Spider-Man: Homecoming (2017)

2017 #94
Jon Watts | 133 mins | cinema | 2.35:1 | USA / English | 12A / PG-13

Spider-Man: Homecoming

This review contains spoilers for, like, everything.

When Marvel Studios began their grand experiment in revolutionising the Hollywood blockbuster landscape with Iron Man, I began my review with an hysterically funny (and totally under-appreciated) riff on the famous cheesy Spider-Man theme song, which was once buried at the end of the credits of a Spider-Man film as a joke. Nine years later, not only is Spider-Man joining the MCU, he’s doing so with the support of Iron Man — both in the film and in its marketing — and that cheesy song has been rendered in epic orchestral style to open the film. My, how times change.

This is the second big-screen reboot for the Spider-Man franchise, but Sony and new production partner Marvel Studios aren’t keen for us to dwell on that (because the last reboot being such an unpopular move is the reason this one’s happened). So, following this latest incarnation’s soft introduction in last year’s Captain America: Civil War, here we pick up where that left off. 15-year-old Peter Parker (Tom Holland) is now hanging out back in New York, dealing with normal high school things like homework, parties, and casual bullying, and being just a friendly neighbourhood Spider-Man by stopping bicycle thieves and giving old ladies directions. He waits for a call from Tony Stark (Robert Downey Jr.) about their next big mission — a call that never comes. But when Spider-Man attempts to stop a bank robbery where the crooks are armed with suspiciously advanced tech, Peter finds himself on the trail of Adrian Toomes (Michael Keaton), a former salvage worker who uses bits and pieces recovered from Avengers battles to build dangerous weapons that he sells to criminals.

He's some kind of... Bird... man...

MCU films are renowned for having a “villain problem” — their films’ antagonists are often little more than human MacGuffins; someone for the hero to punch in the third act after they’ve undergone their own journey. Recent films have sought to rectify that (Zemo in Civil War being perhaps the best example), and Homecoming continues the trend. It hasn’t gone full-on pre-Nolan Batman — this is still very much Spidey’s movie, most concerned with our hero’s psychology and his personal arc — but Toomes (aka the Vulture) is a more well-rounded character than most Marvel movie enemies. Indeed, he’s a pretty relatable figure he lost his livelihood due to government backroom deals forcing him out, since when he’s just tried to provide for the family he loves. In another version of this story, he’d be the hero.

Although he’s not afforded an abundance of screen time, this is where having an actor of Keaton’s calibre pays off, as he effortlessly sells both Toomes’ everyman humanity and his threatening villainous side. He gets an interesting final beat, too: locked up in prison, he refuses to give up Spider-Man’s identity to a fellow inmate. I’ve read some interpret this as being because he wants to kill Peter himself, but I don’t think that fits with the rest of his arc. I saw it as he’d been reformed by Peter saving his life and was doing him a favour. It wouldn’t be the first time he’d spared his life, after all. It could go either way I guess, but there are so many good Spidey villains who haven’t made it to the screen yet that I hope they don’t intend to waste a chunk of Homecoming 2 on reheating the Vulture.

It's mentor be

As everyone well knows by now (thanks to it being repeated ad infinitum in the previous Spidey movies), the catchphrase of the Spider-Man franchise is “with great power comes great responsibility”. However, it’s not said once in this film. Instead, it’s threaded through the very core of the film’s story and character arcs. It’s the lesson everyone comes to learn. It’s what Stark is trying to teach Peter by giving him a fancy suit with a lot of its special features disabled, and by discouraging him from biting off more than he can chew. When Peter gets himself in too deep, as he does repeatedly, it always comes close to costing innocent lives. It’s a lesson Stark learns too, though: he’s trying to be a mentor, a father figure, and do a better job of it than his own father did, but he still doesn’t set the right example for Peter — until, of course, he does.

That’s very much a subplot, though. Iron Man isn’t in the film as much as the trailers made some fear — this isn’t The Spider-Man and Iron Man Movie; indeed, that shot I’ve used for this post’s banner image isn’t even in the finished film. While Stark’s place as a mentor figure makes him important to our hero, this story is still all about Peter. Tom Holland is excellent, immensely likeable as both the socially awkward Peter Park and the wisecracking, overambitious Spider-Man. You want to hang out with him more, he’s such a nice guy. It’s also clear he’s got the acting chops to carry off some of the more emotional dilemmas and realisations that hit Peter. As I said, he goes through the arc of realising his powers come with responsibilities — to himself, his family, his friends, and the people he’s trying to protect — and Holland navigates that while making it look effortless.

Every superhero's gotta brood sometimes

It naturally brings Peter to a place that, when he’s finally offered one of the things he’s most wanted — membership of the Avengers — he turns it down because he’s not quite ready. That scene, with the modest hero and the gag about the journalists actually being there, is… kinda obvious, even if it’s a strong character moment. But it’s quite interesting on an extra textual level: as it stands, it’s a good setup for future Spidey solo movies, but we’re not getting another one of those until after the big two-part Avengers extravaganza is over and done. Kevin Feige has talked about this being a five-movie character arc for Spidey, implying he has a major role to play in those two Avengers flicks, even though he’s just turned down joining that team full time. Really, it’s nice they haven’t just used this film’s ending to set up / trail their next one, which has been another common MCU problem. Maybe the honchos at Marvel Studios are learning some lessons about power and responsibility too…

Further feeding into the focus on our hero, the movie spends a lot of time on Peter’s school life. All the “typical high school experience” stuff brings a different flavour to the Marvel universe; and, indeed, to Spider-Man movies, which have only passingly used it in previous incarnations. Although it’s ultimately used a bit repetitiously (Peter tries to attend something high-school-y; has to run off to be Spider-Man instead), what there is of it works nicely. Peter’s best friend, Ned (Jacob Batalon), drops neatly into the comedic sidekick role and is a very likeable presence. There’s a neat reconfiguring of Flash (The Grand Budapest Hotel’s Tony Revolori) from his usual depiction as a stock football jock into a kind of nerd-bully.

Class of 2017

There’s an attempt to add some depth to the object of Peter’s affections, Liz (Laura Harrier), in the third act, but she’s mainly called on to be beautiful, then sweet, then scared, then sweet again, so… Meanwhile, there’s the much-discussed casting of Zendaya (are we meant to know who she is? I don’t) as a character who isn’t Mary Jane Watson, honest, but who does like to be called MJ. She’s mainly there to be sarky, and is presumably in place to be used next time. The same might be said of Angourie Rice, who demonstrated her considerable talent in The Nice Guys but is here wasted as A.N. Other Schoolmate. Her character name is familiar from the comics, so hopefully they have future plans for her too.

Reading this review so far, you might be forgiven for thinking Homecoming was some kind of character drama. Not so, of course — there are plenty of the requisite blockbuster action scenes. I’ve seen criticism of them for being typically characterless Marvel fare, lacking in either distinctiveness or palpable stakes. While that’s not necessarily untrue of a couple of sequences, I think the Washington Monument sequence at least is mightily effective. I’m certainly looking forward to re-experiencing some of its dizzying heights in 3D when the Blu-ray comes out. The one I did find disappointing was the climax on the outside of the ‘invisible’ plane (“invisible” in the same way Die Another Day’s car was invisible, but executed a bit more realistically, so Homecoming isn’t getting the same degree of flak for it). Taking place in the night sky, aboard a vessel whose lighted surface is constantly flickering and changing, and with the requisite action-scene fast cutting, it was both too dark and too busy, the effect being just a blur of illuminations. I dunno, maybe that works better in 3D too…

Monumental action

And if we’re talking criticisms, I have to have a quick rant about how the trailers gave away the whole movie. Maybe I should be used to that by now — it seems to be happening a lot — but it’s still irritating. So, okay, Homecoming’s didn’t include everything — one pretty big twist was saved for the final film — but most (perhaps all?) of the best gags were included, and so many big scenes were featured that, at times, watching the full movie felt like working through a checklist of bits we’d seen. The most egregious was when it came to Peter failing at the ferry, then Tony taking his suit away, then Peter proving himself by rescuing the plane suit-less as the climax — that whole sequence of events easily deduced from the trailers. Yes, this is a fault of the marketing more than the film itself (or possibly of my brain having deconstructed the trailer and reconstructed it into a film), but it would be nice if the trailer editors could keep some stuff a bit more secret. It’s not as if there was a shortage of visually impressive action moments to hint at them without using significant chunks. And “Spider-Man tries to stop Vulture while Iron Man both mentors and ignores him” would’ve been fine for the plot. (Though, how much do you need to sell the story of a superhero blockbuster? Would “this famous character does cool things with superpowers” actually be adequate?) I’d like to say I’m going to start avoiding trailers in future, but I have no willpower; I just can’t resist.

Finally, a quick word on the post-credits scene. As I left the cinema after it, the usher commented, “isn’t that the worst credits scene ever?” Well, I can see his point — it’s frustrating to have waited around just for that. At the same time, that’s kind of its point. And its point is bang on: it perfectly described how all of these credits scenes feel to the viewer; or, at least, how they feel to me. They’re pretty much never worth it, are they? And if filmmakers think it actually makes people read the credits… well, I dunno about you, but I turn my phone on and update Letterboxd and check Twitter until the scene turns up.

Spider-American

Ultimately, Spider-Man’s first full-blown outing in the MCU is… an MCU movie. Oh, sure, they’ve made inroads to fixing things like their weak villains, but the general tone — the lightness, the humour, the hero-focus, the style of the action — is all MCU stock-in-trade. Fortunately, they’re good at what they do, and that means this is a very good blockbuster movie. It’s entertainment value is consistent and high. For me, it lacks the kind of iconicity that mark out Sam Raimi’s first two Spideys as foremost examples of superhero movies — although it’s not as wedded into the ever-developing MCU storyline as some of their other movies, it’s still Marvel Cinematic Universe Episode XVI, to an extent. But, eh, when it gets so much right, what does that matter?

4 out of 5

Guardians of the Galaxy Vol. 2 (2017)

2017 #59
James Gunn | 136 mins | cinema | 2.35:1 | USA / English | 12A / PG-13

Guardians of the Galaxy Vol. 2

The franchise that some thought might kill the Marvel Cinematic Universe, but which actually turned out to be one of its most popular successes, is back for the difficult second album. And difficult it is, because Guardians 2 takes a lot of what made that first movie work and ramps it up to 11, consequently slipping over into bouts of self-indulgence.

The story picks up on a thread left conspicuously hanging at the end of the first movie: who is Peter’s father, and why did he have the Ravagers kidnap Peter from Earth? Vol. 2 digs into those answers pretty quickly, because it has somewhere else to go with them… but that would be spoiler territory. So while Peter (Chris Pratt), Gamora (Zoe Saldana), and the ever-hilarious Drax (Dave Bautista) toddle off to learn about daddy-o, the rest of the gang — Rocket (motion capture of Sean Gunn, voice of Bradley Cooper) and Baby Groot (still voiced by Vin Diesel, allegedly) — get caught up in a mutiny involving Yondu (Michael Rooker) and Nebula (Karen Gillan). All while the lot of them are being chased by a race of gold-skinned perfectionists led by the priestess Ayesha (Elizabeth Debicki) who the Guardians conned.

Returning writer-director James Gunn gets things off to a strong start, diving straight into answers, humour, an entertaining title sequence, a couple of action scenes, more humour, and more answers. But after this strong and pacy opening salvo, the film seems to flounder a little. Not fatally so, but it gradually becomes apparent that the middle is going on far too long. Your mileage will vary on how draggy this is — some people seem to have absolutely hated it; I thought much of it was amiable enough, but it goes nowhere fast and that eventually becomes wearing.

You've got the power to know you're indestructible...

Part of the problem lies in splitting our heroes up into two groups with two stories. It may have been inspired by The Empire Strikes Back (or that may just have been a parallel some critics have spotted, I’m not sure), and it’s not a fundamentally flawed structural choice, but here it doesn’t really work. Part of the problem is that the gang works best when sparking off each other. Heck, the film even goes to pains to set up a joshing rivalry between Peter and Rocket, then splits them up! Story-wise, the issue is twofold: the A plot is a slow one that spins its wheels because it has too little story-fuel to drive the whole movie; but the B plot feels grafted on to give half the cast something to do, as well as provide a little action and humour while the other plot is tackling the emotional heft.

That said, uncommonly for a modern blockbuster, it’s the emotional side the film gets most right. While the plot dawdles, the action is adequate, and the comedy is hit and miss (more the former than the latter, to be fair, but there’s a definite case of “throw everything and see what sticks”), there are several characters who get strong, believable, rounded emotional arcs. The obvious one is Peter finding out about his parentage, but my favourite was where the film goes with Nebula and the relationship with her adopted sister, Gamora. There’s also a comparatively meaty subplot for Yondu, meaning it’s mostly the supporting characters who fare best with the material rather than the heroes — aside from Peter and (to a lesser extent) Gamora, the primary function of Drax, Rocket, and Baby Groot is to be humour generators. They are funny, though.

Funny.

In the director’s chair, Gunn continues to dole out even more of what people praised about the first movie. You liked the retro-cool soundtrack? OK, how about a new track every time there’s a lull in the action! The use of the music feels sloppy, often just plonked there to cover a gap, with no discernible thematic relevance. It’s doubling down on something people latched onto the first time, but it feels slapdash. The one instance that almost works is Fleetwood Mac’s The Chain, which has a setup and a pay-off, but they’re not quite properly connected.

Also overdone is the slow motion walking. Remember that shot in the first film of the Guardians walking into battle in slow-mo looking badass, that was then humorously undercut when they started, like, yawning and stuff? James Gunn does, and he liked it so much that he uses it again several times here. Apart from he seems to have forgotten the second part of the scene that made it funny rather than cheesy. Cool people walking in slow motion seems to be one of those cinematic devices that doesn’t really date, especially when used sparingly, so I could let it go once, but here it reaches the point of “oh my God, another slow-mo walking shot?!”

This indulgence in everything people liked before extends right to the very end of the movie — literally. The end credits are a lively affair in and of themselves, but they’re further interrupted by a total of five additional scenes. Five. They’re mostly inconsequential (don’t go expecting any hints towards Infinity War), but they’re worth sticking around for because a couple are quite amusing.

More guardians, more... galaxy? I dunno.

Guardians of the Galaxy Vol. 2 is an uneven film, which manages to be entertaining as a whole thanks to its likeable and funny characters — even if the best gags have all been played in the trailers (and some of them played better in trailers, too), it’s trying so hard (so, so hard) to be a good time that much of it works. It’s strongest at the beginning and the end, which almost makes you overlook that it gets a bit thumb-twiddly in the middle, with one plot more of a short story than a movie and the other feeling a little like a waste of time. However, the surprising focus on and awareness of the characters’ psychological lives makes up for that somewhat — oddly, Marvel’s most comedy-driven and alien-starring movie may also feature their most effective understanding and representation of characters’ emotions.

But don’t worry, there are still jokes about poo and penises.

4 out of 5

Guardians of the Galaxy Vol. 2 is in cinemas pretty much everywhere now. Except Japan. Sorry, Japan.

I am Baby Groot.

The Past Month on TV #16

Another busy month on the box round these parts, so I’ve once again divided my comments into new stuff (i.e. what was actually on TV this month), old stuff (i.e. anything older than four weeks), plus the usual round-up of quick thoughts.

Doctor Who (Series 10 Episode 1)
Doctor Who: The PilotThe 36th run of Doctor Who kicked off with an episode titled The Pilot — no coincidence, that. This is the most newcomer-friendly episode of Who for 12 years, an episode finely calibrated to establish everything for a first-timer but also function for regular viewers too. A lot of that effectiveness can be attributed to Pearl Mackie as Bill, the new companion to Peter Capaldi’s Doctor. After a run of oh-so-special companions running back years, Bill is just an ordinary young woman; but of course she’s extraordinary in her own way: ready to learn, eager to help, full of both inquisitiveness and caring. This is surely the birth of both a fan-favourite companion in Bill and a star in Mackie.

It’s also a rejuvenation for Peter Capaldi’s Doctor. They arguably tried too many different things all at once when he joined the series a few years ago, making him old and irascible in contrast to the young and friendly Doctors that had preceded him throughout the revived series. He was gradually softening anyway, but freed of the burden of Clara he seems able to fully revel in his kooky kindliness. It’s perhaps the most Doctor-ish he’s ever been, and for Capaldi, a life-long fan of the show, that must be a real delight. It’s already a shame he’ll be leaving us this year, but at least we have 12 (or 11, if some rumours turn out to be true) more episodes to enjoy before then.

As for this episode in itself, it was more solid than incredible, though that perhaps does it a disservice. No, it’s not going to sit alongside the likes of Blink and Heaven Sent at the pinnacle of all that modern Who can achieve, but it set out the series’ stall well: it’s sci-fi, but a little quirky, a little scary, and full of heart and emotion. It was almost like a Russell T Davies-era episode, but with an unmistakable Moffat-ness about it too — he may be trying to dodge the “fairy tale” mode he adopted for most of his time on the show, reasserting the “this is based in the real world” aesthetic that RTD relaunched the series with back in 2005, but, frankly, Moffat does the former better than the latter, and there’s an edge of that heightened unreality here nonetheless.

But I think those are niggles and nitpicks. This is a strong opener that establishes a very likeable new TARDIS team to guide us through the season of adventures about to come. Fingers crossed the rest of the run can fulfil its promise.

Iron Fist (Season 1)
Iron FistThe last of the Marvel/Netflix series before the Defenders team-up, Iron Fist has certainly divided critics and viewers. It doesn’t begin well: the opening episode is possibly the worst thing yet released as part of the MCU, and I only say “possibly” because I never bothered with Agents of SHIELD after the poor reaction to season one. It’s needlessly slow, repetitive, the characters behave implausibly, and the fights are terrible, looking like a first rehearsal filmed with one take. Things do improve — there are more engaging characters, some interestingly developed arcs, and better realised fights — but it still doesn’t come together as well as it could. For one thing, it makes the running of Rand Enterprises a major element, but has a very vague-seeming understanding of how business actually works. It’s just too simplistic.

One of the series’ strongest aspects is the unpredictable loyalties of its characters. I don’t mean that they’re inconsistent, but aside from Danny (who’s the title character, so of course he’s a good guy) and Claire (who’s been in every other Marvel/Netflix show, so she’s a known quantity), the trustworthiness and allegiance of almost every character changes at some point; for some of them, at multiple points. Heck, there are even scenes when you can’t be sure whose side to be on, because both have aspects of right and wrong, good and bad. There are better shows than Iron Fist that never manage that level of shading in their characters. I imagine there’ll be a second season, because when doesn’t Netflix commission more of anything, so hopefully they can build on what worked going forward. And maybe add a business consultant to the writers’ room or something.

The Flash Duet
The Flash: DuetAmongst the eight Arrowverse episodes I watched this month was this: the much-anticipated musical crossover between The Flash and Supergirl, which star Glee alumni Grant Gustin and Melissa Benoist respectively — hence why (some) people called for a musical episode, which caused the producers to decide to do one. Somewhat ironic, then, that it seemed to go down well with critics (at least per Wikipedia) but less so with fans: its IMDb rating is just 6.0. I find myself in agreement with the latter. It wasn’t bad, as these things go, but it was overloaded with niggles, Like, why cast another former Glee actor as the villain but then not have him sing with the stars? Why is there a plot hole whereby they call said villain the Music Meister even though it was Barry and Kara who picked the musical fantasy? The guy’s powers seem to be hypnotism-based and nothing to do with music. There were only two original songs, one which was quite fun and one which was overlong and a tad cheesy. Neither came close to the delights of the Music Meister’s original appearance, which also managed five new songs (and a reprise) in an episode that was half the length. The episode’s guest cast seems to have been selected purely on the basis of “anyone from an Arrowverse show who likes to sing”. All in all it came across as half-arsed; like they felt they should do it because people demanded it, but didn’t assign enough time or energy to doing it properly.

The Crown (Season 1)
The CrownThe most expensive TV programme ever made (or not, whatever) certainly has its budget plastered all over the screen, which hopefully didn’t distract most viewers in the way it did me. It shouldn’t, really, because this is a good drama about the humanity behind the public faces. Its adherence to fact is apparently variable, which I imagine is very irritating to historians of the period, but it works for the fiction. There are great performances all round, with John Lithgow in particular disappearing into Churchill to the point that I forgot I was watching an actor more than once. There’s an interesting plot thread early on about the position of Philip (Matt Smith) relative to Elizabeth — how his role as a husband is challenged by her position as Queen, etc — which goes a bit awry as the series goes on and has other plots to focus on. It’s left quite open-ended, so hopefully it’ll be completed in the second season.

Line of Duty (Series 2)
Line of Duty series 2I devoted just 32 words to Line of Duty series one when I finally got round to watching it last October. In summary, it was pretty good but not really great, and the unadulterated adulation that follows the programme around nowadays seemed unmerited. Now I get it, though, because — in a similar fashion to how, say, Mad Max is a decent Ozploitation flick but Mad Max 2 is a reputation-earning action classic — series two is where it’s at. There was much praise for Keeley Hawes’ performance as a downtrodden copper under suspicion of organising a violent ambush of a witness protection convoy, and it’s deserved, but the real star is the writing. There are huge, attention-grabbing twists and surprises, and a mystery that keeps you revising your opinion on what happened right until the end, but perhaps most impressive are the lengthy, intensely procedural interview scenes that could come across as factual and dull but instead are completely gripping.

Twin Peaks (Season 2 Episodes 1-9)
Twin Peaks season 2I first saw the debut season of Twin Peaks many years ago during a repeat run (it was a ‘classic series’ even then, though with hindsight it can’t’ve been a decade old at the time), then watched it again when the DVD came out, but this is my first time watching season two (legal complications delayed its DVD release for what felt like forever, and by the time it finally came out I just never got round to it). The second season is infamous for representing a steep decline in quality, though that isn’t yet evident from this batch of episodes, which covers up to the revelation of who killed Laura Palmer and their capture. I’d say it lacks the pure concentrated genius of the first season, having ramped up the quirkiness quotient and, at the behest of the network, rushing the resolution of the Laura Palmer mystery, but it ain’t bad by any means. There’s certainly much to like in the off-kilter characters, the folksy mysticism, and some fantastic performances — Kyle MacLachlan is a constant delight as Agent Cooper, but Ray Wise is frequently incredible as the grieving Leland Palmer. But I guess it’s mostly downhill from here…

Also watched…
  • 24: Legacy Season 1 Episodes 5-8 — everything I said last time still applies: this is little more than 24-by-numbers. Episode 6 was a particularly irritating example, as a major subplot was hurried to its climax presumably because the writers just got bored with it. Why else rush the plot so massively, in a way that practically ignored the series’ real-time gimmick? I miss the days when the makers cared about maintaining that illusion.
  • Broadchurch Series 3 Episodes 4-8 — it handled its treatment of the issues well, but as a drama Broadchurch 3 couldn’t quite reach the engrossing heights of the first series. Still, it’s a shame there won’t be further cases for the brilliant Tennant and Colman to investigate.
  • Unforgotten Series 1 — ITV’s police drama recently aired a second series, with a third commissioned. This cold case-focused first run features powerhouse performances from a bunch of quality elder thesps (Tom Courtenay won a BAFTA for it, but for my money Gemma Jones as his wife was just as good), plus nicely understated turns from the ever-excellent Nicola Walker and Sanjeev Bhaskar as the coppers on the case.

    Things to Catch Up On
    Car Share series 2This month, I have mostly been missing series two of Peter Kay’s Car Share, which is a couple of episodes in on the telly or available in its entirety on iPlayer. I nearly didn’t bother with the first series (two years ago now!) because I’m not a huge fan of Peter Kay, but someone recommended it and it turned out to be hilarious. I’m sure I’ll make time for the new one soon.

    31 days until new Twin Peaks

    Next month… more Doctor Who, more Twin Peaks, and probably more stuff dredged up from the “must get round to” pile.

  • Guardians of the Galaxy 3D (2014)

    Rewatchathon 2017 #8
    James Gunn | 121 mins | download (HD) | 2.40:1 + 1.78:1 | USA & UK / English | 12 / PG-13

    Guardians of the Galaxy 3D

    So, I just got a 3D TV. Well, it’s a 4K TV, but we’re interested in the fact it does 3D right now. And, to cut a long story short (literally — I wrote a 1,200-word post about this before deciding it was rambling and pointless), the impetus to get one now came from the fact that all TV manufacturers are ditching 3D from this year and I always kinda wanted it. (As to why I got a 4K one, apparently it makes for better quality 3D; plus it’s future proof — “future” being the operative word because I’m not replacing my Blu-ray player, I don’t keep a regular Netflix subscription, and Amazon Prime’s UHD selection (found on an otherwise-secret menu when you access it from a 4K device!) is quite pitiful.)

    The first thing I watched was… the opening seven minutes of Doctor Who’s 50th anniversary episode, actually (which has superb 3D). But the first thing I watched in full was Guardians of the Galaxy, because I’d been meaning to rewatch it before the sequel lands at the end of the month, and because I’ve long been curious about the 3D version’s shifting aspect ratio.

    Regular readers may remember that I love a good shifting aspect ratio, and Guardians does not disappoint. As usual for these things, most of the film is at 2.40:1, opening up to 1.78:1 for selected sequences. Director James Gunn uses it in a similar way to Christopher Nolan, with a scattering of expanded shots here and there alongside some whole sequences, mainly used for action scenes and epic establishing shots. (That’s as opposed to something like The Hunger Games: Catching Fire, which has more-or-less half the film in one ratio and the second half in the other.) Even on a TV the effect is immense, the screen-filling interludes feeling genuinely larger and more impactful. This was helped no small amount by my new TV being 12″ larger, which doesn’t sound like much but actually makes a huge difference (as the actress said to the bishop). That said, pausing a moment to do the maths, it’s nearly a whole third bigger than my old TV, so no wonder the difference is noticeable. But I digress…

    Knowhere's better in 3D

    As with so many 3D blockbusters nowadays, Guardians was a post-conversion. Nonetheless, I commented in my original review that some sequences seemed to have been designed with 3D in mind — specifically the chase through Knowhere, which I described as “little more than a blur.” I feel like past-me was correct, because I had no such issues with the sequence this time out. Even though I enjoy it, I’m still one of those people who regard 3D as fundamentally little more than a gimmick (though I’ve yet to see Hugo, so I guess there’s still room for my own conversion to considering it a Serious Filmmaking Tool), but it does lend a scope, scale, and pizzazz throughout the movie that’s a lot of fun, especially during the big action sequences. Indeed, particularly when combined with the shifting aspect ratio, it makes for some very striking moments.

    I’d hesitate to say the 3D improved my opinion of the film as a whole, but I think the second viewing certainly did. My aforementioned original review was pretty darn positive, though I think I’d remembered enjoying it less than I did because the praise it received in some other quarters went into overkill. On this viewing I didn’t feel the problems with pace that bothered me before; and while I continue to think Nova City could do with more development before the climax (I still can’t even remember its proper name), I found said climax to be less overlong and more structured. Obviously the film itself hasn’t changed (well, other than that extra visual dimension), but my perspective on it clearly has (in addition to that extra visual dimension).

    Badasses of the Galaxy

    For all the benefits of bigger screen sizes, extra dimensions, and an adjusted appreciation of its pacing, Guardians’ greatest asset remains its characters and how much fun they are to be around. They are primarily what make it a mighty entertaining movie, whether in two dimensions or three.

    4 out of 5

    The UK TV premiere of Guardians of the Galaxy is on BBC One tonight at 8:30pm — in 2D, of course.

    100 Favourites II — The Top 10

    And so I reach the pinnacle of my list — my most favourite films I’ve seen for the first time in the past ten years. (Well, if we’re being precise, in the past ten years and three months, but not counting anything from the last three months. But that’s less snappy.)

    Over three previous posts I’ve counted down #100 to #11, but here’s the perfectly rounded number everyone loves for a list: the top ten.

    #10
    Dark City


    4th from 2008
    (previously 3rd | original review)

    Before The Matrix there was Dark City, which tackles some of the same philosophical issues as the Wachowskis’ trilogy, only in a less opaque and verbose fashion — and, as I said, did so first. Of course, it lacks the groundbreaking action sequences that made The Matrix such a hit, but as a thoughtful piece of stylish sci-fi noir it probably bests its better-known thematic cousins. I also reckon it’s still a bit underrated… including by me, really, because it’s nine years since I first watched it and I still haven’t got round to seeing the Director’s Cut. (Note to self: fix that.)

    #9
    The Adventures of Tintin: The Secret of the Unicorn


    1st from 2014
    (previously 2nd | original review)

    Calling on the same skill set that produced the Indiana Jones movies, Steven Spielberg created an adventure movie that perfectly balances plot, action, and humour. Despite the freedom afforded by crafting the entire thing in CGI (rendered with stunning realism by Weta), Spielberg knows when to hold back and maintain a level of realism, only to cut loose when warranted. The top end of this list definitely skews blockbustery-y — well, it is “favourite” rather than some kind of “objective best” (not that that’d be strictly possible anyway) — but, nonetheless, I think Tintin is a very fine and underrated example of the form.

    #8
    Kick-Ass


    1st from 2010
    (previously 1st | original review)

    As Watchmen was to superhero comics, so Kick-Ass is to superhero films: taking familiar building blocks from other films and TV series, it deconstructs the genre through a “what if someone tried to be a superhero for real” storyline, asking questions about the glorification of violence and the sexualisation of its characters — all while being a funny and exciting action-comedy. Perhaps it’s having its cake and eating it, and that leads some people to miss the point (some by enjoying it a bit too much, some by thinking it has nothing to say), but I don’t think that stops it being one of the best and most thoughtful superhero movies yet made.

    #7
    Let the Right One In


    1st from 2011
    (previously 3rd | original review)

    It’s felt like you can’t escape vampires in film and TV for the last couple of decades, but trust a European movie to give them a unique spin, right? So it’s both a coming-of-age-y arthouse-y movie about two 12-year-olds and first love, and a scary horror movie about violent supernatural creatures. It works by not shortchanging either aspect, instead combining them to transcend genre boundaries. So it’s a genuinely touching, emotional and relatable drama, as well as a creepy and horrific fantasy thriller.

    #6
    Mission: Impossible – Rogue Nation


    1st from 2015
    (previously 1st | original review)

    There’s always been a bit of a ‘wannabe’ air to the Mission: Impossible films, like maybe someone thought it could fill the void left by Bond disappearing post-Dalton, only it took so long to make it to the screen that Bond himself got there first in the shape of Pierce Brosnan. Nonetheless, the series has trundled along… though I don’t want to sound like I’m doing it down too much because I’ve always enjoyed it — the second one made my first 100 Favourites list, even. But Rogue Nation is where M:I finally out-Bonds Bond. Mixing action thrills and a genuine sense of jeopardy with just-ahead-of-reality gadgets, a knowing sense of humour, and a cast full of likeable characters, it’s superb blockbuster entertainment.

    #5
    Seven Samurai


    1st from 2013
    (previously 1st | original review)

    A phrase like “three-and-a-half-hour subtitled black-and-white movie” is going to conjure up a certain experience in the minds of most viewers. That experience is most probably nothing like Seven Samurai — although it is, of course, a three-and-a-half-hour subtitled black-and-white movie. On the surface it’s about a bunch of warriors protecting a small impoverished village that can’t defend itself, and it has a lengthy action-packed climax to deliver on such promise, but it rises above that thanks to its reflective attitude towards its characters and their very existence. No, wait, I said it’s not your typical three-and-a-half-hour subtitled black-and-white movie!

    #4
    Rashomon


    3rd from 2008
    (previously 5th | original review)

    I’d wager most would rank Seven Samurai higher in the Akira Kurosawa canon, but I give Rashomon the edge because the form of its storytelling appeals to me. It retells the events surrounding a murder from the subjective viewpoint of each of the characters who were there, and of course their accounts differ. Its title has become a byword for such narratives, but there’s more here than just trendsetting plot construction — it’s a fantastically made film, exquisitely shot and magnificently performed.

    #3
    Zodiac


    2nd from 2008
    (previously 2nd | original review)

    David Fincher’s meticulous true crime thriller may be his best movie — and when we’re talking about the man who made Se7en and Fight Club, that’s certainly saying a lot. It may look like it’s a murder thriller — it is about the hunt for a serial killer, after all — but in many respects it’s more about obsession and addiction, and how such things can come to take over your life. But if you don’t want to ponder that kind of thing, there’s always chills like the basement scene to keep you viscerally engaged. (The slightly-different Director’s Cut is the better version of the film and, if we’re being specific, would be my pick here; but I watched that a couple of years later, so it was the theatrical cut that figured in 2008’s top ten.)

    #2
    Skyfall


    1st from 2012
    (previously 1st | original review)

    The James Bond films have always been action blockbusters, and more often than not immensely popular and successful ones. Skyfall changed the game though: by hiring Oscar-winning director Sam Mendes it was instantly booted into Prestige Picture territory — and still managed to deliver the most financially successful film in the series’ long history, the first billion-dollar Bond. But box office success is not why Skyfall is #2 on my list. It’s the beautiful cinematography; the way it adds thematic weight to the character without breaking the formula; the sense of Bond’s history without over-explicit reverence — and the way those aspects makes it both familiar and fresh at the same time. Plus it delivers on the action, larger-than-life villain, and one-liners just like a Bond film should. Its artistic success may be a case of the stars aligning and lightning striking (the lacking-by-comparison follow-up Spectre proved that), but Bond has rarely been better.

    #1
    The Dark Knight


    1st from 2008
    (previously 1st | original review)

    Eight years and three months ago, when I named The Dark Knight my #1 film of 2008, I wrote that “I’m unashamedly one of those who believe The Dark Knight isn’t just one of the best films of 2008, it’s one of the best films ever.” It’s nice to be able to stand by such a brazen assertion. And, having thought long and hard about what I would declare as my most favouritest movie from the 1,283 new ones that I’ve seen in the last decade, I clearly do stand by it. I love superhero movies, I love crime thrillers, and I love epics, so it’s no surprise that a movie which combines all three — and does them all well — would top a list of my favourite movies.

    Now: what’s a good list without some statistics?

    100 Favourites II — The Penultimate 20

    Week 3 of this list (the first two parts are here and here) sees us hurtling towards the top of the chart — the films that are among my very most favouritest that I’ve seen in the last decade.

    I will say, there are more superhero movies than I expected…

    #30
    Deadpool

    2nd from 2016 (previously 8th)
    I feel like I should’ve matured out of finding Deadpool so entertaining, but it definitely appealed to my inner adolescent. It’s a riot. More…
    #29
    Super

    5th from 2011 (previously 5th)
    More superhero comedy, but Super’s low-budget grittiness and James Gunn-imbued barminess gives it an edge, even as its action climax is viscerally satisfying. More…
    #28
    Before Sunrise

    4th from 2007 (previously unranked)
    Richard Linklater distills the essence of twentysomething life and relationships into one night in the first (and best) of his decades-spanning Before trilogy. More…
    #27
    Citizen Kane

    3rd from 2007 (previously 7th)
    A film now overshadowed by its reputation, if you try to shed the baggage then Orson Welles’ debut still stands up very well in its own right. More…
    #26
    Watchmen: Director’s Cut

    1st from 2009 (previously 3rd)
    The most acclaimed superhero narrative ever penned became a film that is equally as complex and flawed, but also brilliant. More…
    #25
    Gravity

    4th from 2014 (previously 1st)
    Sandra Bullock is stranded in space and we’re right there alongside her in Alfonso Cuarón’s gripping and technically astonishing survival thriller. More…
    #24
    Sherlock Holmes

    4th from 2010 (previously 8th)
    Exciting, funny, with exceptional evocations of how it would feel to be the Great Detective. Not a traditional depiction, but surprisingly faithful. Plus: a proper mystery with a proper solution. More…
    #23
    Toy Story 3

    3rd from 2010 (previously 2nd)
    Lightning strikes thrice for Pixar’s studio-defining trilogy. Funny and moving, it tackles big emotional themes while still providing a kid-friendly adventure-comedy. More…
    #22
    United 93

    2nd from 2007 (previously 1st)
    Paul Greengrass’ 9/11 film almost feels like a documentary, with its naturalistic performances and handheld camerawork. That it was endorsed by the families is another stamp of approval. More…
    #21
    12 Angry Men

    3rd from 2014 (previously 5th)
    Twelve men talk to each other for an hour-and-a-half in this tense, gripping courtroom (without the courtroom) thriller. A directing masterclass from a debuting Sidney Lumet. More…
    #20
    Supermen of Malegaon

    3rd from 2015 (previously 4th)
    This little-seen documentary is an inspirational film about living your dreams even when the world won’t let you. Genuinely, I think it’s an absolute must-see for any lover of film. More…
    #19
    Requiem for a Dream

    2nd from 2014 (previously 8th)
    Darren Aronofsky’s addiction drama may ultimately be grim and without hope, but the verve of the filmmaking transcends expectations. More…
    #18
    Anatomy of a Murder

    2nd from 2010 (previously 4th)
    A precision-engineered procedural crime drama that refuses to deviate from the methodology of the case, but still finds room to deepen its array of characters. More…
    #17
    Batman: Mask of the Phantasm

    2nd from 2012 (previously 4th)
    Boasting an original variation on Batman’s backstory, plus a fine turn from Mark Hamill’s arguably-definitive Joker, this animation is among the very best Bat-films. More…
    #16
    X-Men: First Class

    4th from 2011 (previously 2nd)
    The X-Men begin in this origin story that shows us another side to familiar characters, with a unique feel thanks to its ’60s setting and plot that riffs off Cold War spy-fi. More…
    #15
    The Raid 2

    1st from 2016 (previously 2nd)
    Bigger and grander than its predecessor, this is a sprawling crime epic that still has time for huge, elaborate fight sequences. One of the greatest action movies ever made. More…
    #14
    My Neighbour Totoro

    3rd from 2011 (previously 7th)
    Gorgeously animated with a beautiful soundtrack, Hayao Miyazaki lures you in to a world and tells you a thoroughly nice story with no enforced peril. Refreshingly lovely. More…
    #13
    The Guest

    2nd from 2015 (previously 3rd)
    This ’80s-inspired thriller (with a horror-influenced edge) offers a witty screenplay, engaging characters, stylish visuals, and a fab score. Dan Stevens can definitely be my guest. More…
    #12
    Brief Encounter

    1st from 2007 (previously 6th)
    A romantic affair of cups of tea, discussions of the weather, tea, trips to the cinema, tea, guilt, indecision, and more tea. All the repressed emotions make it truly British. That and the tea. More…
    #11
    The Social Network

    2nd from 2011 (previously 1st)
    Unlikeable brats sit at computers, writing websites and arguing, but with dialogue by Aaron Sorkin and direction from David Fincher that becomes engrossing and exciting. More…

    Next Sunday: the top 10.

    Deadpool: No Good Deed (2017)

    2017 #32a
    David Leitch | 4 mins | streaming (HD) | 2.35:1 | USA / English

    Logan

    Screened before Logan in the US but only available to us poor disadvantaged foreigners thanks to the magic of the interweb, No Good Deed could be regarded as nothing more than a teaser trailer were it not: (a) about four times longer than your average teaser, (b) almost certainly not actually part of the film it’s teasing, (c) listed on IMDb and so forth as a short film, and (d) a self-contained story that is, all things considered, pretty amusing.

    If you were also unfortunate enough to have not had your screening of Logan graced by Deadpool’s irreverent goodness, enjoy:

    4 out of 5

    All being well, Deadpool 2 will be released on 2nd March 2018.

    Logan (2017)

    2017 #30
    James Mangold | 137 mins | cinema | 2.35:1 | USA / English & Spanish | 15 / R

    This review contains major spoilers.

    Logan

    Little Miss Sunshine meets Hell or High Water via Midnight Special, with more superpowers and (probably) fewer Oscar nominations, in the film some people are calling the best superhero movie since The Dark Knight.

    In the not-so-distant future, the man once known as Wolverine, Logan (Hugh Jackman), is living / hiding on the US-Mexico border, his once formidable powers diminished by age. He works as a limo driver to afford meds for an ailing Professor Charles Xavier (Patrick Stewart), whose psychic powers have become dangerous as his brain falters with age. When a woman recognises Logan and asks for his help, the disillusioned former X-Man fobs her off. But soon dark forces and a mysterious girl (Dafne Keen), not to mention his innate moral code, will force his claw-wielding hand…

    While Marvel Studios harp on about how they mix other genres into their superhero movies, with such-and-such a film being superheroes-cum-political-thriller, or this-and-that film being superheroes-cum-heist-movie, and so on, everything they produce is really merely colouring within the lines of the superhero picture, they’re just using different crayons to do it. Logan not only uses different crayons, but it’s colouring a whole new picture, too. It’s not the first superhero movie to operate at a remove from the standard big-budget tropes of the genre, but it is perhaps the first from a major franchise to dare to step so far outside the norm. As I intimated at the start, the feel of the piece is more indie neo-Western road movie than CGI-driven superhero spectacular, though to imply it stints on expensive action thrills would be disingenuous. It still cost $97 million, after all, and so works at ways to retain the favour of a blockbuster-seeking crowd. Nonetheless, the overall impression is of a refreshing change for the subgenre, with a more distinctive feel than any of those aforementioned Marvel movies.

    Wolverine vs Robotic Hand Man

    That doesn’t mean it’s perfect, sadly. Functionally speaking, Logan barely has a villain. There are some ill-intentioned and dangerous people after X-23, so our heroes have to run away from them — that’s all the role they have to play. Heading up the hunt is Pierce (Boyd Holbrook), a henchman figure who’s de facto lead villain purely because he gets the most screen time. Unfortunately, he has more personality in his defining attribute, a CGI robotic arm, than in the rest of his characterisation combined. The theoretical Big Bad is Dr Zander Rice (Richard E. Grant), an evil scientist who we’re told developed some kind of virus that all but wiped out mutantkind, but now seems incapable of tracking down a group of preteens. He’s not on screen enough to make any kind of meaningful impression. On the bright side, on my “how badly miscast is Richard E. Grant” scale (which ranges from “very badly” to “not that bad, I suppose”) this errs towards the positive end, precisely because of that lack of screen time. Lastly there’s younger, fitter Wolverine clone X-24 (also Jackman), who’s at least intentionally devoid of personality — he’s been bred without it so he’ll be the perfect biddable killing machine. Obviously he’s ripe for some sort of thematic commentary — on ageing; on morality; on heroism; on, frankly, anything — but it never comes.

    With the villainous side of the equation so unbalanced, we’re left primarily with our heroes. Fortunately, they do take up the slack, mainly through a pair of fantastic performances from Jackman and Stewart. Wolverine is undoubtedly the defining role of Jackman’s career, a part he’s played on and off for 17 years across seven movies (as a lead, plus a couple more cameos). Here he’s the most human he’s ever been. In many ways Logan was always one of the most relatable X-Men, one of our points of entry into their world and taking the piss out of them and the situation when it was called for. He was still primarily a likeable character in a fantastical world though, whereas here he feels more like a real person, struggling with the physical detriments of ageing and (less explicitly) the metaphysical quandaries of what it was all for. As he puts his time with the character to bed, Jackman gets to deliver his most nuanced and affecting turn in the role. Neatly, it mirrors where it all began for this version of the character: protecting a young mutant girl struggling to come to terms with her dangerous powers in a world that’s out to get her.

    Professor X-piring

    Stewart is every bit as good as a man defined by his mental prowess whose mind is failing. Originally cast to play a statesman-like role in the series, here Stewart gets to have a bit more fun, to be a bit more cheeky, but also to tap into a bit more depth of emotion, as Charles struggles with whatever it was he did to land him in hiding in Mexico (I think there was some dialogue that explained it but, frankly, I missed it in the mumbly sound mix. I’ll catch that on Blu-ray, then).

    Of course, they both die. Normally that’d be shocking in a major studio blockbuster, but it’s quite clear Logan is playing by different rules, and in those rules the old good guys die. Heck, nearly everyone dies, but the only deaths that matter are Charles’ and Logan’s. What’s at least a bit interesting is how they die. For Professor X, it’s almost ignominious, — in a bed, not even his own, stabbed by X-24 for virtually no reason, then later fading away in the back of a truck. It’s not a grand heroic self-sacrifice while trying to save the world, the kind of death you’d expect for a character of his stature (and more or less the kind he got in The Last Stand, the first time they killed him off). It’s a great life come to a meaningless end. Well, Logan’s that kind of movie — it has no reverence for such things, just as life itself does not. Conversely, the death of Wolverine / Logan / James Howlett (who is he, in the end?) is a sacrifice, the selfish man of the movie’s opening giving himself up to save some kids; or, in grander terms, to save the future. Ah, but he was never really selfish, was he? It was an act. An affection brought by the hard years. He was always a good guy at heart. Always an X-Man, as the neat final shot emphasises.

    Wolverine: The Last Stand

    So there is some thematic meat to tuck into here, even with the apparent dead-end (pun not intended) of the X-24 subplot. Couple that with the many uncommon-to-the-genre plot and tonal points and you have a movie that does merit consideration as one of the finer superhero films. However, the perception some espouse of this being brave or bold moviemaking is not inherent to the film. If this were an original story starring new characters, especially if they didn’t have superpowers, it wouldn’t make it a bad film, but nor would it be perceived as being so original or revolutionary. What is uncommon or remarkable is making that kind of movie with a well-known character, and in particular one who’s familiar from leading CGI-fuelled PG-13 summer spectacles.

    Is that alone enough to confer greatness? Logan’s consistency of style and tone render it easily the best Wolvie solo movie (as much as I liked The Wolverine on the whole, its climax was horrible), but for this X-fan it’s not enough to usurp the top-draw traditional superheroics to be found in the three or four genre classics produced by the main series. Perhaps time and re-viewing will increase Logan in my estimation, however, because it is a very strong film indeed.

    4 out of 5

    100 Films @ 10: Favourite Film Series

    Once upon a time, sequels were very much a lesser thing, and making more of them only made things worse. Nowadays we’re almost at the opposite extreme: first movies are routinely designed as setup for the better sequel, and never-ending franchises are all the rage.

    Today’s top ten ranks some of my favourite movie series that have been part of 100 Films. Here that means a series with four or more movies (three would just be a trilogy, wouldn’t it?) where I’ve watched at least a couple of them during 100 Films’ life, as well as having seen a significant proportion overall. For instance, I’ve seen the two most recent Planet of the Apes films but none of the original five, so I can’t really judge that as a series.

    A big factor herein is acknowledging consistency — one or two great films and a bunch of duds should mean exclusion. For example, the Star Wars series has two unimpeachable classics, and at least two more pretty great movies… but that’s only 57% of the Saga, or just 44% if you count the two theatrically-released spin-offs. Considering the lowly quality of the prequels, how much do they drag down the series as a whole?

    You may disagree. Let’s take a look…

    10
    Marvel Cinematic Universe

    If we’re talking about consistency here then the MCU has it in spades: consistently underwhelming villains, consistently bland cinematography, consistently unmemorable music… Ah, but they also have consistently likeable heroes, a consistently light tone, and a consistent ability to be pretty entertaining. None of them are really bad (except the first Captain America, which has its fans anyway), a couple of them even push towards a certain degree of greatness, and overall they are — to paraphrase the description of The Avengers by its writer-director, Joss Whedon — not great movies, but they are each a great time.

    Best film: Captain America: Civil War
    Weak link: Captain America: The First Avenger
    Other reviews: Iron Man | The Incredible Hulk | Iron Man 2 | Thor | Avengers Assemble | Iron Man 3 | Thor: The Dark World | Captain America: The Winter Soldier | Guardians of the Galaxy | Avengers: Age of Ultron | Ant-Man | Doctor Strange | + 5 Marvel One-Shots (take a look under ‘shorts’ on my reviews page) and various TV series, including Daredevil season two and Luke Cage season one


    9
    The Hunger Games

    The shortest series in my top ten, this is very much a borderline on my rules — if they’d done the third book as one film, it wouldn’t count. That gives The Hunger Games a certain advantage over the other films here, in that it has one long story to tell across just a handful of movies, rather than trying to refresh itself in some way with each new film. About a group of young people fighting against an oppressive autocratic regime in a future version of America, it’s a future-history of, like, next week. For all the fun of its action theatrics, a series aimed at younger viewers with themes about the dangers of dictators and the potential benefits of and need for a resistance — what some might call “terrorism” — has rarely been more pertinent.

    Best film: The Hunger Games: Catching Fire
    Weak link: The Hunger Games: Mockingjay – Part 1
    Other reviews: The Hunger Games | The Hunger Games: Mockingjay – Part 2


    8
    The Thin Man

    Ostensibly a series of murder mysteries, the reason the Thin Man series is such a joy is that the films are more concerned with the screwball-ish relationship between the leads, married detective duo Nick and Nora Charles, played with a certain rakish aplomb by William Powell and Myrna Loy. The mysteries themselves are Christie-esque parlour games and there’s a major role for the pair’s adorable dog. Mix all that together like one of the Charles’ favoured cocktails and they make for similarly splendid entertainment.

    Best film: After the Thin Man
    Weak link: The Thin Man Goes Home
    Other reviews: The Thin Man | Another Thin Man | Shadow of the Thin Man | Song of the Thin Man


    7
    George A. Romero’s ‘Dead’ Films

    With his low-budget horror film Night of the Living Dead, co-writer/director George A. Romero single-handedly created a whole sub-genre: the zombie movie. Although the form eventually degenerated into a miasma of excessive gore, what makes Romero’s films timeless is the way they use the zombies to reflect something else, whether it be basic humanity or wider sections of society. The first two movies (Night and Dawn) are genre-transcending classics, but if we’re talking consistency then I even have a fondness for the underrated fourth instalment, Land of the Dead, and the rush-produced but not meritless sixth, Survival of the Dead. Even the weakest, Diary of the Dead, has more of interest to say than many of its genre stablemates.

    Best film: Night of the Living Dead
    Weak link: Diary of the Dead
    Other reviews: Dawn of the Dead | Day of the Dead | Land of the Dead | Survival of the Dead


    6
    Sherlock Holmes starring Basil Rathbone

    Between 1939 and 1946 Basil Rathbone and Nigel Bruce starred in 14 Sherlock Holmes films, cementing themselves as the definitive screen interpretation of Holmes and Watson for decades to come — some would say forever. Rather than faithful adaptations of Sir Arthur Conan Doyle’s original stories, these liberally remix the best bits into exciting new mysteries and adventures. If that sounds familiar from more modern times, it’s because Sherlock creators Steven Moffat and Mark Gatiss are massive fans of the Rathbone/Bruce films, and have never been shy about admitting their influence on how Sherlock adapts the canon. Maybe not one for literary purists, then, but otherwise there’s barely a dud to be found in this entertaining series.

    Best film: The Scarlet Claw
    Weak link: Pursuit to Algiers
    Other reviews: The Hound of the Baskervilles | The Adventures of Sherlock Holmes | Sherlock Holmes and the Voice of Terror | Sherlock Holmes and the Secret Weapon | Sherlock Holmes in Washington | Sherlock Holmes Faces Death | The Spider Woman | The Pearl of Death | The House of Fear | The Woman in Green | Terror by Night | Dressed to Kill


    5
    Batman

    You could, not unreasonably, split the Batman movies into multiple sub-series at this point: the four movies from 1989 to 1997, Christopher Nolan’s Dark Knight trilogy, Batman’s role in the DCEU; plus the ’66 Batman, animated cinema release Mask of the Phantasm, and, now, the LEGO movies. This ranking encompasses them all… more or less. Certainly the live-action ones since ’89, anyway. Yes, that run of movies contains one of the poorest blockbusters of all time (Batman & Robin), but it’s counterbalanced by one of the greatest blockbusters of all time (The Dark Knight), and several others I’d place in the form’s upper echelons (Batman Returns, Batman Begins, maybe one or two more). I’m one of those people who likes Batman v Superman and sees promise in Justice League and The Batman, too, so long may it continue.

    Best film: The Dark Knight
    Weak link: Batman & Robin
    Other reviews: Batman (1966) | Batman (1989) | Batman Returns | Batman Forever | Batman Begins | The Dark Knight Rises | Batman v Superman: Dawn of Justice (and its Ultimate Edition) | + 8 animated movie reviews (take a look under ‘B’ on my reviews page)


    4
    Harry Potter

    I rarely classify myself as “a Harry Potter fan” because I know the full extent of obsessiveness you get from die-hard Potheads (as I like to call them. I don’t think anyone else does, but I think we should.) It’s no worse than any other dedicated fandom, I’m sure, but I’m not that extreme. Nonetheless, I’m of the right age to have read the books during my childhood (albeit right at the end of my childhood) and do have a fondness for them, as well as for the film adaptations. This is the perfect list for those, because I definitely feel like they’re more than the sum of their parts: each film is at least ‘good’, but few of them stray toward the territory of ‘really great’ — not individually, anyway. As a whole eight-film saga, though, I think they make for an impressive piece of work.

    Best film: Harry Potter and the Goblet of Fire
    Weak link: Harry Potter and the Chamber of Secrets
    Other reviews: Harry Potter and the Philosopher’s Stone | Harry Potter and the Prisoner of Azkaban | Harry Potter and the Order of the Phoenix | Harry Potter and the Half-Blood Prince | Harry Potter and the Deathly Hallows: Part 1 | Harry Potter and the Deathly Hallows: Part 2 | + an overview of the Harry Potter films of David Yates, and also fan edit Wizardhood


    3
    Mission: Impossible

    It’s the second-shortest series on this list, making my following statement comparatively less of an achievement, but still: in my view, there are no bad Mission: Impossible films. They’ve sometimes been given a rough ride down the years, with the first two especially meeting with more than their fair share of criticism, but I’ve enjoyed every one. The most recent is the best, in my opinion, but I don’t think I’d begrudge anyone naming any of the others as their favourite.

    Best film: Mission: Impossible – Rogue Nation
    Weak link: Mission: Impossible III
    Other reviews: Mission: Impossible II | Mission: Impossible – Ghost Protocol


    2
    X-Men

    I feel like I’ve written plenty of introductory overviews to the X-Men at this point in my blogging career — about my near-lifelong love for the series; about its relevance to the modern superhero movie landscape; and so on. As with most of these series, not every entry is perfect, but very few of them are outright bad. Even the black sheep of the series, The Last Stand, isn’t all it could’ve been had director Bryan Singer stuck around, but it often gets an unfair rap — it’s not a bad piece of blockbuster entertainment. On the other end of the spectrum, I think the series’ high points are among the very best superhero movies. By the sounds of things the imminent third Wolverine movie, Logan, only continues that tradition.

    Best film: X-Men: First Class
    Weak link: X-Men Origins: Wolverine
    Other reviews: X-Men | X2 | The Wolverine | X-Men: Days of Future Past (and The Rogue Cut) | Deadpool | X-Men: Apocalypse


    1
    James Bond

    With 24 films to date, produced across 53 years, the James Bond films are a series like no other (though, in terms of number of films, the MCU will likely surpass it within the next five years). If we’re talking consistency of quality, then there are probably more underachievers here than in any other series in this top ten… but then there are more films full-stop, so what do you expect? Conversely, there are probably more high points too, be it the era-defining action of the Connery films, the lightness of the better Moore movies, the grit of Dalton, the polished blockbusterdom of Brosnan, or the series’ reinvention as prestige pictures with Craig. Indeed, there’s pretty much a Bond movie for every taste (unless you fundamentally object to enjoying the adventures of a government-sponsored killer, of course). At this point the series seems to be inoculated against any obstacle — they are critic proof, box office proof, almost audience proof. Whatever else happens in this crazy, crazy world, you can be sure of one thing: James Bond will return.

    Best film: Casino Royale
    Weak link: A View to a Kill
    Other reviews: Dr. No | From Russia with Love | Goldfinger | Thunderball | You Only Live Twice | On Her Majesty’s Secret Service | For Your Eyes Only | Octopussy | GoldenEye | Tomorrow Never Dies | Quantum of Solace | Skyfall | Spectre

    Tomorrow: an elementary list.

    Miss Peregrine’s Home for Peculiar Children (2016)

    2017 #16
    Tim Burton | 127 mins | Blu-ray | 1.85:1 | UK, Belgium & USA / English | 12 / PG-13

    Miss Peregrine's Home for Peculiar Children

    After his beloved grandpa Abe (Terence Stamp) dies in mysterious circumstances, Floridian teen Jake (Asa Butterfield) seeks closure by visiting the children’s home in Wales where his grandpa was raised. As a child, Abe regaled his grandson with tales of the home’s other residents and their fantastical abilities — tales which were completely true, as Jake discovers when he meets Miss Peregrine (Eva Green) and her peculiar wards.

    The quickest route to defining the experience of watching Miss Peregrine is by referencing other films, if only in a broad sense. For starters, it’s adapted from a young adult fantasy-adventure novel, and there’s a definite shape to things which reflects other entries in that genre — the whole “ordinary kid discovers a fantasy world of incredible powers and approaching danger” type thing.

    It’s also directed by Tim Burton, and does feel like a Tim Burton movie. However, what’s incredibly pleasant about that is it doesn’t feel aggressively Burtoneseque. As if in reaction to the blandness of his Planet of the Apes remake, much of Burton’s output since then has slipped towards self-parody, and suffered for it. Miss Peregrine has recognisable flourishes, undoubtedly, but is a little more restrained with how it deploys them. Some have criticised it for this, citing it as another example of Burton removing his unique stamp from the picture, much as he did with Apes, but I disagree.

    Her special ability is being a badass

    The final other work I would reference is the X-Men; in any incarnation, but the most relevant filmic one is probably First Class. Or not, because that was all about the establishing of Xavier’s school and the equivalent establishment here is already established. Nonetheless, it’s about a country house owned by a British matriarch-figure who cares for a gaggle of misfit kids with special powers. Rather than the X-Men’s potentially-violent array of action-ready skills, however, the ones on display here are a little more whimsical — like Emma (Ella Purnell), who’s lighter than air, or Horace (Hayden Keeler-Stone), who can project his dreams through his eyes.

    Also like X-Men, the threat comes from within this secretive world. The starter X-baddie is, of course, Magneto, a mutant seeking to use scientific methods to turn the whole world into mutants. Here, the baddie is Barron (Samuel L. Jackson), a peculiar seeking to use scientific methods to grant immortality to himself and his cronies. Part of their thing is eating people’s eyeballs, which has benefits for them — again, that’s quite Burtonesque… though a mite less whimsical.

    The eyes have it

    Being on board with this whole milieu is important to enjoying Miss Peregrine, because the film does spend a lot of time establishing it. For those not interested in world-building, the action-packed third act must be a long time coming. There is a lot to marvel at along the way though, and Burton keeps things pleasingly real in his filmmaking techniques: there’s a fight between two creatures that was created with stop-motion, while another sequence involved constructing underwater rigs, and the vast majority of Emma’s floating was achieved by dangling Purnell on wires. That’s not to say there’s no CGI — ironically, the foremost example is a sequence that could otherwise be considered a tribute to Ray Harryhausen — but Burton’s filmmaking encapsulates varied techniques to lend a satisfying physicality to much of the film.

    On the whole Miss Peregrine seems to have received a rather muted response, but I thoroughly enjoyed it. It might be best to qualify that by reiterating that it’s playing with a lot of things I enjoy — “X-Men by way of Tim Burton” sounds fantastic to me, and that’s not a bad definition of this movie. I’d even go as far as saying it’s his best work this millennium (though, in fairness, I still haven’t seen Big Fish. Well, it’s only 14 years old.) The shape of the story is no great shakes, but it’s built from magical elements and fantastical imagery, and a game cast of quality thesps hamming it up magnificently and eager youngsters with a slightly earnest likeability.

    Let's go fly a kite

    Actually, in many ways it reminds me of another heightened, stylised young-adult adaptation that suffered from a mixed reception. See you in 2029 for the Netflix re-adaptation, then?

    4 out of 5

    Miss Peregrine’s Home for Peculiar Children is released on DVD & Blu-ray in the UK tomorrow.