Transformers: The Last Knight (3D) **

Relax folks, it’s Michael Bay back again for the fifth time to assault our senses. Go into Transformers: The Last Night with this in mind, and the outcome isn’t as painful as you might expect. There is less mangled mental in colourful whirl than in previous films – and this one is mildly better than the last. Indeed, love or hate him, Bay is a master at crafting an action blockbuster for the supersized screen, which is why people come back for more. It’s got nothing to do with plot and character development.

Action stalwart Mark Wahlberg returns for more of a beating as engineer and ‘inventor’ Cade Yeager who is in hiding from the Transformers Reaction Force, a military-run operation tasked with ridding the planet of Transformers. Yeager has a few hiding out in his scrap metal yard, including Bumblebee, right-hand robot to the Autobot’s leader, Optimus Prime (who keeps telling us he’s ‘Optimus Prime’ throughout, in case we missed it).

The latter is forced against his will to find the key – something to do with mythical wizard Merlin – to bringing Prime’s dead home planet, Cybertron, back to life, while Megatron and his Decepticons wait to destroy him and his crew. The problem is, in bringing Cybertron back, Earth must perish. It’s up to Yeager, an English history professor (Laura Haddock) and their allies (including Anthony Hopkins as Sir Edmund Burton, Josh Duhamel as ever embattled Colonel William Lennox and John Turturro as the exiled but returning Agent Simmons) to save our planet.

In a similar vein to the Fast and Furious franchise – both boast machines, babes and gravity-defying stunts (for humans), Transformers still fills cinema seats. The answer is in the easily digestible format as listed. You can switch off and go ‘oooo and ahhh’ at the spectacle, like being on an overpriced rollercoaster seat – and it affects the eyeballs too. If that’s not your bag, it isn’t going to delight or get any better. In fact, it’s going to be painful. That is where the problem lies in critics expecting greater things from Bay – he actually gives you what you crave in terms of an action blockbuster fix, nothing else.

Transformers is an utterly daft franchise, made crazier this time in The Last Knight by the excruciating upper-class English caricatures that are both ridiculous and unrealistic – much like its battle scenes. It always prompts much head scratching when humans believe firing rounds of bullets and rockets at superior alien life forms would eliminate the threat. Eventually they hit the bullseye, after some bright spark figures out how to.

The fact that writers Art Marcum, Matt Holloway and Ken Nolan believe linking the kingdom of Camelot and the Knights of the Round Table to the Transformers’ history is farcical in itself – like a last bid attempt at making the story franchise credible. If you can absorb and overcome this absurdity, it’s even more entertainingly silly to watch – a fact the cast seem to have grasped.

Wahlberg is designed for such films, returning for more. His character is always agreeable, testosterone-fuelled and smart-mouthed enough to get you on side. Like Fast and Furious, there are some nice motors to ogle too – in addition to pouty Haddock who is a Megan Fox clone, however unfair that is to the Brit actress. There is also the (frankly) pointless casting of young Isabela Moner as ‘Transformer protector’ Izabella, perhaps for the younger audience, but sinisterly ‘over sexed’ (and pouty) to set off parents’ alarm bells of 12 year-olds. Again, it’s Bay’s Fox obsession filtering through…

Transformers: The Last Night (3D) – seen in 3D but not necessary to be – is much of the same with a plot out of a Dan Brown novel, if you think of the secret society aspect. The familiar faces slog on to the last; indeed, the ending points to installment six. Yes, another Transformer siege is in the planning, and if you haven’t got fatigue already, there’s a Bumblebee spin-off too. If that grates by the end of this film, Optimus Prime telling us he’s, well, Optimus Prime, then be prepared for the onslaught of the bleedin’ obvious in round six. You just can’t keep a Transformer down, it seems.

2/5 stars

By @FilmGazer

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Rock Dog ***

Another animation, another animated ‘hero’ full of good intentions, this time the moral in Rock Dog is: ‘follow your dreams and don’t let anyone deter you’, with talking animals, akin to Zootropolis. It’s not the latter though (unfairly judged against a larger studio release in some respects), but has its own indie charm, full of funny, cute moments. What is does have is a highly catchy theme tune in ‘Glorious’, which the kids were humming all the way out of the cinema and down the street afterwards. In that respect, it makes its mark through music.

After a radio falls from the sky, guitar-loving Tibetan Mastiff Bodi (voiced by Luke Wilson) hears rock music for the first time from ‘superstar rocker’ Angus Scattergood (voiced by Eddie Izzard), and realises his dream is to be a musician. That goes dead against what his father, guard dog Khampa (voiced by J.K. Simmons) wants for him – he ought to be guarding the sheep of the village against their ancient enemy, the wolves. Khampa reluctantly lets his son go to the big city to fulfill his dream – and maybe meet Scattergood in the flesh.

Rock Dog has some good-hearted, fun characters to ride along with, and a certain easy charm that makes it totally consumable. Although Bodi is the star and certainly resonates with the kids, Scattergood is for the adults. Izzard is hilarious as the cat ‘music demi god’ who finds most things in life tedious and has run out of inspiration. He is the epitome of ‘Brit music cool’ though and that alone is enough to make him a memorable character.

Indeed, the plot can be seem coming a mile off before the film has even started – we know Bodi will be successful, somehow. The film is about the journey he takes, with its quaint innocence from not only Bodi but also the sheep. It’s also a refreshing take, set in the Tibetan hills, from the usual city affair, though it ends up in the Big Smoke.

The other thing is it is all good clean fun for a younger child to watch – even though it involves a rock star. Even the wolves are not too scary for youngsters (not jumping in mum/dad’s lap this time), and are like poor imitations from a tame Guy Ritchie gangster flick (minus any swearing). Centre stage is given to the fledgling Bodi-Scattergood relationship, and the highs and lows of it. In that sense, kids get to see humility in the end, in addition to the rise to stardom.

Rock Dog has a lot of lessons for all viewers of all ages to learn from – after all, it’s never too late for anyone to follow a dream. Some of the humour is a little slapstick and déjà vu, but utterly harmless, nevertheless. It will make you walk away with a smile and a hum, so that’s not a bad thing.

3/5 stars

By @FilmGazer

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Smurfs: The Lost Village ****

From The Hobbit’s Shire to the Smurfs’ mushroom village, big and small kids love the idea of a place of serenity, harking back to simpler living. Ironically, defending territory from an external ‘terror’ threat by those wanting to change an existence strikes a chord in today’s unsettled world – one way to use Smurfs: The Lost Village to explain world affairs to curious little minds. So, however simple in plot the new Smurfs film first seems, it does combine in one story a positive sense of self-preservation with a healthy dollop of adventure, all for the benefit of kiddies in glorious multicolour with intrepid gnome explorers. It also attempts to shine the spotlight on Smurfette and mould her (pardon the pun) into a lead character in her own right.

Voiced by Demi Lovato, Smurfette is still trying to figure out what her unique skill is, four years on from the second film, and where she fits in in the Smurfs’ world? A chance encounter with a masked stranger in the forbidden forest and a map leads the only girl gnome and her best buddies, Brainy (Danny Pudi voices), Clumsy (Jack McBrayer) and Hefty (Joe Manganiello), on an adventure to find a lost village. However, Smurfette has unwittingly led the Smurfs’ sworn enemy Gargamel (voiced by Rainn Wilson) and his beastly crew to the new location – and an untapped source of ‘blue power’ the sorcerer needs to be invincible. It’s up to Smurfette and co to warn the residents before it’s too late.

This time creator Peyo’s Smurfs are re-immersed in their own animated existence – no real-world shenanigans like in the 2013 film or creepy-looking ‘human-featured Smurfs’. Sadly, this also means no Hank Azaria in panto as Gargamel – nor in voice, though Wilson is just as entertaining. It does mean the filmmakers have full creative licence to explore the Avatar-styled world, equally bathed in blue. This film bounces along with 100 per cent enthusiasm and is very much about the gnome personalities, the introduction of which at the beginning wastes no time in reeling off a list of character traits in fun-filled, erratic fashion that younger viewers delight at. The rest of the frenetic pace follows suit, as expected with present-day kids animation.

As the momentum roller-coasters on – requiring a certain degree of concentration, as not to miss any ‘adult puns’, there is plenty of silliness, honesty, vulnerability, bravery and morals for kids to latch onto, absorb and ultimately cheer on their diminutive heroes. Admittedly, some of the funnier scenarios are touched on in the trailer, but the little personalities more than make up for this. Indeed, curiosity pays off as we’re all rewarded with plenty of ‘girl power’ in the end – hardly surprising given the writers are women and the scope for potential storyline spin-offs (and merchandise) could run on for years to come.

The fact is youngsters delight in the idea of little people saving the day in their narratives. The Lost Village delivers this thrill, with a few hiccups along the way. There’s also a nostalgic animated innocence to the whole affair that helps the Smurf personalities shine through – something the very busy, effects-heavy 2013 film lost. Smurfs: the Lost Village even has scampering dayglow bunnies, ready for Easter family viewing. There’s enough cinematic cuteness for everyone; if the plight of Smurfette doesn’t win you over, the bunnies will, while keeping the youngsters entertained for 90 minutes.

4/5 stars

By @Filmgazer

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The Lego Batman Movie ****

For those worried the Batman might lose his clipped, gravel-toned, conceited edge after the success of The Lego Movie (2014), fear not: Will Arnett gives his little black-clad Lego character an even bigger presence once again in an equally funny but far darker film, The Lego Batman Movie.

Bruce Wayne – aka Batman – must deal not only with Gotham City’s criminals and arch enemy The Joker (voiced by Zach Galifianakis), but also a new police commissioner (Barbara Gordon, voiced by Rosario Dawson) with different ideas to his own crime-busting and an orphan child he ‘forgets’ he’s adopted (voiced by Michael Cera). Is Batman going soft in his old age, and will he and his long-suffering butler and ‘surrogate dad’ Alfred (voiced by Ralph Fiennes) finally get the family unit they crave?

While Batman revels in his notoriety on screen, DC and Marvel aficionados are thrilled by the blatant mockery of the Batman-related characters from over the years, accumulating in Christopher Nolan’s The Dark Knight versions (for example, Bane). While the first half hour of the film is sheer glee for the adults, the kids are equally thrilled by the whirling colour, jarring movement and crackers pace as they see the Lego come alive. It’s a win-win for family entertainment this half term.

However, be warned: there are some very dark moments and characters in peril that might upset younger viewers. That said everything else is fairly tame, as expected with Lego, so there is no guts and gore, but little bricks flying all over the place. Kids will always love the explosions and mayhem, as adults marvel at the evolving creativity in front of them. A lot of the best lines are in the trailer, such as why does the flying Batmobile only have one seat? Answer: last time Batman checked he only had one butt. However, there are plenty more scattered around the film to enjoy, so you are either continually smirking or laughing throughout. That’s not to say there are not flatter moments where the same jokes are over-peddled, having seen their sell-by date, but the momentum is so erratic, you are propelled onto the next scenario to truly care.

Also, from a family perspective, there are morals aplenty to subconsciously be embedded in your little one’s psyche. This film is all about the importance not only of family and not being able to do it all on your own, but also (eventually) mutual respect – so important in today’s political environment. However, you don’t feel like you’re being bombarded with condescending messages like in some Disney flicks to the point of nausea. Little orphan Dick – who becomes ‘pantless’ Robin – is so adorably chirpy and excitable that you can’t help but be swept up in his gratitude as Batman gives him a chance in life. Of course, there are lots of delicious moments to savour as Batman tries to adapt to fatherhood while Alfred tries to control his ward’s inner child – cue wrong PC password moment that will have you rolling your eyes in recognition and in stitches.

The Lego Batman Movie is a Lego rollercoaster of a ride with highs and lows, and perhaps too many characters than it can handle on one screen and use to full comedic potential. Nevertheless, it is a marvel of an animation with a good pounding heart – plus you’ll all be quoting Batman in Arnett’s gruff tones for days to come.

4/5 stars

By @Filmgazer

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Moana (3D) ****

We are getting quite used to strong animated female leads, and Disney’s latest hum-along entitled Moana – the name of the heroine in it – is no exception. She is headstrong, smart, courageous, adventurous and naturally, pretty. What makes her and her adventure more intriguing is the mythology surrounding the tale that anyone can enjoy, with songs that are emotive and toe-tappingly catchy, rather than pure schmaltz.

A terrible curse is triggered after a greedy Demigod called Maui (voiced by Dwayne Johnson) steals a precious stone, causing all islands in the region to slowly perish. When the curse finally reaches Moana (voice of Auli’i Cravalho), an impetuous Chieftain’s daughter’s island, she answers the ocean’s call to seek out Maui and put things right.

Moana is a blaze of colour and a cool refreshing summer breeze on a chilly December day, with exotic island settings and characters that entertain all age groups. It also has enough subtle jokes for adults, rather than overkill of tedious ‘nudge, nudge, wink, winks’ that have to be explained in the darkness of a cinema as to why mummy or daddy is in a fit of giggles when something clearly unfunny has happened to small eyes.

Moana is also justified in her scolding nature at times, especially with the immature Maui, rather than damn right condescending like some other ‘Disney princesses’. She is very practical and full of wanderlust, which is infectious – though Disney can’t resist drumming home the ‘listen to yourself and follow your dreams’ mantra it survives on. Still, what’s wrong with that?

Again, the 3D is irrelevant for kids too young to keep their glasses on. The magic is in the colourful storytelling, the mood-raising songs and the fun characters that all have their minute of fame and purpose. There is even a Bowie-esque number by a crab that thrills.

Moana merchandise is in the shops, ready for Christmas. However, this time, you don’t resent the hard Disney sell as Moana is a role model any parent would actively encourage their offspring to have.

4/5 stars

By @Filmgazer

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Fantastic Beasts and Where to Find Them ***

The J.K. Rowling imagination is always a treat to witness on screen – and on the page, so this magical ‘prequel’ to the Harry Potter series was bound not to disappoint on a creative level and be equaling immersive.

Oscar-winner Eddie Redmayne is English writer Newt Scamander, a socially awkward intellectual who arrives with ‘animal baggage’ in New York to source more species. However, he gets embroiled in sinister witch hunts – by ‘Muggles’ called ‘No Majs’ – and power struggles within the secret community of witches and wizards, seventy years before school-boy Harry Potter reads his book.

The more cynical might say the latest story is milking the cash cow that Rowling has made so lucrative. However, fans of her wizard world cannot get enough of the super imaginative existence, and this is again delivered in spades, along with some comedy moments.

The film also appeals to animal lovers and preservationists, with a couple of ‘innocents’ at the helm trying protect the former. Redmayne is perfectly cast, but as Newt spends a lot of time in mumbled reflection and social awkwardness, it is down to Muggle ‘comic’ sidekick Jacob (a great performance by Dan Fogler), who Newt unexpectedly gets entangled with at the start, to be our guide and re-enforce this ‘wide-eyed innocence’ the film so relies on to further enchant.

Rowling cleverly ties in real-world beliefs, with America’s witch trials in the 1920s, giving the story foundation greater significance. Hence, context, setting and cast are all commendably established, ready for the next in the film installment. Unfortunately, it suffers from the same affliction as the first Potter films, with a lot of the space dominated by trying to set up the pre-Potter world (of how it all began) – even to the detriment of the fantastic animals – that the film’s story gets a little lost.

That said as a festive family offering, Fantastic Beasts And Where To Find Them has all the charm needed to make it a satisfying viewing – and a must-see for Potter enthusiasts, kind of like a history lesson in Potter origins.

3/5 stars

By @FilmGazer

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Sausage Party ***

Sausage-Party

Emphasis on the word ‘sausage’ usually sparks juvenile sniggers from most grown-ups. Seth Rogen capitalizes on this in his raunchy new adult animation Sausage Party – the mere name triggering winks and nudges. This is a Pixar p*** take laced with Rogen’s preferred brand of stoner humour. Those not avid fans of the latter can still catch some laughs, but might tired long before the riotous finale of filthy food porn commences.

Rogen is Frank, a hotdog who is desperate to get inside Brenda the bun (voiced by Kristen Wiig) when they finally leave the supermarket and go home with one of the ‘gods’ (us humans). They need to be picked off the shelf and taken outside to ‘the great beyond’. But disaster strikes when one female god goes shopping, leading Frank and Brenda on a journey back to the shelf while trying to avoid enraged Douche (Nick Kroll).

However, Frank soon learns the disturbing truth about what the ‘great beyond’ really spells for grocery products, backed up by his deformed sausage pal Barry (Michael Cera) who survives a close shave. Now Frank needs to convince the rest of the food population about their fate, before it’s too late.

Sausage Party is created by Rogen, Evan Goldberg and Jonah Hill, collaborating with Apatow disciples Paul Rudd, James Franco, Bill Hader, Danny McBride and the like, so you know the kind of film you’re in for, long before you ‘Get your fill’ (quoting the tagline). It’s pure filth, like consuming the dirtiest, calorific dish, awash with cheap ‘laughs’ at stereotypes along the way – Salma Hayek is horny Mexican taco Teresa, for example.

While it offers some crazy insights into the USA’s religious, racial and socio-political obsessions, Sausage Factory also prefers shock tactics to cultivating really clever puns consistently throughout that would have seriously sent up these American neurosises and Pixar’s cute character, coming-of-age adventures, where their world is oblivious to us. There are some seriously laugh-out-loud moments – just wait until the end crescendo, but F word-ing it in every sentence begins to wear thin, bordering on nauseating – and this is coming from a critic who is no stranger to a foul-mouthed rant.

It’s also hard to tell if Sausage Party wants to be taken seriously for its plethora of brilliant observations, as it just as quickly shies away when one of them becomes vaguely interesting, for fear of losing its infantile edge. That said the kitchen scene is a delightful Pixar-bashing episode, and a much needed highlight to break up the otherwise ‘samey’ plot of Frank et al trying to return to the shelf. Douche gets pumped ready for action but loses his spunk at the end; perhaps too much of a main plot distraction or an excuse for Rogen and gang to explore some anal humour? There was certainly a lot of fun had writing/ making this buddy movie, it appears.

Sausage Party goes off with a saucy sizzle and an outrageous bang but wilts at times along the way. If it wasn’t for the grand gang-bang finale boost, it would be a meaty disappointment left undercooked in places.

3/5 stars

By @FilmGazer

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Ratchet and Clank ***

ratchetclank

Unless you’re a PlayStation fan, the names Ratchet and Clank will fail to register. They are, however, the established animated stars of a sci-fi gaming franchise and now, of a family movie of the same name. Gamers will find nothing new with the big-screen outing. But kids seem to respond to the characters, which are made for a big-screen adventure. Just as well as this is all it takes to will them – and the film – along on its (rather predictable) trajectory.

Squirrel/cat cross Ratchet (voiced by James Arnold Taylor) works at a garage but longs for the day he can join the much lauded Galactic Rangers who defend the Solana Galaxy. He gets his chance to try out for the crew but fails to impress.

Meanwhile, an evil alien called Chairman Drek (Paul Giamatti) is intent on destroying all the planets, with the help of a robotic army created by sidekick Dr Nefarious (Armin Shimerman). One defective robot called Clank (David Kaye) encounters Ratchet, and the two join forces to stop Drek on his dastardly mission.

This rehash of the popular gaming plots is both a comfort and a curse – great to see something familiar played out on film but lazy in ideas when the writers really needed to deliver fresh ones to rival a Pixar production, say. In its defence, they have merely recreated the environment fans are used to seeing Ratchet and Clank in, so it’s hardly surprising either.

Like all family films, everything is on speed, including the leads. Thankfully, the studio decided not to cash in on family 3D ticket prices or they would have had to dish out painkillers afterwards for the oldies. It also means small kids can enjoy the frenetic pace without tackling over-sized 3D specs throughout.

Though the film delivers absolutely nothing new – in fact, it’s like watching a hyper-animated Star Wars version of WALL.E at times, it does have some funny lines and observations to keep adults sane and chuckling. For example, the culture of texting every detail of one’s existence gets a ribbing here, though the joke becomes as tired as Dad’s puns in the end.

Ratchet and Clank themselves cannot fail to be likeable, with the latter and his grounded principles a great role model for the kiddies and sporting new converts straight after the viewing – much like WALL.E did. Drek and Dr Nefarious are carbon ‘baddie’ copies from other films but have enough collective villainy to satisfy the average plot – and Giamatti and Shimerman obviously had fun bringing them to life.

Ratchet and Clank is an enjoyable but too safe reproduction (in effects and plotline) designed to introduce newbies to the characters – as the ending suggests a follow-up is on the cards. They do get you on side straightway with their infectious enthusiasm to put wrongs to right. Now we’ve met them, can we please give our unlikely heroes a meatier, more substantial adventure to go on next time around?

3/5 stars

By @FilmGazer

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Batman v Superman: Dawn of Justice ***

batman-v-superman

Director Zack Snyder’s new Batman v Superman: Dawn of Justice is in danger of becoming merely ammunition in Warner Bros’s newly launched DC Films Universe battle with Marvel, rather than viewed as a superhero movie in its own right.

This sequel will be compared with Snyder’s first DC Comics film, Man of Steel (2013), with an eye on the much-anticipated, future Justice League movies. The 2013 film was criticised for portraying Superman (Henry Cavill) in a dark, destructive light, something some were not prepared for. Superman even kills one of his own, which shocked many.

Dawn of Justice is no exception – Superman (Cavill again) is far from good and inflicts some rough justice. However, the film attempts to address the fear the character has (where he belongs, what he’s capable of), as well as man’s fear of Superman’s power and threat to humanity.

It uses two contrasting characters to do this in Batman (Ben Affleck) and Lex Luthor (Jesse Eisenberg), both of which equally despises and celebrates this god incarnate’s gifts. It’s like the comic-book version of the Easter story; the persecution of a deity through ignorance. Using Snyder’s enormous visual prowess, Dawn of Justice is full of intriguing messages and imagery, which is just as well, as the acting gets lost in the CG medley, as do the characters’ reasoning.

After bringing down General Zod – remnants of which we see at the beginning of this, Batman wants to curb Superman’s actions, while the world decides whether it really needs a superhero at all. Is the Kryptonian actually a menace to society, considering the chaos he brought to Earth in the 2013 film?

With Batman after Superman, a new threat, Doomsday, is allowed to emerge, created by Superman’s arch enemy Luthor. Can the superheroes put aside their differences to battle the true evil destroying Metropolis once more, with a little help from Wonder Woman (Gal Gadot)?

Think Nolan and The Dark Knight for comic-book grittiness. The sheen is completely absent from Superman’s colourful persona. Thank goodness for Clark Kent – Superman’s alter-ego – or there would be zero soul left in the character. Cavill has limited facial expressions too, relying on his furrowed brow to do all the acting work. Hence this keeps Superman even more two dimensional. It also limits how much we really understand about how exactly this ‘anti-hero’ feels, which is a shame.

Snyder’s Batman is also a damaged character. Affleck gets little to do apart from scowl around and clunk about in what must be the heaviest Batman suit ever. Gone is Batman’s smart-thinking/acting slickness. He seems more Transformer than lithe bat-like creature. This seems to suit Snyder’s heavy-meted action sequences, especially when Doomsday appears. However, Batman comes across as a lumbering, half-witted brute most of the time, which again, makes him ‘heartless’, with only scenes of the wrecked Wayne mansion etc to suggest his inner pain and grief.

As a result of a lack of what is going on inside these characters’ heads, comes a lack of empathy and understanding as to what Batman’s personal grievance with Superman actually is? Snyder merely ‘suggests’ with flashbacks, which doesn’t quite add up. Apart from what Luthor wants both to think of each other, this doesn’t seem strong enough rationality for them to be knocking the hell out of each other.

That said when the Batman v Superman showdown actually arrives, it might be a whirl of CGI but it’s pretty exhilarating to watch on a big screen. Snyder is in his element here, and just the right comic-book fan/artist to recreate such a spectacle for fanboys out there. Superman’s brush with Doomsday re-addresses his lost humanity too.

As lovely and determined as Amy Adams is as rogue reporter Lois Lane, there does seem to be a little too much Ms Lane in trouble – or in the buff – in this. How anyone can navigate that much concrete rumble in heels is anyone’s guess during the final battle scenes. As strong a female character as Lane is, it’s Gadot’s Diana Prince/Wonder Woman that’s the more positive contrast with the male characters. Hers is a pure superhero without agenda, just old-school trying to save us from the greater evil.

Like Ledger’s Joker, Eisenberg makes Luthor his own crazed interpretation. His is a babbling nervous wreck, likely to self-implode at any second and keeping things edgy. His excitable state at the very least keeps things energetic, or they would be in danger of slipping into a depressed state – him, and Jeremy Irons’s smart tongue as Alfred.

If you like lots of mood, Batman v Superman is your kind of DC Comics interpretation, though it is more visual that cerebral. There is a distinct lack of emotion from the main characters that leaves Dawn of Justice plain numbing. If it wasn’t for some of the supporting cast, it would be a CG swirl of colour and noise. Though, if there was a prize for cinematic gloom, this installment would win hands down.

3/5 stars

By @FilmGazer

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