Kick-Ass 2 is, above all else, a frustrating film. It’s one that at times captures the frenetic, jaw-dropping one-two punch of comedy and violence that the first delivered, but one that all too often falls victim to its own attempts at shock.
Dusty Crophopper is a small crop-dusting plane with one ambitious dream: to compete in the famous Wings Around the World competition against some of the best racing planes on the planet.
While it may not have had quite the cultural impact of your Harry Potters, your Twilights or – more recently – your Hunger Games, the Percy Jackson & The Olympians young adult franchise managed a relatively successful transition onto the big screen in 2010.
Red 2 sees reluctant hero Frank Moses (Bruce Willis) thrown back into the world of espionage when an attempt is made on his life in connection to a top secret project called Nightshade.
When a film like Upstream Colour comes along it’s kinda pointless assigning it a star rating. It is not going for bums on seats, mass appeal, sequel/remake-bait.
It’s been a long time coming, but it’s with no little expectation that the third part of Edgar Wright, Simon Pegg and Nick Frost’s thematic-trilogy of genre-bending comedy films arrives in cinemas. Having already skewered zombie films and action films, with a healthy dash of romances and bromances, now they turn their attention to science-fiction with The World’s End.
With a crash, a bang, and all the wallop of a gigantic sea monster crushing a skyscraper comes Pacific Rim, Guillermo Del Toro’s barmy, charming, cheesy and always entertaining action blockbuster. Time to forget your superheroes, folks. This summer it’s all about massive robots.
Having been associated with the career-shaping role of Doctor Who‘s Amy Pond for three years, it was always going to be interesting to see what Karen Gillan picked as her first post-TARDIS adventure.
A prequel of diminished returns, Monsters University is a good but not great film that packs plenty of laughs into a familiar narrative. It’s a strong enough film of its kind, but there’s still a nagging feeling that it should be something more imaginative, something where you can’t sit back and say with certainty ‘It’s like these films.’
Sofia Coppola nailed the “People in Brown Rooms, Mumbling” sub-genre on her first go with Lost in Translation. Here she nails the precedented mash-up of My Super Sweet Sixteen and Grand Theft Auto.