Avengers: Infinity War

"Fun isn't something one considers when balancing the universe. But this does put a smile on my face."

Here we are, over the course of 18 movies Marvel have slowly shaped our entire cinematic landscape and redefined the way we think of franchises, all leading up to this moment. It is safe to say that this kind of film is unprecedented in cinema history. No other studio has succeeded in carrying out a sustained narrative over the course of as many movies as Marvel, all with the intent to draw audiences in via the same route comics readers would get attached to different names and titles. So this is it.

When the universe is threatened by Thanos (Josh Brolin), a power crazed totalitarian seeking to unite all six infinity stones and use them to wreak havoc on the cosmos, the Avengers must unite from across realms and planets to face their biggest and most dangerous threat so far.

I’m almost unsure of how to even measure this kind of movie. Do I see it as the culmination of all of its 18 predecessors? Is it the epitome of blockbuster entertainment as we know it? All I know for sure is that it is far from merely a regular movie, or even a regular Marvel movie for that matter. ‘Avengers: Infinity War’ has a kind of built in audience appeal that could only come about from a full decade of slowly gaining a loyal audience who have placed firm trust in the creators and their ability to entertain and marvel (pun intended).

Obviously the film is crowded, somewhat convoluted and gigantic in scale, but that was always going to be a given. Where ‘Avengers: Infinity War’ triumphs is how it so fundamentally understands how its audience relate to and care about the characters who occupy the story. It effortlessly endears you to its characters, fleshes out the stakes and sense of dramatic consequence that will befall them should they fail in their mission, then it just lets the stunning spectacle say the rest. Make no mistake, even if this were empty spectacle (which it is not) I would argue that it would still make for the price of a ticket.

The Russo Brothers have displayed an acute blend of style and personality, as far back as their time directing ‘Community’. Their filmmaking renders the most enormous of set pieces as personal affairs  which retain a key focal point in how they zero in on the characters at the heart of the action. Their camera never gets lost amid all of the chaos and they seem consistently interested in what the heroes themselves are going through, both physically and emotionally. There is a kinetic energy to how they compose an action sequence, giving every super powered punch a sense of visceral impact.  

While the narrative essentially boils down to a somewhat simple premise (bad guy wants to do bad stuff, good guys try to stop bad stuff), it’s the dynamic between the ensemble cast of characters that bestows the film’s story with a unique involvement to it. The characters emotional arcs are what underpin the action and intergalactic conflicts, and those arcs are always presented in a way that feels natural to the script. There’s no point where the movie outright halts the flow of the story to tell us how the characters are feeling, instead splicing their progression with the unfolding plot whilst making the action integral to their development.

The script also strikes an excellent balance of tone. There are some truly heavy themes and consequences within ‘Avengers: Infinity War’ but the film never descends too deeply into this grim undertone so as not to lose the attention of its core audience. There is still plenty of character driven humour and cathartically heroic moments that make the whole spectacle thoroughly entertaining. But watch out for some striking gut punches that might make even the most casual viewer well up slightly. I also have to give huge credit to Alan Silvestri, whose musical score is so sweeping and epic that it never fails to convey the utter grandeur of every trial these heroes undergo.

But even with all of these elements at play, it would have been shockingly easy for ‘Avengers: Infinity War’ to become a parade of non-sequiturs. What ties these unfolding events together is Thanos himself, the movie’s main antagonist whose journey to accomplish his goal is phenomenal. There’s a school of thought that the best villains are ones who sincerely believe themselves to be the heroes and that is absolutely true of Thanos. His motivations are not sympatric necessarily but they are based in rationale, and due to the script strongly establishing what kind of person he is the viewer has no trouble understanding why his specific attitude would lead him to the conclusions he reaches. His progression over the course of the movie creates a thematic undertone that really ties all of the events and characters together.

Josh Brolin’s performance is also outstanding, possessing such an air of menace that Thanos always feels like a prevalent threat to our protagonists. But at the same time Brolin crafts several intimate character details through his performance that paint a hauntingly complex portrait. Other fantastic performances include Chris Hemsowrth once again embodying the godlike tendencies that ground Thor as a completely believable presence. The usually charismatic Robert Downey Jr portrays a much more concerned Tony Stark, as if even he is aware of the gravitas concerning what is about to happen. Elizabeth Olson is also brilliant for reasons I won’t dare spoil, adding a large amount of emotional resonance to the third act.

But Marvel have placed their trust in so many talented actors that it should come as no surprise that every major player within the film brings their best effort. No one is phoning it in or merely confident in their own assurance. They all re-establish the characters via their performances, embody who those characters are and proceed to react within the story in such a way that they instil great weight into the script just by being a noticeable presence. Seeing these heroes on screen together is one thing, but to have them feel like real fleshed out characters with their own emotional drives and consequences, well that’s something that has only ever been achieved here.

Spectacular on a level that will satisfy any fan of the MCU, ‘Avengers: Infinity War’ is truly the culmination of a full decade of blockbuster filmmaking. It’s going to be an agonising year until the next instalment.

Result: 8/10

Recapping the MCU - Guardians of the Galaxy

It’s always intriguing to wonder just how well a proven franchise could do based off its own merits. If they could just detach themselves from their brand name and make a movie that would have to stand on its own as an entertaining and worthwhile experience. Now obviously it’s hardly accurate to say that Marvel did exactly that in 2014 since they were a proven commodity with a widely established fan base, but even to the studio that had released one of the biggest films of all time, a project as unknown and as frankly weird as ‘Guardians of the Galaxy’ seemed like a long shot.

Even if you were someone that entrusted yourself to the MCU in 2014, it’s highly dubious that you had any knowledge relating to this particular property. After all most of us had only just finished memorising our routine to pretend we knew who that purple guy at the end of ‘The Avengers’ was (it’s….Thanos, right?). But the idea of a crafting a movie around the star power of that guy from ‘Parks and Rec’, 2009 Uhura, a former wrestler that isn’t The Rock, a talking racoon and a sentient tree….well obviously works as a recipe for box office success, of course.

The point of all of this is that the success of ‘Guardians of the Galaxy’ really is a testament to how well James Gunn’s film was able to introduce an entirely new cast of characters and make them resonate with audiences across the world. Much like Joss Whedon did two years prior, Gunn structures his film around the idea of these talented but flawed individuals learning to join together. Their unification is so cathartic because it’s built into the foundations of how the film progresses and flows. He uses his wide shots that feature all of the Guardians as sparingly as he can, so as to create a genuinely fulfilling reaction on the occasions when they are all occupying the same shot.

If any superhero movie has been so utterly elevated by the talent of its cast more than ‘Guardians of the Galaxy’ then I simply haven’t seen it. Every actor bursts onto the screen in a role that is both larger than life but also achingly human. We come to understand Peter Quill’s insecurities just as much as we love his brashness, the self-identifying ‘Star Lord’ line starts as a punchline and ends as a heartstring. Chris Pratt embodies both moments flawlessly, possessing such an acute sense of comedic timing whilst also being fully capable of making the sincere moments land as they should.

The same goes for all of the Guardians, though none of them are explored to the same degree as Peter. But the film makes such an effort to draw a connective line between the characters backstories and their current actions that it’s easy for the likes of Zoe Saldana, Dave Bautista, Bradley Cooper and Vin Diesel to turn a quirky trait into a microcosm of tragedy. With the Guardians dominating the scenery so much it’s understandable why Lee Pace to take a more measured approach. Despite Ronan the Accuser being one of the weaker MCU villains his dynamic with the protagonists is used to great comedic effect.

But ultimately that sense of sincerity works so well within ‘Guardians of the Galaxy’ because Gunn genuinely believes in it. So many writers try to shoehorn in an aspect of earnestness within their scripts only for it to fall flat because of how obvious it is that it’s an afterthought. But Gunn weaves these genuine emotional beats throughout his screenplay. He clearly has a deep affection for these characters he has built up, so feels a sense of responsibility for how their development is handled across the movie.

The reason those emotional beats feel so earned is also due to how well Gunn’s writing draws the audience in. His humour and energetic pacing keep the audience’s attention in a way that never feels desperate. It speaks volumes that Gunn was able to open his movie with a highly traumatic portrait only to then launch into high concept space adventures and never risk feeling tonally inconsistent. His dialogue is sharp and witty, but also loud and brash when the mood requires it. More than anything else it shows the deft touch of a writer who is confident in his characters and understands how they would interact with one another. Humour can’t feel out of place if it is the logical response a certain character would have to a particular scenario, and Gunn writes his way into accommodating both of those factors.

‘Guardians of the Galaxy’ is at its least interesting when it tries to tie this story into something larger. The deviations it takes to explain how exactly this fits into the broader context of the MCU do slow the film down somewhat, whilst also feeling more like blatant exposition than the more naturally conveyed plot mechanics at other points throughout the movie. But despite flaws there really isn’t anything that could lessen the sheer entertainment that this film brings. Certain critics have been accused of going easy on Marvel just for the sake of entertainment, but I wouldn’t argue for that being a bad thing. After all if I had as much fun with every movie as I did with this one, I’d be inclined to be positive more often as well.

Result: 8/10

Recapping the MCU - Captain America: The Winter Soldier

Once again I find myself being unable to be contrarian because the general consensus seems to indicate that many view ‘Captain America: The Winter Soldier’ as the best instalment of the MCU, a sentiment that I have to agree with. That being said I was curious to see how well it has aged within the context of the MCU since I last watched it as well as how it holds up as a singular entity, and both cases it proved to be just as phenomenal as I remembered.

Firstly, and perhaps most impressively, ‘The Winter Soldier’ is the only MCU movie to actually build upon and develop the themes it establishes in its opening act. Too many Marvel movies succeed at conveying an overreaching sense of development for their stories and characters but only really address their thematic conceits when it is convenient for the script. Themes of authority, trust, security, paranoia and history are all conveyed and developed in terms of how the characters navigate the story and interact with one another.

The way in which Joe and Anthony Russo re-contextualise these themes so that they fit within the comic book universe in which the film takes place whilst also being broad enough to relate to any audience member is a feat in of itself. Their direction grounds the film in a way that no other MCU entry has whilst still retaining those wonderfully energetic comic book sensibilities. They basically treat their subject as any other thriller might, even if this one just happens to involve a hypnotised robotic arm wielding assassin.

From the opening scene the Russos establish this narrative momentum that never lets up. There are quieter moments in which they allow the characters to establish themselves and sink into the environment of the movie, but overall the plot just rushes forward in a way that keeps the audience in a constant state of tension without ever leaving them behind. The thrilling set pieces are hung on a narrative that blends the twists and paranoia of the political thrillers that so clearly influenced the Russos, with the pulpy imagination of any classic comic book storyline.

The vehicle for this rollercoaster is Chris Evans’ endlessly endearing performance as Captain America, although in this movie it honestly feels more appropriate to call him Steve Rogers because despite his superhero physique he is as human as the protagonist of a classic thriller. Evans creates such an acute portrayal of a jaded soldier adjusting to a new world, but not in a way that feels overbearing or indulgent. Instead the writers allow Evans to subtly evoke empathy from his sudden displacement, whilst at the same time providing a firm motive for his ideologies.

But ‘The Winter Soldier’ feels just as capable as an emsemble piece as it does a character study. I don’t think Scarlett Johansson’s Black Widow has ever been as interesting or complex as her portrayal and use within the story of this movie. Anthony Mackie does a tremendous job at grounding Sam Wilson with an empathetic characterisation before taking flight as Falcon. In complete contrast to his turn from ‘The First Avenger’ Sebastian Stan embodies a truly menacing and intimidating stance to make the Winter Soldier a formidable foe, whilst also retaining enough humanity so as to evoke sympathy. Samuel L Jackson is once again effortlessly brilliant as Nick Fury. The addition of Robert Redford is also an inspired touch, particularly because he’s playing the kind of governmental antagonist he himself would have been running from back in the 1970s.

The action of ‘The Winter Soldier’ really is something else to behold though. Despite borrowing from the Paul Greengrass school of editing a little too much for my liking that’s only personal preference though and I can’t deny that if the aim was to seek influence from Greengrass they did so in all the right ways. Rather than masking the artifice of their scenes through fast editing and camera movement, the Russos employ the technique to maintain a frenetic and chaotic atmosphere to their action. But by cutting at the pitch perfect moment and utilising some rapid visual storytelling with every shot, they sacrifice none of the clarity. With a greater emphasis on hand to hand combat as well there’s a real visceral impact to the way the punches, kicks and shield throws land in ‘The Winter Soldier’. They maintain a consistent camera height and continuous direction of movement for each edit which only adds greater immersion for the audience without losing that kinetic edge.

Then spread throughout all of this tight plotting, confident storytelling and breath taking action are the extra flourishes that truly mark ‘The Winter Soldier’ out as a classic of the superhero genre. The production design is superb on all fronts, transitioning from the high tech world of SHIELD to the more retro side of the story with relative ease. The sound design is impeccable, as is the methodical and rhythmic musical score by Henry Jackman. They even have a cameo for Danny Pudi, as if there wasn’t any other way to make me more enamoured with this movie.

Thrilling action, intelligent storytelling and possessing deep thematic resonance, ‘The Winter Soldier’ is the MCU’s strongest effort to date.

Result: 9/10

Recapping the MCU - Thor: The Dark World

Now we come to what is in the minds of many the worst film to come out of the MCU, and as much as I would like to be contrarian and elaborate on why it’s a misunderstood gem, I can’t because ‘Thor: The Dark World’ is a truly forgettable experience. It may be a bit premature to reveal that statement in my review but there really is no way to avoid it, since the fact that the movie is forgettable is honestly the only reason I really bother to remember it at all.

But there are still some good qualities to be found within ‘Thor: The Dark World’. On the whole the cast manages to deliver some all-encompassing performances that perfectly encapsulate and convey the distinct motives of their characters. Hemsworth and Hiddlestone make for great counterparts as Thor and Loki, with their entire physicality clashing just as much as their ideologies. But at the same time their dynamic always alludes to a sense of understanding. I think one of the reasons why the scene in which they work together to deceive Malekith is regarded as one of the better moments of this movie is due to how it conveys the notion that the two of them would make a truly formidable duo if they could only put aside their differences.

Speaking of which that is another more interesting aspect of this movie as well, the action scenes. Despite being hung on a plot that is as generic and predictable as they come, ‘Thor: The Dark World’ boasts some highly inventive action sequences that manage to intertwine genuine stakes, clear causality and even a decent amount of comedy. The final battle involving the nine realms aligning is particularly entertaining both for the innovative way the script employs the concept but also how it elevates a relatively straightforward action narrative.

I’m afraid I have now run out of nice things to say. If I could point to any one aspect in which this movie fails to grab my attention it would have to be with the direction. Alan Taylor has an illustrious career of as a director of numerous acclaimed TV shows from ‘Deadwood’ to ‘Game of Thrones’ but he fails to bring any uniqueness or sense of craftsmanship to this project. It’s probably the most solid thesis to the argument that Marvel make their movies via committee without care for artistic merit because that is exactly what this instalment feels like. The visual style is dynamic and unengaging, coming across as flat and lifeless as if this is nothing more than a filler episode for a long running TV series.

But I don’t want to place blame on Taylor as if this is entirely or even partially his fault, because the narrative gives him so little to work with on a directorial level. Taylor’s direction works wonders with the sequences that are already inherently interesting, but when hampered with meandering conversations, narrative non-sequiturs and entire sequences devoted to honouring characters we have absolutely no reason to care for, there’s not much one can do to elevate it.

The storytelling throughout the movie is probably some of the most derivative in the history of the MCU, going as far to devote an entire prologue to convey information that Odin will just state out loud later in the movie anyway. None of the characters have clear arcs or develop in any meaningful way, if anything the movie seems to bend over backwards to try and maintain the status quo. It actually gets to the point where the film almost loses any sense of tension or credibility from how often it tricks the audience. Thor’s hand is cut off but then surprise, turns out it isn’t. Loki is dead but then surprise, turns out he isn’t. Odin is on the throne but then surprise, turns out he isn’t. How you expect your audience to be invested when you keep pulling the same manipulative story tactics time and time again.

But perhaps the biggest issue within ‘Thor: The Dark World’ is its antagonist, a term that I use lightly in this case because even the movie seems to side line Malekith in favour of Loki. It pains me to say this because I remember being truly excited with the notion of Christopher Ecclestone brining his talent to a platform as big as Marvel. But not only is Malekith’s entire design completely expressionless (they took the Oscar Isaac Apocalypse route of plastering a gifted character actor in as much make up as humanly possible) but his motivation and characterisation is so lacking that it is genuinely difficult to think of any defining traits of the character. There is literally no substance, no sense of stakes, no value or any worth to anything Malekith’s presence brings to this film. He exists as an obligation to move the plot forward and has no other discernible function.

Forgettable and derivative in almost every regard, ‘Thor: The Dark World’ is still the MCU’s worst effort despite some entertaining snippets.

Result: 3/10

Recapping the MCU - Iron Man 3

I always find it best to think of ‘Iron Man 3’ more in terms of it being a Shane Black movie rather than as a Marvel movie, because it works much better under the circumstances of the former rather than the latter. In the grand continuity of the MCU ‘Iron Man 3’ has wlays been somewhat of an outlier, hardly ever referenced and rarely acknowledged which I think is due to the studio not really knowing how to go about taking its events into account in their franchise. But as a Shane Black movie it’s everything you could want from a superhero film directed by Black.

I think this dynamic of Marvel/Black is best exemplified by the Mandarin twist. I have to deal with it right away because it’s the elephant in the room, the make or break point for many MCU fans and how they decide the judge this movie. On the one hand, I fully accept that the Mandarin is a character with a long and highly interesting history that is now wasted in the light of this storytelling decision. However, putting the source material and the “what could have been” attitude aside, I think this is pretty interesting twist. In an era where so many comic book movies are hampered by this obligation to serve their fans, it was refreshing to see Black throw that out of the window and treat the characters in whatever way he saw fit for his story.

That attitude bleeds into almost every aspect of Black’s screenplay and direction. He wants to tackle this latest outing for Tony Stark as less of a chapter and more as a singular entity. It’s why he chooses to establish almost every issue that drives the narrative within this film, and then refuses to carry anything over into a potential sequel. In a certain sense that works to create a cohesive and contained narrative, but as I said it also serves to make the movie feel tonally jarring from the rest of Marvel’s catalogue, including the preceding two ‘Iron Man’ films.  

Even the basic psychics and logic of this movie seem different to the rest of the universe, from Tony supposedly being arrogant enough to outright challenge the Mandarin to a fight by giving him his own address (it’s not so much the challenge that annoys me but the fact that he issues it and is then totally surprised that a bunch of gunships arrive to kill him) or how destructible the suits are. But again, these are inconsistences in the franchise, but not within how the film establishes itself within the first act.

That being said, even as a singular entity the film has some issues in how it paces itself. The second act drags and in retrospect is mostly forgettable. The script only addresses certain issues when it’s convenient and this creates a sense of inconsistency in terms of when each character’s issue will affect the plot. On top of that some of them are not resolved as much as they are made redundant. Tony’s PTSD seems to take a backseat two thirds of the way through, his history with Killian does’t feel like a prevalent part of their interaction and he spends so much of the movie separated from Pepper that it’s hard for their relationship difficulties to feel earned or developed.

But there is still so much to enjoy and admire within ‘Iron Man 3’. Every action scene is utterly spectacular and contains a level of grounded intimacy not usually found within the MCU’s bigger set pieces. Amid all of the chaos it’s always a character that our focus is rendered to rather than just empty spectacle. The action also does a brilliant job of conveying some of the movie’s better developed themes. For instance, the Mark 42 armour is repeatedly framed as a symbol for Tony’s self-destructive inner demons only to then be used as a way for him to destroy the external demon that is Killian.

Black also injects a lot of his own humour and stylistics into the movie that make it feel more at home as part of a trilogy with ‘Kiss Kiss, Bang Bang’ and ‘The Nice Guys’ than to the prior Iron Man movies. Black takes great measures to keep Tony out of the suit as often as possible which I think serves two functions in his film. Partly to highlight the character riven journey that underpins the film’s main sense of development. But on top of that I wouldn’t be surprised if it was just to serve as a means for Black to frame Tony and his armour as completely separate entities, almost as if they’re part of some overblown buddy cop movie. They even share a dynamic that wouldn’t be out of place in that genre.

There are some misplaced and misused characters that hamper the otherwise excellent performances from the cast. As I said earlier Pepper is side-lined and separated for a good portion of the movie so Gwyneth Paltrow can’t help but feel like an afterthought despite a decent performance. Ben Kingsley does such brilliant job pulling off the threatening persona that it’s a shame when the rug is pulled out from underneath us. Guy Pearce’s persona seems to change so often and so radically that it’s hard for the actor to get a cohesive grasp on proceedings even if he executes each one decently. But amid all of this we can count on Robert Downey Jr to once again dominate the movie as he brings Tony Stark to life in a way only he can.

Functional as a Shane Black movie but problematic as a Marvel film, ‘Iron Man 3’ is a mixed but highly entertaining bag.

Result: 6/10

Recapping the MCU - The Avengers

Though it was only six years ago, it’s genuinely difficult to envision a Hollywood that existed before Marvel’s ‘The Avengers’ now. In an age where every major franchise wants to replicate exactly what Kevin Feige and his studio accomplished over the course of four years, all building up to this movie in 2012, it’s easy to overlook and understate just how monumental this film was. In that sense it’s also difficult to detach it from the ensuing hype and aftershocks that the film has continued to create to this day. In other words, it’s somewhat difficult to even judge it as just a movie.

It is also difficult to think of any movie in recent memory that has so completely epitomised the concept of pure blockbuster entertainment. There’s a brilliance to its narrative simplicity, a greatness to its character driven story and a wide appeal to its broad use of tone. It says a lot about how well a movie handles its exposition that a viewer could walk into ‘The Avengers’, without having seen any other MCU movie and still get a complete grasp pf what is happening.

Part of that is down to the aforementioned narrative. Though it’s far from complex the story and its ensuing structure give the film room to focus on what matters most, the characters. It makes their joining together a central conceit that constantly drives the plot forward. There is a reason why that now iconic shot of the superhero team finally united has such a cathartic effects, because the whole movie is structured around building up to that specific moment.

If anything it feels even more impressive in retrospect given how many superhero event movies seem to lack any narrative drive for their first act. We don’t receive any clarity or cohesion as we just watch things happening for an hour and then the plot kicks in. That it now the case with ‘The Avengers’ as the stakes are laid out perfectly within the first few minutes and then proceed to intertwine with the team as they are subsequently introduced, unfolding simultaneously with their arcs across the movie. This is the reason why the story never drags, why it never feels condescending to the audience and why it always contains a clear focus point from which to further the plot, all of which could have very easily befallen the movie.

With this ensemble another easy pitfall would be to have certain characters feel side-lined or underutilised but once again ‘The Avengers’ avoids this trap. Though some characters certainly get more screen time than others each player is endowed with a clear and concise arc that works to develop their personality as the plot rushes along. These moments of development are brilliantly placed throughout the movie. From small exchanges of dialogue to the little interactions that underpin the action, everyone has time to grow and change over the course of the film.  

The same can be said for how each character is used within the action scenes, particularly within that final battle across New York City. Each hero has a specific function and role that allows us to track their individual actions and in turn get a sense of the battle as a whole. Again it’s a common flaw within many blockbusters that an epic final battle can feel confused and cluttered but ‘The Avengers’ manoeuvres around that in how it allows the audience to have a firm hold on the geography of the scene, not just in the final battle but in all of the action scenes. It gives us a simple thought process of knowing which hero is trying to accomplish what, and then presents that in an interlinking manner.

As for the actors who play said heroes, they all sink so perfectly into their roles that it’s hard for me to even say there is a standout. I suppose Mark Ruffalo should receive specific praise given that unlike any other main character in the movie, he had to build his performance from the ground up. He had the added pressure of introducing a new persona for Bruce Banner/the Hulk as well as subsequently developing that persona, of which he did a fantastic job. Ruffalo’s Banner is more smooth and at ease with himself which only serves to make his subsequent transformation all the more jarring. But underneath that charisma is a clear darkness that he alludes to throughout the movie, which lends itself the deepening our understanding of the character and is internal dynamic.

Robert Downey Jr embodies the same tightrope walk between arrogance and confidence that made Tony Stark both compelling and watchable in his previous outings. Chris Hemsworth is still embodying the boastful in the role of Thor whilst retaining that streak of humanity that makes the god of thunder intriguing. Chris Evans performance keeps Captain America grounded, conveying the sense of man outside of his own time in the middle of a tough transition, but also distinctly dutiful. Scarlett Johansson continues to bestow Black Widow with all the intrigue and strength that makes the character such a valuable commodity. Jeremy Renner possesses this stoic mysticism that renders Hawkeye as an involving presence. The undercurrent of all these performances is that they establish a distinct characterisation but leave enough room for development, and to achieve that six times over in a single film is no small feat.

Though I do think Joss Whedon’s direction leaves a bit to be desired in terms of its visual dynamics, in that too many of the conversations and dialogue exchanges in the movie seem to be shot and edited in a conventional manner. But the way he conveys the action in the movie is a triumph of cinematic language. As I said before, he expertly makes the characters intrinsic to the way the action flows and develops. He manages to convey this through some phenomenal long takes that takes the audience through the entire landscape of the battle in a way that seems effortless.

‘The Avengers’ still represents blockbuster entertainment at its best. Containing fulfilling character arcs, thrilling action and a sense of spectacle that is magnificent to behold.  

Result: 8/10

You Were Never Really Here

"I want you to hurt them."

As a fan of cinema I’m always conflicted over the idea of a filmmaker being as meticulous and as patient as the likes of Lynne Ramsay. On the one hand I obviously want her to work at a level that will allow her to achieve her full creative potential. But on the more selfish side of things, it’s really tough to wait that long for another amazing movie. Ramsey has distinguished herself as one of the most exciting directors of our age despite the fact that she has only directed four feature films in 19 years.

Joe (Joaquin Phoenix) is a combat veteran residing in New York. During the day he cares for his elderly mother and tries to keep a lid on his post-traumatic stress. At night he goes to work as a hired gun searchers for and rescues trafficked underage girls, whilst also bringing unspeakable violence to their abusers.

There are many elements of ‘You Were Never Really Here’ that feel somewhat familiar, evoking the likes of Martin Scorsese’s ‘Taxi Driver’ and Park Chan-wook’s ‘Oldboy’. But beneath those surface level similarities, Ramsay uses her directorial prowess to understand and convey the thematic core of the story, creating something utterly original in the process. It’s a breath taking character study that is just as striking for its brutal violence as its poetic beauty. It can be thematically elusive and overtly abstract at times, but the film never loses its focus on its protagonist whom it deconstructs and analyses with astonishing clarity.

Bringing that character to life is Joaquin Phoenix who delivers a phenomenal performance. Sometimes my mind can’t even comprehend that this is the same actor who portrayed the temperamental Freddie Quell, or the tender Theo Twombly because every performance is so radically different and fully realised. Phoenix’s entire physicality is built around conveying a specific mood and sense of character. From the first few seconds of him arriving on screen, it is clear that Joe is a man burdened by something. Most of this is communicated with hardly any dialogue from Phoenix as well. From the general way he moves to the smallest details, it all adds to create a rounded and intricate portrait.

It’s a performance that goes hand in hand with the filmmaker’s intent, because Ramsay is a director who has always held a fascination with details. ‘You Were Never Really Here’ follows that trait as its visual language continually places a focus on the minutia’s of then narrative. Ramsay finds ways to further her narrative purely through these details which never fails to add a level of innovation to her method of storytelling. They also serve to elevate what is a fairly sparse narrative. ‘You Were Never Really Here’ is somewhat predictable in a scripting level, but the choices Ramsay makes in how she executes that plot are what bestow the movie with substance.

Another way in which Ramsay’s direction and Phoenix’s performance work in perfect tandem is the ambiguity within them. They each take great care in limiting exactly what the audience can see within Joe. We know the broad characteristics of his character, and those are enough to inspire intrigue over what exactly is burdening him. This is an amazing achievement given how closely the film analyses him at other points. Occasionally the camera seems to take on an entirely subjective view of the world, as if we are seeing it from Joe’s point of view. Inhabiting his mind but never really understanding what lies within.

This elusive theme can be found within other technical aspects of the movie as well. Johnny Greenwood’s score is haunting in its pulsating rhythm, matching the ominous atmosphere of the movie’s visual language perfectly.  The sound design is also nerve wrenchingly intricate, drawing upon pain staking silences as well as sickeningly effective bursts of action. None of these aspects are designed to manipulate the viewer though. They don’t tell the audience to feel a certain way towards the protagonist. Instead we just sit and watch as this intricate portrait unfolds before our eyes.

There’s also a distinct level of restraint in terms of how Ramsay showcases the violence of her plot. We see violence at a distance, through a clinical lens that ultimately makes it seem even more frightening. The way the film normalises these brutal acts speak volumes as to how its protagonist sees the world around him. How he numbs himself to the pain of others whilst trying to serve some justification for the violence he enacts unto them. Whether it’s by way of guilt, desperation of a need for self-destruction, any sense of justice is merely a by-product of Joe’s actions rather than a motive.

But amid all of this crushing depression and biting tension, you will find a small glimmer of hope and beauty within Ramsay’s film. She seeks to present a broader view of the human experience in all of her films and ‘You Were Never Really Here’ is no different. There are moments of transcendent surrealism throughout the film that serve to make the overall journey through this damaged soul all the more affecting. Moments of innocence, redemption and hope are never lost to the film, even if they pass by its main character.

Nerve shredding tense and fascinatingly complex, ‘You Were Never Really Here’ is a phenomenal entry to Lynne Ramsay’s body of work.

Result: 9/10