started a revolution, working their way forward to take control of the train.

 

However High-Rise is much more than just the vertical Snowpiercer… but since High-Rise was written before Snowpiercer, does that make Snowpiercer the horizontal High-Rise?

 

The excellent production design and costuming make it feel like it is from the Seventies when the book was written (it even features the voice of Maggie Thatcher who rose to power in 1979, yet it also has a old-school British science-fiction feel to it that gives it a timeless quality thus acting as a warning of where society is heading but also where it has come from.

 

Following on from the bizarre and brilliant Kill List and A Field In England</i>, Ben Wheatley has raised his game and delivered a terrific adaptation that will see High-Rise end up very high on many people’s Best of 2016 lists.

 

5 stars

Only Lovers Left Alive - review

In spite of the constant thirst for blood and aversion to things like sunlight and garlic, there has always been something quite sensual and romantic about being a vampire.

An ability to appeal to the opposite sex, never growing old, eternal life, etc and let's face it, despite what Queen might have said, who wouldn't want to live forever?

But what exactly would vampires do with an eternity on earth?

Only Lovers Left Alive provides one possible answer to that question. They'd get bored!

Adam (Tom Hiddleston) is a Kurt Cobain-esque Gothic rocker recluse hiding away from the outside world in an old house in Detroit.

Eve (Tilda Swinton) is living in Tangiers, reading and hanging out in Souk bars with Kit Marlowe played by John Hurt.

Both are vampires and more importantly, husband and wife.

Were they the first of their kind? Unclear. As is the reason they live on opposite sides of the world. Perhaps they are just like any other couple and after centuries of being together they needed some time apart from each other.

And they have been around for centuries, that much is clear and even though they have spent that time cultivating knowledge of science, nature and the arts, Adam has grown tired of of the apathy of the "zombies" who inhabit the earth now, unable to appreciate the world and its cultural wonders.

So as he ponders a game of Russian Roulette with a wooden bullet, Eve hops on the next overnight flight to Detroit to pull him out of his slump.

Looking for a plot? There isn't one to be found here. This isn't a film about action or change, after all vampires don't.

This is a film about existence.

There is a melancholic scene where Adam describes to Eve how a giant theatre used to play concerts to thousands of people but now is crumbling and abandoned and nothing more than a car park.

Civilisations have come and gone and they are the only constant in each other's life.

It's a rather unique take on the mythology in how it showcases the normalcy of being a vampire.

Vampires might be allergic to sunlight and drink blood instead of red wine but there still human. They have family issues. They can hold a grudge, "Are you still made about that? It was 87 years ago." and they moan about having to get up out of bed to feed.

Here the vampires feast on blood taken from hospitals not because they have turned "vegetarian" like those who "sparkle", or dislike killing but because they are worried about the purity of the source, disdainful of the diseases and drugs that the "zombies" Adam refers to pollute their bodies with.

Rather ironic since they treat it more like a drug than food, feeling a euphoric high after every hit.

This is just a drop from the rich vein of dark humour running throughout the film, such as Jeffrey Wright's various nicknames for Adam dressed in a Doctor's outfit (Faust, Strangelove, Caligari) and the hints at the influence of vampires over such artistic legends like Wilde, Shakespeare, etc that appear on a wall of fame.

Many of the film's biggest laughs come from the unwelcome arrival of Eva (Wasikowska), Eve's "sister", the closest the film comes to having a Deus Ex Machina, injecting some (after)life into proceedings.

The script's wit is as razor sharp as their teeth and dripping with deadpan delivery by Hiddleston and Swinton who are both able to hint at the old souls behind the young eyes of these eternal creatures of the night.

Shot with an ethereal beauty and a killer soundtrack, it can easily stake a claim as the best vampire film since Let The Right One In.

4 stars

Coriolanus review - No Holds Bard as Hiddleston kicks ass and takes names as Coriolanus

"You either die a hero or live long enough to see yourself become the villain."

Shakespeare? Not quite. The quote actually comes from The Dark Knight but it does perfectly capture the dilemma facing the character of Caius Martius in William Shakespeare's final tragedy Coriolanus.
It is one of the Bard's lesser performed works, yet Ralph Fiennes directorial debut in 2011 managed to use the medium of film to bring its grisly battles and scenes of the angry masses to life.
For this production at the Donmar Warehouse, under Josie Rourke's direction, it has been stripped back (sometimes literally) to the bare essentials.
A brick wall becomes graffittied with messages that echo the voice of the people, the cries of the masses amplified through sound design and the battles kept off-stage save for one physical bout of hand-to-hand combat.
Rourke recognises that despite the scale and settings of his plays, Shakespeare's work is ultimately about the people and the dialogue.
The external conflicts give way to focus on the internal conflict within one man.
Caius Martius is a proud and decorated soldier, almost bred for the purpose of war by his mother. Yet while he is willing to fight and die for his city, he has a deep disdain for the politicians who govern it and the people he protects within it.
When he is elected to the senate after single-handedly taking an enemy city, a plot emerges to expose his true feelings to the people and strip him of his power (after all, who doesn't like to see a politician publically disgraced?), but it could have dangerous repercussions for Rome as hell hath no fury like a soldier scorned.
Shakespeare's plays have been performed in theatres for over 400 years and part of this longevity has been the ability to make these ancient texts accessible and appealing to new generations.
They can initially appear daunting to some but by adapting the plays to more modern settings and incarnations on stage (the National Theatre's recent runs of Hamlet and Othello for example), on film (Joss Whedon's Much Ado About Nothing and Baz Luhrmann's Romeo & Juliet), or even making them watch it without realising (West Side Story, 10 Things I Hate About You, The Lion King), it helps to introduce new audiences to the Bard.
Another way of increasing awareness is by casting actors who are better known for their work in the world of TV and film. This year alone has seen the likes of James McAvoy, Jude Law and David Tennant take on some of the biggest roles in Shakespeare's back catalogue including Macbeth and Henry V.
Tom Hiddleston is the latest name to tackle the Bard but this is certainly not a case of mere stunt casting. Hiddleston is an experienced stage actor in his own right, winning an Olivier Award for Cymbeline, plus has a self-confessed love of Shakespeare, previously appearing in Othello at the Donmar and Prince Hal in the BBC's The Hollow Crown series.
He might be best known for being Loki of Asgard in Thor and The Avengers but he is burdened for glorious purpose on the stage once more.

Hiddleston commands the stage with a brooding, physical presence and also has a tremendous command of the Shakespearean dialogue, at ease delivering speeches to both armies of soldiers in the field of battle or politicians in the senate. The highlight comes during one of the few real monologues in the play, a spellbinding scene where Martius kneels before his enemy Aufidius and offers him his throat to spite the Romans who banished him. His Martius is not all pomp and bravado however; Hiddleston peels away the layers to reveal the sarcastic nature of his true feelings towards politics, the vulnerability at the heart of his Achilles heel, his mother, before being laid bare to the audience in a shower scene that exhibits the true cost of his many years in battle.
He is ably supported by a small yet hugely talented cast including Deborah Findlay as his mother Volumnia and Mark Gatiss as senator Menenius, who brings out the pathos of being turned away by the man he used to look on as a son and bleak future for his city for "This Coriolanus has grown from man to dragon".
The intimacy of the Donmar Warehouse space really helps to heighten the performances and even standing in the circle, you can still see Hiddleston's face begin to crack with emotion as his mother pleads with him to call off the siege of Rome.

While it is fair to say that there is not a bad seat in the (Ware)house, the problem is actually getting one as the popularity of the production meant that the entire run sold out as soon as tickets went on sale. However thanks to National Theatre Live audiences can watch the play performed and transmitted live via satellite at their local Picturehouse cinema on Thursday 30th January at 7.00pm.
Tickets can be booked here.

Marvel Marathon - The Avengers Assemble during The Adventures of Agent Coulson

Ever since Samuel L. Jackson turned up at the end of Iron Man, in 2008, talking to Tony Stark about the Avenger initiative, Marvel Studios have been building towards this epic moment. The release of The Avengers (or Avengers Assemble for us "stupid Brits" who might confuse it with the TV series or terrible 1998 movie of the adventures of John Steed and Emma Peel) is a landmark moment in superhero movies as it is the first time that characters from different franchises have appeared in one movie.
To get myself in the mood for the film, I am revisiting the entire Marvel studios canon of films leading up to Avengers in a giant Marvel marathon where I'll pick out the best fanboy moments, Stan Lee cameos and how much Avenger assembling takes place in each film along, etc.
I'll also take a look at the evolution of my own personal favourite character within the series, Agent Coulson played by the fabulous Clark Gregg. Much like how you can view Star Wars through the experiences of a seemingly minor character like R2-D2, like in Kurosawa's Hidden Fortress, it is fun to view the lead up to The Avengers as the continuing adventures of The Son Of Coul.

Iron Man

Marvel Studios knocked it out of the park with their first solo production, mainly thanks to the performance of Robert Downey Jr. For far too long, comic book movies had the problem that the villains were far more interesting and entertaining than the heroes. Tony Stark changed that. This is a man who is, in his own words, "genius, billionaire, playboy, philanthropist...", and RDJ plays the role to perfection. It is easily a part that could lose the audiences sympathies but you totally buy into his characters journey into the superhero he becomes, and refreshingly one who doesn't care who knows it.
There is also excellent support from Gwyneth Paltrow, someone who I'm not normally a fan of, as Pepper Potts and Jeff Bridges being "very un-Dude" as the villain.
It is a welcome light and fun antidote to the dark and dour world of Nolan's Batman, and excellent start to the long road to The Avengers.

Marvel Canon Fodder - Rhodey gets a nice moment, looking at the Mark II suit and remarking "Next time baby", setting up his War Machine storyline. The terrorist cell is called The Ten Rings, hinting at the involvement of The Mandarin. Last time Nick Fury was on our screens, he was portrayed by David Hasselhoff (no, really!), but having Samuel L. Jackson assume the role places Iron Man and the subsequent films well and truly within the Ultimate Marvel universe as first featured in the comic series The Ultimates written by Mark Millar and illustrated by Bryan Hitch who based Fury's look on Mr Jackson.

Fanboy Geekout Moment- While the first flight in the Iron Man suit is a terrific sequence, it has to be Nick Fury's appearance at the end of the film that seemingly promises fans that we will see an Avengers movie.

Avenger Assembling - Iron Man is very much a stand alone film. Besides the introduction of the Strategic Homeland Intervention Enforcement and Logistics Division (which Coulson is repeatedly told requires a new name) there is only Samuel L. Jackson appearing in a post credit sting teasing the Avenger Initiative.

Coulson Factor - Created for the movie, Coulson acts as a liason for S.H.I.E.L.D. and is continually dismissed by Stark until he helps protect Pepper against the Iron Monger but Clark Gregg's straight-faced deadpan delivery provided enough for producers to see the potential in the character.

Loki's Fact of Fiction - The Iron Lady starring Meryl Streep was originally going to feature a scene where Maggie Thatcher borrowed the suit from Tony Stark and fought the Falklands War single handed.

Stan Lee's Hitchcock Cameo - Stan 'The Man' Lee is mistaken for Hugh Heffner by Tony at a gala event thrown by Stark Industries.

Overall rating - 4/5

The Incredible Hulk

Bringing the character of the Hulk back under the full control of Marvel Studios, producers decided to largely ignore the events in Ang Lee's 2003 Hulk movie and instead start up events 5 months after the origin of the Hulk.
The film had a troubled production with director Letterier and Edward Norton delivering a 3 hour version that was a Jekyll & Hyde style meditation on trying to understand the tortured, conflicted nature of the Hulk but Marvel edited it down to a more popcorn friendly summer blockbuster featuring an epic Harlem smack down between Hulk and the Abomination.
The end result is a bit of a mess and the actual Hulk itself is still too CGI, not having the weight or personality that hopefully Ruffalo's performance capture will add in The Avengers, but personally I prefer it to Lee's version. At least there are no mutant poodles or Nick Nolte turning into a radioactive jellyfish cloud!

Marvel Canon Fodder - Going against standard Marvel canon in which Banner turns into the Hulk after exposure to Gamma radiation, in this incarnation Banner was also working on the Super Soldier serum and it was this, combined with the radiation that caused his transformation. The character of Emil Blonksy is Russian in the comics but here he is born in Russia and grew up in England so Tim Roth didn't have to put on a funny accent. It also introduces the character of Dr. Samuel Stern who would go on to become the villain known as The Leader.

Fanboy Geekout Moment - It's a toss up between composer Craig Armstrong's use of the "sad walking away music" from the Bill Bixby TV series and the moment inspired by a scene in The Ultimates comic where they induce a hulk out by dropping Banner out of a plane.

Avenger Assembling - During the opening credits, it establishes General Ross getting assistance from S.H.I.E.L.D. In his hunt for Banner along with the use of Stark weaponry. General Ross talks about the 'Super Soldier' program used in WWII i.e. the program used to create Captain America. In the post credit sting, Tony Stark approaches a drunk General Ross telling him that they are putting a team together that might be able to solve his "little problem", at this point hinting that The Avengers could be assembled to take down and subdue the Hulk.

Coulson Factor - Sadly no appearance from everyone's favourite S.H.I.E.L.D. Agent :-(

Stan Lee's Hitchcock Cameo - Stan plays the man who gets an extra kick from an energy drink contaminated with Banner's Gamma blood.

Loki's Fact of Fiction - The Hulk's fighting style was based on wrestling legend Hulk Hogan and in a deleted scene he delivers the immortal leg drop to Abomination.

Overall rating - 2/5

Iron Man 2

This is the film in the Marvel series that suffers the most from the issue of setting events in motion for The Avengers. So much so that it feels like the film is more concerned with this than providing the audience with an Iron Man sequel.
The main plot line that features rival weapon manufacturers trying to get their hands on Stark's tech and a climatic battle between CGI robot figures is just recycled from the first film. Having said that, Sam Rockwell's weasely Justin Hammer is a nice contrast to Stark and Johannson and Gregg get their moments to shine.

Marvel Canon Fodder - Continues the progress of War Machine and starts Tony down the path laid out in the 'Devil In A Bottle' storyline. Mickey Rourke's Ivan Vanko becomes a combination of villains Crimson Dynamo and Whiplash.

Fanboy Geekout Moment - Possibly the Iron Man suit in the briefcase or Black Widow's athletic takedown of half a dozen guards.

Avenger Assembling - There is a hell of a lot going on here. Nick Fury reveals that he knew Howard Stark and he was one of the founding members of S.H.I.E.L.D. and gives Tony some of Howard's research including a case that contains a Captain America comic and an unfinished prototype of his shield.
Black Widow is sent in undercover to keep an eye on Stark and assess his viability for the program, ultimately recommending that he only be used as a consultant rather than a full team member due to his behaviour.
Post credit sting involves Agent Coulson locating Mjolnir, the hammer of Thor, in the desert of New Mexico.

Coulson Factor - Agent Coulson returns to babysit Stark before heading to New Mexico on a special assignment. The two of them share a couple of great exchanges including Coulson laying the verbal smack down on Tony with "If you try to escape, or play any sort of games with me, I will taze you and watch "Supernanny" while you drool into the carpet."

Loki's Fact or Fiction - The end credit sting originally had Nick Fury approaching John Steed and Emma Peel to join the Avenger Initiative.

Stan Lee's Hitchcock Cameo - Tony Stark really needs to get his eyes tested as this time round he mistakes Stan for Larry King.

Overall Rating - 3/5 (from an Avengers setup standpoint) 2/5 (otherwise)

Marvel One Shot: The Consultant

Coulson and fellow agent Hernandez devise a scheme to sabotage plans to have The Abomination added to the Avenger Initiative. They decide send someone to annoy General Ross to the point where he will refuse to release Blonsky. This leads to the footage seen at the end of The Incredible Hulk with Ross and Stark.

Marvel Canon Fodder - Not canon at all. Instead it is a short film created to help fill in the gaps between the films and tie in all the ongoing story lines.

Fanboy Geekout Moment - Coulson wipes his mouth with a napkin after eating pancakes... OK, I admit, it's not great but it is a short film of mostly dialogue!

Avenger Assembling - No more than what we have already seen but puts a new spin on the existing footage to allow a new interpretation in keeping where the overall storyline is heading.

Coulson Factor - The short helps to establish where Coulson ranks in the grand scheme of things at S.H.I.E.L.D., he has a Level 7 clearance which probably places just under Fury in terms of authority.

Loki's Fact or Fiction - This short was filmed by David Fincher who did 111 takes of the final scene which meant Clark Gregg had to eat 111 pancakes.

Stan Lee's Hitchcock Cameo - No cameo

Overall Rating - 3/5

Thor

More than any other film in the arsenal of Marvel studios, this is the one that could have gone horribly wrong. Thor is not your typical superhero, he is a Norse God and between this hero and the direction of Luvvie Branagh, the movie could easily have become a camptastic romp like Flash Gordon (possibly one of the reasons sadly why Brian Blessed was not cast as Odin because it would have immediately drawn comparisons).
Happily the result is the best Marvel since Iron Man. As well as ticking all the boxes in terms of comic book blockbuster, Branagh puts a lot of focus on the central relationship between Odin, Thor and Loki, with the scene where Loki confronts Odin over his true heritage being the finest in the film.
Performances are terrific all round but the real star turn is Tom Hiddleston as Loki. He brings real pain and conflict to the role which makes his villain the best in the Marvel canon so far and I can't wait to see what he will bring to The Avengers.

Marvel Canon Fodder - While many of the other films have taken elements from the Ultimate universe, this incarnation of Thor is more the classic Norse God rather than a possible psychotic with delusions of grandeur and super powers.
Thor's earthbound alias Donald Blake is referred to as Jane Foster's ex boyfriend.

Fanboy Geekout Moment - It's not really a "Geekout moment" per say but I love the scene where Thor goes into the pet shop demanding a horse... or dog, cat or bird large enough to ride. That or Odin's full-on boombastic Shakespearian "you're a vain, greedy cruel boy" speech.

Avenger Assembling - We get our first glimpse at Clint Barton aka Hawkeye who is providing weapons cover for S.H.I.E.L.D. at the Mjolnir crash site. Dr Selvig (Skarsgard) mentions he knew a scientist who worked in gamma radiation who disappeared after involvement with S.H.I.E.L.D. (we can safely assume he means Bruce Banner). The post credit sting sees Fury show Selvig a glowing cosmic cube and Loki appears to influence Selvig's mind and says that it is worth a look.

Coulson Factor - Coulson is running the show down in New Mexico, LIKE A BOSS, as evidenced by Hawkeye taking orders from him. He even gives Thor a dressing down during an interrogation. This also marks the origin of Clark Gregg's nickname 'Son of Coul' which is what Thor calls him when offering his assistance in protecting Earth's realm.

Loki's Fact or Fiction - Branagh actually filmed a scene where Hemsworth rode a chihuahua!

Stan Lee's Hitchcock Cameo - A New Mexico driver who attempts to pull Mjolnir out of the ground with his truck, and fails miserably.

Overall rating - 4/5

A Funny Thing Happened On The Way To Thor's Hammer

Marvel Canon Fodder - not set within the existing Marvel canon.

Fanboy Geekout Moment - Coulson smacking a criminal in the face with a shotgun.

Avenger Assembling - No additional assembling takes place.

Coulson Factor - Another chance for Gregg to show a different side to Coulson, this time being a total badass and beating up two criminals who try to rob the gas station he has stopped at. Also has another chance to deliver some killer lines with that deadpan delivery we have come to love.

Loki's Fact or Fiction - Clark Gregg really can't decide between powdered and frosted donuts.

Stan Lee's Hitchcock Cameo - No cameo

Overall Rating - 4/5

Captain America: The First Avenger

The "First Avenger" and final movie in the run up to the Avengers as the final pieces of the puzzle start to slot into place. Director Joe Johnston recovers from The Wolfman disaster to rediscover the magic he worked on The Rocketeer to deliver a great old-fashioned romp but also keeping it Marvel too. Even throwing in a few nods to Raiders Of The Lost Ark along the way. The only real issue with the film is by setting it within a flashback structure, there is a lack of real tension in the film as we all know how it is going to end, even if it does have a scene that rips off Armageddon.

Marvel Canon Fodder - Initially it does appear odd to have the Human Torch playing Steve Rogers but once you get over this the film sticks fairly closely to the traditional Marvel canon and origin story (although one major character is killed off to create a more emotional edge to the story). There is also a fun spin on the original comic cover that featured Cap punching out Hitler.

Fanboy Geekout Moment - The original Captain America outfit and 'Star Spangled Man' (which should have been nominated for Best Original Song at the Oscars).

Avenger Assembling - The blue cosmic cube glimpsed at the end of Thor appears here and is called The Tesseract, one of the relics from Odin's treasure room, found by the Red Skull but ultimately ending up in S.H.I.E.L.D.'s possession. This film seems to contradict information about the Super Soldier program mentioned in The Incredible Hulk. In Hulk, Ross says he's still working on the program and takes a vial of the serum from a tank that claims the creator was Dr. Renstein. However in this film, the creator of the formula is Dr. Erkskine and it appears the last of the formula is destroyed.
Howard Stark plays a major role in the creation of Captain America and the Stark Expo, which features in Iron Man 2, also makes an appearance.
The film ends with Rogers waking up in a S.H.I.E.L.D. Facility to be informed by Nick Fury (in the middle of Times Square) that he's been asleep for 70 years. It is assumed due to the wee teaser trailer at the end of the credits that Rogers remain in their custody until the events of The Avengers.

Coulson Factor - Sadly this film rates a zero on the Coulson scale. Not even an appearance at the end when Steve Rogers wakes up in modern day New York.

Loki's Fact or Fiction - Chris Evans and Ryan Reynolds have a running bet about who can appear as more comic book characters.

Stan Lee's Hitchcock Cameo - Lee appears as a General at a medal presentation for Steve Rogers.

Overall Rating - 4/5