I talk about the first two seasons of Marvel's Agents Of S.H.I.E.L.D.


After the Rise and the Dawn comes the War For The Planet Of The Apes, the third and last part of the Caesar prequel trilogy in which Andy Serkis' motion-captured ape leads his intelligent kind to battle against the humans once and for all.

Or, at least, that's what the trailers would have you believe. Based on those, you'd think the entire film was all-out war with Woody Harrelson's intimidating baddie facing off against Caesar in one last epic stand. The film is not that at all, it's actually much more subtle than that but "subtle" doesn't exactly make for exciting, bombastic trailers. The war in question is a rogue group of soldiers, led by The Colonel (Harrelson), who are trying to eliminate and/or enslave all the apes living in the forest. The apes defend themselves, of course, but it's not really a war for them, it's survival as they plan to leave the forest for a more peaceful setting. Unfortunately, The Colonel murders Caesar's wife and son so the ape leader sets out with some help to get revenge. There are some action scenes here and there, mostly near the very end, but this is a quiet retribution story with all the moral dilemmas that this entails leading to a Great Escape-style scenario and a Civil War of sorts. War is a much more emotional journey than Dawn so don't expect that level of constant spectacle.

Matt Reeves once again digs deep into his characters' hearts and minds, ape or otherwise, and delivers another serious, intense and beautiful-looking film. Caesar's character arc is an interesting one as revenge blinds him to the point where he is compared to and haunted by Koba, Dawn's arch-nemesis. There are many references to the original Planet Of The Apes movie throughout: a little girl called Nova, a doll, Cornelius, a virus that stops humans' speech. While cute, those nods don't really add up with the 1968 classic so unless the studios are planning to remake that one again, perhaps keeping those references to a strict minimum would have been wise. Besides, remaking the original again would require a completely different ending since the famous twist is irrelevant at this point. War is a much smarter and more dramatic film than you'd expect so, even though it could have done with a lot more action, it's slow at times and Harrelson's not in it very much, it's hard to deny how well made and how compelling it is overall.

A worthy end to a trilogy that started on shaky ground but grew quickly to become well worth a watch. Serkis delivers his best performance yet and Matt Reeves proves himself, once again, more than capable to make potentially silly content look and feel legitimately good.

Solid sequel.



Two years before Disney attempted remaking their own version of the classic fairy tale, there was a live-action Beauty And The Beast movie made in France. Since this is a French fairy-tale, this movie had the potential to show the Mouse House how it's done and tell the definitive story.

That said, improving on Jean Cocteau's classic while attracting the Disney audience was always going to be tough but with Léa Seydoux and Vincent Cassel as Belle and The Beast along with inventive director Christophe Gans leading the way, there was a good chance we would get something at least worth seeing. Indeed, this take on the timeless tale is the most visually impressive out there: the art direction, production design and cinematography are beautiful throughout and even the CGI is pretty effective. This is, in short, a fantastic-looking movie and it's certainly worth a look for that alone. A good amount of time is spent introducing us to Belle's family, showing how their money troubles led them to move to the countryside. Unfortunately, this isn't really necessary as Belle's brothers and sisters don't really have much of an impact on the story and this is time that should have been used elsewhere, developing the Belle/Beast romance, for example.

We are finally introduced to Vincent Cassel's Beast when Belle agrees to become his prisoner instead of her father and, at night, Belle is shown his backstory in her dreams. It turns out that he did have a wife back when he was human but he accidentally killed her which prompted "nature" to curse him and his castle because she was, in fact, a forest nymph. There are stone giants, weird-looking CGI beagles and a magic grave in this version so it's a different take on things, to say the least. The main problem with the film is how rushed and uneven the storytelling can be: Belle falls in love with the Beast seemingly off-camera since they basically share no screen-time together and the Beast goes from wild and creepy to caring in a heartbeat. We're given some of his backstory but, after some time, the film stops giving us explanations so we just have to accept random things happening. Because of that, we just don't buy the Beast's kindness or the more surreal aspects of the film.

This Beauty And The Beast is probably the most beautiful in terms of visuals but it lacks coherence when tackling key parts of the story. Apart from that, this is a welcome alternative to the popular musical versions even if I would still recommend Cocteau's superior original instead.

Slick yet flawed retelling.



I talk about The Amazing Spider-Man, its sequel and Spider-Man: Homecoming.


Happy Madison returns with Sandy Wexler, another Netflix-exclusive release starring Adam Sandler. This time, it's a biopic of the titular talent manager, who managed Sandler among many others. The film focuses on Wexler's discovery of a talented unknown singer he also falls in love with.

While this is a rare genre for Sandler to tackle, we're very much in familiar territory here between his usual team's countless cameos (Schneider, Vanilla Ice, Lovitz etc.), the actor himself doing a silly voice and reliably goofy humour throughout. Essentially, this is your typical agent-finds-talent/talent-outgrows-agent story in the vein of Broadway Danny Rose, except with a corny love story at its heart and a cartoonish tone. Jennifer Hudson portrays Courtney Clarke, the singer Sandy first meets performing in a duck costume for kids in a Six Flags amusement park and she's easily the most likeable aspect of this movie. She's obviously talented and never becomes the diva you expect her to become even when she's super popular. Some of Sandy's other clients include Kevin James' ventriloquist, Terry Crews' wrestler and Nick Swardson's Evel Knievel-style stuntman. They're all pretty ridiculous but help keep the film fun throughout.

Then there's Adam Sandler, who portrays Sandy Wexler as a bit of a goofball, to say the least: he's a messy eater, feeds his clients white lies constantly, has an obnoxious fake laugh, often has poor instincts and speaks like Little Nicky and The Waterboy's love child. The film walks the line between straight-up biopic, cruel roast and pure farce so the tone is equally inconsistent. Ultimately, this is a standard, decently made comedy biopic but with Sandler giving such a broad, unconvincing performance, it distracts from situations we're meant to care about more often than not. Admittedly, there are some funny moments in the film including Sandy exploding a raccoon with a baseball bat, Kevin James' bizarre relationship with his own ventriloquist puppets, Nick Swardson's repeated failed stunt attempts and a random but welcome Beavis & Butt-Head cameo. The idea of having some of Wexler's more famous clients like David Spade, Jimmy Kimmel, Pauly Shore and Weird Al appear in the film is a good one but their documentary-style interviews are purely expositional.

Overall, this is once again a very average Sandler effort that should leave most Netflix viewers feeling indifferent. It's well made, Jennifer Hudson brings some charm and talent to the mix and parts of the film are funny but Sandler's lead performance is so annoying, it almost kills the film.

Not bad but uneven.


I try the Limited Edition Firework Oreo because...

I mean, why wouldn't I?



With the last Spider-Man reboot still fresh in our minds, Marvel and Sony's new collaboration needed to break the mould and try a different approach to keep everyone interested. Tom Holland's new incarnation of the iconic web-slinger being one of the most popular aspects of Captain America: Civil War, this one looked like a promising re-imagining.

Wisely bypassing the familiar origin story to give us a brand new take on things, Spider-Man: Homecoming is arguably the least faithful adaptation of the Spider-Man comics out there and yet what it introduces is so cleverly weaved into the new Marvel Universe that it would take a rather stern purist to crucify it for the liberties it takes. Set soon after the events of Civil War, the film first introduces us to Michael Keaton's villain Adrian Toomes who was part of the clean-up crew post-Avengers until Tony Stark made his job obsolete. Toomes vows to come up with a new way to cash-in on the alien technology left behind and so The Vulture is born. Meanwhile, Peter Parker is bugging Stark for another mission, waiting anxiously to officially become an Avenger full-time while having to deal with High School. Tony Stark himself (Robert Downey Jr.) and his faithful driver/bodyguard "Happy" (Jon Favreau) pop up from time to time to guide, scold or ignore Peter.

Casting a younger actor in the lead role was always going to help sell the High School part of the story and Tom Holland, indeed, fits the part perfectly. Both Tobey Maguire and Andrew Garfield did a good job overall as both Spider-Man and Peter Parker but the former gradually lost his charm and the latter was just not convincing as a High School student. Holland is likeable as both sides of Spider-Man's personality plus he makes sense as a student so he certainly has the potential to be the best incarnation of the character. As for Michael Keaton, his Vulture is the best Spider-Man villain since Doc Ock as he manages to be intimidating and unhinged while staying very much human. The same can't be said for the underused Shocker. This is a reverse-coming-of-age superhero story in which a kid with tons of promise as a crime-fighter is thrown into a massive challenge but is then forced to consider his options and perhaps take a more humble route.

The trailer gives away most of the film's main action beats but that shouldn't make you enjoy those few exciting sequences any less. This isn't a big, bombastic superhero movie like most of Marvel's recent output but that gives it its own personality as more time is spent with Peter Parker interacting with his friends and Aunt May (Marisa Tomei) or practicing with his cool new spider suit than with Spider-Man fighting bad guys. The supporting cast is solid, Zendaya and Jacob Batalon are likeable as Peter's friends but comic-book fans might have some complaints about changing familiar characters' personalities completely for the sake of another reboot: Flash Thompson is about as threatening as a puppy and MJ is, surprisingly, emo. This is basically Ferris Bueller's Day Off if Bueller had super-powers, Iron Man on speed-dial and was being chased by a murderous Michael Keaton instead of some grumpy Dean. The John Hughes vibe is obvious but it somehow works quite well in this Spider-Man movie, giving it bucket-loads of charm throughout.

Die-hard comic-book fans will have valid concerns, for sure, but as an alternative, MCU-friendly take on Spidey it's hard to deny just how much fun this movie is. Perfect lead, terrific villain, cool action scenes, lots of High School nostalgia, nifty cameos and the most versatile Spider-Man suit to date, this is another ridiculously enjoyable Marvel flick offering Spidey a promising future.

Get off the "web" and go see it.

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