It seems as if we’ve been getting a new entry into the Marvel film canon at least once or twice a year for the last little while now. And with rumours swirling that the filmmaking titan has its universe mapped out until the year 2028, you either get on board now or be forever lost in the immense, intertwining reaches of this comic book behemoth. Hell, Marvel Studios even has Sony Pictures and 20th Century Fox undertaking some of the responsibility! Yes, with “Captain America: The Winter Soldier” breaking the box office opening weekend record for April, the television show “Agents of Shield” going steady, “Guardians of the Galaxy” picking up steam on all social platforms, and “Avengers: Age of Ultron” production well under way, it looks as if there’s no stopping this superhero juggernaut.
Conversely, all positives aside, lately the films have been hit and miss. Take for example the underwhelming sequel “Thor: The Dark World” and the polarizing finale to the Iron Man trilogy. While both found financial success, there are those beginning to question the stability of Marvel’s universe. With Marvel’s success came demand, and as this thirst grew, Marvel set in motion a strategy that fulfills the demand which simultaneously secures funding for future need. And this will continue in an infinite loop enabling Marvel to produce with the mindset of quantity over quality. This will eventually result in a consistently declining level of interest that will ultimately lead to less funds for future projects, thereby effectively extinguishing Marvel’s ambitious blueprint for a big screen legacy…but this is just a theory.
What do you think of Marvel’s course of action for the big screen? Is Marvel sacrificing quality for quantity and reward? Are they looking too far ahead or simply giving the viewers what they want? Will their courageous endeavour into the future sacrifice the integrity of their characters or help to better define them? Be sure to let me know what you think in the comment section below. Nevertheless, regardless of what you feel towards Marvel’s aggressive inflation, there’s no denying that if their future projects are anything like their latest, “Captain America: The Winter Solider,” Marvel will be going strong and steady for a long time to come. Directed by the Russo brothers, Anthony and Joe, and written by Marvel veterans Stephen McFeely Christopher Markus, “Captain America: The Winter Soldier” is without question the best solo Avenger film to date.
I’ve always felt that Captain America was cut from a different cloth than his Avenger teammates. Despite being a super soldier and carrying around an impenetrable shield, there’s nothing that really distinguishes Captain Rogers from the rest of us. He’s the most humble, vulnerable, human of all the Avengers, and that really shows in every film he’s a part of. Whether it be struggling with his misplacement in time, trying to overcome being deprived of an existence with his beloved, or fending off evil with nothing exactly superhuman to defend him, Captain America truly is the best of humankind amplified.
We catch up with the Captain not long after the events that took place in New York. He’s living in Washington, D.C., running espionage missions for S.H.I.E.L.D and still struggling to fit into modern society. However, when Nick Furry is on his way to a previously arranged rendezvous, he’s ambushed by unknown assailants lead by an assassin known as the Winter Solider. This abruptly puts an end to Captain Roger’s steady routine and thrusts him back into action. Upon learning that the Winter Soldier is working for Hydra, Captain America sets out to defeat the Winter Soldier and put an end to Hydra once and for all.
Look, no disrespect to “The Avengers,” it’s a great flick, action-packed, oozing with quotable dialogue, and frequently amusing. That being said, “Captain America: The Winter Soldier” is Marvel’s best outing to date. Where chaos controlled and ultimately lead to “The Avengers” reach exceeding its grasp.
Marvel’s latest is controlled, paced, and executed with pure brilliance. The story is engaging, the action is breathtaking, and the performances tower over any other portrayal given in the Marvel universe. And although it might not take place on the grandest scale, it certainly tackles socio-political issues that are extremely relevant in today’s world, hitting closer to home than any of its predecessors. And yet, perhaps what is most impressive and admirable about the film is the serious mentality taken by the Russo brothers whilst executing and capturing the action sequences, whether it be hand-to-hand combat between Rogers and the Winter Solider or larger scale battles and explosions. Not to mention the drama surrounding our hero Captain America and his enemy, the Winter Soldier. It’s as compelling and entertaining a battle between good and evil since Marvel’s nemesis’ D.C Comics unleashed Batman and The Joker…okay…maybe not that illustrious, but they’re working on it.
Returning to the Marvel screen is Chris Evans who reprises his role as Captain America, Scarlett Johansson as the always deadly and sexy Natasha Romanoff, Samuel L. Jackson as head honcho Nick Furry, and Sebastian Stan who portrays his alter ego this go around, the Winter Soldier. Joining these vets are newcomers Anthony Mackie, and Robert Redford, who tackle Falcon and Alexander Pierce respectively. Additionally, there’s a terrific supporting ensemble comprised of Frank Grillo, Hayley Atwell, Cobie Smulders, and Toby Jones. If this all-star cast isn’t enough to entice you, I don’t what is!
The insanely talented Chris Evans never ceases to amaze me, I sincerely hope the rumours floating about regarding his early retirement from acting are false. I mean, the man is a machine! Whether he’s knocking the baddies on their rear end or bursting with an unfathomable spectrum of emotions, Evans makes it look all too easy. Now, for those who have been clamouring for an independent Black Widow film, I apologize, I could not see the potential…but all that’s changed now. Scarlett Johansson quite possibly provides the best performance this flick has to offer. She’s sweet, stunning, funny, smart, and sexy. A lethal combination and something you wouldn’t expect from an Avenger afterthought. Sebastian Stan, who’s work I’m not exactly familiar with apart from the original “Captain America” film, gives the best villain performance I’ve seen since Tom Hardy’s Bane or Tom Hiddleston’s Loki. Every time this badass stud hit the screen sporting his menacing black mask and mechanical arm, I got chills.
Easily the most surprising aspect of the film is Anthony Mackie’s Falcon. I wasn’t expecting to enjoy his character and alter ego so much! I originally thought he would provide nothing more than a few comical quips and mid-air somersaults, but he does so much more. So much so that I’m actually looking forward to Falcon’s next Marvel appearance. Additionally, Robert Redford…wow. Although he’s only on the screen here and there, he controls the moments he is with an abundance of charisma and villainy.
Shedding the cartoonish hue and predictable comedic relief that has plagued previous Marvel outings, it looks as if the illustrious comic book organization has finally gotten it right. With an incredibly strong script, potent humour, and massively memorable performances, “Captain America: The Winter Soldier” is as strong as they come.
Captain America: The Winter Soldier: 9 out of 10.
Although it deserved stronger direction and a more structurally sound script. “The Fifth Estate” is lifted above mediocrity thanks to sublime performances from its entire cast and truly captivating, at times unsettling source material. This Bill Condon thriller, despite all the hype and speculation, has fizzled amongst the high-profile Oscar contenders at this years TIFF. Which really shouldn’t come as a surprise when you consider the plethora of high-quality films in the race this year. That being said, it is this very unfortunate circumstance that puts “The Fifth Estate” on the receiving end of some seriously negative and potentially irrefutably damaging, undeserved cynical criticism. Thankfully, the essence of film is to forge an opinion of one’s own. Mine is here to tell you not to believe in the bad-mouthing and reputation smashing being directed at “The Fifth Estate.” While definitely not a sure-shot when it comes to award season, it certainly isn’t as abhorrent as critics are making it seem.
To expand, it’s extremely difficult to go into a screening without any preconceived notions. And as hard as you may try to weed out bias and judgement, whether it be positive or negative, inevitably some influence will sink in. This undeniable logic swirled around my mind throughout “The Fifth Estate” as I tussled with my masculine infatuation and deep admiration for the film’s star Benedict Cumberbatch. I tried, valiantly I might add, to focus on the film and details surrounding him and to distance myself from the other interpretations of the film. While I was able to fight off the majority of my weakness, Cumberbatch’s seemingly immaculate prowess and pure devotion, amongst the film’s other infaliable qualities were just too alluring and impressive to ignore. That being said, I succeeded in forging my own opinion. The film isn’t without faults, and it just so happens that Cumberbatch is arguably the only Oscar contender to emerge from this specific film, slim chances for the outstanding Daniel Bruhl. However, we don’t simply condemn films that don’t garner nominations, so by no means avoid this flick.
For those who don’t know. “The Fifth Estate” is the story of how the news-leaking website Wikileaks came to existence. Created by Julian Assange (Cumberbatch) with the help of Daniel Domsheit-Berg (Bruhl).
There are more than a few bright spots throughout the film that don’t revolve around the performances, just to insure my words don’t mislead you. Director Bill Condon occasionally spurts the innovation and brilliance that solidified his high status and previous flicks like “Gods and Monsters,” managing to sporadically encompass the sheer immensity of the film and find the core of its true story. However, Condon consistently struggles to make the transitional aspect of his vision smooth, resulting in a bumpy, divided entity. The film rises and dips far too often to ignore and the highs aren’t nearly impressive enough to discard the lows. I’m sure that the “The Fifth Estate” appeared much more alluring on paper and it’s a pity that the structure and story didn’t translate to the big screen. Regardless, the source material remains as hypnotic, honest, and horrid as ever, toss in some terrific, astonishing performances and “The Fifth Estate” is strong enough to overcome its faults.
Perhaps what ultimately led to the high-standard and unreal expectations of “The Fifth Estate,” aside from the trailer and Cumberbatch’s remarkable portrayal and resemblance to Julian Assange, is the astounding success of David Fincher’s “The Social Network.” The two films share more than a few similarities which can be easily spotted while watching the film. Additionally, the film is no where near as symbolic or deceptive. Everything is laid out, flat on the table. “The Fifth Estate” comes off a bit to modernized and contrived. As if Condon and crew modelled the film after Fincher’s Facebook masterpiece, with good reason. I mean, if you could capture some of “The Social Network’s” Oscar winning astuteness, why wouldn’t you? There’s nothing wrong with being inspired and influenced, but masquerading these mind-sets and commonalities with cheap ploys and abstract techniques didn’t pay off for Condon.
Even though “The Fifth Estate” is stifled mightily by skeletal simplicity and seemingly forced direction. The film’s performances burst forth from the screen and are the only thing standing in the way of this flick from being thrown into an incinerator. The film stars the preposterously immaculate Benedict Cumberbatch, Daniel Bruhl, who is absolutely sky-rocketing to stardom, David Thewlis who continues to thrive despite being underused, and a plethora of high-profile supporting talent that features Laura Linney, Stanley Tucci, and Anthony Mackie.
Off the top of my head, there is no one who impressed me more than Daniel Bruhl (I’ve simply come to expect perfection from Cumberbatch). After launching his career into orbit with Quentin Tarantino’s “Inglorious Basterds,” it’s been nothing but full-throttle ahead for Bruhl, who has two films premiering at this year’s festival. Bruhl does everything in his power to upstage Cumberbatch and salvage this film from its free-fall. I don’t think I can issue much higher praise than declaring his performance just under that of Cumberbatch’s. Speaking of Benedict, his portrayal of Assange is nothing short of spectacular. His mannerisms, voice, hair, literally everything about Assange is captured perfectly. There’s really nothing else to say. Cumberbatch’s performance alone is enough to make “The Fifth Estate” recommended viewing.
“The Fifth Estate” is fortunate enough to have its spellbinding cast come to the rescue. Other than its performances, which I highly insist you check out, and its source material, there isn’t anything here you haven’t been previously exposed to. This being said, do not take my rough dissection as hatred, I rather enjoyed this flick…even if I am a tad bias.
The FIfth Estate: 7.5 out of 10.
With a little over a month until the Toronto International Film Festival officially kicks off its 38th edition. The first batch of attending films were ceremoniously announced around 10am this morning in what is shaping up to be one of the most prolific, star-studded years in festival history!
75 films were announced Tuesday in what should become roughly 290 total, at least equalling last years output. Expect the entire Midnight Madness lineup to be released July 30, with the remaining films formally presented throughout the coming weeks. Check out the Galas here and the Special Presentations here.
The most notable from the first batch are as follows:
August: Osage County John Wells, USA, World Premiere:
August: Osage County tells the dark, hilarious and deeply touching story of the strong-willed women of the Weston family, whose lives have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. Based on Tracy Letts’ Pulitzer Prize– and Tony Award–winning 2007 play of the same name. Starring Meryl Streep, Julia Roberts, Ewan McGregor, Benedict Cumberbatch, Abigail Breslin, Sam Shepard and Chris Cooper.
The Fifth Estate Bill Condon, USA, World Premiere:
Triggering an age of high-stakes secrecy, explosive news leaks and the trafficking of classified information, WikiLeaks forever changed the game. This dramatic thriller based on real events reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization. The story begins as WikiLeaks founder Julian Assange (Benedict Cumberbatch) and his colleague Daniel Domscheit-Berg (Daniel Brühl) team up to become underground watchdogs of the privileged and powerful. On a shoestring, they create a platform that allows whistleblowers to anonymously leak covert data, shining a light on the dark recesses of government secrets and corporate crimes. Soon, they are breaking more hard news than the world’s most legendary media organizations combined. But when Assange and Berg gain access to the biggest trove of confidential intelligence documents in U.S. history, they battle each other and a defining question of modern time: what are the costs of keeping secrets in a free society — and what are the costs of exposing them? The film also stars David Thewlis, Stanley Tucci, Laura Linney, Anthony Mackie and Dan Stevens.
Kill Your Darlings John Krokidas, USA, International Premiere:
Kill Your Darlings is the true story of friendship and murder that led to the birth of an entire generation. This is the previously untold story of murder that brought together a young Allen Ginsberg (Daniel Radcliffe), Jack Kerouac (Jack Huston), and William Burroughs (Ben Foster) at Columbia University in 1944, providing the spark that would lead to their Beat Revolution. Also stars Dane DeHaan, Michael C. Hall, David Cross, Jennifer Jason Leigh, Elizabeth Olsen, Kyra Sedgwick and John Cullum.
Mandela: Long Walk to Freedom Justin Chadwick, South Africa, World Premiere:
Mandela: Long Walk to Freedom is based on South African President Nelson Mandela’s autobiography of the same name, which chronicles his early life, coming of age, education, and 27 years in prison before working to rebuild his country’s once-segregated society. Starring Idris Elba as Nelson Mandela, and Naomie Harris as Winnie Mandela.
Rush Ron Howard, United Kingdom/Germany, International Premiere:
Two-time Academy Award winner Ron Howard (A Beautiful Mind, Frost/Nixon) teams up once again with two-time Academy Award–nominated writer Peter Morgan (Frost/Nixon, The Queen) on Rush — a spectacular big-screen re-creation of the merciless 1970s rivalry between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl). Also features Olivia Wilde, Alexandra Maria Lara and Pierfrancesco Favino.
12 Years a Slave Steve McQueen, USA, World Premiere:
12 Years a Slave tells the incredible true story of Solomon Northup, a free black man from upstate New York who was kidnapped and sold into slavery in 1841 and finally freed in 1853. The story is a triumphant tale of one man’s courage and perseverance to reunite with his family that serves as an important historical and cultural marker in American history. Starring Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Paul Dano, Garret Dillahunt, Paul Giamatti, Scoot McNairy, Lupita Nyong’o, Adepero Oduye, Sarah Paulson, Brad Pitt, Michael Kenneth Williams and Alfre Woodard.
Blue Is The Warmest Color Abdellatif Kechiche, France, North American Premiere:
At 15, Adèle doesn’t question it: girls go out with boys. Her life is changed forever when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and finds herself. Starring Léa Seydoux and Adèle Exarchopoulos.
The Disappearance of Eleanor Rigby: Him and Her Ned Benson, USA
The Disappearance of Eleanor Rigby: Him and Her is a two-part love story seen through the eyes of a New York couple trying to understand each other as they cope with personal hardship. The different perspectives of “Him” and “Her” result in two films with a unique look into one couple’s attempt to reclaim the life and love they once had. Starring Jessica Chastain, James McAvoy, Nina Arianda, Viola Davis, Bill Hader, Ciarán Hinds, Isabelle Huppert, William Hurt, and Jess Weixler.
Don Jon Joseph Gordon-Levitt, USA, Canadian Premiere:
Jon Martello (Joseph Gordon-Levitt) is a strong, handsome, good old fashioned guy. His buddies call him Don Jon due to his ability to “pull” a different woman every weekend, but even the finest fling doesn’t compare to the bliss he finds alone in front of the computer watching pornography. Barbara Sugarman (Scarlett Johansson) is a bright, beautiful, good old fashioned girl. Raised on romantic Hollywood movies, she’s determined to find her Prince Charming and ride off into the sunset. Wrestling with good old fashioned expectations of the opposite sex, Jon and Barbara struggle against a media culture full of false fantasies to try and find true intimacy in this unexpected comedy.
Gravity Alfonso Cuarón, USA/United Kingdom, North American Premiere:
Gravity is a heart-pounding thriller that pulls its audience into the infinite and unforgiving realm of deep space. Sandra Bullock plays Dr. Ryan Stone, a brilliant medical engineer accompanied on her first shuttle mission by veteran astronaut Matt Kowalsky (George Clooney). On a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone — tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth… and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left. But their only way home may be to go further out into the terrifying expanse of space.
To say that I am excited for TIFF 2013 would be a massive understatement! Can’t wait to see what other films will be joining this first wave.