Archive for Hayley Atwell

Review: Avengers: Age of Ultron

Posted in Film with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 4, 2015 by Tom Austin-Morgan

Age of Ultron

Earth’s Mightiest Heroes return to battle a foe of their own making in the latest Marvel behemoth to hit the big screen.

Avengers: Age of Ultron is a whirlwind of action from start to finish with a massive cast of characters from virtually all the previous films. So much so, that the story is propelled forwards at break-neck speed to cover the developments in everyone’s lives while also introducing new characters as well as set up the plot.

Sounds like a bit of a mess? It is a bit. Unless you’re a comic book aficionado it is becoming more and more difficult to keep up with who everyone is. Especially as there are so many cast members that enough time cannot be afforded to build them up enough to make them 3D.

The most obvious examples of this are ‘the Maximoff twins’, Scarlet Witch and Quicksilver (though only known by the names Wanda and Pietro – Elizabeth Olsen and Aaron Taylor-Johnson, respectively). They are new characters, but their origins were actually revealed at the end of Captain America: Winter Soldier. Also, James Rhodes/War Machine and Sam Wilson/The Falcon (Don Cheadle and Anthony Mackie), although big characters in the Iron Man films and Winter Soldier, are marginalised to the point where The Falcon isn’t even referred to by name.

Credit where credit’s due, though, director Joss Whedon does a stellar job with the over-stuffed hand he has been dealt by the Marvel Cinematic Universe. He starts the film in the middle of a big action set-piece where we get to see all the Avengers from the first movie doing their thing side-by-side, evoking the big splash pages from the comics.

He then does a balancing act of slowing down to find some human interaction between certain characters, fleshing them out more, namely the scientist bromance between Bruce Banner/The Hulk (Mark Ruffalo) and Tony Stark/Iron Man (Robert Downey Jr) and the burgeoning relationship between Banner and Natalia Romanoff/Black Widow (Scarlett Johansson). Also, Clint Barton/Hawkeye (Jeremy Renner) has a massive expansion of character in Age of Ultron, he’s always been a B-list Avenger but finally gets a chance to shine here.

There are some stunning visual effects in this film, as we’ve come to expect, but the slower moments between the characters are needed, not just for a chance to breathe, but to showcase Whedon’s knack for writing great, naturalistic and witty dialogue. Some of the standout lines include Hawkeye proclaiming that his role in these apocalyptic battles is ludicrous, bearing in mind his weapon is a bow and arrow. His wife (yep, he’s a secret family man) saying “I totally support your avenging” and The Vision (Paul Bettany – who is a welcome return to the screen in physical form) riffing with Thor (Chris Hemsworth) about the balance of Mjolnir (yes, The Vision can weald Thor’s hammer).

James Spader voices the titular villain, Ultron, with real menace but, as with most Marvel villains, is a bit two-dimensional and is easily dealt with in the end. There is a cameo from Andy Serkis as a South African arms dealer, Ulysses Klaue, who will eventually link Black Panther to the Avengers’ roster, as well as the mention of Wakanda. But this is a digression.

It is clear that Whedon knows his stuff when it comes to these films. He knows what the fans want to see and how to write snappy dialogue as well as handle massive effects shots. The problem is, that there are almost too many characters to fit into one movie and after the addition of move characters in the coming years before the next Avengers film, Infinity War in 2018-9, has been split into two parts. However, the end of Age of Ultron introduces the idea that certain characters can be written in and out to solve this problem, something Marvel will, surely, have to think about. Bearing in mind that people coming out of the cinema today couldn’t remember the red bloke’s (The Vision) name or who that purple guy at the end is.

It’s a bit of a mess, but Whedon is the only man who could have made sense of it all, despite the fact it felt like Marvel’s marketing department were insisting on certain shots or the inclusion of certain scenes. If you’ve never seen any of the previous films you won’t have a clue what’s going on. The Marvel films are starting to get further away from stand-alone as they go. But, if you’re a fan of the comics you’ll enjoy it quite a bit. Can too much of a good thing be bad for you?

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Review: Captain America: The First Avenger

Posted in Film with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 14, 2011 by Tom Austin-Morgan

‘Captain America: The First Avenger’ is the final installment of introductions to the characters appearing in ‘The Avengers’ next Summer. Chris Evans, whose last superhero role was as The Human Torch in the ‘Fantastic 4’ movies (also a Marvel comic adaptation), takes to another famous spandex-clad role as the red-white-and-blue-est good guy this side of DC’s Superman.

Steve Rogers is a small, thin, asthmatic, weedy kid who wants to join the army to fight the Nazis as he dislikes bullying (’cause that’s what the Nazis were, right?!). After being turned down time and again at various recruiting stations he is spotted by a German doctor, Dr Abraham Erskine (Stanley Tucci), who signs him up for an experimental project which might see him signed up and on the front line.

During training he stands out, much to the disapproval of Colonel Chester Phillips (Tommy Lee Jones), by displaying less-than-adequate physical ability. But his ability to think outside of the box, as well as selflessness, bravery, determination and his sense of right and wrong mark him out to be selected for a revolutionary scientific procedure to produce the perfect soldier to uphold America’s ideals.

The experiment succeeds, and a German spy steals some of the serum that has affected Rogers’ genetic make-up and kills Dr Erskine in the process. Rogers chases the spy down and takes back the serum. This is the first scene where he uses his new-found strength and provides a couple of slap-stick moments as he is finding his feet, being that he is a couple of feet taller and wider, and immeasurably stronger than before. It also sees him wielding a taxi door as a makeshift shield in the iconic pose of Captain America.

Despite all this, Colonel Phillips still denies him the chance to fight on the front line; instead he becomes the face of U.S. propaganda against the Nazis at home, performing in theatres in the garish Captain America suit from the comics and the awful 1990 film. While all this is happening an SS officer, Johann Schmidt (Hugo Weaving), has found a religious artefact called the Tesseract which Schmidt describes as “the jewel of Odin’s treasure room”, linking it in with the Thor storyline. He and his assistant, Dr Arnim Zola (Toby Jones), decide to distance themselves from the Nazi party. Their scientific division, HYDRA, starts focusing its research into producing the ultimate weapon using the power of the Tesseract.

While on a tour of the forces, Rogers gets a fleeting chance to show exactly what he’s made of when he realises his brother has been captured by HYDRA, so he commandeers a plane with the help of love interest and  stiff-upper-lipped Peggy Carter (Hayley Atwell) and Howard Stark (Dominic Cooper), Tony Stark’s dad, and parachutes behind enemy lines.

Rogers infiltrates the base, rescues the captured soldiers and brings them all back to the U.S. base after coming face-to-face with Schmidt, who reveals himself to be the Red Skull, the original experimental soldier created by Dr Erskine. Rogers is hailed a hero and is welcomed into the army by Colonel Phillips and straight into the role of Captain in his own elite division; talk about a backtrack!

Thus ensues a long montage of this group of soldiers fighting all across Europe against HYDRA’ s (not the Nazis) super-weaponary; his suit has now become a little more military-issue and less star-spangled, though the colours are still red, white and blue. This ends with what seems to be the final battle where our heroes infiltrate the mountain hideout of HYDRA in the biggest underground warehouse in cinematic history (it has a runway for the biggest bomber you’re ever imagined that has to be 5 miles long – it is ridiculous)! The sequence ends in a chase after the plane as it is taking off, a fight in a part of the plane with six HYDRA soldiers around massive bombs and then yet another fight – this time to the death with the Red Skull, who was planning to destroy America (not any of the other allied countries as we have been miraculously edited out of World War II by Hollywood).

Rogers cannot turn the plane from its course so ditches it somewhere in the freezing waters around the North Pole. He wakes up in a suspicious room somewhere in his native New York; when he realises he is being lied to he escapes and breaks out into modern-day New York where he is quickly apprehended by Nick Fury (Samuel L. Jackson) and inducted into the Avenger programme whereupon the film ends. Talk about an anti-climax.

But then this is, as I said at the beginning of the article, an introduction to a character who will be expanded upon in ‘The Avengers’. But it would have been interesting to see how Steve Rogers adapts to his modern surroundings and what the impact of his situation has on his psyche. Somehow I get the feeling we will find out about this in ‘The Avengers’.

That movie aside, ‘Captain America: The First Avenger’ is an interesting film. Its visuals are pretty good and the casting is top-notch; it far outstrips the rubbish 1990 straight-to-release outing. The supporting cast was outstanding; Toby Jones, Stanley Tucci and Tommy Lee Jones especially seem to relish the roles they are given by really hamming it up. Hayley Atwell however, was no good at all. A bit of a charisma vacuum really.  Hugo Weaving was brooding and sinister as the Red Skull, though quite why his head turned red, his hair fell out and his nose dropped off were never truly addressed other than his inner faults manifested themselves. This still doesn’t explain why Captain America didn’t have some sort of physical defect to do with being good, like an enormous chest to support his big heart or something. Chris Evans loves these kind of over-the-top roles and dials the cheesy lines up to 11.

I found the CG a little distressing at the start of the film where Chris Evans’ head is placed on top of a skinny man’s body. But probably because I know what he looks like in real proportions. The Red Skull effects, on the other hand, are flawless. But the big gripe I have with the film as a whole is the ending; it is far too abrupt and anti-climactic, though I do realise that it is merely an introduction to a character. I think the director, Joe Johnson, handled it well given that Captain America is a bit of a cartoon and previous outings have been panned. Now we just have to wait for ‘The Avengers’ next year, though if you stay ’til the end you get a teaser trailer for said film.