THE RAID 2 review

Starring: Iko Uwais (The Raid), Arifin Putra, Oka Antara (V/H/S 2), Tio Pakusodewo, Alex Abbad (Merentau)

Writer/Director: Gareth Evans (The Raid)

Runtime: 2 hours 30 minutes

Release Date: 28 March (US), 11 April (UK)

The Raid was an espresso shot of a movie: fast, frantic and full of energy. It contains some of the best fight sequences in recent memory and puts most Hollywood action films to shame. How the hell are they going to top that? Well, Gareth Evans has returned to try and do just that with The Raid 2. Has the impossible been accomplished or was this fight over before it even started?

The film picks up right where the first one left off but quickly resolves the loose ends and throws Rama (Uwais) into a new story. Whilst the first film had a very basic plot that was mainly there as something to connect a series of increasingly badass fights, The Raid 2 has much more of a story which works to both its advantage and disadvantage. On the good side, this gives the film much more of a backbone to build on than just “police go into building and sh*t hits the fan” and allows the filmmakers to explore a wider variety of locations and situations. On the other side, the plot isn’t anything that special. It’s your basic undercover cop story full of betrayal, warring factions and greed. This isn’t necessarily a bad thing, the first film’s plot wasn’t anything to write home about either, but it didn’t spend nearly as much time on it. The film’s second act is a bit of a drag as it becomes more involved in the dealings and politics of the warring gangs which isn’t that interesting; action beats become more sparse and Rama is pushed out of sight for a long stretch. It’s during this period that the film’s extensive running time begins to take its toll.

But right when it starts to get frustrating, the third act kicks in and…holy sh*t! That long period of waiting for something to happen becomes totally worth it and the movie goes from 0 to 100mph in no time flat. The preceding actions scenes were fun and cool to watch, but nothing can prepare you for the sheer awesomeness of the last hour or so of The Raid 2. Punches are thrown, guns are shot, sharp objects are swung, pints of blood are spilt and pretty much every bone in the body gets broken at some point. The film even expands its scope by adding a car chase into the mix and excels at that too, combining vehicular mayhem and fisticuffs into one huge ball of F*CK YEAH! All of this wonderful action spectacle is shot and cut to perfection, never allowing a single moment to drag or become incomprehensible. Considering how many fight scenes take place in such tight quarters as toilet stalls or the back seat of a moving car, it again calls into question how huge blockbusters with ten times the budget of this film keep messing it up. I won’t go into any more detail about the fight scenes but trust me on this. By the end of this film, you’ll have completely forgotten about the dry spell in the middle.

The Raid 2 is an impressive feat of action cinema and one that is sure to go down in the annals of the genre as a defining moment. I won’t say it’s better than the original as the dry middle section of the movie is a big demerit against it, but get past that and anyone with a love for action will be smiling with depraved glee at what this film has in store. A third instalment seems inevitable, and I can’t wait to see what Evans and co have in store for us next.

FINAL VERDICT: 9/10

MUPPETS MOST WANTED review

Starring: Ricky Gervais (The Invention of Lying), Tina Fey (30 Rock), Ty Burrell (Mr. Peabody & Sherman)

Director: James Bobin (The Muppets)

Writers: James Bobin & Nicholas Stoller (Forgetting Sarah Marshall)

Runtime: 1 hour 47 minutes

Release Date: 21 March (US), 28 March (UK)

2011’s The Muppets was a highly enjoyable nostalgia trip that effectively reintroduced those classic felt characters with plenty of affection and self-deprecation. And, as the film’s opening number tells us, popular demand means we get a sequel. But without star and co-writer Jason Segel, can this new Muppet adventure continue the success of it predecessor?

The story picks up exactly where the first film left off (literally to the final frame) and continues from there. Anyone wondering what happened to Segel and Amy Adams should be disappointed as, other than the backs of some stand-ins, they are never seen or mentioned again. The film’s plot is a basic but effective set-up, allowing for a variety of worldwide locales to be lampooned but the formula does quickly fall into routine. The Muppets go to a new country, they put on a show whilst Konstantin and Dominic (Gervais) rob a place, they leave, Sam the Eagle and Jean Napoleon (Burrell) pick up the clues, repeat. The film does pad out proceedings with some sub-plots, but a lot of them like Dominic’s desire to be number 1 or Nadya’s (Fey) affection for Kermit feel underdeveloped. Luckily, the film manages to hide behind its humour a lot, which keeps proceedings jovial and entertaining.

The Muppets are all pretty much as you remember them but, much like the last film, many of them have been pushed to the sidelines (major note to filmmakers: needs more Swedish Chef!). Walter is still here from the last movie and is as bland as ever, especially considering he doesn’t have as much reason to exist anymore. The human performances are mostly good. Ty Burrell is easily the standout as Interpol agent Napoleon; his chemistry with Sam the Eagle is consistently amusing and the constant jokes about how lazy and laid-back the French are kept me laughing throughout. The two of them together are funny enough that they could easily hold an entire movie on their own. Fey is effective when she’s around, but she doesn’t get quite enough the screen time. Like in the last film, they’ve pack this thing to the brim with cameos. I won’t spoil any of them, but though most of them are brief many are very hilarious. Unfortunately, Ricky Gervais’ Dominic sticks out like a sore thumb and somewhat ruins proceedings. He’s clearly trying, but his dry comedic skills aren’t suited to this brand of humour and the script never plays to his strengths. A much more lively and charming actor would have been better suited to this role.

The Muppet films have always been known for their songs, and Bret Mackenzie of Flight of the Conchords returns to compose the new tunes. The film gets off to a great start with “We’re Doing a Sequel”, which is both catchy and humorous in all the right ways, but after that they somewhat fall into routine. The songs are fun to listen to as they play out, but none of them stick in your head like the songs from the first film. It sometimes feels like the filmmakers went, “They’re hasn’t been a song in twenty minutes! Throw in another one!” On a technical level, the film looks fine. The Muppets are still all done practically, but there does seem to be a lot more CG assistance this time around as the film calls for them to get involved in more action beats. When these moments arise, it can look somewhat cheesy but you could say that just adds to the charm.

Muppets Most Wanted is enjoyable and amusing, but it never quite hits the high notes of its predecessor. I was definitely entertained throughout (Ty Burrell alone is worth the price of admission), but I think it ultimately lacks the sentimental charm of the original. If you’re a Muppet fan I’m sure you’ll find plenty to like, but I’d advise calming down your expectations. As the film is ironically aware, “everybody knows the sequel’s never quite as good”.

FINAL VERDICT: 7/10

CAPTAIN AMERICA: THE WINTER SOLDIER review

Starring: Chris Evans (Scott Pilgrim vs. The World), Scarlett Johansson (Her), Anthony Mackie (The Hurt Locker), Sebastian Stan (Hot Tub Time Machine), Robert Redford (All Is Lost), Samuel L. Jackson (Pulp Fiction)

Directors: Anthony & Joe Russo (You, Me & Dupree)

Writers: Christopher Markus & Stephen McFeely (Pain & Gain)

Runtime: 2 hours 16 minutes

Release Date: 26 March (UK), 4 April (US)

Much like Superman, the main problem people have with Captain America is that he’s too nice; too much of a boy scout who can do no wrong. When stood next to Iron Man or Hulk, he seems a little bland. But The Star-Spangled Man with a Plan did well to keep audiences entertained in both his solo debut The First Avenger and in The Avengers itself. Now Cap must hold the limelight again in The Winter Soldier, and I’m happy to say it’s certainly one you won’t want to miss.

The Winter Soldier is the first post-Avengers Marvel film that really feels like a true sequel to that film, but it does have a tone and feel all its own. Whilst First Avenger was a light-hearted Indiana Jones-esque romp, this film has the ouvre and style of a spy thriller; a Bourne film set in a world of superheroes. And just like all the great thrillers of the past, the film is packed with intrigue and suspense that keeps the pace rollicking and the audience engaged. It calls into question the workings of S.H.I.E.L.D., the difference between controlled peace and true freedom, and the consequences of both outlooks. It’s a story that feels very suited to Cap’s optimistic view, and seeing him put his foot down and fight against the modern view of “peace” is one that is both entertaining and somewhat relevant to the times we live in. For those really interested in the mythos of the Marvel Cinematic Universe, this is a must-see. While Iron Man 3 and Thor: The Dark World worked as standalone fare, The Winter Soldier majorly shakes up the status quo and sets the universe in an interesting place for the future (do I even need to tell you to stay through the credits at this point?). My only real gripe with the film is that Winter Soldier himself isn’t as big a part of the film as you’d think. It’s not a huge loss, as the film’s main focus is more than enough to hold the story, but you’d think one of the titular characters of the movie would have a much bigger impact on the main story.

His third time holding the shield, Chris Evans truly owns the character of Captain America and it’s hard to even think he was once Johnny Storm. The story challenges Cap’s beliefs and morals, allowing Evans to do much more than just be the knight in shining armour. The film also allows plenty of time for Steve Rogers’ more personal life, particular highlights being the scene between him and an aged Peggy Carter and whenever he encounters the enigmatic Winter Soldier. Scarlett Johansson was perfect casting as Black Widow, and here she is finally given much more screen time to impress in both action scenes and character moments; her chemistry with Evans is superb and the true heart of the movie. Anthony Mackie is clearly having a ball playing The Falcon and too has great repartee with Cap, whilst Samuel L. Jackson’s Nick Fury is finally presented in a much more human and fallible manner that shows he does have a conscience. As said before, The Winter Soldier himself isn’t on screen as much as you’d expect, but when he’s there he is a very intimidating presence. Robert Redford is well suited to his role as Alexander Pierce in what is clearly a throwback to his role in the classic 70’s thrillers like Three Days of the Condor, and even Cobie Smulders’ Maria Hill and Maximiliano Hernandez’s Agent Sitwell get more time in the spotlight. And of course there are many cameos ranging from the obvious to the surprising, including teases hinting towards the future.

Considering The Russo Brothers’ background is in comedy, they really nail the action sequences in The Winter Solider. Clearly influenced by the likes of Bourne and The Raid, the fights are as visceral and intense as you can get within the PG-13 limitations. Ranging from tight one-on-one brawls to massively complicated choreographed fights on ground and in the air, all the action scenes impress and rival those in The Avengers on a spectacle level. The cinematography and editing never becomes problematic, and always knows when to cut in close and when to keep distance and let us enjoy the carnage. The score isn’t quite as memorable and heroic as Alan Silvestri’s score for the first movie, but Henry Jackman’s music does give the film a much more modern feel.

Captain America: The Winter Soldier stands as one of Marvel’s finest achievements. For those who wanted a true sequel to The Avengers, this is it. The plot is intriguing and shifts the foundations for the films to come, it moves the characters forward in an interesting direction, and as pure popcorn entertainment it is second to none. Anyone doubting that Captain America is too silly or jingoistic a character for the times we live in will probably be silenced when they see this picture, as it shows us that we’ll always need the pure hero who will always stand up for what is right. Now to wait till August, where an unlikely team of heroes will form to guard the krutacking galaxy.

FINAL VERDICT: 9/10

NEED FOR SPEED review

Starring: Aaron Paul (Breaking Bad), Imogen Poots (Fright Night), Dominic Cooper (Captain America: The First Avenger), Scott Mescudi, Dakota Johnson (21 Jump Street), Michael Keaton (Batman)

Director: Scott Waugh (Act of Valour)

Writer: George Gatins

Runtime: 2 hours 10 minutes

Release Date: 12 March (UK), 14 March (US)

After 20 years of trying, we have still yet to get that great video game movie. They’ve ranged from guilty pleasure (Mortal Kombat, Street Fighter) to mediocre (Silent Hill, Prince of Persia) to just awful (basically anything made by Uwe Boll). Like how comic book movies struggled for a while, I’m sure one day we’ll get that good video game movie (I’m looking at you, Duncan Jones’ Warcraft). But for now, here’s Need for Speed.

The long running racing series rarely had plots, and when they did they could be summed up in about three sentences. This can be a good thing or a bad thing. The lack of material could allow the filmmakers to do basically anything they want as long as its got fast cars, or it could cause them to fumble around and do nothing but show us fast cars. Need for Speed swerves somewhere in the middle of those two options. The film does attempt to have both a story and some emotional stakes, but they feel clichéd and half-arsed. The plot is predictable and is basically an excuse to watch cars drive very fast in a bunch of different locales. The film can’t quite decide if it wants to be serious or silly so it flip-flops between the two clumsily. The comedic moments rarely hit and feel somewhat juvenile, whilst the dramatic moments are trite and sometimes confusing (I’m looking at you, Kid-who-has-a-vision-of-the-end-of-the-movie-for-no-reason-other-than-to-add-perplexing-dramatic-poignancy). On a mindless, meat-headed level it can be enjoyable but anyone looking for any kind of substance won’t come out pleased. Then again, anyone going into a movie called Need for Speed looking for substance is clearly lost. To the movie’s credit it’s never boring and kept me engaged, even if the film does run on a bit too long. When your plot is this thin, crossing the two-hour mark is nigh unacceptable.

Aaron Paul proved himself with his work on Breaking Bad, but now he’s entering the big leagues. And despite the lack of decent material, Paul manages to keep the movie on life support through his determination and natural charisma. His role of Tobey Marshall isn’t exactly a deep one; he’s the underdog who’s been wronged and is out to prove himself, but Paul goes for it and manages to carry the film across the finish line when I’m certain lesser actors would crash and burn. Similar compliments can be made to Imogen Poots, who also manages to rise above the weak material mainly thanks to good chemistry with Paul. Props also must go to Michael Keaton, who clearly knows what type of movie he’s in and just has fun with it despite being in a role that is mostly pointless. Other than that, the cast doesn’t quite add up. All of Marshall’s buddies are pretty interchangeable and bland, with only one or two character traits to share between them and even less good jokes, which is especially aggravating because the whole plot revolves around the death of one of these insipid characters. Dakota Johnson serves minimal point to the plot and just looks bored most of the time; maybe she just realised she’s about to throw her career down the toilet with Fifty Shades of Grey. But the biggest fault in terms of the cast comes from Dominic Cooper. Despite being a very charismatic and talented actor in most cases (see The Devil’s Double if you want solid proof of that), but here he’s just awful. To be fair his character as written is about as nuanced a villain as Dick Dastardly, but Cooper makes no effort to rise above the material and remains stone-faced throughout.

But of course, most people aren’t coming to see Need for Speed because of plot and character. They’re coming to see cool cars do cool stuff, and this is clearly where all attention has gone. The car chases are frequent and frenetic, the film barely stopping for a few minutes before another one kicks in. All of the stunts have been done practically, and the attention to authenticity does pay off and makes the races have much more visceral impact than half of the Fast and the Furious movies. The cinematography is very loose and vibrant but never so much that it becomes incomprehensible, and the score eases off when it needed to let the sound of the cars do most of the work. On purely a spectacle level, Need for Speed runs smoothly. It’s just a pity most everything else fails to work.

Need for Speed can be enjoyed as fun popcorn entertainment thanks to the consistently enjoyable car chases and the admirable efforts made by Paul and Poots. But the sloppy script, weak dramatic direction and an uninteresting supporting cast constantly impede on the fun. Considering how little material there is to adapt it’s hard to compare it to other video game movies but it is one of the better ones. If you’re a serious petrolhead you might find enough to enjoy here, but anyone looking for something with substance should stay far away. And so the wait for the first great video game movie continues…

FINAL VERDICT: 5.5/10

300: RISE OF AN EMPIRE review

Starring: Sullivan Stapleton (Animal Kingdom), Eva Green (Casino Royale), Lena Heady (Game of Thrones), David Wenham (The Lord of the Rings trilogy), Rodrigo Santoro (The Last Stand)

Director: Noam Murro (Smart People)

Writers: Zack Snyder (Sucker Punch) & Kurt Johnstad (300)

Runtime: 1 hour 42 minutes

Release Date: 7 March (US, UK)

Let’s all admit it, people: 300 isn’t a masterpiece. It’s meat-headed, monotonous and absolutely ridiculous. But it had some cool action scenes, a unique visual aesthetic and some cheesy but quotable dialogue. In the six years since, many have aped elements of the film but only now have they finally released an official follow-up in the form of Rise of an Empire. Is it blasphemy? Is it madness? Or IS…IT…adequately satisfying?

Rise of an Empire is both a prequel, a sequel and a takes-place-at-the-same-time-quel (seriously, we need an official name for that) as it focuses on another frontier of the Greek/Persian conflict. Like with the original, the film plays as fast and loose with historical accuracy as Abraham Lincoln: Vampire Hunter, so historians need not apply. The title is somewhat of a misnomer: not only is it not about the 300 (whose appearance here is 98% stock footage from the last film), but the whole “Rise of an Empire” part is pretty minimal. There’s not too much plot to speak of and can be summed up as “Persians bad. Greeks good. Now we fight”. The attempts to tie in to the events of the first film can be somewhat clumsy, but it does give the film a sense of scope and unification. But when the film delivers what it was made to do, it hits all the right notes. The film moves at a brisk pace, lets the action carry the story and ends with a satisfying finale that sets up for another (probably final) instalment. On a story level, Rise of an Empire is a superior film to its predecessor with a much better structured plot and more defined heroes and villains. It’s not exactly Shakespeare, but it gets the job done.

The cast of Rise of an Empire clearly know what kind of film they are in and deliver the level of performance you’d expect from a movie that could easily be re-titled Blood, Swords, Abs & Tits. Sullivan Stapleton does a serviceably job as hero Themistocles, but he lacks the bravado and ferocity Gerard Butler brought to King Leonidas. Like the first film, the rest of the soldiers are pretty forgettable and are basically there to kick arse and then die in a fountain of gore. Lena Heady returns as Queen Gorgo from the original but is relegated to narrator for most of the film’s runtime with promise of a bigger part in the next one, whilst David Wenham’s Diliois is nothing more than a series of glorified cameos. Rodrigo Santoro’s Xerxes has little screen time as well, as after a rushed origin story for him he goes off to serve his role in the first movie. Which is perfectly fine, as Eva Green’s Artemisia is a more than satisfactory replacement and the true standout of the film. Green revels in a role that would come off as clichéd in the hands of a less qualified actress, as she goes for broke and perfectly embodies a character oozing with deadliness and sex appeal. The film lights up every time she’s on screen and you’ll be wanting for more every time she leaves.

The visuals of 300 hundred have been ripped off so many times since the first one that it doesn’t really feel that special anymore, but it sticks with the style and it still works. The effects look near identical to the original, but somehow the blood effects look worse. Seriously, it looks more like CG ketchup most of the time. Whilst the effects, production design and costumes (or in the case of the Greek soldiers, lack thereof) are on par with the first film, the action scenes have noticeably improved. Whilst the battles in the first film were cool to behold at first, they quickly became grading and started to meld together into a mush of spears and pectorals. Rise of an Empire mixes up the action with the addition of naval battles and, as Assassin’s Creed IV proved, adding naval battles always makes everything better. The addition of ships to the mix gives the film a bigger sense of scale and ferocity as the swinging of swords is combined with the splintering of wood. Even the few land based battles, such as the opening scene’s depiction of the Battle of Marathon, have a much better pace and vigour than most of the action in the first film. Heck, there’s even a sex scene that is shot, cut and scored as if it was a fight scene, which results in a strange combination of awesome and unintentionally hilarious. Top it off with an anachronistic but thumping score, and this film has the bases covered.

300: Rise of an Empire delivers just what it needs to: lots of action scenes full of blood and slo-mo with some cheesy dialogue and a few tits thrown in for good measure. If you liked the first film, you’ll like this one. If you didn’t, you won’t. It’s as simple as that. It’s a much better film than you might expect but not by much. If you’re in the mood for mindless fun, you could do much worse.

FINAL VERDICT: 7/10