kelboy10

I've always considered myself to be a fair judge when watching a new interpretation of something already well established. Spider-Man can be reinterpreted, and alternative versions might work as well. However, after seeing the first movie by Jon Watts and now his sequel, Spider-Man: Far From Home, I must say I'm surprised by how much has been altered in order to bring a fresh take on what is now the third reboot since 2002. The biggest issue I find is within the writing of Jon Watts' Spider-Man films, and that is a real shame, especially when compared to Sam Raimi's versions, which excelled in this area above all else. From David Koepp to Alvin Sargent's screenplays, alongside Alfred Gough and Miles Millar's story, Sam Raimi really did have some fantastic narratives in comparison. Chris McKenna and Eric Sommers, however, have really struggled to create fresh character arcs. Jon Watts' first feature managed to bypass the lack of character arcs somewhat and paper over the cracks due to the fact it was a fresh spin that slotted in neatly with other Marvel universe films. His second effort was not so lucky, in my opinion.

Let's start by going through some of the key characters. Through no fault of his own, Jacob Batalon's Ned Leeds-Peter Parker's closest friend-has very little purpose in either film, except for keeping Peter's identity a secret. Juxtaposed with Harry Osborn, who is often much more complex, in conflict with himself, and seeking revenge on his friend Parker for killing his father, Ned Leeds offers very little in the way of goals, motives, or even life ambitions. What is his purpose?

Moving on to MJ (Zendaya)-the tomboy MJ who seems to refuse the use of the name Mary-Is this even Mary Jane Watson? I must admit, I'm not entirely sure. Again, what is her purpose? She's basically there, prancing around, getting noticed by Peter, only to reveal she already knows his secret. Another adjustment carried over from the first film is that Stark has become Spider-Man/Peter Parker's new Uncle Ben, but with far less emotional impact. He aids Peter with Stark technology, making Spider-Man seem inferior and more like "Iron Boy" than Spider-Man, or perhaps, even a self-mockery as "The Night Monkey."

The merit and rewards of the film go to the visual effects, especially the optical illusions created around the character of Mysterio. Quentin Beck (Jake Gyllenhaal) is the shining light of the film, mostly in what is otherwise a comedy that is far from good and far from what I have come to expect from a superhero movie or even a Spider-Man film. I understand that a retelling must be different, yet being different for the sake of it seems pointless unless the new characters have something worthwhile to say.

Instead of being in the usual location of New York, the Spidey fans are dragged from place to place, city to city, feeling as discombobulated as Parker himself, who just wants to enjoy his school trip. Never has the saying "if it isn't broken, don't fix it" been truer. I'm sure there are many story arcs from the Spider-Man comics that have never been explored on the big screen, with fresher villains. Unfortunately, with this writing team, this doesn't feel like one of them.

Avengers: Infinity War is a well-executed screenplay, especially considering the vast amount of content and characters Christopher Markus and Stephen McFeely had to deliver within the tight runtime of two and a half hours. Taking over the reins of The Avengers from Joss Whedon, the trusted team of Anthony and Joe Russo continues its success from Captain America: Civil War. What's fantastic about the third Avengers film is how they manage to build suspense and anticipation with each set of characters they introduce. The pacing works well, keeping the audience engaged throughout, and it features some of the best cinematography and visual effects I've seen.

The movie begins with the Asgardians battling Thanos aboard a ship over the Tesseract, which contains the Space Stone. This picks up where Thor: Ragnarok left off, with the destruction of Asgard already a foregone conclusion. Thanos has already acquired the Power Stone-one of the six Infinity Stones-from the planet Xandar. As Thor and Hulk fight Thanos and his lieutenants, Thor is subdued, and Hulk is overpowered. A dying Heimdall manages to send Hulk back to Earth using the Bifrost. The story then swiftly moves to Bruce Banner crashing into Doctor Strange's lair, where he warns Strange about the impending threat of Thanos and urges him to seek help from the Avengers. However, reuniting the team is more difficult than expected, as Stark explains to Banner that he and Steve Rogers are no longer on speaking terms following Captain America: Civil War. Meanwhile, Strange guards the Time Stone at all times, keeping it safe at any cost. The story has significant depth, and this is only the beginning-a mere glimpse of the larger narrative. Without delving too much into spoilers, what makes this film so entertaining and epic is how all the characters finally come together within the Marvel Cinematic Universe.

The script incorporates some great comedic elements, especially in the interactions between Stark and Strange, who are alike in many ways yet very different. There's also emotional humor and weight in the relationship between Peter Parker and Stark. Doctor Strange is the opposite of Stark in many ways. Stark relies on science and evidence to draw conclusions, while Strange embraces the mystic arts-something Stark struggles to believe in. This tension adds an interesting dynamic, with Strange often putting Stark on edge. Meanwhile, the relationship between Parker and Stark has a father-son dynamic, with Stark feeling responsible for Parker's safety and vowing to protect him.

With such a variety of different actors and actresses, this is the ultimate comic book package. It doesn't take itself too seriously and is the opposite side of the coin from The Dark Knight. That isn't to say Infinity War lacks dark moments, but it presents them in a more lighthearted way. The introduction of Thor to the Guardians of the Galaxy is handled well, with Star-Lord feeling somewhat inferior and inadequate next to Thor as they respond to the Asgardian ship's distress call. Another key part of the story is the relationship between Wanda and Vision, who are in hiding, much like Captain America and Natasha.

Having watched this film a second time, and having seen all the Marvel films in chronological order leading up to it, it's clear that the story has been carefully built throughout the series, with a clear plan and structure leading to this moment. This is a credit to Marvel, and unfortunately, where the DC Universe fell short. My favorite scene is when Thanos acquires the Soul Stone, where the Red Skull explains that a sacrifice is required to possess it. Particularly notable are the character arcs of Thor and Gamora. Thor's loss at the beginning of the film motivates his desperate quest for redemption, while Gamora's relationship with Thanos brings unexpected emotional weight to her storyline, making her one of the film's standout characters. Gamora's relationship with Star-Lord adds to that emotional weight. Zoe Saldana has one of the biggest most impactful characters within this film. The emotional complexities between Wanda and Vision is also compelling storytelling. There is plenty of emotional impact as the film comes to its climax.

To conclude, Avengers: Infinity War is a fantastic addition to the Marvel Cinematic Universe and the comic book cinematic catalog in general.

It's Honey, I Shrunk the Kids, but the superhero version, and it actually has some nice moments. Would I consider Ant-Man a memorable film ready to hit the top list of great comic book movies? Sadly, no. However, it is definitely worth a watch. For a start, they managed to cast Michael Douglas as Hank Pym, founder of Pym Technologies and the first Ant-Man. Honestly, it isn't a comic book I'm that familiar with until now, yet it works well with elements of humour and fantastic visual effects. Cinema has come a long way since Honey, I Shrunk the Kids.

Peyton Reed is a director I'm also unfamiliar with, yet his attempt to bring this comic book adaptation to life is very honourable. He is well aware of the tone needed to justify a film of extraordinary and extravagant proportions (no pun intended). Obviously, nothing here is to be taken too seriously, and it's far from a dark comic, a long way from Barb Wire or even Batman. In the blue corner, from the writer of Shaun of the Dead to Scott Pilgrim, he brings to you the experience of Edgar Wright, ready to accompany his audience with each crunch of overpriced popcorn they can manage. And in the red corner, Joe Cornish-many might know him as the writer of Attack the Block-manages to ground it just enough to get a human reaction. The emotional impact comes in the latter half when Hank Pym explains the disappearance of his wife many years back. But that isn't all, folks-far from it, Porky Pie: this project has four writers on board. As well as portraying and conveying his take on Scott Lang, Paul Rudd also contributed to the screenplay alongside Adam McKay. My only slight issue with this "fantastic four" of writing talent is that it can feel like overkill. In my personal opinion, three is a crowd, and with four, well-the best ideas tend to come in pairs. You can have conflict and too much contrast in style.

Scott Lang's narrative opens with him being released from prison, leaving him with an unfavourable reputation amongst his ex-wife Maggie and her police detective fiancé Paxton upon his return. The struggle of an ex-thief unable to find work and, when he does, being incapable of holding down a job while struggling to adapt is compelling. What follows is the "loser" father figure, chastised by Maggie for not providing child support, yet he is desperately seeking change. The visual effects are pretty damn cool throughout-from big to little and sometimes even little to big-the audience is treated to seeing the world from a different perspective: the perspective of an ant.

Performance-wise, Michael Douglas creates mystery in his portrayal, showing a variety of emotions from stern, leader-like qualities to thought-provoking, articulate professor. Paul Rudd is a misfit, at times a juvenile outcast, ready to take back his life. He brings just the right amount of humour to keep the audience engaged around, at times, the tedious scientific explanations from Douglas. Evangeline Lilly is empowering and appears to play both sides at first, while Corey Stoll is a brutish, uninspiring, lacklustre antagonist who just comes across as a one-dimensional angry being hell-bent on revenge.

This is a watchable Marvel film that will probably not be embedded long in the memory of avid moviegoers.

S. K. Dale continues his directorial journey with his latest release, Subservience, an artificial intelligence sci-fi thriller toned down from horror. Mystical dolls were all the rage in the late eighties, with the infamous Chucky making his mark and debut in the film Child's Play, followed by stories like The Puppet Master and later The Conjuring, featuring a character such as Annabelle. More recently, these figures have been updated from religious voodoo chants and soul-possessed dolls to artificial intelligence. Some may be familiar with M3GAN (2022), a doll that operates much like an Alexa plugged into every available outlet. Others may recall the 2019 Child's Play remake, where Chucky was redesigned to look more like a cute, E. T.-style robot, totally devoid of his original charismatic charm. It was, to say the least, a very different Chucky.

Alongside these ideas, James Cameron famously pitched the concept of artificial intelligence waging war against its human creators, which many now know as The Terminator. Subservience is a cross between both ideas, though it doesn't quite reach the epic scale of The Terminator, nor does it have the charisma of the original Child's Play. This time, there are no dolls; instead, it's closer to the T-800, famously played by Arnold Schwarzenegger.

In Subservience, Megan Fox plays an artificially intelligent gynoid, or fembot (a feminine humanoid robot). As the title suggests, she is programmed to obey-or perhaps, as the story unfolds, it's the humans who must obey. Fox previously worked with S. K. Dale on Till Death, and now, she has been reunited with him once again. Nick played by Michele Morrone has his world torn apart when his wife is rushed off to hospital for heart surgery leaving him alone to contend with getting his daughter to school and all the house chores. Shattered, devastated and more of a traditional dad, he calls upon the help of a fembot to wash the dishes not knowing if he steps out of line she might hit him with everything but the kitchen sink. Nick relaxes one evening worried about Maggie the love of his life only to speak about feelings of love with his new housekeeper whilst watching Casablanca. Rebooting and erasing some valuable information the gynoid gains sentience and becomes more hostile when learning human behaviours having Nick under her protection no matter what.

Megan Fox plays her role okay to some extent, still I'm not hundred percent sure on the tone the film is trying to convey. It's takes a mammoth amount of time to encounter anything remotely thrilling. In actual fact the first thrilling scene doesn't involve the gynoid at all, Andrew Whipp playing Monty can't control his anger when he and a load of other construction workers are fired and replaced by robots/cyborgs. The film has its first real dark turn in this moment and what's to follow is clear and obvious from this point. What I like about this type of film is it empathises the possibilities of how us humans are becoming too reliant on technology and the dangers this might entail. In a way yes it is a lower budget version of James Cameron's The Terminator just conveyed in a different way, still this shows how ahead of the times that was back in the 90s. The ending is somewhat basic and predictable leaving an opening for future instalments.

Thirty-six years later, the sequel to what is now a cult classic has arrived: Beetlejuice, Beetlejuice. Some might say this never needed to be made, rattling with anxiety and slightly worried about the outcome. Others might be on the edge of their seats, way too excited to form an opinion. Still, amidst all the debate, not even the most stubborn fans of the original can deny that they at least want to give it a try, allowing themselves one viewing if nothing else.

What does Tim Burton have in store for the audience after such a long stretch of time? Most would presume it to be more of the same, and to some degree, they might be right-yet not entirely. Rarely have I enjoyed a sequel this much. I must admit to being one of the doubters far too often when sequels are announced, as well as one of those stubborn fans who can't resist the temptation of reliving my nostalgic childhood fan zone, right on cue for its release.

Alfred Gough, who has his fair share of writing credits, has crafted what I believe to be a story worthy of its predecessor, alongside his screenwriting partner Miles Millar. These two have a catalogue of work together, including one of my favorite sequels, Sam Raimi's Spider-Man 2-a film I still consider to be the best Spider-Man movie to this day. Had I known that they were involved beforehand, I'd have had no doubt in my mind about a solid sequel for Beetlejuice, Beetlejuice. More recently, they have written episodes of Wednesday, a series starring Jenna Ortega based on the daughter of the Addams Family. Ortega plays a fairly substantial role in Beetlejuice. Obviously, in tone, Beetlejuice shares many similarities with the Addams Family, but nothing can replicate Tim Burton's signature style.

The style of the film is much the same with fantastic set designs within the afterlife and returns to the waiting room. The colour palette always maintains the creepy surreal feel and the addition of the soul train to the great beyond is magical. Burton manages once more to mix the reality of the real world with an imaginative afterlife creating a unique blend. There is a short animation sequel that fills in the absence of Jeffrey Duncan Jones that feels bizarrely out of place even for a Tim Burton movie. Due to legal reasons the actor could not even be considered to return and rightly so. Burton probably could've explained this character without actually showing it but the humour in him just wouldn't seem to allow it.

Sophie Holland manages to cast the perfect combination of actors, although I can't help but think Alfred Gough and Miles Millar might have influenced her in picking Jenna Ortega for the role of Astrid Deetz. It's also quite obvious that Tim Burton himself would have strongly pushed for his new girlfriend, Monica Bellucci, to play Delores. Still, the casting is spot on-from the return of Michael Keaton as Beetlejuice, right down to Danny DeVito as the janitor. Most of the acting is good, but my slight disappointment was Catherine O'Hara. She is way too over-the-top and cringey at times, which breaks the illusion and pulls me out of the film, reminding me I'm still sitting in the Vue cinema, munching on popcorn. It's like Last Action Hero, where you get snapped back into reality, losing your escape from the film. However, one standout performance was Willem Dafoe as the dead police officer, Wolf Jackson, who brought some of the funniest moments to the film.

After reading several reviews, I noticed some fans suggested Keaton didn't have enough screen time and that the subplot was messy as the film jumps back and forth. Personally, I didn't find it hard to follow. Yes, it was wacky and cartoonish at times, but that's exactly what I expected from a Beetlejuice film, given the original. If fans rewatch the original, they'll realize Keaton jumps in and out of that film just as loosely and probably has about the same amount of screen time. The film focuses on the Deetz family, much like the first, and introduces a few new characters to accompany them. There's a twist and some scenes that will live long in memory, which is rather rare for a sequel. I must say, I loved the Soul Train to the Great Beyond and the resurrection of Delores, with the sound of tragedy perfectly accompanying her return.

Black Panther contains fantastic content; it's a story of tradition in service of the throne, as well as a narrative of keeping peace within Wakanda. The plot has depth; however, at the heart of the story, it's a war for power to become the next king. Thousands of years ago, a meteorite containing the metal Vibranium crashed down and caused conflict between several African tribes. One of these warriors ingested a heart-shaped herb, granting them superhuman abilities, leading them to become the first "Black Panther." The Black Panther unites all the tribes to form Wakanda, except for the Jabari tribe. For centuries, the people of Wakanda have isolated themselves from the rest of the world, not only to protect themselves but also to prevent their Vibranium-based advanced technology from falling into the wrong hands. Wakanda would rather pose as a third-world or underdeveloped country than reveal the secrets they hold dear.

Chadwick Boseman plays T'Challa, who inevitably dons the suit and becomes the new king and, above all, the Black Panther. Boseman manages to bring heartfelt authenticity to his role, allowing the audience to believe that he is struggling to come to terms with the loss of his father and his duties as the new King of Wakanda. Michael B. Jordan, as Erik Killmonger, conveys a ruthless nemesis and a worthy antagonist for T'Challa, often delivering an overwhelming performance. To create the perfect recipe for an all-out action film, you need a great villain, and Michael B. Jordan is the personification of Killmonger. Feeling wronged as a child after a traumatic upbringing, Erik is driven by jealousy and rage, making him dangerous on many levels. The conflict between the cousins is difficult to watch at times, as you can feel Erik's pain through Jordan's performance. Much like Chadwick Boseman's T'Challa, the audience is made to feel sympathetic toward the villain due to the circumstances that left him alone as a boy.

In supporting roles, we have Lupita Nyong'o as Nakia, T'Challa's ex-girlfriend and a woman who believes Wakanda shouldn't remain hidden from the world indefinitely. Also, a personal favorite of mine, Martin Freeman reprises his role as Everett K. Ross, previously seen in Captain America: Civil War. The "smoking mirror" role, where we initially perceive a different main antagonist, is played by Andy Serkis as Ulysses Klaue. Although he only has limited screen time, Serkis delivers a memorable performance that lives up to the high standards we've come to expect from him.

Ryan Coogler has adapted Black Panther to the big screen for the first time, putting together a thrilling narrative alongside stunning visuals and costume design. All in all, Black Panther establishes itself with a magnificent, engaging, and well-thought-out story that won Academy Awards for Best Achievement in Music, Costume Design, and Production Design. I'd say it is one of my favorite Marvel films so far, and that's a credit to the cast and crew.

With the release of the sequel, it feels right to revisit what brought us here in the first place: Beetlejuice, one of the most bizarre films of the late eighties by Tim Burton, a director known for his singular vision. The influence of Beetlejuice has been undeniable over the years, with its shades seen in characters like Jim Carrey's Stanley Ipkiss from The Mask and even in the irreverent humour of Deadpool. However, Beetlejuice stands out for being one of the first films to blend the living and the dead with comedic effect, creating a genre-bending dark comedy much like The Addams Family while exploring the afterlife with a playful, surreal twist.

The narrative is simple but effective: a couple dies in a car accident and returns home only to find they are ghosts, stuck watching as a new family moves in. In their desperation to reclaim their home, they turn to Beetlejuice, a "bio-exorcist" with chaotic, mischievous energy. The film explores what might happen if the living and the dead could interact, all while balancing humor with a hint of horror. Burton's artistry shines through in the film's set designs and characters, blending his signature gothic style with eccentric, almost childlike wonder.

Beetlejuice has earned its place as a cult classic, thanks in large part to its imaginative world and the standout performance of Michael Keaton. Although Beetlejuice himself appears sparingly, Keaton's portrayal is unforgettable-his manic energy and devilish charm dominate the screen, leaving the audience always wanting more. It's no wonder Burton trusted Keaton with an entirely different role the following year as Batman. The teasing nature of his limited screen time makes Beetlejuice even more magnetic, and it's clear that Keaton's performance is the film's heartbeat.

Tim Burton's Beetlejuice not only showcases his unique vision but also set the tone for future films blending dark comedy and the supernatural. Its imaginative world, unforgettable characters, and Michael Keaton's iconic portrayal ensure that the film remains a defining moment in late 80s cinema, one that continues to influence and inspire today. Alongside Keaton, the extravagant cast includes Alec Baldwin, Geena Davis, Catherine O' Hara and Jeffrey Jones. However the gothic most secluded of them all giving a very real performance amongst the outlandish dinner party we have Winona Ryder.

Cate Shortland is rather unfamiliar to me when it comes to directors I know and love, however she has managed an admirable attempt at propelling the most significant female protagonist within the Marvel Universe. Still, Black Widow (Scarlett Johansson) will not go it alone, alongside her, she gets Yelena Belova (Florence Pugh) who often outshines Scarlett in this narrative due to the charismatic personality Pugh brings, firing on all cylinders from the get go. The chemistry between the two is on par although Pugh as Yelena, appears more tough and thick skinned possessing a more believable agent in my opinion. On top of this Pugh brings humour when needed mocking the Black Widow for her dramatic postures in battle as well as pulling off a Russian accent pretty well. Maybe I don't find the Black Widow that interesting and I'm slightly harsh on Scarlett here, I just felt Florence Pugh stole the show.

Staged parents, (David Harbour) Alexei, a poor excuse hoax of a father, as well as a buffoon at times and assassin Melina Vostokoff work as Russian undercover agents stealing intel from S. H. I. E. L. D. Escaping to Cuba to meet with their boss General Dreykov (Ray Winstone). The daughters Natasha and Yelena are left in Dreykov's hands to become Black widows, special agents of his to do his bidding. This only creates resentment years later when Natasha reunites with Yelena to find out Dreykov is still alive and controlling many more girls the same as they had been.

There are some good moments within the film from a variety of actors and actresses although nothing memorable enough to cement this into my top ten comic book movies list. David Harbour becomes his own fantasy like super hero soldier (The Red Guardian), in what appears a spoof of Captain America. (Rachel Weisz) Melina stern in her approach as well as never quite sure where we stand with her, she creates an unpredictable performance much to her merit in this type of film. Florence Pugh manages to be versatile switching between a stone faced tough agent to a likeable down to earth well rounded grounded character. Scarlett's Black Widow tends to play off the other characters well but I can't help feel that she needed to convey a little more emotion considering her tragic traumatic upbringing. Ray Winstone's Dreykov has very little screen time adding little to the plot and isn't overly memorable as far a villains are concerned. It's basically Ray Winstone playing Ray Winstone again! Often I find the best superhero movies need a good villain to be and success, this falls well short of that mark.

All in all it could've been better with more character development, it isn't the weakest Marvel film I've seen, still it is a long way from the best.

One Spider-Man too many and built around a multiverse which added fuel to the fire of total meltdown. Fair play Sam Raimi was obviously going to be a tough act to follow, but at least get the foundations right first. Otherwise all you are left with is a generic superhero movie with style over substance. Okay so we already know how Peter Parker develops into Spider-Man, so can we cut to the chase? Perfect... Well actually not quite! Where Jon Watts fails in his reincarnation or reboot in my opinion is running before he can walk. Previously in Captain America Civil War Spider-Man was given a mission by Mr Stark, so yes evidently, yes, he was already Spider-Man in the timeline. However, I believe a flashback or a narration of the death of Uncle Ben would suffice, adding a bit more volume to the character. This version of Parker is very comedic and has very little in the way of emotional impact or depth. Where is that traumatic experience that pushes him over the edge to become Spider-Man in the first place? Don't get me wrong I know we have already seen this in Maguire's or say Garfield's Spider-Men, still, it just feels too flat to have nothing. Another issue is the technology Stark hands him, at times it's funny with the Alexa like Karen voice prompting Peter to tell Liz how he feels, or the fact he skips training because, yeah who really needs that! But evidently when it's all said a done it rather does genuinely feel like he is nothing without the suit, as quoted! It's interesting how the trend of being 'such a Karen' seems relative in this. Meaning white privileged middle class entitled woman or so I hear as of late. Is this the reason Peter names his device Karen? Joking aside, why does Hollywood feel the need to make every film cultural at the moment? Who exactly is this Ned character, I've never heard of him? Fair play I don't read the comics but still I'm sure you get my point here. I'm surprised they haven't added a character from the LGBT community. The script for me appears discombobulated at times not entirely sure of what it wants to be. This is partly due to the tick box that needs to be fulfilled in order to make it suitable within the Marvel cinematic universe. This film often feels like a time filler leaving Keatons Vulture seeming somewhat small or irrelevant in the grand scheme of things.

Left to clean up the mess the Avengers left behind Michael Keaton (The Vulture Adrian Toomes) is the saving grace of this film, although he only has a limited amount of time onscreen and his character isn't developed well enough by the scriptwriter. For example why does he turn to crime after working in construction? The simple answer is, he is so mad after getting thrown off the project of cleaning up the disaster in New York left by the Avengers. Is this really a feasible reason to go full out villain all of a sudden? (Tom Holland) is a mighty fine Peter Parker and more around the age bracket I'd imagine Spider-Man to be. Still, he is given one of the weakest Spider-Man stories so far, his challenge is to wait for Mr Stark to call with a mission. Really? Is this what has become of our friendly neighbourhood Spidey? At times this film seems like a mockery, a spoof of everything that wouldn't be welcome from avid Spider-Man fans. I'm a take it or leave it kinda guy, yet I can clearly see Spider-Man has been sacrificed a little, a footnote surrounding a much bigger plan, that plan is the Avengers. What Michael Keaton brings in his antagonist is character and believability, however he lacks duration to fully perfect it. (Robert Downey Jr.) Tony Stark is practically Mr Marvel at this point, they clearly latched onto the fact he was their big seller and evolved the universe around him, sometimes at the expense of other heroes. He pops up now and then to warn Peter of how he isn't ready to take on the universe and become an Avenger yet. (Marisa Tomei) is a much younger attractive May Parker, who oddly gets hit on a few times. Not sure why this was necessary but hey ho, let's go and all that! At this point I'm thinking the creative team went ahead with a board meeting saying, how can we make this third reboot of Spider-Man so different and distant from the previous ones that people are gonna love it? Often people don't like too much unnecessary change though, change for the sake of change, mostly people prefer a touch of nostalgia.

I find some of the school cast obnoxious at best, particularly Ned's fanboy act as well as the annoyance of Peter actually having a close friend in the first place. Parker always appears better as an outcast bullied nerd trying to survive high school. Now, we have two seen to be loser nerds and a third who occasional shows up at their dinning table claiming she isn't even there half the time in Michelle (Zendaya). Now we all know Zendaya is a talents young actress, unfortunately this film does very little to show that, giving her crazy one liners from time to time and leaving it till the very end to reveal her true character right before the credits. Liz (Laura Harrier) is a smoking mirror in the love life of Peter Parker, although she has very little chemistry with him. Then there is Peters bully Flash (Tony Revolori) who is barely even a bully at all.

I'd like to conclude by saying it isn't terrible hence the rating of six. The visuals are good and score isn't bad either, it's the most important part which suffers, the story. As far as it goes for a Spider-Man film though this is scrapping the barrel of what I've come to expect. Spider Spoof take one and action.

With Conflict and Consequences Captain America Civil war continues on from Ultron, a self destructive mess unable to contain itself of a villain who caused enough chaos to lead to the current predicament. What predicament you ask? Needless to say Hail Hydra will be involved again, leaving poor Cap with his work cut out for him and a Winter Soldier in jeopardy. Thaddeus Ross will walk you through it, the US Secretary of State, who informs the Avengers United Nations (UN) is about to pass the Sokovia Accords, which in turn will instate a UN panel to oversee and control the team. This law will either enforce whether the Avengers can act on certain missions, or if they will now acquire UN permissions to do so. This seems like a mini Avengers film more so than a Captain America, final farewell to the trilogy, though that isn't such a bad thing as the Avengers is yet to disappoint. What is interesting about the concept of this script is how it works on the idea of control and friendship. Captain weighs up the options and decides that if the authorities dictate when and where the Avengers fight many more people could lose their lives due to them being unable to act. Iron man sees the death their destructive heroics have caused and believes implements need to be made in order to serve justice in the right manor. Unable to get on the same page the Avengers are no more, split right down the middle.

Anthony Russo and Joe Russo both opened their Marvel accounts in directing the Winter Soldier and after that display it isn't surprising they have been trusted to continue that journey. Although I would say I preferred Joe Johnstone's First Avenger, mostly due to the slower pace and romantic interest of Agent Carter set in World War Two, I still find the sequel rather compelling to say the least. Adding colourful character after colourful character, rarely is there a boring moment in Civil War. As Agent Carter passes in her sleep bringing an end to Steves unfortunate love trap, he has somebody to be there for him, his ally Natasha Romanoff. Adding to this already greatly assembled recipe, it will consist of a Black Panther, Spidey senses tingling and Ants Shrinking up and down to the point of honey I blow up the kids. However, at the heart of all this conflict is the longest standing friendship known to man, in the form of Bucky Barnes and Steve Rogers.

When I first watched Joss Whedon's follow up to Avengers Assemble my original impressions was it had a lot to live up to and didn't quite cut the mustard. Now, years later I am watching the entire series of films in chronological order and I must say this film has a lot more to it than I originally thought. Age of Ultron introduces some new characters and sets up a narrative of what is to follow in future instalments of Marvel. Much like we first hear of the infinity stones in Guardians of the Galaxy, the audience discover another stone in this movie. The movie opens with the Avengers in pursuit of Wolfgang Von Strucker, at a facility of hydra, his experiments on human subjects using the sceptor once wielded by Loki aren't exactly a sign of world peace. The audience meets two new characters in the test subjects-twins Pietro (Aaron Taylor-Johnson) (superhuman speed) think the Flash, and Wanda Maximoff (Elisabeth Olsen) (telepathic and telekinetic abilities). Typical of Stark, him and Banner find an artificial intelligence within the sceptor's gem and use it to complete a planet defence system Stark has envisioned recently, with a little prompt from Wanda Maximoff's mind control.

So that is the foundations of the story laid out briefly, obviously there will be conflict with Stark and Captain America as Cap warns of the dangers of a defence system. True it is, that some of the most powerful and most intelligent men have inadvertently created some of the most deadly of weapons on our planet. Just check out Christopher Nolan's Oppenheimer if you seek something closer to home on the subject matter. Along comes Ultron, the modern day Terminator seeking to rid the world of human life in the form of (James Spader), actually not so much as he metallic throughout the film, mainly providing the voice I'd imagine. The stand out character in this film for me is Clint Barton/Hawkeye (Jeremy Renner), not only do we delve more into his character and uncover his secret life, he also brings some heartfelt emotion to the film and humanises so immortals along the way. I particularly like his scenes with Elisabeth Olsen, as her journey is one of redemption and a pivotal one within becoming an Avenger and helping the team succeed. Clint Barton is also the only character who manages to resist the spell of Wanda who is at some point referred to as a witch. Other elements of empathy can be found in the imperfections of these heroes, for example the dynamics of the relationship between Natasha and the Hulk, both realise it can never be yet there is still something sweet in the innocence of it all. It's kinda cute that despite what Banner is Natasha is willing to compromise. This film also opens up the issue of accountability leading on to the civil war in Captain America Civil War. Should superheroes really have no consequences in their actions? More on this later no doubt.

Joss Whedon directed the first two Avenger movies with state of the art visual effects and managed to contain so many colourful characters to a hundred and twenty minutes of screen time as well as making them charismatically funny and kick arse. Hail to the king baby he did an incredible job.

So far I would say the Captain America films have been the best of the Marvel universe. The Story of Steve Rogers is one of heartfelt emotion. The Winter Soldier is one that has the element of surprise alongside emotional depth, much like the first film. It's often about courage rather than brute force, it's also a story of emptiness in a world that has changed so much that Steve Rogers feels alienated from. However, he finds familiarity in all he has ever known. Hail Hydra returns working within the facility of S. H. I. E. L. D, camouflage and disguised. Did Hydra really ever truly go away? Was Steve Rogers effort truly to no avail?

Two years on from The Avengers Assembled incident in New York, Steve Roger now works for espionage agency S. H. I. E. L. D. As he attempt to adjust to the modern world. It starts off with an action packed sequence with Steve Rogers alongside Natasha Romanoff (Scarlett Johanson) trying to apprehend a ship of S. H. I. E. L. D hostages abroad a vessel in the hands of pirates. Although, Natasha appears to have an entirely different agenda. As expected the opening brings stunning visuals and is well made dropping the audience right into the carnage that surrounds Steve. Okay there is a calm before the storm when Steve is introduced to Sam on his left, just running. The opening establishes Steve as the super soldier he is, allowing anybody new along for the ride to grasp his character briefly. I have been watching in Chronological order and some of the film might make less sense if you haven't already seen the first Captain America. For instance you might be wondering who the lady in the hospital bed is and how she knows Steve from world war 2. Mostly this isn't much of a problem as the director does a reasonable job of filling in the gaps.

With chemistry and comedy element between Chris Evans and Scarlett Johanson is very natural, with the repetition of Natasha trying to hook Steve up with a date, but Steve remain reluctant due to his past love Agent Carter. He quotes he is "too Busy" much to Natasha's disapproval. The wide variety of talent and collaboration makes this one of the best Marvel films so far. We have the return of Nick Fury (Samuel L Jackson) once again, a pivotal part of the Marvel cinematic universe and this sequel as it is S. H. I. E. L. D data that is compromised. (Robert Redford) plays Alexander Price a member of the board within S. H. I. E.. L. D and our main antagonist the winter soldier (Sebastian Stan).

Overall the second part to Captain America is well worth the watch and close to being as good if not better than the first time around.

Chris Hemsworth returns as the god of thunder for Thor: The Dark World, in only what a can describe as a quick fast food rollercoaster of a ride with a script lacking substance and choosing style. So, you got a date with Jane Foster (Natalie Portman) and you are given the choice of wooing her by taking her to a fantastic top of the range five star restaurant, or a Ronald MacDonalds clowning around mess of a fast food outlet, it's a no brainier to me! Even the IT crowds (Chris O' Dowd) manages to get this right, unfortunately for him he is up against broodingly dashingly handsome muscled heartthrob most women want, in Chris Hemsworth, the poor guy don't stand a chance!

What does Thor: The Dark World get right? It manages to entertain within the nine realms of the galaxy, as well as balancing well timed humour with action sequences. It realises the popularity and the importance of Loki, especially after (Tom Hiddleston) extravagant performance in the first Avengers. He is outlandishly charismatic as a villain and obnoxious at times but it works so perfect. The reason it works is because he is bold enough a brave enough to stand out amongst his peers, and stand out he does. Much like (Robert Downey Jr.) Tony Stark, Loki is the flip side of that coin, consistently making himself a nuisance, yet unlike Stark is unable to choose the right path. However, The Dark World leaves the audience and Thor with hope that not all is lost within Loki, and buried beneath the surface are some redeeming qualities.

Returning once again as Odin (Anthony Hopkins) attempts to guide his son Thor once again only to be facing defiance again. Alan Taylor pieces together a worthy sequel for the god of thunder without taking any risks leaving a mostly satisfying outcome. However, I can't help thinking this could've been better had they spent a little more focus on the plot, as too much seems to happen for convenience rather than being well thought out.

Firstly let me start with the resemblance to DC comics Superman, yes I can see why there was a trial where detective comics sued Fawcett's Captain Marvel. This trial cast a bit of a shadow over Captain Marvel for many years and they stopped publishing Captain Marvel in 1953 for breach of copyright.

This is the second viewing of Captain Marvel and I must say I enjoyed it far more this time round. So before I give a direct analysis of why I think that is. This time around I currently going through the Marvel cinematic universe in chronological order which I'm sure without doubt adds to the overall experience. I started with Captain America during the period of world war 2, which works fine and has an amazing cast. Now we fast forward to the year of around about 1995, we are given subtle hints of the time with blockbusters being prominent, and phone booths more significant than mobile phones. Captain Marvel is one of a kind in comparison to most comic book heroes due to the fact that there are many interpretations of the characters who are Captain Marvel. Not all of them are female either, however I can understand why they went with one of the female characters this time as it gives girls role models too and evens the odds. Why should guys have all the fun? More importantly we are currently of the brink of female empowerment and a woman is slightly fresher than another Superman wannabe, right?

This film works because it doesn't take itself too seriously, it also works to the credit and onscreen charisma of Brie Larson and the legend that is Samuel L. Jackson. Carol Danvers (Brie Larson) has fantastic energy and not entirely just because she has a glowing suit, the energy comes from her wisecracking wit and sense of humour. I'd say parts of her character remind me of Joss Whedon's Buffy. Strangely enough, Joss doesn't take the rein this time, instead it's Anna Boden and Ryan Fleck. Alongside (Jackson's) Nick Fury, they bounce off one another with dialogue so effectively perfect. Other performances worth mentioning are (Jude Law) as Yon-Rogg and of course the ever so talented (Annette Bening) as Mar-Vell. Boden and Fleck should be given credit to, not just as directors also for a funny well crafted very human like script. Yes the story is far from believable but the dialogue is very real between our main protagonists. The pair Jackson and Larson are so on par with one another it feels so much more authentic alongside a lovely twist further down the line.

Obviously this kind of story entails way more computer generated images than Captain America. I must say I'm not such a big fan of it, still without the fantastic effects of today's time they'd have far more difficulty selling me this story. The score was probably the most disappointing part about this film, nothing stood out as far as a theme tune considering it's a superhero movie. Nothing to whistle or hum before bed.

Cassidy Way finds it difficult to measure in comparison to other dark torture thrillers/horror. The premise was actually not a bad idea, a gas Company wanting to buy the land with their fracking project, yet the execution is poor and a silly would be putting it mildly.

The main antagonist (Christopher Rich) is good in parts although he seemed a little over the top at times, not sure if that is deliberate. Sydney Sweeney has a part to play as his daughter in what can only be described as a typical Sweeney role. I felt the acting from the dysfunctional family was often on point, however the main three protagonists making the short film didn't really feel overly interesting or compelling. (Randy Waynes) character just come across as obnoxious as the love triangle was revealed.

Overall a very average forgettable film with basic cinematography and a little too slow from the word go. Annoyingly it feels better on the third act but it's all to little too late, I would be surprised if anybody made it that far. A little too far fetched at times and rushed in places.

For a tv movie on lifetime this turned out to be half decent. It reminds me of a film from the eighties or nineties although by now the audience would probably be expecting a lot more from this type of movie. Still, the fact it's made for the tv somehow saves it. Tv movies tend to have a lower expectation in my view, if I was to make a comparison off the top of my head I would say, it's a story that closely resembles Taken. However, Taken has a lot bigger budget and could undoubtedly produce way better action with Liam Neeson tumbling enemies to the ground.

Yet, with a smaller budget often comes a more believable approach. This isn't to say Stolen from the Suburbs is without flaws. The story is intriguing enough and the situation the girls are put in means I can't help but root for them, yet it's the vacant roles that leave me somewhat astonished. Where is Courtney's (Tetona Jackson) parents or family? I can excuse some of the girls that have been captured a while as their family might've given up hope sometime ago, but seriously Courtney was taken in practically the same time as Emma (Sydney Sweeney). What I do like about this narrative is it explores very real life dangerous circumstances that can arise, existing in our world today and it highlights the need for young girls to be careful.

As far as acting goes it's the early signs that Sydney Sweeney has everything in her repertoire to become a good actress as the young lady convey distress well and a little feisty naivety early on. Another standout is the antagonist (Olivia d' Abo) as Milena, the viewer really gets a taste of the ruthless money grabbing cold hearted emotionless bitch she really is. I couldn't help but detest her every action, as well as admire the performance to have me respond in such a way in the first place. (Cynthia Watros) as Katherine and (Brooke Nevin) as Anna had a scene together in the car that could've had way more empathy from Cynthia as well as being the definitive moment yet it just felt flat and lacking emotion. Anna explains how she got into investigating sex trafficking as well as her background story, how she felt about helping the girls and why she was doing it. This moment lacked the intensity and didn't create the bond between the two woman I felt it set out to do. After this Anna was practically nowhere to be seen leaving Emma to pull the trigger in the climax amongst some cruel torturous scenes prior to this.

The acting from the villains throughout gave the film more interesting dramatic elements, it was almost as if all the men were under Milena's spell. I felt the humiliation for the young student girls left without dignity, without food and half naked. Overall the story was good and the lack of support from the police seemed feasible considering the vast amount that were going missing it often seemed like the police wouldn't bother leaving it to be the norm.

I preferred this episode to the first as we get more of a sense of who Jeremy is and how he is reluctant to work. Mark is persistent in both cases in this episode. Firstly he still perseveres with Sophie trying to win her over almost desperately. Secondly he tries to implement a working attitude in Jeremy.

The chemistry between the two leads is fantastic in these early episodes and sets the tone for the series. The narrations add depth to the characters showing Jeremys reluctance and Marks insecure Anxiety. Mark is intelligent but appears to have low self-esteem whilst Jeremy has little go in him but is confident. Jeremy thinks highly of himself.

A unique contrast from narrations to dialogue, Peep Show really did bring something new to the table as far as sitcoms go, with dark neurotic humour alongside crude distasteful scenarios. Mark Corrigan (David Mitchell) and Jeremy Usborne (Robert Webb) seem the polar opposite at times sharing a flat, both are highly obsessed with sex. Jeremy hasn't a care in the world, confident in persona, he is a slacker wannabe musician, juxtaposed with Mark Corrigan, who is an introverted socially awkward office worker. Needless to say Mark comes across the clever of the two, reading books on Russian history and more thoughtful in approach although he seems to lack self confidence.

Both Mark and Jeremy want to get with Toni which creates conflict between them. At first Mark wants to win over the affections of Sophie and carefully constructs and plan to be on the same bus as her. When this plan seems lost he then moves his attention to Toni as Jeremy makes her out to be easy. The classic sitcom setup is that neither will get what they want, often creating their own issues and becoming their own biggest obstacle.

The chemistry between the actors is great and I'd imagine at the time David Mitchell and Robert Webb were fairly close friends in real life. Sophie is played by (Olivia Coleman) which I find very intriguing because of how far she has come since appearing in this early sitcom. The ending with the kids is brilliant, especially because of being seen in all his glory by somebody Mark regards as important to him.

I found the ending a little bit of an anti-climax to say the least, it wasn't awful just not highly received on my part. Quinn is the only character who leaves the season with a little bit of hope remaining on the island feeling more free to explore a life he wants. Although, I'm not sure his parents would have allowed this and would not noticed him run off into the wilderness. Still, unbelievable it might be that was only a slight issue in this dark comedy for me. The despicable ending for Armond becomes his own doing while Shane manages to leave unscathed, how? It felt somewhat of a rushed ending all crammed into the remain duration. Tanya manages to leave.disappointment which was expected considering her erratic behaviour of false hope. Mark Mossbacher and Nicole rekindle their love for one another and Olivia and Paula end on a more complex relationship.

Overall it just felt like another episode that just so happened to end because we needed them to depart. I can't help but feel they should have remained there for season two with the dramatic shooting included. Maybe the characters could have all been questioned and shocked at what transpired wrapped in all the drama of it all, contemplating whether this hotel is a safe place to be.

Things start to heat up as the Mossbacher family get in to dispute and conflict leading to heroics that only bring Mark and Nicole closer together. Shane has leverage on Armond giving him the power to make him dance to his tune and Tanya feels distracted by Greg.

This episode is more thrilling towards the end although it starts with a slower pace. It is probably one of the best episodes with regards to establishing why each character is the way they are giving more complex depth to each of them.

Paula (Brittany O' Grady) has the defining moment thinking sympathically, however she inadvertently makes things worse. What she doesn't seem to grasp is she is making more racial stigma by instigating a crime.

The White Lotus brings together a variety of characters of wealth to a Haawai hotel in which each character has an impact on one another as they all interwene.

At its core the story is about how oblivious the wealthy are to real everyday struggles and how they find trivial meaningless issues a big problem. It is also about how they need to be seen and feel validated, their self indulged entitlement. Mike White brings many real life issues to the plot including, political view points, sexuality, race, age and gender. The White male privilege is a topical point in contrast to women empowerment and black lives matter. He explores all different views from all walks of life coming together. The interesting aspect is how so many people go on holiday to get away from their problems yet often this can highlight them even more.

The show is top notch in mostly every department from an intense building score to incredible cinematography. The writing is very real with a little playful edge satire amongst an amazing cast. Each actor/actress does a respectable job in understanding their part and differentiating it with individuality.

The standout role for me is (Murray Bartlett) as Armond.

Expect some more cringe worthy moments with a shocking end to round off another thrilling episode as the tension builds even more for Armond (Murray Bartlett).

The musical score is fantastic on each episode building suspense the further the duration the more anxious things become.

Tanya is considered a little on the crazy side in Shane opinion, hence the baby Jane reference still, he wouldn't be considered low-key himself in the grand scheme of things. As he gets more and more agitated about how the hotel manager operates or runs his hotel and goes to war further with him.

This episode introduces Shane's (Jake Lacy) mother much to the annoyance of his wife Rachel who isn't overly thrilled to see her on her honeymoon.

Olivia (Sydney Sweeney) is believed to be envious if her friend Paula (Brittany O' Grady) has something she does not, or so Paula says.

(Jennifer Coolidge) Tanya enjoys the company of Greg Hunt (Jon Gries) as to her surprise she is asked out on a dinner date.

The best of the series so far with lots of dark humour and cringe worthy moments.

Mark Mossbacher (Steve Zahn) discovers something rather emasculating which sends him on a daytime drinking spree alongside chatting to women half his age. He has a few standout scenes in this particular episode. The first with his son Quinn Mossbacher (Fred Hechinger) in the pool where he is rather eccentric flabbergasted on how a secret has been kept from him for so long. Fred Hechinger has performed splendidly with little dialogue conveying lots of emotion through his facial expressions. At times he seems more level headed than his father except when it comes to his addiction to screen time, a true representation of today's youth. The second memorable scene is when Mark interacts with Armond confronting him about his sexuality.

Another flat out comedic moment comes when Shane Patton (Jake Lacy) wishes for a romantic boat trip with Rachel Patton (Alexandra Daddario) except has a rather peculiar experience. (Jennifer Coolidge) Tanya McQuoid is all abroad the boat for an emotion experience alongside her massage therapist.

Olivia slowly discover she has less in common with Paula than she thought as Paula refuses to tell her what she is up to.

Overall we see that every involvement a character has with another has an impact as they all start to interwene with each other.

Dysfunctional all over, the self indulging characters continue along oblivious to how trivial their circumstances are.

Tanya McQuoid (Jennifer Coolidge) oversteps the mark becoming more needy with continued massage therapy and a rather odd obsession leading to a dinner date with the therapist she just met.

Mark Mossbacher (Steve Zahn) aims to spend more time with his son after a slight scare that he made a bigger thing of than it needed be.

Shane Patton (Jake Lacy) continues on his quest to upgrade his room whilst smoothing his wife, not allowing her to continue her work and remain independent.

Nicole (Connie Britton) seeks the respect and approval of her daughter Olivia Mossbacher (Sydney Sweeney).

Much like the quote from the opening episode, everybody just wants to be seen. The plot is developing well, as each episodes starts to build tension when the score hits halfway through. The acting is spot on and it well worth continuing on to see how it all pans out.

The hotel manager is my favourite although it appears everything is getting a bit much for him especially considering he seemed so sure of himself early on and so sure of his guests.

Introducing the characters to the viewer The White Lotus is a cleverly well thought out constructed script in the way it is ultimately about self entitlement.

The hotel manager Armond (Murray Bartlett) is the most interesting character as he sees these people for what they are. Possibly the best quote in the arrival episode when he says "You have to treat these people like sensitive children. They always say it's about the money, but it's not. It's not even about the room. They just need to feel seen."

The beauty of this is although the guests are filthy rich they all seem unfulfilled and seeking respect or approval.

Mark White understands the subtle differences within the privileged and conveys each character perfectly within this first outing.

Shane Patton (Jake Lacy) is the spoilt only child type demanding respect so used to getting everything he wants unable to let things go. He is so clouded in judgement he is unintentionally ruining his own honeymoon for him and his wife. He appears to come across as a bit of a mummy's boy too consistent in his approach to resolve something so trivial.

Rachel Patton (Alexandra Daddario) has fallen in love too quickly and married too soon, which leaves her gradually realising that her husband might not be who she thought he was

Mossbacher family are obnoxious at times living in a world of their own self entitlement unable to grasp reality.

As far as opening episodes go this cover a lot of ground in a subtle way. The acting is fantastic creating a nice balance between very real believable drama alongside dark comedy. These are characters most people would have come across at some point in the course of their life and they are relatable to some degree. The cinematography and opening title sequence create a very atmospheric tone leaving the audience feeling as if they actually are on the beach in Hawaai.