Editorial: Long Live the King

There must have been a point this past decade when we reached the peak of the unnecessary remake wave. Whether with Disney’s first modern foray into the field with 2010’s $1bn dud Alice in Wonderland¸ the onslaught of remakes of cult action hits like RoboCop or Death Wish, or maybe even when they produced a third iteration of Ben-Hur – only this time lacking the awards calibre of the 1959 classic and presenting a lifeless religious product with an increasingly tired Morgan Freeman. Regardless of what could be considered the peak, one cannot deny that the Disney mantra of reproducing their animated classics line into the live-action format proved to be the most divisive of Hollywood’s efforts. The aforementioned Alice reinterpretation certainly played a lot looser with its 1950s counterpart in favour for a darker, grittier version – complete with Tim Burton’s trademark visual flourish – and in turn the benefit of being one of the first post-Avatar 3D releases allowed for more audience interest than would otherwise be garnered, but the film is hardly remembered nearly a decade on despite being one of the first big billion-dollar movies; its later sequel would prove the lack of longevity by grossing approximately a quarter of its predecessor’s numbers. The most its legacy brings is the idea that remaking the classics can lead to massive box office success, and if there’s one thing Disney loves, it’s profits.

As the first remake after Alice in Wonderland, Maleficent followed a similar template by striving to be its own darker interpretation whilst keeping the acquainted iconography. After all, Maleficent is arguably Disney’s finest antagonist – it would be too risky to stray far away from the familiar. But with it playing on similar tropes portrayed much more successfully in the most recent animated fare Frozen whilst also going for a typical Wicked angle – with a sprinkling of rape allegory which really does not fit into the world of Disney – and Maleficent proved to be more so a commercial success than a critical one (though the jury’s still out on how its sequel, due this October, will be received). Around the time of its release though, Disney was beginning to reveal that it was bringing life to film a lot younger than their current output, with Beauty and the Beast set for a 2017 release: the first sign of things going too far.

Before Beast’s release still came two releases: Cinderella in 2015, followed by The Jungle Book a year later. Cinderella did the least yet to differentiate itself from its classic counterpart, at most limiting the usage of the mice slapstick to adhere to the more realistic approach that audiences seemed to be eating up. The Jungle Book, on the other hand, seemed to have a lot more going for it. It’s almost completely CGI landscape and cast benefitted more by merely taking certain aspects of the 60s original and the key songs (‘Bear Necessities’ and ‘I Wan’na Be Like You’) and instead giving versions of these characters who are more distinct. The state-of-the-art animation elevated it further and felt like the first of these remakes which actually made sense. But its success was a curse, as a few months later director Jon Favreau was hired to enhance his work further with a remake of everyone’s favourite: The Lion King.

The remakes of three of Disney’s biggest classics – so beloved that they’re considered a part of Disney’s Renaissance period – have in turn been the most divisive of all the remakes. Beauty and the Beast turned from a film that was so illustrious and spectacular that it broke barriers and became the first animated film to be nominated for Best Picture into a lifeless rehash that put more effort into explaining its corresponding item’s plotholes than it did breathe new life into old material; Aladdin had the difficult task of trying to replicate the magic that came from Robin William’s portrayal of the Genie whilst also having to adhere to modern society’s required cry for a cast of actual Middle Eastern/Indian descent (something that reportedly lead to production being pushed back and presented a film that, while fine in its own regard, can’t hold a lamp over the 1992 classic; then along came The Lion King, which released this past week after a long period of online scepticism.

The Lion King may very well be the straw that breaks the camel’s back, as it brings us what can easily be regarded as the laziest recreation of them all. The marketing campaign focused solely on two aspects: its visuals effects, which do indeed look gorgeous and may be the only real reason to see it on the big screen, and its all-star voice cast. Outside of that? Practically nothing of note. The realism of the animals hinders the performances, individuality and choreography that are key for an animated musical of this magnitude and it reeks of corporate greed rather than artistic integrity. The lack of creativity can even be spotted across even the smallest elements of its production, with Hans Zimmer being brought back to just remaster his original score and even soundbites from ‘Circle of Life’ being carried over to its new edition (seriously, is there anything different in the new version?);  they did a similar thing in Aladdin in ‘Prince Ali’ where they reused the vocals of the people of Agrabah. There are small highlights and additions – Billy Eichner as Timon is an amusing iteration with a surprisingly good singing voice and there are a few little bits of ad-libbing that make for some good laughs, but ultimately it feels a lot lesser than it has any right to be. It’s the ultimate argument against these remakes: the monetary value of these properties against the artistic integrity that’s lost in translation.

Squeezed in between the releases of Beauty and the Beast and Aladdin came two live-action adaptations of older properties: Dumbo and Christopher Robin (a pseudo-sequel to The Many Adventures of Winnie the Pooh). Both attempted to follow in the footsteps of The Jungle Book by implementing largely different areas for the beloved characters to go down, but both faltered financially. Dumbo is easily the worse of the two (indeed, arguably of the entire plethora of output), as it sprinkles its callbacks half-heartedly and turns into an entirely different movie midway through that, bizarrely, seems to condone the very company that brought it to life; not even forgetting that it turns the titular character into a supporting aspect to two random children and (mostly) cuts out Timothy Q. Mouse in favour of realism. Christopher Robin is far from a perfect film, but at least it creates something new out of its source material – an adult perspective on a children’s’ favourite that keeps the heart of its beloved characters intact, right down to keeping Jim Cummings in the roles of Pooh and Tigger. It has tonal problems and will likely bore its child demographic, but it’s the film that embraces these characters the most whilst bringing a story that’s more unique than the rest. 

Unfortunately, the continuous success of these remakes has led to regular reports of more and more break-ins to the Disney Vault to re-imagine old favourites. Some are experimenting more with their material, with next year’s Mulan looking like a completely different film due to it being more reliant to the actual story of Mulan and actively trying not to offend its Chinese audience and The Little Mermaid straying away from the iconic white red-head mermaid with the casting of Halle Bailey as Ariel, but that ultimately means little when it comes to the message it’s sending studios – audiences don’t want originality. Hell, with almost all of their non-20^th Century Fox films earning a billion dollars this year (Dumbo is the sole outlier, whilst Toy Story 4 and The Lion King will both likely reach it soon) we’re telegraphing that all we want are Disney films – an unhealthy sign for a corporation now infamous for purchasing the competition and ensuring a monopoly of sorts over modern cinema. And of course, Disney aren’t the only ones making unnecessary remakes, but as the big kings of cinema right now they have every right to experiment and tackle original ideas.

Avengers: Endgame (2019) Film Review

WARNING: Due to the very nature of this film, this review is full of spoilers for every film that's a part of the Marvel Cinematic Universe. If (somehow) you haven't already seen the film, it is recommended that you watch it before reading this review.

When Iron Man came out in the summer of 2008, few could have expected that it would be the beginning of a franchise that would take over the planet. Spanning over 22 movies and several individual sub-franchises, the Marvel Cinematic Universe has held a strong grip on the cinematic landscape that was (and somehow still is) unprepared to face it, and the prize for such longevity came last year with the Earth-shattering Avengers: Infinity War, which took in over $2bn and left everyone in a state of intrigue as to how the surviving superheroes will resolve the decimation of half the universal population. Which is where Avengers: Endgame rolls in – the true conclusion to not only Phase 3 of the MCU (Spider-Man: Far from Home being the actual conclusion according to producers) but to the 11-year long Infinity Saga – which has remained elusive in its marketing and revealed little more than the coming justice for the Mad Titan, Thanos (Josh Brolin). Throw in a 3-hour runtime and a fan mantra that demands spoilers be sparse (although a major leak shortly before the release didn’t help things), the answer to whether or not a decade-long arc with regular character appearances can work has at last found its definitive answer: Yes, when done this well.

This entry is very much a celebration of its actual existence, as it repeatedly makes callbacks to the biggest and smallest moment from the past films that can either hinder or elevate a viewer’s enjoyment depending on its usage – for example, T’Challa (Chadwick Boseman) calls out to Clint Barton (Jeremy Renner) during the Gauntlet tussle. An insignificant moment for most, yet in actuality a small reference to T’Challa’s disinterest in knowing his name in Captain America: Civil War, and a sign of a character’s maturity in the years since the events at the airport. The biggest nostalgia trip, of course, stems from the second act’s journey through some of the best bits of the previous movies (and Thor: The Dark World) as the remaining Avengers seek the Infinity Stones during the events of Marvel’s Avengers Assemble and Guardians of the Galaxy. It’s fun to see the simpler beginnings of both major teams in the universe alongside allowing for some fun character interactions with younger versions of Loki (Tom Hiddleston), Thor (Chris Hemsworth) et al (not to mention an amusing interlude showing what Chris Pratt’s infamous lip-sync sequence during Guardians’ opening credits looked like from the outside), and an interaction between two Chris Evanses presents a fun moment of admittance at both the core stance Steve Rogers takes but also how he looked during the first group venture. With guest appearances from Tilda Swinton showing how the Sanctum Santorum was involved with vanquishing the Chitauri invasion, various members of Hydra (Robert Redford!) and a loving return from Renee Russo as Thor’s mother Frigga, the second act is a marvellous (sorry) celebration ahead of the bloodshed that’s soon to follow.

But Endgame thrives more as a conclusion for the story arcs of each original member of the Avengers team. While some characters upon initial viewing may seem short-changed or given unfair justice in their appearances here – namely Scarlett Johannsson, Mark Ruffalo and Hemsworth – in actuality it perfectly fits their respective characters. Black Widow, burdened by the horrors of her past that she must always carry, admits in Avengers Assemble that not only does she have “red in my ledger” that she wants to wipe but that she owes Barton a debt for saving her from her past occupation, and with that her regular position as a member of the team – regardless of government approval – is her making up for her history. When it’s revealed SHIELD was in part aligned with Hydra, she tells Steve that the concept leaves her unsure as to what she is anymore; switching one criminal organisation with another. Even in Endgame, she remains dedicated to her cause even when everyone else has gone their separate ways and keeps a close eye on Hawkeye, despite Rhodey’s warnings. This is the man who saved her. And when the opportunity arises to finally repay her debt not only to society but to the closest friend she has, naturally she would take the plunge on Vormir and sacrifice herself for the Soul Stone. While it breaks your heart that she can’t be a part of the massive climatic battle – and especially her lack of presence during the ‘girl power’ moment’ – it’s her sacrifice that brings everyone together again; especially reviving Clint’s very being following his harsh fall into crazed vigilantism under the pseudonym ‘Ronin’. It’s established early on how distraught his loss was, and the sight of his home sends him rushing after his family when he tests the time travel technology, and his willingness to sacrifice himself for the sake of his family alongside his misdeeds makes the conflict on Vormir even more heart-wrenching.

With Thor, his fall from grace is by no means unprecedented. Infinity War reminds viewers repeatedly that the Asgardian has lost everything at this point: brother dead by the hand of Thanos; father willingly lets go (in turn releasing Hela, who also perishes); mother killed by a Dark Elf, and what remains of his people decimated by the Titan at the worst possible moment. When he finally has the chance to exact vengeance on the villain, he fails, and in turn carries the burden of being responsible for Thanos’ victory. Naturally, his guilt eats away at him as he falls in to a depressive state of avoiding outside interaction or even mention of the event; surrounding himself only with alcohol and Korg (Taika Waititi) who appears to be just as comfortable hiding away from further conflict. Even when he mentions Jane Foster, he briefly lapses into an emotional state. It’s only when he gets the chance to talk to his mother, who immediately gets a grasp of the idea that he’s from the future, that he finally relinquishes his inner turmoil; the call for Mjolnir instilling confidence in himself for the first time in five years. Likewise, it’s that extensive period of being a hermit that reminds Thor that the throne is not what he truly desires, and in turn relinquishes his birth right in favour for Tessa Thompson’s status promotion.

When we first lay eyes on Bruce Banner, it’s as much of a shock to us as it is to Paul Rudd’s Scott Lang, as it’s revealed that Banner and Hulk have become one in the conclusion to his long-standing battle with his alter ego. When he first appeared in The Incredible Hulk, we were presented with the dynamic in the tried and tested way, with Banner being resilient in not only refusing to give the power to the US military but also from letting it hurt the people he cares for (leading to his eventual control of the power in Avengers Assemble). Just when he was getting used to the control, Age of Ultron throws a spanner in the works with Elizabeth Olsen’s mind-meddling and the grasp at control lost. When Hulk awakens from his trance and sees humanity afraid of him once more, he’s reminded of the monster the public perceives him to be, and when given the chance to following the vanquishing of Ultron he escapes in a Quinjet. Hence why in Thor: Ragnarok he’s adamant to leave his new lifestyle and public adoration, and in turn refuses to turn back into Bruce who would try and repress him once more (and vice versa with Bruce refusing to Hulk out again until it was necessary). After failing in a one-to-one brawl with Thanos at the start of Infinity War, the Hulk refuses to come out again in the face of danger as a rebellious move against his supposed purpose to Bruce – he’s done being a wrecking ball thrown into the action because he needs to be. Hence his new appearance here as the combined “Professor Hulk” – the brains of Banner with the strength of the Hulk. A bizarre concoction, but a necessary one for the duo as they finally make peace with one another.

Even some of the smaller characters have strong amounts of depth handed to them, with Nebula (Karen Gillan) literally facing her menacing past head-on and having Thanos’ impact as a demented father figure presented to us. The Nebula we see in 2014 is a daughter trying so desperately to appease her father against fellow adopted daughter Gamora (Zoe Saldana) that she would do whatever she could to get even the slightest bit of praise from him, evident in the first Guardians when she tries to take the challenge of capturing the Power Stone from Xandar. Even the older Thanos admits that “perhaps […] I treated you too harshly”, which the 2014 version of Thanos must realise when he discovers the future version of his daughter conspiring against him – using her resentment for him now as a way to get the younger version of her to do his bidding now. When the two Nebulas face one another alongside Gamora and Clint, the 2023 version tries to get her 2014 self to understand, but she can’t. She’s too disillusioned by Thanos’ power to go against him and wants desperately to be his favourite daughter. And that’s why 2023 Nebula kills her – killing the past version of herself to show that’s she’s evolved past that.

Rocket, in the meantime, has finally come to terms that his fellow Guardians are his true family, following his behaviour in Vol. 2 which almost got them all killed. Now he’s come to terms that he was akin to Yondu with how he treated those around him, he finally began to take his actions to heart and apologise for them, and while in Infinity War he still largely jokes around with the rest of the team he also does act like “the captain” when dealing with Thor’s personal trauma. When Groot begins to fade away around him, his harsh outer shell disintegrates with it as he cries out to him, and when he reunites with Nebula in Endgame they share a moment of grievance, as they lost everyone they ever cared for. Rocket even finally admits to the Guardians being his family to Thor when the Asgardian tries to get out of retrieving the Aether – he would do anything to bring his family back, and a depressed God isn’t going to get in the way of that. Against all that surrounds him, one would assume that Paul Rudd would be lost in the shuffle, despite being a key part in the plan to retrieve the stones; but while he doesn’t get the same depth everyone else does, he instead plays the part of the surrogate: he’s the audience experiencing the madness of a time period where loved ones have disappeared (his reunion with his daughter being especially prevalent of this factor) and the one responding to the quips and the speeches. His journey from stealer to superhero has yet to reach its conclusion, but this entry does still present him doing heroic acts.

Of course, the big two have the biggest endings of them all with their respective retirements. Steve Rogers had never truly settled into the modern day following his freezing in Captain America: The First Avenger. His arrival into the 21^st century brought with it the skeletons of the past with SHIELD’s desire to harness the power of the Tesseract, then the combination of Hydra’s survival as well as his best friend Bucky’s (Sebastian Stan). For a while, Peggy Carter (Hayley Atwell) was still there for him, albeit in a distressing state, but he put his focus entirely on sticking to his ideals and the Avengers concept. Scarlet Witch’s vision of Steve seeing Peggy again at a dance reminded him that the life he once lived is truly gone. He admits to Stark that the Avengers is his home at the end of Age of Ultron, but the combination of that home possibly being taken away from him for ideological reasons he doesn’t agree with, the death of Peggy and the re-emergence of Bucky sends Steve’s world spiralling out of control in Civil War, leading him into the dark path we find him on in Infinity War. He still thinks well of his fellow Avengers but can’t stand to go against his beliefs when the sake of the world is more important than what elected officials have to say.

In Endgame, we see early on that Steve, even so many years on, misses Peggy and resents the fact that he can’t ever live that life; and when he sees a framed photo of his former self on her desk in the 1970s, he truly realises that she too wishes that he was still alive. While his heroic actions were finally proven to be worthwhile when he triumphantly managed to call Mjolnir into his possession, it’s when he’s given the chance to go home that he takes it: he never fit into this new world despite his best efforts, and with the knowledge that his one true love never stopped loving him, he jumped at the chance to be with her and live a normal life. Steve Rogers told Tony Stark that “family, stability… the guy who wanted all that went in the ice 75 years ago” – he lost his chance. He got it again and took it, making his final goodbye worthwhile, and his belief in Sam Wilson (Anthony Mackie) taking on the mantle of Captain America – a man who came out of retirement for the sake of his country and stood by Steve’s same ideals – a worthy decision.

And then there’s Tony Stark. The man who started it all “in a cave… with a box of scraps!” A man who initially became the man he is solely for his own survival, before exacting revenge on the people who captured him using his weapons by unleashing his upgraded armour on them when they attacked a small village. A man whose biggest foes had been fellow businessmen, a Russian with a personal vendetta for the Stark lineage and his failing technology. But when Loki and the Chitauri arrived, that all changed. The wider universe that surrounded him finally collapsed on top of him and risked his own life in their ultimate destruction – the implications of which he suffers from when things become small-scale once again in Iron Man 3. He grows more afraid of a larger threat and stays up all night building new suits and becomes more isolated from the people around him. The Mandarin attack hitting him close to home was both a blessing and a curse; the wake-up call that should have brought about the end of Iron Man.

And yet, here he is in Age of Ultron still doing his thing. Scarlet Witch only pushes his fears more as he imagines the Avengers all dead and Steve asking why he didn’t do more to stop it. This of course leads to Ultron, and more weight on his heavy heart. Civil War sees him agree with the government over the need to “be put in check” as the one-two punch of separating from Pepper (Gwyneth Paltrow) and the news of an innocent boy being killed by his actions hits him hard. The conflict that soon follows just makes things worse as both sides – each with good reasoning – are unable to truly get along. Just when things do seem to finally be going right as he and Rogers put their differences aside for a larger cause, a tape plays: December 16^th, 1991. Bucky Barnes killing Tony’s parents. Steve – a man who was created and idolised by Tony’s father – aware that his best friend, the man he continually sticks up for, never told him this fact. It shatters their friendship, and the ensuing battle shows their destroyed friendship.

By Spider-Man: Homecoming and Avengers: Infinity War, he appears to be on the right track. With Tom Holland’s Peter Parker acting as something of a distant surrogate son of his (only really acting out when the boy went too far against his parenting) and his relationship healing with Pepper Potts, there’s a chance that thinks are finally looking up. But in comes Doctor Strange (Benedict Cumberbatch) and Bruce Banner revealing that the Big Bad is coming. Thanos, the being that Tony has been preparing for all this time, is finally here. Tony immediately steps into action, and despite forgotten friendships is at least willing to reunite the Avengers to thwart him, before being stopped in his tracks by the arrival of the Black Order. He refuses to turn away from Titan because he wants to stop the Mad Titan before he can reach Earth, putting aside the fact that they not only harbour the Time Stone but also a teenage boy in their spaceship, and in turn pay the price when Thanos ultimately wins despite Tony’s continued efforts to upgrade his technology. And when Peter vanishes before his eyes, he’s also lost the closest thing to a son he had ever had.

Throw in a long period of isolation and starvation about the Benatar (the Guardians’ spaceship), and Tony is naturally rattled when he returns home. He lashes out against Steve for not heeding his warning about “a suit of armour around the world” and how they only lost because they were apart, and with that he goes away. He lives the life on a barn akin to how he prophesised in Age of Ultron and starts a family, officially retiring from the role of Iron Man. And yet, when the past comes crawling back with an opportunity to reverse the actions, he takes it – only because he knows that he wouldn’t be able to rest if he didn’t. Throw in an interaction with his long-dead father at a time before his birth – a moment where the two Starks finally bond and get along, albeit in a bizarre sense where John Slattery’s character doesn’t even know this is his son he’s talking to – and his might to face his biggest foe once more alongside Thor and Steve, alongside a heartfelt reunion with Peter Parker on the battlefield, and his past actions have finally had a proper conclusion. All that’s left is for him to take the ultimate sacrifice and destroy his enemy once and for all at the cost of his own life. He snaps his Stoned-fingers, and the enemy turns to dust around him, but dies as a result. He clearly tries to fight it, with what little power he still has, but when Pepper finally tells him he can rest because he won, he finally lets go. Steve Rogers told him in Avengers Assemble that Stark wasn’t the kind of guy who would put his own life on the line. Initially that was true, but when his world became larger and the people around it grew more important than his own, he took every chance he had, regardless of stakes, to make things right. The first arc reactor may have been proof that Tony Stark physically had a heart, but his final actions around the ashes of the Avengers headquarters proved that he had a caring heart too.

If a character does feel short-changed in this final outing, it is Thanos himself. While Infinity War presented a strong and powerful antagonist who you could agree with and was a true menace to all who opposed him, this Thanos plays out a little more stereotypically; a villain who wishes to wipe out all life as punishment to those who went against his belief. It isn’t an unexpected move – especially for a character nicknamed “the Mad Titan” – but it loses some of the impact that came with the initial process of gaining the stones. Likewise, newcomer Brie Larson is here more out of obligation than as purposeful in her role as Captain Marvel, as outside her saving Stark and Nebula from the depths of outer space and a couple of interactions with Thanos she doesn’t interact with the main story – although her excuse of having to protect more planets than just Earth is justifiable enough. Don Cheadle gets a decent amount to do, and his pairing with Nebula – a fellow artificially-augmented individual – makes for a unique rapport that unexpectedly works in action, but outside conversation about his paralysis has little insight, while surviving side characters Danai Gurira and Benedict Wong have minimal roles despite their powersets, but that’s more nit-picking than anything.

Despite an especially dark third act lighting-wise making 3D a slight struggle to fully comprehend, the visual effects seem to be a step up from Infinity War’s (which faltered at points involving the Hulkbuster and the Iron Man suits on top of the actors) and the combination of old footage and new blends seamlessly during the time travel section of the film. Alan Silvestri’s score harkens back more to the themes of old alongside his first Avengers score yet proves to be perhaps Marvel’s best score yet next to Ludwig Göransson’s Oscar-winning Black Panther score as it perfectly encapsulates the tone certain scenes aspire for (‘Portals’ may be an MCU best). And while the Russos have proven once more that they expanded far beyond their comedic roots, it’s the screenwriting team of Christopher Markus and Stephen McFeely who are the true gauntlet-bearers of this piece, and who are finally getting the credit due for their hard work and dedication. The screenplay may not be perfect (with some comedic moments not landing quite as hard as prior Marvel movies) but, as examined above, presents a pitch-perfect finale for many of these characters.

If the Marvel Cinematic Universe was ever to end, Avengers: Endgame would be that textbook ending. Closing the book on countless character’s ongoing story arcs alongside this entire saga of movies, it’s difficult to imagine a Marvel universe without the presence of Iron Man, Captain America (a character who hasn’t taken a year away from the silver screen since his introduction in 2011), Thor, Black Widow, Hawkeye or the Incredible Hulk, but if this franchise is to carry on, it’s good to know that it’s surviving under the blueprints handed down to them from these behemoths. But they aren’t going down without a celebration and a fight, and with a three-hour runtime that never feels like it, it’s a grand finale that actually feels grand in both scale and execution. 10/10.

Editorial: We're in the Endgame Now

A week from when I'm writing this, Disney and Marvel Studios will be releasing the highly-anticipated finale to not only last year's earth-shattering threequel Avengers: Infinity War, but also to their eleven-year long overarching Infinity Saga with Avengers: Endgame: a film that is almost certain to break more global records than it already has and is preparing its audience of both long-time fans and casual moviegoers to say goodbye to some of the characters they've become accustomed to since Tony Stark got captured by terrorists all the way back in 2008. Since then, the entire media landscape has evolved - first to repeat the success of The Dark Knight, which was released shortly after Marvel Studios' first two forays, then later copying the cinematic universe concept that had led to the studio (and in turn Disney) to become the king of the studios - and with that in mind, there's no better time than now to look over the output and occasionally rocky path of the Cinematic Universe that took to become the top dog of the media landscape.

Phase One

When Iron Man made his big screen debut, there was a lot at stake. Not only was this the first cinematic venture from a company who, just a decade ago, was in a state of financial ruin, but also was released during a point when superhero movies may have peaked - the last critical darling was Batman Begins three years prior, and the most popular Marvel properties at the time seemed to have reached their limits with Spider-Man 3 and X-Men: The Last Stand. Add a risky casting choice in Robert Downey Jr., who was still in Hollywood's bad books following his very public downfall earlier that decade (although ultimately his castings in this, Kiss Kiss Bang Bang and Tropic Thunder would reward him massively), and with filming taking place without a finished screenplay, one would assume a mess of a film was in the works. And yet, the film proved otherwise. Not only does Downey Jr. prove everyone wrong by bleeding charisma into the film, but it provides an interesting origin story with good jokes and a unique superhero that proved that you didn't need to know the hero to make a good movie out of them - something that Marvel Studios would continue to prove over the next decade. That's not to say the film was flawless, suffering from a villain who didn't quite meet the same magnitude outside of "rich guy in a bigger suit", and looking back following his recasting best friend Rhodey just isn't interesting in the form of Terrance Howard, bar a couple of early moments.

The Incredible Hulk, by contrast, should have been a smash hit. The character has always been a key part of comics lore, and with both a long-running TV show and a somewhat disastrous big-screen effort already under his unnecessary belt, it would have been destined for victory thanks to prior audience awareness. And yet, it remains forgotten ever since (save for some mentions in Marvel's Avengers Assemble as well as appearances from General Ross), as with the lowest box office gross of the series and a regular spot on many fan rankings as either the worst of the series or just not on the list at all. Which is a shame as, personally, I see the film as underrated in the grand scheme of things. Edward Norton may be a different beast to both Eric Bana and Mark Ruffalo but he brings a good performance, aided by his liking for the source material and, in turn, the Hulk's first two appearances are solid set pieces. But like Iron Man before it, it suffered from having a villain who was just another version of the main character, only inverted; with Blonsky craving more power against Banner resenting having it. Add visual effects which were dated almost immediately and a love interest with no chemistry to the lead, and it's little wonder why Marvel would rather have this film largely forgotten.

When discussing the worst of the MCU, I firmly believe that Iron Man 2 takes the crown. Rushed out as a response to the surprise success of its predecessor, this first sequel went all out into universe-building mode and in turn moulded a dull and overlong venture with too much going on. It very much feels like a mismanaged venture, with an outline that consists of multiple storylines and characters put together like a jigsaw done by a beginner. Take the main antagonist, Ivan Vanko: established from the very start as having a personal interest and attachment to Stark, he successfully attacks his nemesis out of the blue with a neat action set piece (only to be ruined by a comedy bit that, while funny, doesn't fit), only to be captured by Sam Rockwell and hidden away until he takes over the Stark Expo in the final thirty minutes; at which point Tony has been through his palladium poisoning, fallen out with everyone around him, lost an Iron Man suit, realised his father really did love him and had a brief foray into alcoholism. It's not without its moments, with Scarlett Johansson's first big fight scene of the series probably stealing the show alongside the mere sight of a portable Iron Man
suit disguised as a briefcase, but there's a reason this sub-series in the grander universe went in a different direction for its third entry.

I have a soft spot for 2011's Thor. As my first viewing in the franchise, it had set up my interest in the future of the franchise and made the titular character a favourite. It succeeded in making an outrageous character interesting enough for the average viewer by stripping him away from his outlandish home of Shakespearean dialect and regal armour and placing him on Earth. As far as fish out of water films go, it's nothing particularly special, and in the grander scheme of things, it's not even special in its own universe now that many elements have been stripped away from the character. But what it sells best is the most important aspect of all: the relationship between the two princes. There's a good reason why Loki would grow to become a fan favourite, being far more than a power-crazy man and instead an intelligent and manipulative being who lives up to the name "trickster".

Captain America: The First Avenger stood out for the longest time as being the only prequel in the series, but there's no other way the realisation of the character could have been done. Captain America was created as US propaganda during World War II and was a key part of their war efforts, not to mention the outlandish idea of a superhero branded by a particular flag who practically speaks for the country. But Chris Evans sells this period piece with ease; realising a character who should be one-note and obnoxious and instead presenting the layers of a character that comes from being a scrawny devoted man trusted with true might and power. And while poor Sebastian Stan doesn't get too much to do as best buddy Bucky, the groundwork is laid for a solid future ahead. Their co-stars all work to the best of their abilities (with Hayley Atwell proving to be the queen of the "dames" at this stage) but just like Iron Man and The Incredible Hulk before it, Red Skull is yet another polar opposite villain who technically doesn't even get defeated; instead punished for his actions by a force we wouldn't see for seven years.

To cap this chapter off came Marvel's Avengers Assemble, as it's so lovingly titled here in the UK, and it very much feels like the grand celebration that it wants to be. Save for an overlong sequence involving fixing the Helicarrier - although thankfully made enjoyable though a Thor vs Hulk fight - the entire runtime is a fun ride; rewarding those who've stuck through both good and bad with little references to prior films and fun character interactions whilst still being accessible to those who hadn't seen the other movies. Add a twinge of that Joss Whedon charm and some more Tom Hiddleston action and you have a film that broke the world and paved the way for Marvel movies to become essential viewing.

Overall, Phase One did exactly what it needed to do - it proved to naysayers that a shared universe could work, and while it had a few wobbles along the way introduced the new and interesting characters that would become staples in pop culture.

Phase Two

Iron Man 3 serves as a perfect metaphor for the second phase of Marvel movies, with a mixed reception across the board. To this day, fans still either cry out in anger over this film or applaud it for its risk-taking and fresh take on the characters. After Iron Man 2 was a disappointment, in my eyes this was a step in the right direction for the franchise and the character, injecting plenty of big laughs, excellent fight sequences and presents a possible ending for Tony Stark. We're still stuck with a lacklustre villain in the form of Guy Pearce, but Ben Kingsley makes up for that alongside giving Don Cheadle and Gwenyth Paltrow a little more to do this time around.

Thor: The Dark World is infamous for its failings. Between a series low for bad guys in the usually superb Christopher Eccleston and a clearly uncomfortable Natalie Portman, and throw in evident reshoots and backtracking with the treatment of Loki, and this messy movie rightfully sits low on the rankings. Much like Iron Man 2 before it, it's evidence of what happens when you rush a sequel out - especially when director departures were public information. That's not to say there isn't anything of note going on - with the first long-lasting death of a notable death of a recurring character complete with a glorious funeral sequence - but outside of some Reality Stone action and the twist ending it's skippable.

Throw Captain America into the modern era and you have a potential problem with how to use the character outside of team-up movies. But throw in some spy escapades and two directors best known for their work on TV series Community, and you have the surprisingly awesome Captain America: The Winter Soldier. Immediately making it clear that, while settling into this new century, Steve Rogers still holds his home time period close to his heart, with an emotional appearance from Peggy Carter making that more than evident to the audience. But the factor that the past comes back to haunt him in the form of both brainwashed buddy Bucky and the Nazi organisation he thought had long since died (let alone hiding in the midst of those he works for) helps provide the highlight of the entire series, with fantastic fight sequences and an ending that sets up real change for the universe.

Guardians of the Galaxy was the biggest risk the studio had taken since Avengers. Not only was Marvel presenting a group of characters that few even knew about - not even comics fans had much on an understanding of the concept - but it was opening up a whole new part of the universe. It was Marvel's answer to Star Wars, and it didn't seem like it could have worked. And yet, it became a surprise smash. Maybe it was the uniqueness of a talking tree and a gun-wielding racoon that won people over; maybe it was the strong comedic timing the entire cast had alongside their comradery; but for me, it all comes down to James Gunn - the true heart of the franchise. He proved that an outlandish concept could really work, and cemented the idea that Marvel could do little wrong.

Avengers: Age of Ultron had the difficult task of following up three of the biggest films in the franchise at this point - Avengers Assemble in regards to the actual concept; Winter Soldier for earthbound stories, and Guardians in release schedule - so it's little wonder it didn't please everyone. The sequel reeks of meddling from the higher-ups, with a return to the sequel set-ups that hindered Iron Man 2, and there's a massive increase in quips that don't really work ("Revels" and "You beat me by one second" being key outliers). But where it falters in some areas, it improves with others, Jeremy Renner's Hawkeye and a fun party sequence before all the action kicks off. Like Thor before it, I have a soft spot for this film, but it's an entry that doesn't quite live up to the hype.
especially with a deeper delve into

Then there's the tiny problem of Ant-Man. Squished between the behemoth Age of Ultron and Phase Three opener Civil War and publically made problematic with a late departure from initial director Edgar Wright, Ant-Man had much to prove. And unfortunately, it doesn't quite hit the mark. It's a suitably smaller film to compliment the previous blockbuster, but it very much feels like Iron Man-lite, complete with a return to the copycat villain concept. It also lampshades massively the factor that there is still a lack of major female superheroes outside of Black Widow and maybe Gamora through Evangeline Lily's Hope Van Dyne. But Paul Rudd and Michael Peña make the film worthwhile, and things finally look up during the final fight sequence in Cassie's bedroom. Plus the Falcon sequence is a lot of fun!

Phase Two is a rocky journey. While 2014 brought with it two of the best films in the catalogue, it also brought fan disappointment with The Dark World and Age of Ultron. It grew more and more clear that meddling from the higher-ups was impacting the management of the movies though, and suggested that we may be reaching the peak of the series before it had finished telling its main story, but Phase Three would prove otherwise...

Phase Three

Captain America: Civil War feels like the first true step towards a conclusion for this band of characters, with the stage set for a grand reunion at the very end through its division of characters old and new whilst still managing to tell a strong story (all the more impressive when the competition - finally making their cinematic universe efforts known - told a similar division story weeks prior) which allows the audience to decide for themselves which side they support. Yes, it feels like an Avengers sequel, but it remains Cap's story through and through. Plus the introduction of both Black Panther and - at long last - Spider-Man proved to make this threequel all the more endearing and open to larger audiences.

And then we go back to copying the Iron Man template with Doctor Strange, complete with a cocky bearded rich leading man. There's plenty of fun to be had visually with this origin story, with its completely trippy visual effects being the selling point this time around through interdimensional warping and magic, but between an iffy accent from Benedict Cumberbatch to a bland baddie in Mads Mikkelsen it doesn't hold up much on repeat viewings save for the occasional sequence and a bittersweet farewell to mentor Tilda Swinton - although even that is somewhat overshadowed by talks of whitewashing. Its finale is commendable, however, playing on expectations and giving audiences a break from the standard climatic battle; instead offering a unique time-warped fight before simply trapping the big bad in a time loop.

Guardians of the Galaxy Vol. 2 had much to prove, and in some aspects, it succeeds massively. It tells a new story that expands upon the family dynamic set up in the previous film while also presenting a solid conflict to said dynamic through actual father figure Kurt Russell; it follows its hit soundtrack with a Mix that's just as Awesome, and visually it pushes the MCU to a whole new look that it drastically needed. Through in some more depth to former sorta-foes Yondu and Nebula and more proof that in this particular phase characters can and will die, and you have all the makings of a perfect follow-up. However, there is distinct mismanagement of tone and joke placement, with a few moments (especially an important point between Russell and Chris Pratt) undercut by a joke thrown in the mix at the wrong time. It's still a lot of fun but feels like another draft was needed.

Watch out, here comes Spider-Man: Homecoming! With Sony finally playing nice and allowing the web-slinger to play with the other heroes (at the time of the first Avengers, Sony was set on their first reboot of the character with The Amazing Spider-Man, only for it to fall flat after its sequel), this time around they play upon the high school part of the character more than any prior rendition of the character, which both hinders and elevates this particular iteration. On one hand, the high school drama makes the hidden identity all the more fun, and the contrast in popularity between identities a unique aspect; on the other, it leads to a flat visual style that doesn't lend itself to great action sequences. But Spidey himself is a fun lead, the added Tony Stark a neat character dynamic with great rapport, and Michael Keaton proving that Phase Three will indeed have some good villains.

Before Thor: Ragnarok, Thor as a character was struggling. Outside his first film he had received little in character development by comparison to his fellow Avengers, and the reception to both The Dark World and Age of Ultron had not helped audience interest. Enter Taika Waititi, who took the reigns and injected new life into a middling character with a fun and wacky adventure which once again stripped our hero from everything and (almost) everyone. Ragnarok is a straight-up comedy that once again projects great colour and visual flair akin to Vol. 2 and even threw in some Led Zeppelin to sweeten the deal. It's a fun buddy cop movie ahead of the darkness that these characters will go through next, and bar some slower moments on Asgard during Thor's absence makes for an excellent experience.

Black Panther was a Best Picture nominee. That's still a weird thing to imagine. While not the first superhero movie with a black lead, or indeed the first movie for the character, this telling of the hero's journey through family drama was an inspiration worldwide and reminded Hollywood that representation matters in movies. While lacking in the visual effects department (something naysayers continue to cry out following the massive success the film had critically) everything else fires on all cylinders gracefully, with Michael B. Jordan providing a villain that was up there with Loki (and arguably higher) and crafting a world in Wakanda that looked beautiful and desirable.

Then comes the big one: Avengers: Infinity War. The film that needed to prove that the decade-long journey was worthwhile and that big bad Thanos was indeed worth the hype. And boy did it deliver, with the largest cast of all the films with nearly every hero returning and with the action spread across the globe and the galaxy, Infinity War was a mess structurally as it attempted to balance out all its characters and dynamics, but remains an incredibly entertaining venture with real stakes and heartbreak. To this day no cinematic experience has matched the rollercoaster this film was emotionally; whether it's Thor and company's extravagant arrival to Wakanda or the shock of seeing half the universe turn to dust before our very eyes. There's a reason this film broke the world.

But watch out! Ant-Man and the Wasp are here to have their obligatory sequel, and while in some places it fixes the flaws of the 2015 predecessor it also shows how much of the original was still influenced by the old screenplay, with fewer jokes garnering big laughs and telling an even smaller story than before that you don't ultimately care about - especially when one of the key qualms the "bad guy" has is rectified as soon as the mission is complete. It's noteworthy only for its mid-credits scene, and maybe as a little set-up at the increased focus in female superheroes, that continues with this year's first effort.

Captain Marvel! The film that whiny fanboys thought would break the MCU and would be their first bomb because Brie Larson wanted more diversity in her press junkets. Captain Marvel! The billion-dollar grossing female superhero movie that showed that Wonder Woman was no fluke. Captain Marvel! The film that returns to its Phase One roots complete with Clark Gregg. Captain Marvel! Where the space stuff is a little dull and the Earth sequences a lot of fun, complete with a nice villain twist that plays on expectations despite prior knowledge to the universe it's set in. Captain Marvel! Again, maybe needed another draft for the screenplay, but still fun!

Which leads us to Endgame. The one that ties up this entire saga. Phase Three has been the most fun out of the three thus far and, in turn, is the most rewarding to its fans. Between its solid starter with Civil War, the bright and beautiful space ventures in Guardians Vol. 2 and Ragnarok, or the whirlwind that is Infinity War, it's hard to see how this universe can live on with the next stage. With many characters likely to be written off for good with this tentpole finale, and only one film officially announced by the studios, this could be the end for audiences too, for the most part. But for a twenty-two film run, what a run it's been; rivalled only by Pixar in its quality ratio (and hey look! Disney owns them too. What a scary monopoly we live in).

One thing's for sure though: come next week, the media landscape - and indeed the world - isn't going to be the same again. And I cannot wait.

The Whovian Avenger's Best (and Worst) of 2018

Ahh, 2018! A year where I've been even more lacking in my cinematic ventures but seen enough films to do this annual awards 'ceremony'! All kidding aside, this time of year is always a favourite of mine as it's when we can celebrate/commiserate just how the movies released have gone down. From Oscar-winning love stories between man, woman, family and monsters to bombastic blockbusters that shatter global records, it's certainly been a momentous time, and will certainly be fun to look back on. Like last year, I will be avoiding repeat nominations for actors and actresses who got some love at the Academy Awards that year; however, the films themselves will still be eligible in other categories, including Best Picture. So sorry Sally Hawkins, as much as I loved your performance in The Shape of Water that love can only be given through wins in other categories for the film. Let's go!

Best Actor in a Supporting Role
And the nominees are...

• Adam Driver - BlacKkKlansman
• Donald Glover - Solo: A Star Wars Story
• Doug Jones - The Shape of Water
• Jim Cummings - Christopher Robin
• Michael B. Jordan - Black Panther

And the winner is...

A lot of things went really well for Black Panther, thanks to its large cultural impact and its expertly-crafted Afrofuturism, but in terms of performances, Michael B. Jordan truly shines out of the pack. Redeeming himself from Marvel sins of the past, he presents a pitch-perfect villain in a universe often criticised for how lacklustre its bad guys are and gives us not only an antagonist we love to hate but one that also makes clear sense in these trying times - and one that ultimately does bring about a new way of living within the world of the Marvel Cinematic Universe. 

Best Make-Up and Hairstyling

And the nominees are...

• Black Panther
• BlacKkKlansman
• Bohemian Rhapsody
• Darkest Hour
• Sorry to Bother You

And the winner is...

How often is it that a major Hollywood production creates a truly authentic aesthetic in a land that isn't a period piece? Because Black Panther's makeup and hairstyling was just a superb representation of African design. From Killmonger's scars to the individual looks of each and every Wakandan citizen, it elevated this brand new world and made it a land anyone would want to be a part of.

Best Costume Design
And the nominees are...

• Black Panther
• Fantastic Beasts: The Crimes of Grindelwald
• Ocean's 8
• Phantom Thread
• Sorry to Bother You

And the winner is...

Well, of course the film about dress-making won! While there wasn't much of Phantom Thread that I ended liking (sorry Daniel Day-Lewis) the costume design was by far one of the best of the year, with elegant dresses and intricate designs a-plenty.

Best Sound Editing/Mixing
And the nominees are...

• Avengers: Infinity War
• Black Panther
• Bohemian Rhapsody
• First Man
• Incredibles 2

And the winner is...

It's music. Music is tough to perfectly mix together with the scenes, and with it being Queen the pressure is even higher, so the fact that it blended together so well really is a credit to the mixers and editors.

Best Production Design
And the nominees are...

• Black Panther
• Fantastic Beasts: The Crimes of Grindelwald
• Isle of Dogs
• Sorry to Bother You
• The Shape of Water

And the winner is...

Stop motion is a difficult thing, but Wes Anderson's efforts are always one step beyond thanks to the highly-detailed production designs behind them. Between the clever differents ways the likes of explosions, scrapes and television screens are realised to the strangely gorgeous landscapes of Trash Island, Isle of Dogs is yet another success in Anderson's repertoire. 

Best Actress in a Supporting Role
And the nominees are...

• Claire Foy - First Man
• Hailee Steinfeld - Spider-Man: Into the Spider-Verse
• Leslie Manville - Phantom Thread
• Letitia Wright - Black Panther
• Lucy Boynton - Bohemian Rhapsody

And the winner is...

Claire Foy has grown into something of a revelation, thanks largely to her TV work on The Crown, but when teamed with Damien Chazelle and Ryan Gosling, she creates a performance that's far more from just 'supportive wife and mother' - she creates a believeable human being that steals the film from under Neil Armstrong and does it with class.

Best Animated Feature
And the nominees are...

• Coco
• Incredibles 2
• Isle of Dogs
• Ralph Breaks the Internet
• Spider-Man: Into the Spider-Verse

And the winner is...

In a year with two Pixar films, somehow Sony Pictures Animation blew them out of the park with their interpretation of the ever-present Spider-Man mythos. Thanks to its absolutely amazing animation, an outstanding script and loveable characters, the studio not only proved they have the capacity to make truly great movies, but also that there are so many new and inventive ways we can take the characters we've seen so many times before (sorta like with LEGO Batman last year, but somehow even more gloriously).

Most Underrated Film of 2018
And the nominees are...

• Blockers
• Jurassic World: Fallen Kingdom
• Ready Player One
• Solo: A Star Wars Story
• Sorry to Bother You
• Teen Titans Go! To The Movies

And the winner is...

So many things were against Solo: A Star Wars Story. Between its director troubles, its minuscule marketing campaign, and the ever-present fanbase that to this day still complains about The Last Jedi, Solo was a box office failure and some really seem to dislike it. Which is truly a shame, because while it isn't the best Star Wars film, it was still a fun enough time with a likeable Harrison Ford replacement and the inspired casting of Donald Glover as Lando.

Most Overrated Film of 2018
And the nominees are...

• Bird Box
• Deadpool 2
• Phantom Thread
• To All the Boys I've Loved Before

And the winner is...

I'm sorry, but I really do not see the appeal of this film. Between two lead actors who seem to have instant chemistry instead of a slow-burning "Ooo maybe I really do like this person" and some really flat supporting characters, I ended up just being disappointed in both the film and the people in it. Do we really need a sequel?

Best Visual Effects
And the nominees are...

• Annihilation
• Avengers: Infinity War
• Christopher Robin
• First Man
• Ready Player One

And the winner is...

At the time of writing, I'm still rather mixed on Annihilation, the divisive sci-fi venture by Alex Garland. But there's no denying that the visual effects are just superb, and at times beautiful. Whether it's the strange creatures, the humanoid plants or that bloody weird bear, it all helps to create a truly alien world on our soil.

Best Film Editing
And the nominees are...

• BlacKkKlansman
• First Man
• Spider-Man: Into the Spider-Verse
• The Shape of Water
• Roma

And the winner is...

BlacKkKlansman's blending of two different worlds is superbly edited, with the merging of said worlds really coming together in its final moments, ensuring that the tensest moments are indeed intense, and helping present the absurdness of some sequences.

Best Adapted Screenplay
And the nominees are...

• Avengers: Infinity War
• Black Panther
• BlacKkKlansman
• First Man
• Spider-Man: Into the Spider-Verse

And the winner is...

It's hard to imagine how Spider-Man: Far From Home, or indeed any of this film's numerous sequels and spin-offs, will try to top this one. It's littered with callbacks and hilarious gags, but that doesn't stop it from becoming an origin story for a new age of superhero movies.

Best Original Screenplay
And the nominees are...

• Lady Bird
• Roma
• Sorry to Bother You
• The Ballad of Buster Scruggs
• Three Billboards Outside Ebbing, Missouri

And the winner is...

It's such an absurd concept, but Sorry to Bother You is mad enough to just about work thanks to its snappy dialogue and intricate metaphors, all of which teaming together to create a third act to end all third acts.

Best Cinematography
And the nominees are...

• First Man
• Isle of Dogs
• Phantom Thread
• Spider-Man: Into the Spider-Verse
• The Shape of Water

And the winner is...

Few films have really encapsulated the magic of the comic book pages, but Spider-Man: Into the Spider-Verse shows a gorgeous world entangled within a web of multi-dimensional filtering and a plethora of differing styles and designs. It's a beautiful film, and proof that mainstream Hollywood can play around with its animation styles.

Best Original Score
And the nominees are...

• Alan Silvestri - Avengers: Infinity War
• Alexandre Desplat -  Isle of Dogs
• Alexandre Desplat - The Shape of Water
• Ludwig Göransson - Black Panther
• Michael Giacchino - Incredibles 2

And the winner is...

I do seem to have a massive soft spot for Alexandre Desplat, but his score for Isle of Dogs just edges ahead of Shape of Water thank to its oriental edge that's somewhat minimalistic and repetitive, but nevertheless great to listen to and something that'll stick with you long after the film is over.

Best Original Song
And the nominees are...

• All the Stars - Kendrick Lamar, SZA, Sounwave, and Al Shu (Black Panther)
• OYAHYTT - The Coup ft. Lakeith Stanfield (Sorry to Bother You)
• Remember Me - Gael García Bernal, Libertad García Fonzi & Gabriella Flores (Coco)
• Sunflower - Post Malone and Swae Lee (Spider-Man: Into the Spider-Verse)
• When a Cowboy Trades his Spurs for Wings - David Rawlings and Gillian Welch (The Ballad of Buster Scruggs)

And the winner is...

There's a reason this song won Best Original Song at the Oscars last year, and that's because of this multi-layered creation for Coco. Each and every interpretation of the song in the film just works really well, each pushing the other further ahead, and capping the film of with one of the year's biggest tear-jerking moments.

Biggest Surprise of 2018
And the nominees are...

• Blockers
• Christopher Robin
• Game Night
• Set It Up
• Sorry to Bother You

And the winner is...

Comedy really bounced back this year, with the likes of Blockers and Set It Up truly thriving. Yet Game Night proved itself to be a highly amusing venture with a great cast and some genuine twist and turns. I expected mediocrity, I instead got a film I happily return to every so often.

Biggest Disappointment of 2018
And the nominees are...

• A Wrinkle in Time
• Early Man
• The Cloverfield Paradox
• The Happytime Murders
• Fantastic Beasts: The Crimes of Grindelwald

And the winner is...

Oh, what did they do to you Happytime Murders? I remember when this film was meant to be a serious crime noir with a moody colour palette and high-class actors. How did that intriguing concept art turn into this, a low-brow comedy that barely gets a laugh and puts its entertainment solely on the idea of puppets swearing and ejaculating? I wanted you to be good, Happytime Murders, and you let me down.

Best Director
And the nominees are...

• Alfonso Cuarón - Roma
• Damien Chazelle - First Man
• Greta Gerwig - Lady Bird
• Guillermo del Toro - The Shape of Water
• Ryan Coogler - Black Panther

And the winner is...

What is there to say about Guillermo del Toro that hasn't been said so many times before, alongside with his Oscar win for the same film? The Shape of Water is a film that is quintessentially a del Toro project, and his visual direction teamed together with the actors' performances and the glorious production design all combines together to make what many may consider to be his best film yet.

Best Actor (Mainstream)
And the nominees are...

• Chadwick Boseman - Black Panther
• Chris Hemsworth - Avengers: Infinity War
• Glen Powell - Set It Up
• Josh Brolin - Avengers: Infinity War
• Nick Robinson - Love, Simon

And the winner is...

It's tricky to define a lead actor in a film with so many major characters, but antagonist Josh Brolin maybe best matches that description - and he really works in this. Presented a multi-layered villain with true might, manipulative skills and a damaged heart, Brolin presented us with an excellent bad guy who towered over all his barricades and took the world by storm - and when you're following on from Michael B. Jordan's Killmonger, that takes a lot of skill to do.

Best Actor (Dramatic)
And the nominees are...

• John David Washington - BlacKkKlansman
• Lakeith Stanfield - Sorry to Bother You
• Rami Malek - Bohemian Rhapsody
• Ryan Gosling - First Man
• Tim Blake Nelson - The Ballad of Buster Scruggs

And the winner is...

As problematic as the film may be thanks to its controversial disappearing director, Rami Malek somehow manages to save Bohemian Rhapsody from imploding on itself and becomes an extra leg for the movie to stand on. Malek transforms and disappears into the role of Freddie Mercury and creates a persona that could have gone wrong so easily, yet doesn't.

Best Actress (Mainstream)
And the nominees are...

• Danai Gurira - Black Panther
• Evangeline Lilly - Ant-Man and the Wasp
• Lupita Nyong'o - Black Panther
• Zazie Beetz - Deadpool 2
• Zoey Deutch - Set It Up

And the winner is...

Admittedly, this was a difficult category this year, as in the mainstream there weren't that many major performances that I saw that were also superb, save for the aforementioned nominees. But Danai Gurira - a name I had barely recognised beforehand - became something of an instant icon in Black Panther, delivering both in the action sequences and the sombre scenes; making a stern and dedicated militia leader a standout in a film with so many great characters and performances.

Best Actress (Dramatic)
And the nominees are...

• Anya Taylor-Joy - Thoroughbreds
• Michelle Williams - All the Money in the World
• Olivia Cooke - Thoroughbreds
• Tessa Thompson - Sorry to Bother You
• Yalitza Aparicio - Roma

And the winner is...

Tessa Thompson is a powerhouse. It's hard to pinpoint what exactly is so impressive about her performance in Sorry to Bother You, but her role as the ultra-artistic and political Detroit is one that steals every scene she appears in, showing that the usually small role of 'lead character's girlfriend' can be so much more than just arm candy and forced stakes.

Worst Picture
And the nominees are...

• A Wrinkle in Time
• Overboard
• The Cloverfield Paradox
• The Nutcracker and the Four Realms
• When We First Met

And the winner is...

What is about the Groundhog Day premise that so many people try to replicate and so often fail? When We First Met may not be the worst in terms of actual effort, but between a pretty bad script, some truly bad performances and Adam DeVine being his usual annoying self, the film ended up irking me so much that I couldn't wait for it to be over - only to force in a message about maybe you aren't really the one who should be with that person you like, like their best friend instead. It was truly disappointing and somehow the worst thing I saw all year.

Best Picture
And the nominees are...

• Avengers: Infinity War
• BlacKkKlansman
• Coco
• First Man
• Incredibles 2
• Lady Bird
• Sorry to Bother You
• Spider-Man: Into the Spider-Verse
• The Shape of Water
• Three Billboards Outside Ebbing, Missouri

And the winner is...

Of course, it was Avengers: Infinity War. It ain't perfect, but with so much going on it's a marvel just to see Joe and Anthony Russo juggle everything with ease; making a $2bn event that needed to be seen again and again. It's nice when high expectations are met and exceeded.

Editorial: The Best of 2018

At the end of every year, we here on this blog like to celebrate the movies that have been released over the year in two ways: a more-intricate breakdown of the best and worst of the film industry's output, and this; a list of the ten best films released in the UK over the course of 2018. Sadly I haven't seen as many films as previous years (far from the 100 movies witnessed across 2016, but that's university/work for you), and I have definitely missed some of the biggest successes and surprises of the year, including A Star is Born, A Quiet Place and Crazy Rich Asians. But nevertheless, here are the top of the class, starting with...

Honourable Mention - Roma

A current big name in the awards circuit, Alfonso Cuarón's follow-up to 3D hit Gravity is an incredibly personal and visually glorious venture, telling a heart-wrenching story about a maid in Mexico City, her relationship to the ailing family that hired her and the struggles of love and loss. It's an extraordinary tale with an outstanding lead performance by newcomer Yalitza Aparicio, and come Oscar night I wouldn't be against a Best Picture win, but sadly, in this case, it was usurped by ten other movies that I thought were just a little bit better.

10. Sorry to Bother You

I have three questions about this movie:

1. Why the hell did this take so long to reach UK cinemas?
2. How on earth did Boots Riley make a film so meticulous, so insane, and so good on the first try?
3. What the hell is up with that third act?!

Sorry to Bother You managed to be everything I wanted it to be from those wacky trailers, thanks to an original and ingenious premise, superb performances, and an incredibly witty screenplay - which in turn earns its right to go absolutely crazy with an insane final third that can only be seen to be believed. Possibly only one other film has been the same emotional rollercoaster, and I really recommend this one.

9. BlacKkKlansman

Remember when it seemed like Spike Lee had lost the edge that had made him such a big name? Because BlacKkKlansman proves that the man has still got the power. A tale that couldn't have come at a better time, this seemingly-ludicrous true story presents a look at both white and black power groups during the 1970s and details a police investigation of the Ku Klux Klan lead by none other than rookie cop John David Washington - a black policeman. With Adam Driver portraying him in person and Washington talking to members over the phone (including David Duke himself, a great Topher Grace), it's a comedy but still serious look into race relations that ends on a heartbreaking note that does feel a little forced, but nevertheless proves just why it's an important take.

8. Lady Bird

Who would have guessed that one of the best-reviewed films of all time made this list? At a perfectly short runtime, Lady Bird doesn't outstay its welcome but instead makes you wish you were with these characters longer; with Saoirse Ronan reminding us once again why she's one of the best in the business today but Laurie Metcalf stealing the show as her mother - with the relationship between the two being a key aspect and arguably the most interesting of the bunch. Plus I tolerated Timothée Chalamet in it, which is always a plus.

7. Incredibles 2

Well, this surprises no one. While not as perfectly crafted as the original, this fun follow-up still presented a great tale with some of the funniest moments seen this year alongside some grand action and a gripping third act. Plus Jack-Jack fighting a racoon remains one of the greatest moments of the year.

6. First Man

It's becoming clear to me that Damien Chazelle can do no wrong. In his third major motion picture and his first since the stunning La La Land, the modern day auteur reunites with Ryan Gosling to tell Neil Armstrong's journey in the only way he knows how: magnificently. With test sequences being just as engrossing as his troubles at home (Claire Foy is a powerhouse as his wife), it's all topped off by a beautiful conclusion that highlights the true majesty of space travel; the second reminder after 2017's Hidden Figures of just how magic the space program is.

5. Coco

This year's Best Animated Feature winner is a gorgeous delve into the land of Mexican culture, with the Land of the Dead being a creative and outstanding landscape filled to the brim with likeable characters - the main of which being the incredibly-talented Miguel. With genuine twists, a truly emotional finale, and a concept that surpasses expectations, Coco was a marvel to behold and is worth a look in for its musical interludes alone.

4. Three Billboards Outside Ebbing, Missouri

There's a common pattern with my film viewings: the first film I see every year usually ends up in my top ten for the year. Maybe it's because it reminds me of what I started with; maybe it's because January is usually when all the award movies are released, or maybe it's because I have excellent taste and luck out right out of the gate. Nevertheless, Three Billboards turned out to be a surprisingly great film. It's funny, shocking, and features three of the best performances of the year in the form of Sam Rockwell, Woody Harrelson, and Frances McDormand. It could have maybe done without the hero storyline for Rockwell's racist cop, but considering it becomes a matter of redemption I can allow it.

3.  Spider-Man: Into the Spider-Verse

A year when Pixar isn't the production company behind the best animated film of the year is always a shocking one, but gosh-darn it Sony Pictures Animation have done it - and to think last year they created the reprehensible Emoji Movie. With the most stunning visuals, the most hilarious script, and the most glorious of characters, Into the Spider-Verse presents one of the best superhero movies of all time and one that highlights the true absurdity of the comic book realm. Also, that post-credits scene. My God, that post-credits scene. That post-credits scene may be the most I've laughed all year at the movies.

2.  The Shape of Water

I have seen many a love story this year: between boy and girl (To All the Boys I've Ever Loved), boy and boy (Love, Simon), witch and robot (Avengers: Infinity War), and witch and muggle (Fantastic Beasts: The Crimes of Grindelwald). And yet, it was Beauty and the Beast that beat them all, with its visually stunning cinematography and its truly beautiful tale. Topped off with an alluring score by Alexandre Desplat as well as Sally Hawkins' perfect performance, this Best Picture winner really was one of the best, and one I will definitely remember for years to come.

1.  Avengers: Infinity War

Well, duh. It may not technically be the best of the year in terms of story or visuals - certainly with the former, seeing as it's not even finished yet - but as far as movie-going experiences go there will likely be nothing that will top it. With Thanos meeting those high expectations set all those years ago, some of the biggest and most bombastic action sequences and a shocking cliffhanger of an ending, Avengers: Infinity War was something of an impossibility - a film set up over multiple movies that actually deserved the hype. Here's hoping Avengers: Endgame makes as good an ending as this did a beginning.