X-Men: First Class

It might be churlish of me, but where was Matthew Vaughn five years ago? Making "Stardust" probably; a reasonably successful fantasy/romance hybrid. But more importantly he was not making "X-Men: The Last Stand". You see when Bryan Singer decided to make the eternally lamentable "Superman Returns" and ditch the franchise that had been his calling, he left a very big void in his absence. Of course, everybody knows how bad that decison was in retrospect: arguably Singers career has not fully recovered from the response that film received. After working steadily up with some classy and stunningly well made indie thrillers, his jump to the big time resulted in (along with "Blade") two films that kick started the craze for comic book films that have been ever popular for over a decade now. "X-Men" was fantastic success for a number of reasons. It appealed to people who thought they didn't like comic books, it led to one of the best sequels of all time, and it proved that comic book movies could be a valuable commodity. So after two highly successful movies Singer was faced with either making the third and possibly fourth chapter in the franchise, or with rebooting Superman for a new generation. Fox denounced him to do both and so Singer chose Superman and placed a young up and coming director in his place. Someone he could trust with the franchise. Someone with an eye and a vision on where to take it all. Vaughn, fresh off the success he had with his directorial debut "Layer Cake" was that man. And he.......didn't take the job. After all that, the man walked away from the project. Vaughn cited the reasons for his departure as the simple fact as that he was still learning the ropes of his profession. The deadline for the release of "X-Men 3" was rapidly nearing and the time he was alloted to film the movie was too small. So Vaughn walked and Fox brought on board hack for hire, Brett Ratner to helm the final installment and thus irrevocably screwed up the entire franchise; destroying any possibility for a fourth chapter and beginning the downward spiral continued by "X-Men Origins: Wolverine" three short years later. Early last year and word comes that Fox are planning a prequel/reboot to their franchise. Gossip hinted that none other than Singer was back on board to save the flailing franchise. But then wouldn't ya know it, yet another film steals him away. That film "Jack, The Giant Killer" is not due out till next year but that still left a void in who would take over for First Class. Enter yet again, one Matthew Vaughn, riding high on the critical and cult success of "Kick-Ass", a gloriously morally questionable and hilariously anti-superhero film. Now this is where it gets ironic. With just a little over a year to deliver the film (most of these types of big budget and effects laden extravaganzas usually take two years to finish) the man actually takes the job. So in a round about way, it brings me back to my original point: Where was he when we needed him? It seems odd that he is a directing a film that has the same deadline as the very similar one he stepped away from did, five years ago. Where was he then? As this film testifies to, he is more than up to the job and could have saved us the travesties of the last two films. But is his return too late?

Prequels, by their nature have an uphill struggle ahead of them. Put simply, fans of the original films will always know how a prequel must end, if it wants to segue effortlessly in with it's older siblings. However, more times than not this robs it of any natural tension the story line should have. It is one of the main reasons why Lucas' new "Star Wars" films didn't work. We knew how everything would turn out. So going into this, we have a certain expectation for the characters in knowing how they are going to get to the people that begin the original film. This is a problem that "X-Men: First Class" very neatly manages to sidestep almost entirely throughout it's running time. Sure there were a few moments here and there I caught myself anticipating a plot point as a result of having seen all the other films that happen after this one, but for the most part Vaughn and writing partner Jane Goldman's script managed to keep me enthralled. In this film we follow a young Eric Lensherr (a typically fantastic Michael Fassbender), better known to you and I as Magneto, and Professor Charles Xavier (James McAvoy) and find out how they became friends, before turning into the characters from the original trilogy. Set during the Cuban Missile Crisis, this is the first film in the franchise to successfully have a distinct look and feel, completely separate to that which has gone before it. Vaughn has great fun with his swinging 60's, putting the soon to be called X-Men into all sorts of adventures by way of the old James Bond flicks. The main bad guy even has his own villainous submarine. So as evil Kevin Bacon plots to start a nuclear war for his own nefarious reasons, it also coincides with the discovery that there are those in the world with mutant super powers. Vaughn takes time introducing his cast, contrasting following Prof X as he tries to find more of his kind with Lensherr on his own personal man hunt to get revenge on the Nazis responsible for all sorts of horrible antics to him when he was a child. To be fair, Lensherr is the more interesting of the two; barely containing a past full of intense rage and sadness. So while we get to know Prof X and Magneto fairly well, some of the other mutants feel slightly short changed, with only an extremely cringe worthy scene in a mess hall serving as to introduce them. Only Beast (Nicholas Hoult), Mystique (Jennifer Lawrence) and Banshee (Caleb Landry Jones) make the most of their limited time to truly make an impression. Everyone else feels entirely forgettable. Worse still is poor Kevin Bacons 'Hellfire Club'. Sure his Sebastian Shaw is an acceptable villain - his subordinates are atrocious. One mute (who's name I'm nearly certain is never mentioned) does nothing but make poorly rendered CG storms, Azazel (Jason Flemyng) does nothing but look cool and Emma Frost (January Jones) seems completely lost in the mix. Jones drowns amongst the cast, serving as the only real weak link among them all. In fact, it stands out more when the casting is one of the main reasons the film works as well as it does. With such a huge ensemble and interweaving story line to work from, Vaughn had an awful lot to fit into the running time, even at it's 2 hours and 20 minutes. But somehow, just when it seems like he's going to drop the ball, he manages to keep everything on track. But as much as the film is good, it never really manages to feel anything less than rushed.

Vaughn had an extremely tough deadline to make this film. Initial glimpses of characters seemed atrociously photoshopped together as an afterthought. For more proof, see the main poster up above. Fox had no time to market this film as they would have liked. Every interview Vaughn gave from set told how unforgiving the schedule was and how he was feeling the pressure of it all. But somehow, I kept the faith in the movie. And how right I was, because even though the film has it's fair share of faults, it goes some way to getting the franchise back on track. The film has a few plot holes, (why exactly is Shaw doing what he's doing?) characters are forgotten (where does Rose Byrne go for the second act?) and some lines of dialogue are pretty harsh on the ears (baby Xavier and baby Mystique's first meeting comes to mind) but overall, the film is pretty darn enjoyable. A fantastic split screen montage of the newly formed X-men training their freshly honed powers works far better than that opening bonding moment mentioned earlier. The main dichotomy between Magneto and Professor X is what gives the film it's soul. Xavier's naivety mixed with Lensherr's frustration at being an outcast is always compelling. An interesting argument about acceptance that is only fueled by the fact that both are neither entirely right or wrong in their opinions. Vaughn paces the film incredibly so you won't have time to pick up on continuity errors (linking it into the films gone before it casts immediate 'No, it couldn't have happened like that because in [insert X-Men film here], [insert X-Men character here] is doing/saying [insert impossible X-Men continuity error here]' over all the other films) and other minor quibbles. Anyway, by the time that fantastic extended action climax happens you won't care too much about such things. However after it's underwhelming opening last week, it might be a case of too little too late from Fox. Fans have been burned by two sub standard "X-Men" films before and might be unwilling to take another chance on one. It's a shame, as this film mixes interesting discussion on themes of intolerence and discrimination, fun fan boy details (love that cameo!) and fantastic effects-laden action sequences. If this is what Vaughn can do with such a small amount of time, then imagine what he'll do with the sequel.

Verdict: 6/10

Matthew Vaughn manages to turn in the complete polar opposite of his last comic book movie. The film is always fun and interesting and gets the franchise on track in a big way, but some annoyances in plot and dialogue only enhances the fact that the film could have been something really special, had they just had a little more time.

"X-Men: First Class" Trailer

Hanna

Refreshingly and somewhat misleadingly, Focus Features decided to release this film at the very start of the Summer Blockbuster Season. I had settled myself into the notion that the next few months would find me becoming ever more disillusioned with the studio system and grow more and more tired of CG effects. Which is fine by me; you have to take the bad with the good as they say. The last thing I was expecting was a film like this. For all of the things I had resigned myself to that I would not see on screens for the next three to four months, I found suddenly alive on screen in front of me. This was the breath of fresh air I didn't know I needed and far and away, the most original film I have seen this year so far. That it also packs in great action, stunning performances and great directing only proves that when a film like this comes along, it must be savoured. I knew the plot of "Hanna" and knew that director Joe Wright was stepping out of his comfort zone of period melodramas, along with it's very interesting cast. Somewhat unfairly though, I did not really register the film on my radar. This is such a shame, as it is a fantastic and ready made cult classic, just waiting to take on extra resonance in the coming years. This is a film that will get better the more it is watched I imagine. For all the things that the film had going against it, so too does it's titular hero. Hanna was the underdog everybody underestimated.

Events kick off in the wilderness of Finland. We are introduced to our heroine and her father Eric (Eric Bana) as she is rigorously trained as a killing machine. Completely shut off from the world, Hanna is someone who knows so much and so little all at once. Everything about the world she knows has only been experienced or read in a book. And yet, this is one who knows how to hit a small animal from miles away with a handgun and can speak over a dozen languages. As Hanna suddenly finds herself out in the world, chased by Cate Blanchetts wonderfully evil and corrupt CIA agent Marissa Wiegler, she must learn to adapt to her new surroundings. Along the way she meets a travelling and liberal British family who take her in. For as much as Hanna knows how to take care of herself, she cannot look after herself. It is in these scenes that the film truly reveals itself. Beginning as a cold and very odd Jason Bourne meets Fairytale of sorts, the film soon softens as our understanding of Hanna, and her to the world grows. Wright makes this progression wonderfully; the many varied locations throughout the film could serve as an insight into what our heroine is feeling at that moment. As Hanna's personality thaws, so too does her background; moving from the wastes of Finland to the warm and crowded streets of Morocco and so forth. Throughout, Wright manages to mix subtle and sometimes humorous character detail with fantastic action. The film features two of the most heart stopping action scenes to be beaten this year; in one Hanna must elude those on her trail at a ship container factory and in another, Eric Bana faces off with agents in a stunning six minute tracking shot. As our lead the sixteen year old Ronan does an incredible job. With her snow white locks, pale face and piercing blue eyes, she is a ready made icon. She handles Hanna's uncertainty and growing interest in the real world excellently while still believably beating the crap out of anyone who gets in her way. Bana provides steely reserve and strength and Blanchett is the 'boo-hiss' evil queen, of the fairytale. However, most impressive of all is Tom Hollander as the camp, yet psychopathic Isaacs whom Wiegler hires to go after Hanna. With his two skin head neo nazi subordinates, dressed in tight 70's tennis shorts and peroxide blonde hair, he somehow manages to cut a very imposing figure.

Wright films all the action in a very European manner; this is not some glossy American action free for all extravaganza as it might have been. Events and pacing are measured accordingly to what the story needs. Some might bemoan the slow mid section, but it is here where the film truly worked its wonders for me and brings to mind just what a good job Wright et al did. The film might sound preposterous, but after a few moments alone with Hanna in the wilderness you will know that Wright has a vision for the film and that shines through in every scene. What caught me off guard was that I was not expecting a film to carry any trademark personality or grit, nothing to get my teeth into. Wright takes full advantage of the films idiosyncrasies and turns out something that is part "Run Lola Run", last years "The American" (with a genuine plot it is only fair to point out) and the previously mentioned Bourne films mixed with Hans Christian Andersons best tales. What the interesting thing is, is that it is fruitless to compare the film to many others as it is the rarest of rare: a truly original Summer action film. The action crackles, the music (by The Chemical Brothers no less) pulsates and the bravado of original vision is on full display as Joe Wright officially steps up to the plate, as one of the most interesting directors working today.

Verdict: 8/10

At times both odd and enthralling, director Wright turns in his most accomplished film so far, and the most unconventional action genre mash up you may see all year.

"Hanna" Trailer

Kick-Ass

Matthew Vaughn, welcome to the big time. After two decent attempts and wild genre change in 'Layer Cake' and 'Stardust', he now, with his latest effort finds himself on the speed dial to every studio in Hollywood. Quite simply, this is a film designed to entertain, thrill, and provoke endless censorship debate in modern cinema. This is a film for the times and one that will be surely be remembered in many years to come as a sure sign of the zeitgeist at the early 2010's. And with it, Vaughn has sealed his place in A-List Directors to watch out for. Here he directs with such confidence and flair, you wonder why you haven't noticed it before in his movies. This is down to one major reason I believe. Vaughn funded 'Kick-Ass' independently thus alleviating himself from the constant strain of over bearing studios breathing down his neck. Incidentally, he ended up selling the film back to Universal for more than he initially asked from them to make it in the first place. As a result, he made the film on his terms and on every frame does this show. Where else would you see a foul mouthed 11 year old girl-assassin lay waste to a room full of drug dealers? As is befitting its source material, (the 2008 comic book series written by Mark Miller) the film pulls absolutely no punches. It is quite possibly, the most fun you might have in a darkened room full of strangers this year.

Dave Lizewski is an everyday normal teenager. Painfully normal. His humdrum boring existence (not to mention, a love of all things comic-book related) leads him to wonder why real life people don't don spandex and become vigilantes on the streets in the name of Superheroes everywhere. 'Because they would get their ass kicked', retorts one of his friends. Aside from this being true, this does not sway Dave and soon he is patrolling the streets and attempting to stop muggings and every day street violence in his own, E-Bay bought costume. It turns out Daves friend was right. Dave does certainly get his ass kicked. It's not long however before Dave makes a name for himself online as his Superhero alter ego Kick-Ass. This leads to a few copycat vigilantes in the name of Big Daddy (Nicholas Cage) and his daughter, Hit-Girl (Chloe Moretz). The difference here, is that these two are the real deal. They are the closest things to Superheroes the film has, albeit completely bat-shit crazy. While Kick-Ass has his sights on small time gang crime, the other two have their crosshairs set on Gangster Kingpin Frank D'Amico (Mark Strong)and it is in this that Kick-Ass gets involved and way over his head with.

The cast are all uniformly excellent. Without a single false note in it, everyone delivers very memorable work and manages to stand out amongst the mad cap profanity and violence. As the lead protagonist British actor Aaron Johnson handles a very tough job very well. It is in he, that the film must be grounded in order for all the craziness to lead from later. Christopher Mintz-Plasse proves he actually isn't the one note McLovin everyone had him initially pegged for as the (again, useless) Superhero Red Mist. Strong, playing the bad guy is going to get tiring quite soon as he has done it so many times before already, however here he is a very formidable threat to our heroes. And then there is Cage and Moretz, the movies secret weapons. Cage here is having a ball and seems to be having the most fun he's had in years. It is easily the best performance he has given in a very long time. Whether he is taking out an entire warehouse of goons or imitating Adam West (Big Daddy's costume bears a striking resemblance to one caped crusader) Cage excels in all his scenes. It might still be a while for him to crawl his credibility back, but on evidence here, it seems that all is certainly not lost from him. And now for Moretz. The character that will define the film for years and the one in which everyone will be talking about as they exit the cinema; she is a giddy riot. Whether spewing out filthy obscenities or mercilessly and fluidly taking out perps, Moretz proves she is now a name to watch out for. Her headline grabbing turn as Hit-Girl is sure enough going to have newspapers spewing out controversy over the moral deviance Vaughn has created by having a character like this in his film. She kills with no remorse, and is the most exciting thing in the films many excellent set pieces. An empowering female role to be proud of, she beats everyone to a pulp and is the strongest character in the film. She recalls the initial impact of originally seeing both Jodie Foster in 'Taxi Driver' and Natalie Portman in 'Leon' such is her impact. Moretz nails it, being at turns hilarious, threatening and tough while reminding the audience that she is only an 11 year old girl all the time.

With all this madness everywhere, a lesser director might have got lost in the mix. Not so Vaughn. This is a very ballsy movie in quite some time and both Vaughn and co-writer Jane Goldsman should be applauded in their adaptation. The film is hilarious. It lampoons comic book movies while simultaneously being one. An off-the-wall 'Watchmen' if you will. It plays completely on its own terms and if you don't want to go along with it, then get out of its way. It is the ultimate fan boy movie writ large. Sure, the script, despite building excellently and being razor sharp does include a few small formulaic details here and there. I say put them aside; the film is there merely to entertain you, and is original in more than enough different ways to keep you watching. When something is so unabashedly crowd pleasing as this, you would be a fool not to go along with it as it breathes new life into the Superhero genre. It is violent and very morally questionable at times, but it's also a 'movie'. Are you really going to take something in which an 11 year old can kick the crap out of men twice her age as serious as that? Make no mistake, while it starts off as proclaiming a need for a Superhero in the 'real world', it is very much set in a 'movies' world. Vaughn as it turns out can have his cake and eat it. A sophisticated and funny satire of the genre yes, but also packed with enough action to keep everyone happy, lest those themes go over some peoples heads. Kudos also to John Murphy, for delivering another nuanced score to go with the picture, and Vaughn himself packing the movie with enough already known pop hits to rattle along to all the carnage. This is the 'Pulp Fiction' of comic book movies. It takes stale conventions and turns them on their heads. It is original when it needs to be, yet is wise enough to play to audience demands for entertainment.

The film is the definition of crowd pleasing. If it is possible, make sure and catch the movie with a group of mates or in a crowded theater to get the most out its charms. Laugh along to the jokes, cheer and whoop the violence (in all its comic, bloody glory) and wince as everybody at some stage gets their ass kicked. Our eponymous hero, lets not forget, is a crap Superhero after all and Vaughn gets great pleasure in repeatedly beating him to a pulp. So throw your morals out the window and go along with the fun this movie has to offer. It isn't going to win any awards, but I have the feeling that this will be remembered very fondly in many years to come. As for Matthew Vaughn, we intriguingly look on to see where he takes us next. After gritty, cockney gangsters, tongue in cheek fantasy and now, morally questionable and gun toting Superheroes, the sky is the limit.

Verdict: 79%

An hilarious script, genuinely exciting action, original characters and lots of violence added together a great movie makes. The true hero here is Vaughn who takes a very combustible concept and makes a classic, knowing comic book movie for the ages.

Trailer: http://www.youtube.com/watch?v=_oy4IFvH2Tc