Man of Steel

"People are afraid of what they don't understand."

Across an ocean of stars, a planet named Krypton faces extinction.  In a final act of desperation and hope, a newborn boy is sent from it to seek refuge on Earth, where he grows up as Clark Kent.  Forbidden from betraying his true self, he finds himself torn between two worlds as vengeful forces pursue him.

Man of Steel is a new, modernised take on the story of the first and most iconic superhero, told with staggering scope and rich stylistic detail.  The film is at once a heightened science-fiction, with the opening sequences set on a far away apocalyptic planet among the stars; and is yet authentically realistic, with the plot subsequently grounded in an identifiable contemporary society.  The extraordinary is practically rationalised and accounted for throughout the narrative; allowing a previously untouchable hero to feel both authentic and relevant.  The non-linear narrative also allows the film to subvert many of the genre's cliches.  The stunning effects and cinematography are set to a subtle yet powerful score by Hans Zimmer; producing a most epic tone to the film.

Henry Cavill is divine as Clark Kent.  He plays the role perfectly, with hopeful blue eyes that betray the loneliness and depth of responsibility that hangs over him.  Just as the plot is conflicted between the agendas of two worlds, so is Clark torn between his inexplicable ties to humanity and his extraordinary heritage.  Amy Adams also delivers a strong and beautiful Lois Lane, driven by courage and curiosity.

The film poses the dangerous consequences of the denial and acceptance of identity, as the protagonist struggles with secrecy.  In particular, it delves into the implications that would be had upon modern society's perception of reality.  This is intricately linked with the theme of choice, and the deadly tension between a dictated destiny and free-will.   The villain of the plot subsequently poses an intense and intriguing threat, due to the justification behind his decisions.

Man of Steel is stunning and epic: the perfect blend of heightened science-fiction and realistic contemporary relevance.  The film ends on the most perfect note; teasing and creating great anticipation for the next chapter.

Stars of the Second Hobbit Film Tribute Fans

The first trailer for The Hobbit: The Desolation of Smaug was released yesterday, gathering over a million and a half hits in the first twenty-four hours.  A cascade of reaction videos have followed, including this particular one in which fans of the forthcoming film capture their pure excitement.  Catching sight of it, Peter Jackson has treated his elven cast - Orlando Bloom, Lee Pace and Evangeline Lilly - to the video, capturing their reaction in turn!  This gracious gesture to two strangers is a unique moment, producing a precious bridge between the film and fans.

Oz the Great and Powerful

"Nothing's impossible."

Oscar (James Franco) is a carnival magician, a self-proclaimed conman, who finds himself caught in a tornado and swept to a bright and enchanting world named Oz.  But Oz is haunted by a dark and dangerous witch, and the faux wizard is drawn into an elaborate act of deception.

Opening with beautiful titles and a monochrome sequence, Oz the Great and Powerful is a delicious fusion of classic and contemporary with lovely nostalgic touches to the 1939 classic The Wizard of Oz.  Sam Raimi's new vision of Oz is Wonderland-esque, with bright flowers, top hats and tea cups.  Set to an enchanting Danny Elfman score, the film also features a selection of beautiful costumes: a blend of late-victorian, fairy tale and contemporary style.

The film's prominent theme is illusion and the power to deceive, whether antagonistically or heroically.   This is personified by the 'wizard', whose existence thrives on his charm and deception.  However, the cast's performances balance precariously in a curious stasis between juvenile and maturity.  They contest with adult themes of seduction, yet prominently deliver childlike reactions to situations; as though ever so slightly uncertain as to who their audience exactly is.

With lovely allusions to the original film, Oz the Great and Powerful is a good prequel to The Wizard of Oz; but does not entirely capture the timeless enchantment of the original classic.

Iron Man III

"Heroes? There is no such thing."

The past creeps up on Tony Stark (Robert Downey Jr.), a la Iron Man, as he returns to reality following  the Avengers Assemble and is confronted by a dangerous terrorist intent on tormenting the United States.

Robert Downey Jr. thrives as Tony Stark.  He perfectly captures the trauma that Tony is haunted with following the extravagent events of the Avengers, who are suddenly and curiously absent throughout this third chapter.  The film subsequently places greater emphasis on the man opposed to the hero, with Tony spending considerable more time out of his suit than in his preceding films; exposing a previously unseen vulnerability to the hero.  This allows the plot to channel an exploration of the relationship between man and technology in the twenty-first century.

The plot is further strewn with contemporary themes of terrorism, with Ben Kingsley delivering a great performance as the threatening and allusive terrorist known as 'The Mandarin'.  There is also a brilliantly hilarious twist to the plot, moments of absolutely stunning cinematography and a great repartee between Tony and Harley, a boy that he indadvertedly befriends.  However, the resolution and final sequences of the film fell short and were frustrating; lacking emotional resonance or plausibility.

Robert Downey Jr.'s natural affinity with Stark and the moments of divine cinematography carry the film smoothly, but the too easy conclusion to the final action sequences felt disappointing.

The Great Gatsby

"So we beat on, boats against the current, borne back ceaselessly into the past."

New York in the glitzy 1920s is intoxicated by decadence and glamour.  The mysterious and allusive Gatsby (Leonardo DiCaprio) throws the most amazing parties, but his heart is desperately ensured by the beautiful woman across the water whom he once lost.

F. Scott Fitzgerald's classic novel of desire and deception is bought to life in a cascade of pearls and sequins.  The production design and costumes are absolutely gorgeous, as the filmmakers draw upon the exquisitely fine details of the novel.  Leonardo DiCaprio steals the film in a flawless performance as Jay Gatsby, perfectly capturing the depths underlying his character.  He presents an intriguing and engaging character who is driven by hope and absolute idealisation.

The artistic direction and editing of the film though felt at times somewhat flawed.  Sequences felt hasty as Baz Luhrmann's shots cavort.  However, while this worked to a stylish effect in Moulin Rouge, it felt slightly ill-suited to a story as classic and sophisticated as The Great Gatsby.  The deliberate use of 3D, particularly during the title sequence, felt unnecessary and at times undesirable; tarnishing the otherwise divine aesthetic film.

An iconic story, intoxicating setting and enticing characters come together to create a gorgeous film, albeit under slightly flawed direction.

The Place Beyond the Pines

"If you ride like lightning, you're going to crash like thunder."

A fairground stunt rider, Luke (Ryan Gosling), returns to a town to find that an old flame is now the mother of a child that he didn't know he had.  Desperate to have an impact on his son's life, he turns his biking talents to crime, with far-reaching repercussions...

The drama unfolds across three narratives and two generations, striking engaging parallels between father and son as it delves into the consequences of passion and the desire for revenge.  The first third of the film is undeniably the most thrilling, as it sets up the following for a deeper debate into conflicting morals.  Ryan Gosling and Bradley Cooper deliver convincing performances as profoundly contrasting characters; delivering two flawed yet identifiable protagonists.  The film subsequently delves into conflicting perspectives of authority, questioning the boundaries between corruption and justice.

Even with peroxide blonde hair and thousands of tattooes Ryan is dashing, but unfortunately the narrative becomes undesirably long and increasingly drawn-out.