Enola (Millie Bobby Brown) has had a strange but delightful childhood, raised and educated by her mother Eudoria (Helena Bonham Carter) in a manner perhaps inappropriate for a fine young lady of her time, but according to Eudoria’s own standards. Eudoria valued intellect and wit of course, but also independence (hence Enola’s name, alone spelled backwards) and a free spirit. They were happy together, not even lonely though Enola’s father had passed and her brothers left home years ago. But waking on her 16th birthday Enola finds that her mother has disappeared and left her no choice but to summon her older brothers.
Brother Sherlock (Henry Cavill) is a bit of a famous detective – maybe you’ve heard of him? And Mycroft (Sam Claflin) is the persnickety one who finds his sister’s lack of social graces to be untenable. He lines up a finishing school to send her away to, so of course she absconds, not unlike her mother has. Enola has gone to London of course, not just to find out where her mother is, but who her mother is, or was. To do it, she’ll have to stay one step ahead of brother Sherl, who is a a bit of a sleuth himself, and not easy to outwit.
The part suits Millie Bobby Brown to perfection – plucky, canny, charming and engaging, she adds a new dimension to the already beloved and fully realized Holmes universe, not only proving her worth but making room for herself and room for change. Sherlock has always lived very much inside himself, apart from and above the rest of the world, of whom he takes little notice unless they’re part of the case. Enola, however, is very much a product of and a force of change in England, which is already in flux when we meet her in 1884. Though she spent her early years in near isolation with her mother, her future is very much her own to make of it what she will.
Aside from the awkward colon in the title, the most annoying thing about the Mission: Impossible series has always been Tom Cruise’s massive over-reliance on rubber masks (yes, even moreso than his ridiculous excessive arm-pumping while running). While Mission: Impossible – Fallout doesn’t totally avoid the rubber mask cliché, it tweaks it enough to feel fresh. And every once in a while, despite how familiar the M:I formula has become after six attempts, the movie will sneak one by you, winking as it does.
In Mission: Impossible – Fallout, Ethan Hunt (Tom Cruise) and his team (Ving Rhames and Simon Pegg) are tasked with saving the world (again) by recovering a bunch of stolen plutonium before a terrorist group can use it in nuclear weapons. The stakes are high so Ethan and his crew need to be at the top of their game, and doubly so when we’ve seen them in action so many times already.
M:I-F is up to the challenge in all respects. This is the best entry in the franchise so far. Not because it does anything surprising or anything we haven’t seen before, but because it delivers exactly what it promises and because it’s flawlessly executed, without a single misstep.
Action-packed and entertaining from start to finish, M:I-F is better than I expected, better than it has any right to be, and better than it ever needed to be. This is 2018’s best summer blockbuster, hands down.
There was nothing very honourable about the war in Iraq, and this movie knows it. It’s written by war vet Chris Roessner and he’s not afraid to paint the screen with his shame.
Private Matt Ocre (Nicholas Hoult) signed up to the reserves in the summer of 2001, thinking it would help him pay his way through college. And it might have worked had some idiots not flown planes into the Twin Towers. So off he goes to a war that’s immediately disillusioning. He doesn’t know why he’s there or what he’s doing.
Roessner watched Platoon for the first time in Saddam Hussein’s commandeered palace in Tikrit and it made him want to really pay attention to what was happening around him – it was film school he was hoping to attend, after all. Now he’s among the first of his generation to write a script about his own war.
If Ocre is a reluctant soldier, he’s also an empathetic one. Younger than most others in his platoon, he isn’t yet jaded; his naivety both a blessing and a curse in his work. He gets sent to a village where they need to repair a water main but work is slow, the days scorching, the villagers too afraid to lend a hand. It’s a clusterfuck. The movie is basically the whole war in a nutshell: it doesn’t go very well. They fight apathy every day. The two sides struggle to understand each other.
Sand Castle diverges from other recent war movies in that it shows fresh-faced new recruits being sent overseas, maybe for the first time in their lives, instead of the grizzled, cynical Bradley Cooper types we’re used to seeing. The movie is authentic but it’s no classic – a forgettable, minor war movie. But it does give Henry Cavill the chance to shout my favourite line: “Listen here you piece of shit. I hope you get shot and fucking die…Don’t translate that.”
Just when you thought the title of this movie was as pretentious as it could get, Zack Snyder delivers a pre-movie PSA on spoilers. I was offended. What else is the internet for aside from spoilers and porn? And since Snyder and crew spoiled some key parts about this movie in the title (namely the Batman VERSUS Superman part) and trailers (revealing the big bad guy), it was doubly ridiculous to waste time on a PSA that I could have spent watching a post-credits scene (SPOILER ALERT: THERE ISN’T ONE).
There’s really not much to spoil anyway. Batman v. Superman: Dawn of Justice is exactly what you’d expect. The script is so cookie cutter and routine that the writers could skip exposition or backstory whenever convenient (and they take full advantage). But don’t worry, Batman fans! SPOILER ALERT: you will get to see Thomas and Martha Wayne get gunned down outside a movie theatre. Because we haven’t seen that often enough…
At least we don’t rehash Superman’s origin (thank Krypton). But (SPOILER ALERT) we don’t get any hint of Lex Luthor’s origin or his motivations, other than (SPOILER ALERT) he’s evil and crazy and rich and smart and an orphan. It’s the same way with Wonder Woman – the no-origin part, not the evil crazy rich smart orphan part (as far as I know). That left me to guess as to why Lex hated everyone to the point he was willing to cause the destruction of Metropolis and Gotham (which, SPOILER ALERT, are right next to each other in a very lazy move by the writers), and why a literal greek goddess (I’m assuming) is conveniently hanging out in these twin cities waiting for an opportunity to (SPOILER ALERT) don her metal bathing suit.
One final SPOILER ALERT: despite all its issues, Batman v. Superman is actually fun in its brainless way. Batman’s costumes look great, the much-anticipated fight between the two titular characters is awesome, and the stakes are suitably high by the final battle that Wonder Woman’s participation feels like a necessary deus ex machina (and seeing all three on screen together was worth the price of admission).
So if nothing else, Batman v. Superman accomplishes its objective. It made me want to see the Justice League movie. A lot. And despite my griping, Batman v. Superman is not nearly as bad a film as many critics would have you believe. I mean, it’s your typical trashy comic book movie but it delivers exactly what it promised. Judge it as art if you want, and on that scale it fails, but so does every Marvel movie! Genre fatigue is the only reason I can think of to explain the backlash, and to that I say: if you are tired of superhero movies, you will not enjoy this film. But you also won’t enjoy any “critically acclaimed” superhero movies past, present or future. And if you are still up for more, well, see this one, and then start saving your money for May’s double feature of Captain America: Civil War and X-Men: Apocalypse. Both of which will probably be much better reviewed EVEN THOUGH THEY WILL BE THE SAME EXACT MOVIE AS BATMAN V. SUPERMAN. Critical scores are so meaningless.
And on that note, Batman v. Superman: Dawn of Justice gets a score of seven holy trinities out of ten.