Ava Starr is one of my favourite kind of antagonists; her actions are driven by complex motives and pain and she’s not out to end the world.
In Ant-Man and the Wasp, Ava is out to get the technology that Hank Pym and Hope van Dyne have produced. Not for monetary gain or to cause harm to others, but so she can no longer be in pain. When she was a child, she got caught up in an explosion that gave the ability to become invisible, walk through solid objects and generate huge amounts of power. Those abilities came at the cost of every cell in her body being torn apart and stitched back together over and over again forever.
Her powers made her useful to SHIELD and was a thief, spy and assassin for them as they told her they’d fix her if she worked for them. They lied though and when she’s first introduced, she’s desperate to find a cure and to no longer be in pain.
I think Ava is a great antagonist. You can understand and sympathise with her motives and if the “good guys”, in this case Scott, Hope and Hank, weren’t fighting to save a loved one, you’d totally be on her side. I loved her relationship with Bill Foster as he acts like a father figure towards her. In some ways he’s her moral compass as she’s been manipulated by a shady agency from a young age, so naturally her methods might not be good or fair.
I really liked how in the mid-credits scene of Ant-Man and the Wasp, Hank, Janet, Hope and Scott are working together to get the particles they need to continue to make sure Ava is healthy and not in pain. I do like it when the antagonist can become an ally to the heroes.
After a mugging goes wrong, Natalie (Rebel Wilson), who is disenchanted with love, finds herself trapped inside a romantic comedy.
Isn’t It Romantic is absolutely delightful. It clearly states all the typical rom-com clichés at the beginning when Natalie is being rather cynical about the genre, and then once it becomes a rom-com, it has so much fun with those clichés. It treads the fine line of poking fun at those clichés but still embracing them when the right moment comes.
Rebel Wilson is great as Natalie, she’s charming and funny and has great chemistry with all of her co-stars. When Natalie wakes up in her rom-com life, Blake (Liam Hemsworth) who had previously not known she existed, can’t take his eyes off of her. Hemsworth looks to be having a lot of fun being a typically hot yet potentially self-centred love interest while Adam Devine’s Josh does well of not falling into the nice guy/friendzone trap. Josh and Natalie are best friends, and believable ones at that, and their friendship is so sweet and Josh never acts like Natalie owes him anything which is great.
The soundtrack is full of so many great throwbacks to rom-com movies. The way Vanessa Carlton’s “A Thousand Miles” is used is pure brilliance and there’s so many other songs that reference other rom-com movies, in many ways Isn’t It Romantic is like a love letter to the genre.
The fun thing about Isn’t It Romantic, is that while it follows the typical story framings of a romantic comedy, it also has a feel-good message about loving yourself and being happy. Isn’t It Romantic is sweet, funny and it’s a film that leaves you with a big grin on your face. It’s a great way to spend 90 minutes and it’s the right balance of fluffy and satirical. 4/5.
When a man (Sharlto Copley) wakes up in a mass grave, with no memory of what happened to him, he must determine if the murderer is one of the five strangers who rescued him, or if he himself is the killer.
Open Grave is a tense, well-acted film, and it really works when you know as little about the story as possible. It’s creepy and unsettling and it will definitely make you jump a few times.
The atmosphere that’s set up from the very beginning is foreboding and unsettling. The deep pit the protagonist wakes up in is in the middle of nowhere, with the only house nearby being occupied by five people who either can’t remember what happened either, or can’t communicate what they know.
The way the story is played out means you are trying to figure out what’s happening at the same time as the characters are. The suspense is maintained throughout as different characters discover different elements to the truth but as they have no reference point, it still doesn’t always make sense to them – or they jump to what could be a very wrong or dangerous conclusion.
Sharlto Copley is brilliant as a man who is not sure who to trust and, as he gets flashes of memory, he’s not even sure he can trust himself. The rest of the cast are great too, managing to juggle the right amount of fear and suspicion with the desire to survive.
Open Grave is a compelling film that’s sharply directed and knows how to build the tension. The way it sprinkles in answers throughout is great as it’s not until the end of the film do you see how everything fits together. 4/5.
Catherine Weldon (Jessica Chastain), a painter from 1980s New York, travels to Dakota to paint the portrait of Sitting Bull (Michael Greyeyes) and becomes invested in the Lakota peoples’ struggle to keep their land.
The direction and script hit all the usual biopic buttons but it’s the relationship between and performances from the two leads that really stands out in Woman Walks Ahead. Jessica Chastain is brilliant as Catherine Weldon, she’s a determined woman but she also has her fears and makes mistakes as she attempts to learn about the Lakota people. Michael Greyeyes’s is steely and calm as Sitting Bull but there’s also a wit to him. There’s a surprising amount of amusing moments between Sitting Bull and Weldon as they get to know one another. Their relationship is one of deep friendship, but there’s also those hints of something more, if life was kinder.
The wide-open spaces of Dakota’s plains and the ever-changing sky is both harsh and beautiful. It’s a fitting setting for this story as Catherine see’s the beauty in things that most people would not, and the story of the Lakota people’s struggles is one that’s deeply tragic and the film never shies away from the atrocities committed.
As the focus is so much on Weldon and Sitting Bull, the military personnel who are all the villains of the piece, are largely cardboard cut-outs of characters. Though Sam Rockwell’s Colonel Silas Groves is an intriguing character, the reveals about his backstory comes too late to have a lasting impact. Groves and the other military men are deeply racist and when the film attempts to show Groves in a better light, it ultimately falls flat.
Woman Walks Ahead is based on a true story about an unlikely and touching friendship. The performances and cinematography are both beautiful and often haunting, but unfortunately they don’t quite elevate this film to greatness. 3/5.
Bridget (Hilary Swank) returns home to help her brother Nick (Michael Shannon) look after their mother Ruth (Blythe Danner) who has Alzheimer’s and persuade their father Burt (Robert Forster) it is time for him to look into care options for Ruth as her illness deteriorates.
What They Had opens with Ruth getting out of bed in the middle of the night, putting on some lipstick, her shoes and a coat over her nightshirt, and then lets herself out of her home and walks off in the middle of a snowstorm. This incident is the final straw for Nick who has been trying to get his father to see how much the illness is affecting Ruth and how they both need help and support. He calls Bridget and she and her daughter Emma (Taissa Farmiga) fly out to help.
Everything about What They Had and how a family deals with a loved one having Alzheimer’s is incredibly true to life. Everyone’s experiences with an illness differs but there were so many moments in this film I could relate to as someone who has had one grandparent die after having dementia, and another currently living with Alzheimer’s. The script allowed each character to have their own point of view of what this illness was doing to their family. Nick is often frustrated as he’s the one that’s been helping his father look after his mother for so long, whereas Bridget can still see the funny side of things – because sometimes things happen or are said which are funny – but that’s not exactly helpful to Nick. Then there’s Bert who is in denial and doesn’t want to be apart from his wife, which is totally understandable, even if that could be what’s best for the both of them.
The whole cast give brilliant performances, with Swank and Shannon bouncing off one another really well and feel like proper siblings. It’s Blythe Danner though that really needs to be commended. The way she portrays someone with Alzheimer’s is spot on and even with the more absurd moments, she’s never over acts it. It’s the quieter moments though, when Ruth slips from being unaware of what’s happening around her, to momentarily understanding it and being frustrated by it, before slipping back to obliviousness, that are like a punch to the gut. It gives her loved one’s emotional whiplash and highlights how horrible the disease is.
What They Had is a well written and well-acted film that never lacks empathy for these characters. It’s certainly a tough watch at times, especially for those who have experienced a love one losing their mind to Alzheimer’s or dementia, but it’s a film that highlights the struggles and difficult choices a family in that position must make. 5/5.
Pete (Mark Wahlberg) and Ellie Wagner (Rose Byrne) find themselves in over their heads after they decide to foster tough teenager Lizzy (Isabela Moner) and her two younger siblings, anxious and accident-prone Juan (Gustavo Quiroz) and volatile Lita (Julianna Gamiz).
Instant Family was an unexpected delight. It’s marketed as a straight up comedy, and while it still is very funny, it’s actually got a lot of heart to it as it portrays all the highs and lows of foster care. Pete and Ellie are reasonably well off, they have a thriving home renovation business and are content in their lives until a family member makes a comment about them never having kids. It gets them thinking and they sign up for a foster parent course where there’s the usual stereotypes like the gay couple and the deeply Christian couple, but there they all find a sense of support and belonging to get them through the complexities of fostering children who, in many cases, believe they aren’t worth anything.
Both Wahlberg’s and Byrne show off their comedic chops but they both handle the dramatic moments just as well. The young cast is great but it’s Isabela Moner that really shines as Lizzy. Lizzy’s someone who has practically raised her siblings herself so finds it difficult to both relinquish control to Pete and Ellie, and to trust them both. All three kids have had a tough life but being the oldest Lizzy has more of an understanding of what’s going on. Moner does a great job gradually showing Lizzy’s vulnerabilities as she learns to trust and open up to Pete and Ellie, but still never loses her independence or strength.
There are the usual family hijinks of temper tantrums over food, inappropriate boyfriends, and screaming arguments over toys, but when there’s the more serious and emotional moments (of which there are more than one might think based on the marketing) the film handles them well and doesn’t use any cheap joke to lessen the moment. The emotional scenes pack a punch and you’ll have to be tough not to tear up at least once.
Instant Family is a film about love, family and trust. It’s funny but it’s also a tear-jerker both when there’s something sad and when there’s something happy as this unusual family makes a breakthrough. It’s a feel-good dramedy that also never shies away from the difficulties these children and the people who foster them can face. Instant Family really was a surprise in the best possible way. 5/5.
When a team of scientists aboard the International Space Station are examining the first samples from Mars, they discover a rapidly evolving life form that not only threatens their lives, but all life on Earth.
A lot of comparisons can be made between Life and the original claustrophobic-space-horror-film Alien, but that doesn’t mean Life doesn’t do a good job with that template, and it offers its own spin of certain elements.
The first half of Life is more of the philosophical and scientific side of things as you get to know the basics about the crew and what they are trying to achieve with this life form they are studying. While the second half is more action-packed as naturally when the creature escapes, things get increasingly worse and the intensity never really lets up. It’s interesting how to begin with there is humour in this film, most of it coming from Ryan Reynolds’s character, but as soon as the danger is realised, the tension jumps up a notch and all characters are suddenly a lot more serious.
The camera work and editing make every tunnel and compartment of the ISS feel deadly. As the creature grows smarter and reactionary towards the humans onboard it becomes a bit of a cat and mouse chase around the space station as the crew attempt to contact Earth and stay alive. The dangers are real as members of the crew get injured or die in increasingly gruesome ways and it really is a battle as the creature and the humans onboard have a lot of the same basic needs.
Life is a tense, claustrophobic space horror that leaves you on the edge of your seat, but its dark undertone gets more and more prominent as the film progresses, leaving you drained by the time the credits begin to roll. 4/5.