Ant-Man

The build up to Ant-Man has left many Marvel fans questioning how successfully the Hollywood Goliath will be able to pull off  a film on one of their lesser known characters, particularly without the guiding directorial hand of Edgar Wright. Well I'm not a Marvel fan so who knows, I might like it! 

Dr. Hank Pym (Michael Douglas) is an unparalleled technological scientist that discovered a group of particles with the ability to change the distance between atoms, effectively able to shrink and grow objects at will. After safeguarding the technology from those that wanted to weaponise it in the 1980s, Pym gave control of his company to Darren Cross (Corey Stoll), his protégé, who know has a sinister interest in re-developing the technology. Pym's daughter, Hope van Dyne (Evangeline Lilly) has a broken relationship with her father, but nonetheless turns to him when she becomes worried about Darren's actions.

Scott Lang (Paul Rudd) is a former burglar who can't throw punches, and has just been released from jail. Taking up residence with a former cellmate, Luis (Michael Peña), he hopes to foster a new relationship with his daughter, increasingly difficult thanks to his ex-wife and her new partner. Soon Scott is on the look out for another score to pay child support, and burglarises the home of a wealthy old man with meticulous precision. However all he finds is a dusty old suit. Scott is soon hired by Dr. Pym, planning a heist that will save the world. 

There's no doubt that Ant-Man follows the typical Marvel construction: out-there technology, a self-referential universe, CGI, CGI and also CGI. Where the film diverges is the heist sub-plot that dominates the second half of the film. You can detect the penmanship of co-author Wright, whose other work holds similar crime/heist-centric elements, particularly in Spaced and The Cornetto Trilogy. Ant-Man also scales down on the barraging action and takes some time-out for decent character development - not commonly found in Marvel films - however this also leads to relentless exposition and too many over-emotional scenes that try to get a rise out of the audience. Also tedious is the compulsory attempts to address the cross-franchise Marvel connections. "We'd better call the Avengers", we get it, they all exist within the same universe, enough already! Stop trying to set-up future cross-overs and self-advertise to us! 

Some held concerns that given the...uhh....somewhat trivial nature of Pym's technology, Ant-Man would try not to take itself too seriously and resort to an all-out joke fest similar to Iron Man 3 - which I happen to like, but is not that popular amongst the fans - Well you can rest easy, because it manages to strike a good balance between situational humour and plot development, and the comedy works well with Rudd's usual style. Whilst the action sequences rely heavily on computer generated visuals, the unique qualities of the Ant-man story allow for some equally unique sequences, including a run-in with a newly-enormous bathtub early in the film.

Unfortunately though, there's nothing new or interesting about most of the other visuals, which are stock Marvel and ultimately monotonous, especially when it could have been so much more. It's impossible to ignore the departure of Edgar Wright from the project, who reportedly left due to differences in vision between the Hot Fuzz director and the studio. His attempt at Ant-Man would have most likely been a standout film in the Marvel cinematic universe, where instead we get largely the same recycled formula that the studio knows can produce the revenue. It's a sad situation, but we can be thankful that his influence appears to have made it into the film in some ways, no matter how small they may be. 

Ant-Man is not a great film by any stretch of the imagination. However it does manage to pull away from the pack somewhat, which is crucial if we want to see Marvel develop any unique content in the ever-expanding Hollywood superhero bubble.

Spy

Parodies of the spy film and in particular the James Bond movies have been around for as long as the genre has existed, with notable entries being Johnny English and the Austin Powers movies. But these parodies have never really been executed too well using American characters (although Austin Powers were Hollywood movies, the character was still British), so I had little faith in Spy, something that was soon proven wrong.

Susan Cooper (Melissa McCarthy) is a CIA agent who handles field agent and super-spy Bradley Fine (Jude Law) from the CIA headquarters in Washington. After a mission goes wrong where Bradley is killed and the covers of all CIA field agents is blown, Susan is the only person who can go undercover and recover a nuclear weapon being sold by villainess Rayna Boyanov (Rose Byrne). Susan must also contend with the arrogant rogue agent Rick Ford (Jason Statham) who doesn't believe she can complete the mission on her own and wishes to garner all the glory.

The film parodies a lot of the elements of a James Bond movie, and quite well too. Everything from the cars to the gadgets to the glamorous women appear. The opening title sequence is even a perfect match to one of those films. The movie does try to delve into some of the more in-depth subplots that involves a double CIA agent that is played by Morena Baccarin. This seems a little out of place and only adds confusion to a rather simple and enjoyable plot.

The film however is very self-aware and sure of itself as a spy parody. It understands all of the ridiculous elements of the movies and each character is an archetype of those movies. Jude Law's Bradley Fine is very much the gentleman spy and Statham's Rick Ford is a cross between Jason Bourne and his own character from Crank or The Transporter films. Susan Cooper is very much the tough female protagonist and it was quite cool to see Melissa McCarthy kick ass, although her reactions to when she kills someone could have been removed.

So while McCarthy does play a strong character, she still is playing the same crass woman that she has been, although it was rather dialled back in this film. Rose Byrne shouldn't really venture into mainstream comedies like this. While she's good in quirky and offbeat comedies, I think she should just stick to serious roles. I'm sure Jude Law was glad to have a chance to play James Bond in this movie and he looked like he was having a fun time. It is refreshing to see Jason Statham return to comedy after almost twenty years because it seems everyone has forgotten that he made his debut in two great comedies (as the characters of Bacon and Turkish). Miranda Hart makes for great support with Allison Janney as Susan's boss at the CIA. The real show stealer for me was Peter Serafinowicz, who was a delight in every single scene as Italian agent Aldo.

A surprising foray into the spy parody for Feig and McCarthy which pays of with some fun laughs, but mostly presented by the other characters. Jason Statham and Peter Serafinowicz shine in the supporting roles.

Annie

              Stacks: "I've learned you can count the people who truly love you on one hand."
              Annie: "You know you're making a fist, right."

What is Annie? It's a modernised update of the classic stage musical, made for the children of 2014. Set in New York City, specifically Harlem. The race of the leads are inverted to, along with excessive producer credits that include two hip-hop stars (Will Smith and Jay-Z) and Jada Pinkett-Smith, give the impression that this movie has the appeal and feel of a Tyler Perry or Oprah Winfrey production, or one of those Ja-Rule movies (a.k.a often bad and intended for black audiences only). With a script by the writers of Friends with Benefits, Morning Glory, 27 Dresses, We Bought a Zoo, Fired Up! and The Michael J. Fox Show. Directed by the man who directed Fired Up!, Friends with Benefits, Easy A and was the creator/executive producer of the Michael J. Fox show. And with a trailer for such a film it's hard not to walk in to this childless and not be full of a passionate, frothing hatred and the expectation to be delighted by the shoddyness on-screen. But like the titular little "foster care kid", Annie is not as awfully annoying as it would seem.

In Harlem, the precocious and eponymous orphan (Quvenzhane Wallis) lives with four other "foster care" children, waiting and wishing to be adopted and saved from the hammy Cruella-DeVille-ing of Cameron Diaz's Miss Hannigan, an alcoholic and abusive spinster who denigrates the chirpy young girls, and occasionally drunkenly smacks their heads into walls. Annie visits the same restaurant every Friday night as it is the only clue to her patronage, but otherwise spends her time at school, running about the neighbourhood, or cleaning her foster home. While trying to protect a Shiba Inu doge from some boys who are throwing cans at it, she is saved from a speeding van by billionaire mobile phone mogul Will Stacks (Jamie Foxx). Stacks is in the middle of a mayoral election campaign, but losing to a man who talks about being pissed on during a kids film ("Don't pee in my ear and tell me it's hot rain"). So Stacks, his British assistant Grace (Rose Byrne) and fast-talking money-loving adviser Guy (Bobby Canavale) intend to exploit the humanity the young girl gives him to win votes, and he soon invites her to live with him for a while. During her stay the two bond and learn off of each other, most often Stacks learning that there is more to life than hard work and business.

Annie has a certain precocious charm to it, though this is surrounded by discussions of political campaigns, phone mechanics, wildly inappropriate jokes about prostitution, alcoholism and abandonment, and such inexplicable marginalisation of real issues such as alcoholism, domestic abuse, abandonment and repression that its baffling to see these details even present in what is intended to be a sweet childrens musical, let alone being mocked. There's also many references to actors and pop culture that's fine for older audiences, including a Young Adult film-adaptation parody featuring Ashton Kutcher and Mila Kunis and a political ad featuring Michael J. Fox. You know, jokes for children. Chuck in a  Deliverance joke while you're at it.

"No, thanks. I don't want....companionship. Not that I'm judging!"
Literally a line of dialogue in this childrens film.

Quvezhane Wallis is undeniably great in the lead role. She's smart-mouthed, but innocent enough to be completely endearing, and possibly the best thing to say about the film as a whole. Jamie Foxx is serviceable, Rose Byrne is Rose Byrne (solid and sweet), but the hammyness of Bobby Canavale and Cameron Diaz meanders between entertaining and cringe-worthy, and often distracts. Visually, the film is bubbly and bright, but otherwise unremarkable. The musical side of the film is presented as self-aware, during several songs characters often react with bemusement, astonishment and/or scorn when others launch into song, but this just invites the wish for more confused reaction shots of bystanders during these musical numbers. The songs themselves are apparently mildly updated versions from the stage-play, with some being dropped completely to meet pacing and narrative requirements. Also, the occasional remixing of a song can be pretty startling (Foxx's rendition of "The City's Yours" featuring an interminable R&B backing). The film certainly falters in the third act,  devolving into tying loose ends where character arcs should be, and a boring chase involving Twitter and Instagram. It actually makes you miss the archetypal end of second act break-up moment that appears in most childrens films, which is followed by a sweeping crescendo of a reunion. But hey, it's a hard knock life.

Annie is not a cinematic movie, but will be an enjoyable enough DVD to pop on for the kids on a lazy weekend. None of the songs will stick, and neither will the performances outside of Diaz, Canavale and especially Wallis. Not as bad as it deserves to be, but nothing work making a fuss over, really.

Chef

Writer director Jon Favreau (Iron Man, Elf) has made a really fun movie about following your dreams. It is extremely uplifting and you'll finish watching it feeling good about your life. You'll also be extremely hungry. Painfully hungry, in fact. It also tackles soft issues like responsible uses of social media, family and, most importantly, how to seduce people with food.

The driving force in the story is that head chef Carl Casper (Favreau) has been introduced to Twitter by his 10-year-old son, Percy. After an unfavourable review by food blogger Ramsey Michel (Oliver Platt), Casper engages in an online feud which culminates in an unflattering confrontation that goes viral and ruins Casper's career.

Supported by his family, Casper goes to Miami with his ex-wife Inez (Sofia Vergara) to help take care of Percy. There, Inez puts Casper in touch with Marvin (Robert Downey Jr.), her other ex-husband. Marvin gives Casper an old taco truck that he can use as a food truck. Casper calls Martin (John Leguizamo), his old friend, to come help him. Once they fix it up, Casper, Percy and Martin drive back to Los Angeles, selling food along the way.

And that brings me to the food. There is so much food in this movie that it gets it's own montages (that's right, food montages). And there isn't just one style of food in this movie, there's lots. There's fine dining at restaurant food, food truck food, food cooked at home, food as a substitute for foreplay, all the food. And it's shot in such a way that it dominates the screen.

Verdict: A tortuous movie if you're hungry and an uplifting film if you're down. People with the munchies beware.