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Kaiju Du Cinema’s Top Ten Films of 2000

Snatch (Guy Ritchie): A fun, if forgettable gangster romp sees Brad Pitt struggle with an Irish Accent, while Dennis Farina steals all the scenes and a small role by Mike Reid as Doug the Head is a welcome section of humour. As always, Ritchie is on top form when it’s all flashy and funny, but is less sure when the plot comes into play. As a two hour time killer goes, it’s pretty enjoyable, and not the worst brit pic going.

X-Men (Bryan Singer): The film that started of this modern age of Superhero films is both serious and fun. With an all star cast, state of the art visual effects and a true message at it’s core about minorities on the fringe of society. Years on the slow pace and emphasis on character and atmosphere over action may seem dated and dull but it remains a high point of the franchise.

Hollow Man (Paul Verhoeven): When mad but brilliant scientist Kevin Bacon manages to find a way to make himself invisible his power goes straight to his head. It becomes the duty of Josh Brolin and Elizabeth Shue to stop him. Paul Verhoeven’s fun science fiction thriller features state of the art visual effects, and a brutally powerful scene involving an invisible Bacon and Rhona Mitra that horrorfies people.

Cast Away (Robert Zemeckis): Tom Hanks is virtually the only cast member save for a volleyball. It’s up to Hanks’ natural charm and Alan Silvestri’s score to work wonders when it comes to keeping the interest. While Wilson may very well have become a cultural icon, the film itself has been somewhat forgotten. It’s a shame, since it’s proof of Hanks unstoppable charm and ability to hold a film together, even if it’s just him.

Memento (Christopher Nolan): Christopher Nolan’s twisty thriller involves his trademark magician techniques and a great central performance by Guy Pearce. The film works best if you know little to nothing about it, and allow the story to unravel before your eyes, so with that in mind, the only thing to know is that it’s a very very clever film and one of Nolan’s finest hours.

Billy Elliot (Stephen Daldry): The story of a town in crisis during the miner’s strike and a young boy who wants to do ballet. Jamie Bell makes a star of himself in the lead role while support from the likes of Gary Lewis and Julie Walters as his father and his ballet teacher respectively make for a touching and witty comedy-drama. The film’s legacy may be shadowed by the likes of Brassed Off and The Full Monty but it’s a truly brilliant film and touching.

Unbreakable (M. Night Shyamalan): The story of a real world superhero David Dunn as played by Bruce Willis who survives a train crash without a mark upon him. Into his life comes the strange Elijah Price as played by a note perfect Samuel L Jackson. What plays out is a character study more than a thriller, and a high mark in the career of M. Night Shyamalan. Jackson’s performance is the absolute high mark of the film, and the score by James Newton Howard is perfect.

American Psycho (Mary Harron): Based on the 90s psycho-thriller by Bret Easton Ellis, Christian Bale stars as Patrick Bateman the typical 80s yuppie, as he goes further and further into the depths of insanity. Willem Dafoe offers great support as the detective on his trail, while the likes of Justin Theroux, Josh Lucas, Guinevere Turner, Jared Leto and Reese Witherspoon offer classy support while the blood splatter is done with darkly comic joy.

Gladiator (Ridley Scott): The glorious realisation of Ridley Scott’s sword and sandles epic is rooted in the performance of Russell Crowe, the husband and father to a dead wife and child. Joaquin Phoenix plays his rival and main villain, while Djimon Honsou as a slave ally of his makes a true star of himself. Scott’s visuals and cutting edge visual effects make the look of the film feel as real as possible. While Hans Zimmer’s often imitated score is brilliant. Derek Jacobi, Oliver Reed and Richard Harris all offer great support in smaller roles.

Battle Royale (Kenji Fukasaku): The late Kenju Fukasaku’s dark thriller about a future Japan where kids are pitted against each other may have some issues in terms of tone (the teacher Kitano seems to be all over the place) and the ending is a little chocolate box. But, the children actors are fantastic, the dulled out visuals create atmosphere, and even when his character starts making little sense, Beat Takeshi is on top form. By no means the original gladiator sports film, but one of the more interesting, and has one of the great social messages of any of them.

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Kaiju Du Cinema’s Top Ten Films of 1999

Ten Things I Hate About You (Gil Junger): This witty retelling of The Taming of the Shrew moves the story to an American High School. In a star making role, Heath Ledger is Patrick Verona (geddit?) Paid to fall in love with Kat (Julia Stiles) so Joseph Gordon-Levitt can date her sister. It’s silly fun, but it really is good fun, and has great support from Allison Janney and Larry Miller.

Star Wars: Episode I - The Phantom Menace (George Lucas): By no means the Star Wars prequel it should have been, this first entry at least came with a lot of promise. There is some great things in here, Liam Neeson for one, a welcome role by Samuel L Jackson, even the reliably silly Brian Blessed as Boss Nass. But the silly kids stuff gets in the way of the mythology. Still it’s an impressive film, and the good stuff is great.

Tarzan (Chris Buck & Kevin Lima): This animated re-telling of the Edgar Rice Burrows novel set to original songs by Phil Collins and great voice acting offers a fun, and surprisingly touching animated romp. Brian Blessed once again adds fun as the villainous Clayton. The film is a great final note to the Disney Renaissance and a true evocation of “they don’t make them like that anymore” style of hand drawn cell animation.

The Sixth Sense (M. Night Shyamalan): This psychological horror that put Bruce Willis on the a dramatic acting map also features Olivia Williams, Haley Joel-Osment and Toni Collette as brilliant support. At times an interesting character study, then terrifying ghostly horror chiller, and then an interesting turn from Bruce Willis, not wise cracking but contemplative. The twist at the end has become a joke, but for the time it was an incredible shock. The film still holds up today.

Man on the Moon (Milos Forman): The true story of comedian Andy Kaufman is part absurdist comedy, and part tragedy. Grounded by a fantastic performance by Jim Carrey, Milos Forman’s film has him and Paul Giamatti do on point impressions of Kaufman’s character Tony Clifton. The story may show just how crazy the whole life of him was, and his Taxi co-star Danny DeVito playing Kaufman’s agent is a little strange but it all works brilliantly in the story of a comedian plagued by self doubt.

American Beauty (Sam Mendes): The story of the dark times we live in centres on the life of Kevin Spacey, his loveless marriage to Anette Benning and his daughter Thora Birch. Chris Cooper and Allison Janney are both great, and the score by Thomas Newman is both haunting and beautiful. The film went on to win just about every award it could, and it’s not hard to see why with Mendes on fine form for his first film.

Toy Story 2 (John Lasseter & Ash Brannon): Not just as good as the first film, but better, Toy Story 2 swaps the dynamic so this time the group have to save Woody from collector Al, only for him to discover that he is the lead of a TV show. Newcomers Jessie, Stinky Pete and Bullseye are great, with Jaon Cusack and Kelsey Grammar giving great vocal support, as well as wonderful cinematic references. Watch for the Robert Gullet big band version of “You’ve Got a Friend in Me” and for The Cleaner sequence which is beautiful. A treat for all ages.

The Green Mile (Frank Darabont): Another prison drama from Darabont based on the novel by Stephen King. This time it’s death row during the Great Depression, Tom Hanks and his cohorts are awaiting some new arrivals when Sam Rockwell’s insane killer, and gentle giant Michael Clarke Duncan. The slow burning supernatural drama builds to a tear jerking finale and of course has a loveable role for Tom Hanks to win our hearts, but the film is all about Michael Clarke Duncan.

Fight Club (David Fincher): First Rule of Fight Club - don’t talk shit about Fight Club. Brad Pitt, Edward Norton, Jared Leto, Helena Bonham Carter and Meat Loaf star in David Fincher’s ultra violent satirical film based on the Chuck Palahniuk’s addictive page turner. The film was a flop when it was released, but with it’s ending almost terrifyingly telling us what was coming and of course a brilliant performance by Brad Pitt has made this a cult classic.

The Talented Mr Ripley (Anthony Minghella): The late, great Anthony Minghella’s twisted tale of con man Tom Ripley as played by the mighty Matt Damon is a twisted web of deceit. Jude Law, Gwyneth Paltrow and Philip Seymour Hoffman are all flies caught in his spider’s web. The film has a leisurely feel which belies the sinister intent of the talented man himself. Damon’s greatest on screen performance bar none and the on screen definitive version of Tom Ripley.

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REVIEW: San Andreas

Director: Brad Peyton Starring: Dwayne Johnson, Carla Gugino, Alexandra Daddario, Ioan Gruffudd, Hugo Johnston-Burt, Art Parkinson, Archie Panjabi and Paul Giamatti

Plot: A series of Earthquakes hits San Andreas, fire chief Ray and his ex-wife Emma search high and low for their daughter Blake, before disaster claims her.

Coming from the man who directed Journey to the Centre of the Earth and Journey 2: The Mysterious Island is hardly a bearer of positive thoughts, and yet with this big budget disaster film Brad Peyton finally makes a film that is watchable. The film, so claims Dwayne “The Rock” Johnson comes from the great tradition of Irwin Allen disaster movies, and in fairness for the most part follows that trend well.

The set up, though cliched, works well based on a cast that coast well on their charm to force to contrivances into place to set the stage for the main action. Dwayne Johnson is Ray, fire and recue pilot, doting dad and soon to be ex-husband of Carla Gugino’s Emma. Already the film works because Johnson is so naturally charming and a natural action star, while Gugino is one of cinema’s great actresses. 

Their daughter, Daddario, is the only thing keeping them in contact, while Gugino moves in with rich type Ioan Gruffudd, as Johnson fails to recover from the untimely death of his other daughter Mallory. All of this sets up the dramatic crux of the film, while hunky boyfriend-type is set up by Hugo Johnston-Burt and Art Parkinson as his younger brother, plucky comic kid in peril. Then there’s Paul Giamatti as obligatory expert and Archie Panjabi as news reporter/person who befriends expert.

The action ratchets up at a fair old pace, and while the buildings go down the tension goes up. There is something to be said about the joy of watching fake destruction. In an age where terrorism is an all too frequent issue, it’s relaxing and almost soothing to watch building comes down. That’s not to say it’s not breathtaking and a very post-9/11 film in which the buildings and people covered in dust calls to mind the worst kind of tragedy, but it’s also incredibly fun.

What comes from the film is a love of the genre but even when the film falls into cliches: ex-wife/ex-husband romantic subplot, plucky young child, public TV broadcasts, looting and so on the film keeps it’s eyes of the prize, the thrilling finale. When it comes, and the film barrels along from set piece to set piece with sheer joy, it relishes the melodrama of a father/daughter reunion. This is no surprise from a film that coasts by in it’s few dull moments on pure Dwayne Johnson charm, and Paul Giamatti enjoyment. 

If this is what the new wave of disaster films brings then that might not be so bad.

[kaiju-du-cinema]

REVIEW: Tomorrowland - A World Beyond

Director: Brad Bird Starring: George Clooney, Britt Robertson, Hugh Laurie, Raffey Cassidy, Tim McGraw, Pierce Gagnon, Keegan-Michael Key, Kathryn Hahn, Chris Bauer

Plot: Young tech-savvy teen Casey is given a badge by the mysterious Athena, when she asks Frank Walker about it, he tells her to go away - then their adventure begins.

The fifth film from director Brad Bird might just be one of his biggest mixed bags yet. While there is no doubting Bird has imagination to spare, and his transition to live action has been worth the decade long wait this is not the piece of brilliance it should be. As a close friend of JJ Abrams, it comes as no surprise that both have had a hand on telling Mission: Impossible stories, and this could be seen as Bird’s attempt at a Super 8 style original story.

Back with his pals at Disney, Bird is given a big playbox to craft his love letter to the space age he grew up believing in. In the same way that the wonderment of that nostalgic future view that The Iron Giant had, so too does Tomorrowland. But, this is the build up of his previous four. That retro feel, the action thrills of The Incredibles, the hit-and-miss humour of Ratatouille and even the live action glee of Mission: Impossible - Ghost Protocol. 

And yet, and yet, and yet this is not a perfect film. There is no doubting the sincerity of a man who is in love with that old fashioned Baby Boomer promise, and in George Clooney’s Frank Walker you have the failure of that role, and this film much like Walker is a failure, though noble. What is great about the film is the joy of the visuals, the look of Tomorrowland itself that calls to mind those amazing visuals of The Iron Giant, the easy charm of George Clooney that even when he’s in grouchy mode is as likeable as a Danny Ocean character, Hugh Laurie back on our screens after a musical interlude as baddie David Nix more eloquent that a certain limping doctor, and the score of Michael Giacchino.

The problems come from a story telling point of view. The trailer, which sells it as a trip to Tomorrowland to save the world is selling a film that this one simply doesn’t deliver. After a great little intro with a young Walker, we move to the life of Britt Robertson’s Casey Newton who, sadly, is no Jane Levy, no Anna Kendrick and no Dakota Fanning. Robertson’s performance isn’t awful, it just isn’t much good, her character constantly getting into trouble and being bailed out by other people is nothing short of dull. It’s almost an hour before we finally get to meet George Clooney properly, and when we do the film begins to find it’s feet. It’s a shame that this wasn’t say twenty minutes into the film (or less-- say ten). The raid on his house, much like Bird’s own prison opening to Mission: Impossible - Ghost Protocol is like a PG rated violent action film. But, while the action is great, it’s brief and slightly lacking in high stakes.

The biggest problem might be a lack of understanding, of course this could be blamed on co-writer Damon Lindelof’s inability. After his output, it is fair to say he cannot write, and should not be allowed to. Not only do his endings make no sense, but his plots are muddled, long where they shouldn’t be, and short on the good parts. During the film the overlong introduction of Robertson’s Casey calls to mind the snore-enducing plodding of the middle section of Star Trek Into Darkness, the inferior sequel to JJ Abrams reboot of Star Trek. The one dimension villain works for a period, and is enjoyable based on Hugh Laurie’s pantomime performance but his motivations are confused, his anger undeserved and there is no real explanation as to why the sunny, happy Tomorrowland of the beginning is now an empty, quiet, overcast nightmare. If the film was romping along, this wouldn’t be an issue, but it’s so shoddingly paced that it almost grinds to a halt.

Sequences that should inspire awe, just raise questions as to why the whole film hasn’t been like this. Once again Lindelof gives a talented and likeable director a script that has promise but falls short. Cowboys & Aliens could have been a Blazing Saddles/Men in Black caper but was played so sombre that even the reliable Sam Rockwell couldn’t save it. The optimism of Brad Bird is at odds with the morbid writing of Lindelof. The Leftovers, Lost, Prometheus and even World War Z are all projects with great promise and great casts that fail to engage and make good on the promise of the concept.

So, instead of moments of joy, we have flacid set pieces, where the space age Sputnik style stuff takes centre stage it looks dated, and the work of the cast to try and make all their characters believable turns into box ticking acting. Once again, the AI character here played by Raffey Cassidy as Athena is by far the best character, all action and precise delivery of lines. Cassidy deserves praise for her work as Athena, simply because like Michael Fassbender in Prometheus thanks to her the film is worth at least trying to slog through.

The issue, the clash of styles becomes all the more clear when it comes to the climax and finale of Tomorrowland. This is now the third film released this year in which a villain wishes to end the world and rebuild a new one because mankind as botched everything. This is a well worn path and by no means original, but works. However, when Samuel L Jackson’s Valentine is the riotous Kingsman: The Secret Service did so with a flair for over theatricality, and a great lair in the side of a mountain, even while James Spader’s Ultron in Avengers: Age of Ultron sets about an army of robots on a floating Sokovia there is a sense of fun.

While Hugh Laurie’s vitriol fuelled speech about his plan, and what he intends to do has no tongue in cheek joy, Nix is not Syndrome with his understandable plan, his giant robots are not the Omnidroid. Sadly when it comes to the climax is falls flat, the fight between Nix and Frank is too violent for little little kids, but too not violent enough for an audience of teens raised on Marvel action films. The two giant robots fighting have none of the weight that The Iron Giant or the Omidroid has.

Worse than that (and the disappointing end to the villain) there is a terrible moment of forced emotion, but instead of calling to mind the beauty of the Iron Giant’s triumphant “Superman!” sacrifice or Mr Incredible’s painful declaration that he can’t lose his wife because he isn’t “strong enough” but sadly, this end scene simply raises the question: is George Clooney meant to be in love with a robot child?

A failure yes, but one that has moments of joy, and moments of invention. This is not the worst Brad Bird could have sunk, and he surely has better things in him, but for everyone involved it marks and decidedly low mark. But, how wonderful to see Hugh Laurie back on our movie screens, front and centre.

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TOP TEN: Disaster Movies

As Dwayne Johnson battles an earthquake in San Andreas we count down the finest disasters to hit cinema screens.

10) OUTBREAK (Wolfgang Petersen 1995) CAST: Dustin Hoffman, Morgan Freeman, Donald Sutherland, Patrick Dempsey, Kevin Spacey, Rene Russo, Cuba Gooding Jr

The Disaster: An Ebola-like virus from Africa is transported to America via an illegally imported monkey, and lays waste to people’s health.

Scariest Moment: When Hoffman’s Colonel Sam Daniels realises the virus has become airborn.

9) DANTE’S PEAK (Roger Donaldson 1997) CAST: Pierce Brosnan, Linda Hamilton,  Charles Hallahan, Elizabeth Hoffman, Jaimie Renee Smith, Jeremy Foley

The Disaster: The town of Dante’s Peak comes under threat from a big damn volcano that threatens to burns and choke everyone in sight.

Scariest Moment: Brosnan and Hamilton’s escape being thwarted by the tires being blown out by the heat.

8) THE ROAD (John Hillcoat 2009) CAST: Viggo Mortsensen, Kodi Smit-McPhee, Charlize Theron, Robert Duvall, Guy Pearce, Molly Parker, Michael K Williams

The Disaster: The slow descent of the planet into cold death, as seen by the young and impressionable eyes of a boy.

Scariest Moment: The Mother’s fearful proclamation that the world is ending and she has no intention of seeing it end.

7) CHILDREN OF MEN (Alfonso Cuaron 2006) CAST: Clive Owen, Julianne Moore, Michael Caine, Claire-Hope Ashitely, Chiwetel Ejiofor, Charlie Hunnam, Danny Huston, Pam Ferris

The Disaster: Mankind is dying out in the future, and no one can conceive a child, until Kee, an immigrant into the United Kingdom discovers she is with child.

Scariest Moment: The single take, following Owen’s Theo as he tries to navigate the bombed out England’s war state.

6) THE CHINA SYNDROME (James Bridges 1979) CAST: Jane Fonda, Jack Lemmon, Michael Douglas, Scott Brady, James Hampton, Richard Herd, Wilford Brimley

The Disaster: Safety coverups at nuclear powerplant comes under investigation from a reporter and her cameraman.

Scariest Moment: The end, where the core rots to nothing, and we’re left with a black screen.

5) SUNSHINE (Danny Boyle 2007) CAST: Cillian Murphy, Chris Evans, Rose Byrne, Michelle Yeoh, Cliff Curtis, Hiroyuki Sanada, Benedict Wong, Mark Strong

The Disaster: The Sun is dying, Earth is getting colder, and after one failed mission to reignite the Sun, a second manned mission to save it comes into trouble from within the first shuttle.

Scariest Moment: The introduction of Pinbacker, and his terrifying metamorphasis.

4) DEEP IMPACT (Mimi Leder 1998) CAST: Elijah Wood, Tea Leoni, Morgan Freeman, Robert Duvall, Vanessa Redgrave, James Cromwell, Ron Eldard, Jon Favreau, Richard Schiff, Blair Underwood, Dougray Scott, Leelee Sobieski

The Disaster: Big damn asteroids are heading to earth, and when they hit, it’s the end of the world as we know it.

Scariest Moment: Morgan Freeman’s President tells the world it’s farewell to life.

3) THE POSEIDON ADVENTURE (Ronald Neame 1972) CAST: Gene Hackman, Ernest Borgnine, Stella Stevens, Red Buttons, Shelley Winters, Roddy McDowall, Pamela Sue Martin, Leslie Nielsen

The Disaster: A tidal wave hits the steamliner The Poseidon on the side, causing it to capsize, trapping the survivors in the ship, the only way up... is down.

Scariest Moment: Gene Hackman’s Reverent Scott makes the ultimate sacrifice so that the other’s may live, and finds himself blaming God for the deaths caused by the many accidents.

2) CONTAGION (Steven Soderbergh 2011) CAST: Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law, Gwyneth Paltrow, Kate Winslet, Bryan Cranston, Jennifer Ehle, Elliot Gould, Chin Han

The Disaster: A supervirus breaks out carried by a working mother, and passed on across the planet, while science boffins try to find a cure.

Scariest Moment: Kate Winslet’s character dies, a victim of her own work to stop the virus.

1) THE TOWERING INFERNO (John Guillermin 1974) CAST: Steve McQueen, Paul Newman, William Holden, Faye Dunaway, Fred Astaire, Susan Blakely, Jennifer Jones, O.J. Simpson, Robert Vaughn, Robert Wagner

The Disaster: The World’s largest building has it’s grand opening, but things turn to terror when a fire breaks out and those inside are forced to use their brains to escape.

Scariest Moment: The elevator opens, showing people ablaze and still alive.

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Kaiju Du Cinema’s Top Ten Films of 1998

Elizabeth (Shekhar Kapur): This gorgeous period drama is held together by a spellbinding central performance by Cate Blanchet as the Virgin Monarch. What happens is only part of her life (the latter told in a sequel several years later). A star studded cast fleshes out this true story of a legendary queen.

Small Soldiers (Joe Dante): Big Movie! Small Soldiers, is the tagline of this cross between Toy Story and Child’s Play where military chips are put into kid’s toys and ignite a war between the monster peacekeepers the Gorgonites and the militant commando elite. Many of the Dirty Dozen voice the baddie commandos, and the brilliant Tommy Lee Jones is perfectly cast as their leader.

Lock, Stock and two Smoking Barrels (Guy Ritchie): One of the true maverick filmmakers of British cinema, Ritchie hasn’t yet topped the charm and appeal of the brit flick, with it’s great cast, one liners and incredible style. Moves towards it have been attempted, even by Ritchie himself, but it’s not yet been bettered.

Apt Pupil (Bryan Singer): Based on the novella by Stephen King, Bryan Singer’s interesting story of a nazi obsessive boy and the nazi he meets is an intriguing portrayal of corruption and how it dissolves everyone. Ian McKellen is great in the role of ex-nazi in hiding, and Brad Renfro is also brilliant as the young boy who figures out his secret.

Mulan (Tony Bancroft & Barry Cook): The animated tale of Fa Mulan a woman who poses as her father to fight in the war against the Huns and protect her ailing father. While not all the songs are as memorable as “Make A Man”, and there’s not much to make Shan-Yu a legendary villain, but Ming-na Wen’s Mulan and Eddie Murphy’s Mushu the dragon keep the film going when it lulls. A great story based on a real event.

The Mask of Zorro (Martin Campbell): Adapted from the pulp serials themselves on the pulpy books, Campbell’s reboot of the franchise does so with joyful wonders casting Anthony Hopkins as the original Don Diego de la Vega who is stripped of everything. He recruits homeless thief Antonio Banderas and trains him to be the new Zorro, in order to protect his daughter Catherine Zeta Jones. Campbell would later reboot Bond (for a second time) with Casino Royale, but this clearly is the precurser to Batman Begins and an enjoyable old fashioned adventure.

Fear and Loathing in Las Vegas (Terry Gilliam): Adapted from the legendary Gonzo account of a drug and booze fuelled attempt to get to the heart of the American Dream. Gilliam directs the fiction-fact hybrid in which Johnny Depp’s Hunter S. Thompson alter ego Raoul Duke and his attorney Dr Gonzo (Benicio Del Toro) go loco in Las Vegas. It’s a trip, and not just of the journey type. A crazy odyssey into the heart of the American Dream-- only it might be more of a nightmare.

A Bug’s Life (John Lasseter & Andrew Stanton): Vaguely suggested by the plot of Akira Kurosawa’s “Seven Samurai” and a featuring gorgeous CGI animation, Pixar’s second feature is the tale of a colony of ants bullied by grasshoppers into doing their harvest bidding. Our hero Flik must get fierce warriors to fight back, and win ant island for everyone. Kevin Spacey is on fire as the voice of villainous Hopper, while a supporting cast is made up of Denis Leary, Bonnie Hunt, David Hyde Pearce and Julia Louis-Dreyfus make for an enjoyable family fable.

The Truman Show (Peter Weir): The prophetic tale of reality TV is made human by Jim Carrey’s career best performance as Truman Burbank a man recorded every second of every day for his entire life, and entirely unaware of it. Laura Linney, Noah Emmerich and Holland Taylor play his wife, best friend and mother all of whom are actors, while Natasha McElhone is the woman he pines for. Paul Giamatti and Harry Shearer also appear. But the film belongs to Andrew Niccol’s clever idea, as well as Ed Harris and Jim Carrey’s brilliant performances.

Saving Private Ryan (Steven Spielberg): The story of a platoon sent to save the only remaining member of a family in Nazi occupied France is the backbone of this touching drama. Tom Hanks leads the likes of Edward Burns, Vin Diesel, Tom Sizemore and Giovanni Ribisi to find Matt Damon before the war claims him. John Williams’ score, Tom Hanks’ performance and that opening Omaha Beach landing is what makes this film an instant classic and Spielberg’s finest hour.

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DREAM SEQUELS: Predator 4

Title: Predator: Scent of the Hunted

Tagline: Hunt or be hunted.

Plot: Part sequel, part reboot, as war criminals and terrorists in a Guantanamo Bay style prison in the Amazon Rainforest find themselves inexplicably freed, and hunted by unseen assailants, they try to fight their way to safety, until they come across one survivor of the deadly hunts previous.

Director: Matthew Vaughn

Vaughn made a decent splash with Layer Cake before moving onto the endlessly enjoyable Stardust. But he made a real smash with Kick-Ass, studio prequel X-Men: First Class and hit the box office with spy movie Kingsman: Secret Service so why not give Vaughn the keys to the family jaguar with Predator 4. He has no fear of being gory, foul mouthed and dropping some shocks on an audience, all of which is perfectly suited to the Predator series.

Writers: Matthew Vaughn and Jane Goldman

Vaughn has written all but one of his films with Goldman, Layer Cake being the exception. Together they can craft fan pleasing films, family films and independent action films. This being the case, Goldman would have to help Vaughn write a new entry into the Predator series and craft a new legacy for the alien hunter.

THE CAST

Hammond: Josh Brolin

Brolin is a brilliant actor, but he’s never cracked the franchise market with crap like Jonah Hex setting him back. But his pedigree as an actor could land him a nice lead role as Hammond, an arms dealer trading weapons to enemies of America. His character should be both slimey and nasty, a real love-to-hate factor that Brolin does so well. Setting him apart from Dutch, Harrigan and Royce. He would also be someone that could draw in a lot of credibility that has alluded the Predator series while Alien has always be respected.

Marquis: Gina Carano

An MMA fighter, and someone who has been in action films before, Carano can bring her fight training into combat scenes with the Predator, as well as any other antagonist revealed over the course of the film. Marquis should be a role that in years gone by would have gone to Michelle Rodriguez, as a mob enforcer for the Italian mafia who was arrested in connection with the murder of a politician. Marquis should also be a woman of few words so that when she does talk, people shut up and listen.

Holly: Alexandra Daddario

Daddario’s big blue eyes would be what makes Holly so unnerving, so that when the film’s plot reveals her reason for arrest it is even more scary. As the angelic Holly, Daddario is perfect for that sort of role, having been so good in True Detective, when action hits it would be her who reveals what crimes she’s committed. She should be a child killer locked away for her prolific killings while masquerading as a babysitter.

Wolf: Mark Strong

Strong is a regular for Vaughn so his appearance should be no surprise. For Strong his role should be an ex-environmental expert turned terrorist fighting against the government. His methods have killed millions in the pursuit of his goals and to escape the Predators he’s happy to kill again. Strong is perfect at the unlikeable guy roles despite being very nice himself, and he also looks like he knows how to handle himself.

Brandt: Samuel L Jackson

Samuel L Jackson is brilliant, and having just been with the villain in Kingsman, should show up in Predator. Brandt should be the most honest of the characters, Brandt should be a gun runner, and drug importer who was caught imported cocaine into the country and made an example of, but in true Sam Jackson fashion, has zero time for the Predators and their killing shit.  Jackson should also be the one who comes out with badass lines as he kills Predators.

Ingman: Joe Gilgun

Gilgun is brilliant but hasn’t really broken the franchise cinema yet. As the unhinged Ingman, Gilgun could really shine. The role that could break him out of obscurity and into the mainstream. What would be better than Gilgun, in the jungle fighting predators, swearing in a nothern accent, because that’s how brilliant he is. What’s more, it’d be interesting to have an unhinged character, who looks to be the human antagonist of the film, only to be shown to be one of the good guys.

Dutch: Arnold Schwarzenegger

How great would it have been in Predators, when the guys got to the cave and instead of Laurence Fishbourne it was Arnie playing Dutch? Put him in the film, have the Austrian Oak show up as someone who has been on the hunt for the Predators for years, trying to find them, and put an end to them. Even if this were to spawn a sequel with characters, Dutch should die at the end, going out in a blaze of glory, screaming “you’re still one ugly muthafucka!” That’s how you end a great character.

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TOP TEN: George Clooney Performances

As we celebrate George Clooney’s new movie Tomorrowland: A World Beyond, we count down Gorgeous George’s best roles to date.

10) SETH GECKO From Dusk till Dawn (Robert Rodriguez 1996)

Robert Rodriguez’s Vampire thriller is as gory and bloody as it is enjoyable. Written and starring Quentin Tarantino, this lays the work for their later collaborations, but at the centre is a starring role for Clooney tattooed and unlikeable as the thief and con artist Seth. A Brilliant counter-Clooney role.

9) DR GOUACHE South Park: Bigger, Long and Uncut (Trey Parker 1999)

Taking over the role of Dr Doctor for the movie of the foul mouthed satirical show, Clooney is one of the big names guest starring in this superior satire on the movie industry. This time given an actual name, this is a brilliant case of parodying his role in the hugely popular E.R.

8) ULYSSES EVERETT MCGILL O Brother, Where Art Thou? (Joel & Ethan Coen 2000)

Starring in one of the Coen’s most endearing comedies, Clooney is great as McGill in this folk comedy based on Homer’s The Odyssey. Though he has been seen in other Coen films, this is the highest point of their collaborations thus far, with Clooney showing his flair for screwball comedy.

7) BOB BARNES Syriana (Stephen Gaghan 2005)

Clooney looks absolutely weather beaten in this intriguing political thriller, where he plays Bob Barnes. Bearded, downbeat and brilliantly un-cliche, Clooney in the centre of this web of intrigue and that it plays out in perfect, brilliantly timed storytelling.

6) CHRIS KELVIN Solaris (Steven Soderbergh 2002)

In one of his many collaborations with Steven Soderbergh, Clooney stars as Chris Kelvin in Soderbergh’s brilliant adaptation of the Stanislaw Lem’s novel. Much better than the Andrei Tarkovsky version, and Clooney as interesting as ever, playing a role that no doubt had Alfonso Cuaron banging on his door for Gravity.

5) BILLY ‘SKIP’ TYNE The Perfect Storm (Wolfgang Petersen 2000)

In this true story of a fishing boat hit by the worst kind of storm, Clooney is the centre of the narrative and holds his own against other great actors. The story plays out in slightly cliched terms, thanks to the mainstream appeal of Wolfgang Petersen. But, it’s Clooney that gives the film more weight than it deserves.

4) DANNY OCEAN Ocean’s Eleven (Steven Soderbergh 2001)

The epitome of Clooney-ness, his tern in Soderbergh’s remake of the Rat Pack heist movie in which Clooney’s Ocean puts together a team to pull of “the big one” a major heist in order to get millions. Of course the rest of the cast are fun support, but it’s Clooney’s effortless performance that makes this, and it’s two subpar sequels worth watching.

3) GOVERNOR MIKE MORRIS The Ides of March (George Clooney 2011)

The flash of a Danny Ocean role, parlayed with the villainous turns of Seth Gecko, Clooney directs this interesting adaptation of the of Beau “House of Cards” Williamson’s play, itself a modern morality tale based on William Shakespeare’s Julius Caesar. Clooney is the suave but villainous governor, almost a personification of the devil himself.

2) RYAN BINGHAM Up in the Air (Jason Reitman 2009)

The super slick Bingham is made flesh by Clooney in Reitman’s timely story of frequent flyers. As Bingham, Clooney turns of the charm, and cranks up the smarm as a guy who fires people for a living, and intends to get the most flyer miles he can. But, as with all stories, his frozen heart is thawed by Anna Kendrick and Vera Farmiga.

1) MICHAEL CLAYTON Michael Clayton (Tony Gilroy 2007)

Michael Clayton is the single greatest performance George Clooney has ever done. As handsome as ever, he is caught in a web of political intrigue. Given classy support by Tom Wilkinson and Tilda Swinton. But, it’s Clooney who provides the heart, and the teeth in this film with a brilliantly haunting delivery of is line “I’m the guy you buy.”

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TOP TEN: Steven Spielberg Films

As Jurassic World and Poltergeist come soon enough, along with Bridge of Spies, we count down the beard’s ten best directorial efforts.

10) AMISTAD (1997) (Cast) Morgan Freeman, Nigel Hawthorne, Anthony Hopkins, Djimon Honsou, Matthew McConaughey, Pete Postlethwaite, Stellan Skarsgard, Anna Paquin, Chiwetel Ejifor

The Plot: The true story of the mutiny by the native Mende tribesman taken for slavery aboard the La Amistad tradeship and the lengthy legal battle that followed.

Standout Moment: Hopkins vitriol fueled speech in a full courtroom: Hopkins a famous dyslexic learnt the whole speech and delivered it in one take.

9) INDIANA JONES AND THE TEMPLE OF DOOM (1984) (Cast) Harrison Ford, Kate Capshaw, Amrish Puri, Jonathan Ke Quan, Roshan Seth, Philip Stone

The Plot: Set before Raiders of the Lost Ark, Dr Indiana Jones finds himself in a cult lead temple searching for a mystical stone, there a cult has child slavery, and human sacrifice.

Standout Moment: The intense mine cart chase, the stuff of cinematic legend.

8) CATCH ME IF YOU CAN (2002) (Cast) Leonardo DiCaprio, Tom Hanks, Christopher Walken, Nathalie Baye, Amy Adams, Martin Sheen, James Brolin, Nancy Lenehan

The Plot: Telling the true story of Frank Abignale Jr a man wanted for several counts of fraud as he eludes the FBI by posing as a surgeon and a pilot among other things.

Standout Moment: Abignale’s first day of school... in which he angrily decides to pose as a teacher after someone mocks him.

7) THE TERMINAL (2004) (Cast) Tom Hanks, Catherine Zeta-Jones, Stanley Tucci, Chi McBride, Diego Luna, Barry Shabaka Henley, Zoe Saldana

The Plot: When his nation of Krakozhia is brought into civil war and his national identity is suspended, Viktor Navorski is left stranded in JFK Airport, where he befriends the staff, romances an air hostess and earns the ire of the airport manager.

Standout Moment: Navorski’s clever fiddling of the system so that a man can bring his sick father some illegal medicine.

6) CLOSE ENCOUNTERS OF THE THIRD KIND (1977) (Cast) Richard Dreyfuss, Francois Truffaut, Melinda Dillon, Teri Garr, Bob Balaban

The Plot: Blue collar worker Roy Neary becomes convinced that aliens are real after an encounter with a UFO.

Standout Moment: The mash potato scene which offers one of the strangest and most exciting moments in science fiction.

5) JURASSIC PARK (Cast) Sam Neill, Laura Dern, Jeff Goldblum, Richard Attenborough, Ariana Richards, Joseph Mazzello, Samuel L Jackson, Wayne Knight, BD Wong, Bob Peck

The Plot: Billionaire John Hammond creates a theme park with genetically modified dinosaurs, and invites a trio of science buffs, along with his grandkids to test the park out, where things so very very wrong.

Standout Moment: The legendary T-Rex scene, it starts with a cup of water and ends with pure terror.

4) JAWS (1975) (Cast) Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine, Gary, Murray Hamilton, Carl Gottlieb, Jeffrey Kramer

The Plot: The people of Amity Bay are terrorised by a giant man eating Great White Shark, so the chief of police teams up with a marine biologist, and a shark hunter to take the big beastie down.

Standout Moment: Roy Sheider’s realisation that the shark is in the water, and ready to feed on innocent people. The perspective shift is a technological triumph.

3) RAIDERS OF THE LOST ARK (1981) (Cast) Harrison Ford, Paul Freeman, Karen Allen, Jonathan Rhys-Davies, Ronald Lacey, Denholm Elliot, Alfred Molina, Wolf Kahler

The Plot: Archaeologist Dr Indiana Jones is fitted against a group of nazis bent of finding the Ark of the Covenant, which Hitler believes will grant him immortality.

Standout Moment: Of a film with so many, probably the most forgotten moment is John Rhys-Davies Sallah grabbing a date from thin air, before Indie munches on it, to reveal a deceased monkey who had previous ate them. Gravely proclaiming “Bad dates.”

2) SCHINDLER’S LIST (1993) (Cast) Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline Goodall, Jonathan Sagall, Embeth Davidtz

The Plot: The true story Oskar Schindler, a german businessman who saved the lives of hundreds of jews by employing them in his factories.

Standout Moment: A two way tie between the girl in the red coat sequence, and Schindler’s heartfelt farewell to his jewish friends as he realises he could have done more.

1) SAVING PRIVATE RYAN (1998) (Cast) Tom Hanks, Edward Burns, Tom Sizemore, Matt Damon, Barry Pepper, Vin Diesel, Giovanni Ribisi, Bryan Cranston, Nathan Fillion

The Plot: During the second world war a small group of soldiers go on the hunt for Private First Class James Francis Ryan the last remaining boy in his family, after the war took his previous brothers.

Standout Moment: The Omaha beach opening is a famously intense sequence, but worse than that would be the rubble town shoot out, and the death of Vin Diesel.

[kaiju-du-cinema]

TOP TEN: Great Performances in Bad Movies

The following may contain spoilers.

10) BILLY BURKE As Charlie Swan in The Twilight Saga: New Moon (Chris Weitz 2009)

The first entry into the series might be reviled as awful, but is actually a rather sweet, fairly well done teen angst vampire movie, and not the car crash people have deemed it. The second instalment, however, is. But, at the heart is Billy Burke, reliably likeable as Bella’s put upon father, brings emotional heft to a film sorely lacking in it.

9) HELEN MIRREN As Mrs Tingle in Teaching Mrs Tingle (Kevin Williamson 1999)

The story of a group of high schoolers who decide to try and kill their overbearing teacher might sound like a 90s cult classic, but Kevin “Scream” Williamson fails to mount tension, laughs or shocks. Luckily, Helen Mirren is on reliably fine form as teacher from hell and keeps the film watchable, even when the rest of the film falls apart.

8) STANLEY TUCCI As Paul Harvey in The Lovely Bones (Peter Jackson 2009)

A failure, however noble, is still a failure, such is the tale of Peter Jackson’s hamfisted attempt at Alice Seabold’s touching novel. What should have been a return to Heavenly Creatures style filmmaking from New Zealand born director is instead a mess of half baked ideas. Lynn Ramsay would have made a much more interesting film, but what we do have is a terrifying but distinctly human performance from Stanley Tucci as local stranger and child killer Mr Harvey.

7) NEIL PATRICK HARRIS As Will in Beastly (Daniel Barnz 2011)

This boring, terrible modern update of the Beauty and the Beast story features Vanessa Ann Hudgens, Alex Pettyfer and Ashley Olsen all doing their worst work in a long time. But, within this turd is a gem in the form of the reliably funny Neil Patrick Harris as the blind Will, paid to help our Beast out. Bringing humour to this dud of a film.

6) MICHAEL KEATON As Jonathan Rivers in White Noise (Geoffrey Sax 2005)

Keaton is as brilliant as ever in this so-so supernatural thriller, playing a widower who believes he can contact the spirit of his dead wife through static on a TV. It’s a slow, ponderous film but Keaton, and a great turn from Ian McNeice, brings warmth and heart to a film that is as dead as the wife Keaton seeks to contact/

5) EMMA THOMPSON As Mrs Lincoln/Sarafine in Beautiful Creatures (Richard LaGravenese 2013)

Jeremy Irons could just have easily been here for the same film, but really it’s Thompson’s enjoyable turn as magic baddie Sarafine that makes the film worthwhile. Every scene with her, snarling and cackling about her plans is great, and her confrontation with Irons in a Church is simply magic. A shame the rest of the film was a long, mess with ironically no magic.

4) GARY OLDMAN As Father Solomon in Red Riding Hood (Catherine Hardwicke 2011)

Oldman has been the absolute best thing in a lot of crap, but the high point is this turn as Solomon the religious werewolf hunter in this terrible Twilight wannabe. Hardwicke’s film sees a boring Max Irons and Shiloh Fernandes battle for the affections of a wet and dull Amanda Seyfried. Not even Virginia Madsen, Billy Burke or the legendary Julie Christie can improve the film. But Oldman’s over the top performance at least makes a few scenes watchable.

3) MERYL STREEP As Julia Child in Julie & Julia (Nora Ephron 2009)

Again Streep is brilliant in a lot of terrible films, but the worst film with the best performance of the Streep is this turd of a biopic. In part the story of Julia Child, a bubbly Nigella Lawson without the sex, a domestic goddess. But, also the story of Julie Powell (Amy Adams) who aspires to Child’s greatness. Half a frothy cookery film, half a boring first world issue slog. Based on both women’s memoirs, really this would have been a perfect film, if it focussed on Child.

2) JEFFREY DEAN MORGAN As Edward Blake/The Comedian in Watchmen (Zack Snyder 2009)

Watchmen is by no means the worst film ever made, but it’s a failure and it’s down to part casting and part trying it’s hardest to be the graphic novel in two and a half hours. Snyder does his best but he is no Paul Greengrass or Terry Gilliam, and yet Jeffrey Dean Morgan is the perfect personification of Alan Moore and Dave Gibbons awful, nasty piece of work, while making him every bit as interesting as his graphic novel counterpart. You believe Morgan is the ages he portrays over the course of the film much better than other performers, and is only out acted by Carla Gugino.

1) TIM ROTH

As General Thade in Planet of the Apes (Tim Burton 2001)

Tim Burton’s bonkers, strange and slightly dull remake of the classic science fiction movie. The make up is the star of the film here, and while some actors do great work (Kris Kristopherson, Paul Giamatti, Michael Clarke Duncan) it’s really Tim Roth as the villainous Thade that keeps the film watchable. In his hands, the film is both terrifying, shocking and utterly believeable. While the reboot is entirely better and Serkis is perfect, a sequel with Thade would have been something quite interesting.

[kaiju-du-cinema]

REVIEW: Pitch Perfect 2

DIRECTOR: Elizabeth Banks STARRING: Anna Kendrick, Rebel Wilson, Hailee Steinfeld, Brittany Snow, Anna Camp, Skylar Austin, Birgitte Hjort Sorensen, Flula Borg, Adam DeVine, Ben Platt, Ester Dean, Chrissie Dean, Katey Sagal, Alexis Knapp with John Michael Higgins and Elizabeth Banks

PLOT: Disgracing themselves infront of The President, the Barden Bellas find themselves reduced to nothing, but if they can beat the World reigning A Capella champs Das Sound Machine, then maybe they can win back their past glory.

Fat Amy’s unshaven lady garden. That’s the first big joke of the film, and it works. It’s funny, it matches the spew of vomit from the original, and tops it. And it works because of one thing, we’re still rooting for those misfits.

This is not a film by Paul Feig, there is no Melissa McCarthey, and thank god for that. The humour of the film is varied and some jokes sit better than others, but the film works. Banks, here doing the triple threat of Director, Producer and actor makes the film enjoyable even when the film goes into less sure trajectory. 

The film is an ensemble show allowing everyone to do their own thing, from Rebel Wilson’s zinging Fat Amy, to the Bill Murray-type charm of Anna Kendrick’s Beca. Even when Brittany Snow’s Chloe becomes irksome it’s enjoyable fun to watch her morph into Anna Camp’s Aubrey. The rest of the returning Bella players: Ester Dean as lesbian Cynthia Rose delivers one of the best one liners of the film, while Hana Mae Lee’s Lilly does that great thing of saying something off the wall in a whisper without laughing, while Alexis Knapp brings back the smouldering barely contained sex appeal of Stacie.

It’s the men that are underused, and rightly so, with all three of the male leads existing solely to further the women’s journeys (brilliantly inverting the traditions of normal comedies). Skylar Austin’s Jesse only exists to kiss Beca and make her feel better, Adam DeVine’s Bumper even more loathesome than before, but this time playing the romantic interest to Fat Amy, and Ben Platt’s Benji providing one of the new characters a romantic plot.

The two most welcome returns comes from Elizabeth Banks’ Gail and John Michael Higgins’ John, the hysterical commentators from the first film return, this time with even funnier rapport. Higgins’ deadpan delivery of the worst kind of misogyny is brilliant written, and Banks is just a perfectly funny foil to that.

But in terms of new characters Hailee Steinfeld is great as awkward new recruit Emily, with Katey Sagal her wonderfully overbearing mother and former Bella herself. Steinfeld’s previous works in drama films prepared no one for her wonderfully timed comic moments. David Cross is also wonderful as the biggest A Capella fan in the world. But, more importantly, Das Sound Machine the villains of the film best personified by Flula Borg and Birgitte Hjort Sorensen brings so brilliant laughs.

Sorensen is the standout of the film, with her flawless comic timing and beauty causing Kendrick to be all a flutter when faced with her. 

There are too many subplots, and not all of them are great (a better subplot for Kendrick would have been better) and some of the jokes don’t land as they should (Rebel Wilson singing Pat Benatar’s We Belong) but when it’s firing on all pistons it’s a brilliant debut from Banks, and a showcase for all these women than bigger projects are coming their way. For Steinfeld, it might just be her breakout into comedy, a new Anna Kendrick or Emma Stone, for Sorensen the chance to hit the big fanchise pictures.

A mess, but a big fun loud mess. Aca believe it, pitches.

[kaiju-du-cinema]

REVIEW: Mad Max: Fury Road

DIRECTOR: George Miller STARRING: Tom Hardy, Charlize Theron, Nicholas Hoult, Zoe Kravitz, Rosie Huntington-Whiteley, Hugh Keays-Byrne, Josh Helman

PLOT: When Furiosa, a lieutenant to Immortan Joe, leader of the Citadel, takes his five treasured wives and war truck to escape to freedom, he sends his army of War Boys to bring them back, and along the way unleashes the fury of Mad Max Rockatansky whom the War Boys have been draining the blood of.

Thirty years after Mad Max Beyond Thunderdome, George Miller is back with his original Aussie creation in Mad Max: Fury Road. Miller’s been a busy chap these past three decades, after the fun of The Witches of Eastwick, and the beauty of Lorenzo’s Oil proving him to be a true filmmaker, then came his stranger years, two Babes and two Happy Feets have seen Miller taking time away from the adults to entertain the kiddies. And of course his infamously stalled and botched attempt to make a Justice League film now find him back in the saddle with Mad Max standing tall.

Mel Gibson is gone, and yet the franchise has never seemed more excited. The camera work, sound design and editing making it seem like the reigns to the franchise have been given to a younger director. It’s funny to think that such a small, mild mannered man has made this shouty ballsy all out action film, and all credit to him. 

The film is essentially a big budget silent movie, where dialogue is second to visuals, where acting is done physically with movement. All the actors might as well be dancers, performing their roles without the talking to shape the role. Perfectly cast is Tom Hardy, an actor known for being physical rather than verbal. Here he turns Max away from Gibson’s portrayal and puts him with his best work, alongside Bronson and Bane. Hardy is perfect in the role, using his heft to perfectly portray the character designated The Road Warrior. Despite only a brief monologue at the beginning of the film, Hardy doesn’t speak for almost an hour, and even when he does it’s mostly one word sentences.

The talking is taken up by Charlize Theron’s Furiosa, a one armed, shaven headed warrior, cut from the same cloth as an Angelina Jolie of ten years ago. Perfectly cast, Theron has more dialogue than Hardy, but even she is left with little to say, again opting for a more physical based performance. Luckily for Miller, Theron is such a great performer she manages to hide under the oil and sweat to create a wholely original creation. Her metal arm may call to mind a thousand other post-apocalyptic heroes, but hers is one who could take you down, without it.

The McGuffin of the film is taken up by the fives wives of Joe. Though not particularly names at any point and when they are their names are silly, they consist of Splendid (Rosie Huntington-Whiteley) the favourite and pregnant wife of Joe, Toast “The Knowing” (Zoe Kravitz) by far the most interesting, Capable (Riley Keough) carries the emotional heft with a light but underdeveloped romance with rogue war boy Nux (Nicholas Hoult), Cheedo “The Fragile” (Courtney Eaton) the youngest and most conflicted of the wives and The Dag (Abbey Lee) the supernatural looking wife, and clearly the one who will spawn the biggest fan following.

The five wives all have different personalities which makes for an interesting dynamic. They all love each one another, a sisterhood of women dealt a bum hand because they’re beautiful. Splendid, the favourite, has the most leadership, happy to throw herself into the line of fire to play on Joe’s love for her. It’s brilliant, and Huntington-Whiteley is much better than most models turned actresses. Proof, if it were needed, that Michael Bay makes people worse actors, Whiteley is much better here than Transformers: Dark of the Moon. Kravitz also shines playing the tough, hard edged Toast, once again stealing scenes as the small but feisty role she is carving an interesting niche playing. Keough (granddather of The King himself, Elvis), Eaton and Lee are all great in what might be people’s introduction to them, of course the film’s success will mean Hollywood will come calling and the franchises will come rolling in. 

The rest of the cast are all fun to watch, with everyone dressed in post-goth style mutant acid types, none more so than Immortan Joe who walks around with white whispey hair, and great muzzle teeth. 

If there is a criticism of the film then it comes down to humour. The film is fun, really fun, mixing long drawn out chase sequences, with ear rattling rock music, a brilliant score and an explosion as often as possible. But there isn’t much in the way of humour and with a film like this there needs to be a humour. If this is to be the first of more new Mad Max films, then brilliant, but lets have some jokes too.

Miller finds himself on sure footing and doing wonders, this is truly a feminist movie in that the women are actual people, and the men are monsters. The film cries out for another part, but for the meantime we have what might be the best film of the year so far. The film allbut turns into an acid western musical with guitar riffs through fire, and of course drum beats to march into war. 

It’s ballsy fun, but it is that rare mix of thrills, spills and surprising heart. I’d pay to see the remaining wives and Furiosa return, but moreover, I’d pay to see Hardy return as Mad Max, because that was a thing of beauty.

[kaiju-du-cinema]

DREAM PROJECT: The Punisher (mini-series)

Title: Marvel’s The Punisher

Tagline: No justice, just punishment.

Plot: Iraq war veteran Frank Castle retires to a life of domestic bliss with his wife and kids. But when they’re killed by Finn Cooley, an IRA loyalist and gang leader, for witnessing Cooley execute a rival Castle goes on a mission, stripping his life to nothing, and renaming himself The Punsiher. 

Director: John Hillcoat

Hillcoat has a good track record with The Proposition, The Road and Lawless all of which have had a sort of western flavour but grounded in a gritty realist style. Hillcoat could bring a real, old school revenge movie style to series, given free reign to direct every episode of the series in a True Detective style, Hillcoat could craft an urban western style show with violence, swearing and nudity. More importantly, it can stay true to the Garth Ennis style of The Punisher. If the series is a success he could win himself a second go, but if not he can always appear in Daredevil and other films/tv shows.

Writer: Steven S. DeKnight

Having proved his worth as show runner for Daredevil and an outspoken fan of The Punisher wanting to direct a movie, DeKnight should write a ten episode mini-series based on Garth Ennis’ run. This could also tie into Daredevil, although Murdock is Hell’s Kitchen based and Castle is more Queens. The street level gritty style of Daredevil was much better suited to the character and would be to Castle than the galactic threats of the movies, and the story should play out in a long form series.

THE CAST

Frank Castle/The Punisher: Jason Clarke

Although I liked Thomas Jane in the role (and actually like the film a fair amount), and with Ray Stevenson in the MCU as Volstagg, a recasting seems likely. Clarke is a great shout because he has the look of someone who is battling the weary, while his past roles have seen him fight in war (Zero Dark Thirty), lose his wife (The Great Gatsby) and kill a load of people (White House Down). He’s also as a good actor, and would there for be well suited for the more intelligent Frank Castle moments, and he’s worked with Hillcoat before, so they have a working relationship.

Finn Cooley: Sean Harris

Harris is probably the best actor currently working in England, he’s also famously shy and doesn’t like to do interviews. His work in Prometheus was one of the highlights, and he’d fit the role of the unhinged Cooley. He’d also probably be happy to play a role that will give him the chance to do it anonymously, not unlike Gary Oldman in Hannibal.

Yorkie Mitchell: David Morrissey

As an Iraq/Afghanistan war veteran who befriended Castle, Mitchell would be the perfect sort of character to help out Castle. Morrissey is a prolific television actor, but best known to American audiences as the villainous Governor in The Walking Dead. Being Northern himself, he wouldn’t have to fake the accent and would probably have no issue relocating to America for a year to film. And of course David Morrissey needs more work.

Microchip: Stephen Root

As with most MCU character, his original might be changed slightly, Microchip could be a drone operator and someone Castle came into contact with, hearing his story and wanting to help Microchip would supply him with the weapons he needs. Stephen Root is a brilliant actor who does both television and film would also be perfect to fit the role that hasn’t been done justice on screen yet.

Andy Lorimer: Noel Clarke

Clarke is an immensely likeable guy who simply hasn’t broken America yet, given the chance with a heroic role as Andy Lorimer, aiding The Punisher and hoping to get his own revenge might be just thing he needs to finally crack the U.S. market, as well as being frankly brilliant as always.

Norah Winters: Sophie Cookson

Having been great in Kingsman: The Secret Service, Cookson would be great for the role of a Daily Bugle reporter assigned a case of murder, and comes into contact with The Punisher. This is a role that could cross over into a certain Spider man film, as well as other series and such. Cookson would be a good shout because she’s probably going to be in high demand following her turn as a spy.

Kathryn O’Brien: Stephanie Beatriz

This version of O’Brien would see her be a CIA agent who has been to Iraq to see how the war of terror is going. Back in the US she is assigned to the cause of hunting down The Punisher. Instead she finds him after a run in with the Cooley mob, and patches him up, remembering him from the war days. She decides to join his cause hearing his tale of woe and they strike up an unlikely friendship. Obviously this could develop into a more romantic thing over the course of series just as in Ennis’ MAX series, and see her birth his child, but at first have Beatriz be the badass she’s known as.

Barracuda: Rampage Jackson

Quinton “Rampage” Jackson was pretty decent as BA in The A-Team movie, and of course is a fighter in real life. Putting the two together would make for a decent screen version of the Barracuda. A Marine turned gangster he’d be introduced towards the end of the series, to set him up as the villain for the next series, but also as this overlord and kingpin figure (he could share screen time with Kingpin himself) so that people know the big bad is coming.

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Kaiju Du Cinema’s Top Ten Films of 1997

The Fifth Element (Luc Besson): An insane science fiction film, in which Bruce Willis is a New York taxi driver, Corbin Dallas, in futuristic Earth, when the Fifth Element - Milla Jovovich - falls into his cab. What follows in a madcap adventure film with costumes by Jean-Paul Gaultier featuring Ian Holm, Gary Oldman and Chris Tucker in supporting roles. A mad, adventure film, from the singular French visionary Besson.

Event Horizon (Paul W S Anderson): A film, that simply put is THE movie version of Doom, or at least you can see where Doom 3 got it’s ideas from. Space explorers Sam Neill, Laurence Fishburne, Joely Richardson, Jason Isaacs and Sean Pertwee face hell in the form of a ship that has brought something back from a black hole. A terrifying tour de force film.

Titanic (James Cameron): People may ask why this even makes the list, but as a piece of pure entertainment, a best picture winner and more importantly a collaboration between two goliath studios, the leap of faith taken on James Cameron’s epic romantic disaster movie is beyond lucky. Kate Winslet and Leonardo DiCaprio are on fine form as the star crossed lovers, and the visual effects are revolutionary for their time, and still hold up to date. Cynics may laugh, but Cameron for a shining moment, was king of the world.

Good Will Hunting (Gus van Sant): Ben Affleck and Matt Damon’s screenplay for this drama was wanted by everyone in Hollywood, but it was Harvey Weinstein who won the bidding war, and Gus van Sant who got the chance to direct the story of a prodigy that no one knew was a genius. Robin Williams co-stars with Damon in an Oscar winning role that might have defined his dramatic acting career, until his untimely and tragic death.

Starship Troopers (Paul Verhoeven): Verhoeven’s satirical take and a problematic book, is a brilliant piece of action movie propaganda. Neil Patrick Harris is great, and the nazi look of the costumes only adds to the satire, a bit more ripe than Robocop but just as enjoyable. A must for anyone who loves satirical comedy.

Men in Black (Barry Sonenfeld): The brilliant science fiction comedy has been imitated but never rivalled. Will Smith is the NY cop recruited by the old pro Tommy Lee Jones to join the Men in Black, an organisation that take care of aliens. With whip smart humour, state of the art make up and computer effects, and a great turn from Smith and Jones it’s a winner and long time family favourite.

The Lost World: Jurassic Park (Steven Spielberg): While Spielberg was not a fan of the finished product, and it lacks the awe of the first film, it takes Spielberg back to his darker, Jaws roots. Pete Postlethwaite is brilliant as the hunter, bent of getting a T-Rex, Julianne Moore and Jeff Goldblum as the good guys, and Vince Vaughn is also great. But it’s the sequence in the Campervan that is as tense as the jeep seen in the original film.

The Devil’s Advocate (Taylor Hackford): While it’s unlikely anyone will buy that Keanu Reeves is a hotshot lawyer, the film does convince you that Charlize Theron is losing her mind and it’s because of Al Pacino, who happens to be the devil. Pacino is on top form as old scratch himself, and Hackford’s fun direction makes this bonkers thriller easy to watch. Craig T Nelson is also great in a small role.

Hercules (Ron Clements & John Musker): This Disney-fied retelling of the Hercules myth features great songs, winning jokes, loveable characters - including Pegasus and Meg, and brilliant voice actors like Hal Holbrook, Rip Torn and Danny DeVito, but the film belongs to James Woods’ mile-a-minute delivery as Hades, turning the god of the underworld into a used car salesman type. It’s pure Disney magic, with a fun mythical story.

Cop Land (James Mangold): The tale of sensitive type Freddy Heflin as played by Sylvester Stallone and the corruption of the cops he idolizes. Stallone blames it for ending his career for a long time, but Mangold’s clever script, interesting direction and support from Harvey Keitel, Ray Liotta, Robert De Niro and Frank Vincent make this a forgotten, but brilliant film an indie classic.

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TOP TEN: Graphic Novel Movies

As Kingsman: The Secret Service leaves cinemas, and Avengers: Age of Ultron enters, we count down the top ten Graphic Novel adaptations.

10) WANTED (Timur Bekmambetov 2008) Based on “Wanted” by Mark Millar & J.G. Jones

Office stooge Wesley (James McAvoy) finds himself drawn into a battle between assassins and a rogue ex-member, all of whom have the ability to bend bullets. Absolute bonkers, and incredibly enjoyable action adventure that bears no resemblance to the comic book source is still great fun with Common, David O’Hara, Chris Pratt and Marc Warren offering classy support. But the film belongs to McAvoy, Angelina Jolie, Terence Stamp and Morgan Freeman, cementing them among the best in the business when it comes to giving credibility to frankly ridiculous plot lines.

9) 30 DAYS OF NIGHT (David Slade 2007) Based on “30 Days of Night” by Steve Niles & Ben Templesmith

Every year the town of Barrow, Alaska is plunged into thirty days of total darkness. Most townsfolk opt to head out of town for the month, those who stay work as a skeleton crew. Sheriff Eben Oleson (Josh Hartnett) and his ex-wife Stella (Melissa George) and his brother Jake (Mark Rendall) hunker down for a long cold spell, when a stranger (Ben Foster) speaks of bad things to come, and come they do in the form of Danny Huston and his vampire friends. It’s gory, scary and bloody good fun.

8) KICK-ASS (Matthew Vaughn 2010) Based on “Kick-Ass” by Mark Millar & John Romita, Jr.

Average geek Dave Lizewski (Aaron Taylor-Johnson) wonders why no one wants to be a superhero, so he tries his hand at it, and sucks. Soon he’s joined by rich boy Red Mist (Christopher Mintz-Plasse). But when daddy-daughter team Big Daddy (Nicolas Cage) and Hit-Girl (Chloe Grace Moretz) show up, hellbent on bringing down mafia boss Mark Strong, Red Mist’s father, things go bad. Violent, and sweary, this is a true original and hasn’t been levelled yet, ignore the shit sequel.

7) THE CROW (Alex Proyas 1994) Based on “The Crow” by James O’Barr

Rock musician Eric Draven (Brandon Lee) is killed along with his wife-to-be Shelly (Sofia Shinass), soon Draven is resurrected and seeks revenge for his horrific murder. A case of life imitating art lingers over this film as young Brandon lee was tragically, and accidentally killed when shot with a dummy bullet lodged in the gun. Sadly, the feeling of unease lingers over this grungy, dark take of the revenge/superhero mythos.

6) V FOR VENDETTA (James McTeigue 2006) Based on “V for Vendetta” by Alan Moore & David Lloyd

In futuristic London, the nazi-like Norsefire party have gained complete control under leadership from Chancellor Sutler (John Hurt), shy and innocent Evey (Natalie Portman) is pulled into the world of revolutionary V (Hugo Weaving), a masked man bent of showing November 5th that no one will forget. Alan Moore famously hated the film and isn’t credited, and while it’s a more revolutionary tale than the anarchist tale Moore wrote, it stays true to the spirit. The finger prints of Andy and Lana Wachowski are all over this film, and Portman does great, but the supporting players Stephen Fry, Tim Piggot-Smith, Stephen Rhea, Rupert Graves and Sinead Cusack are all brilliant. The clever casting of John Hurt against his 1984 role is clever, and Weaving is brilliant as V.

5) SNOWPIERCER (Bong Joon-ho 2013) Based on “Le Transperceneige” by Jaques Lob & Jean-Marc Rochette

The world has been plunged into a new ice age. The sole survivors live on the huge train “The Snowpiercer”. The rich live in luxury, the poor at the back in slums. Curtis (Chris Evans) plans a revolution with his fellow poor folk (Jamie Bell, John Hurt, Octavia Spencer, Luke Pasquilano) what follows is fight to the front, and an oncoming confrontation with the slimy Mason (Tilda Swinton) and the train’s creator Wilford (Ed Harris). This incredible parable from Korean director Bong Joon-ho is timely, haunting and stays with the audience long after the film has finished, thanks to tight direction, clever writing from Joon-ho.

4) SIN CITY (Frank Miller & Robert Rodriguez) Based on “The Customer is Always Right”, “The Hard Goodbye”, “The Big Fat Kill” and “That Yellow Bastard” by Frank Miller (with colours by Lynn Varley)

Literally ripped from his pages, Robert Rodriguez went to extreme lengths to persuade Frank Miller that his work would be honoured and not changed. What comes is something between adaptation and animation. With a cast list that is made up of a who’s who, some are right (Bruce Willis, Rosario Dawson, Mickey Rourke, Benicio del Toro, Powers Boothe, Rutger Hauer, Michael Clarke Duncan) and some not so right (Clive Owen, Elijah Wood, Marly Shelton, Brittany Murphy) but the film is so right about the visuals and the fun that it gets away with it, and of course that unforgettable scene with Carla Gugino.

3) ROAD TO PERDITION (Sam Mendes 2002) Based on “Road to Perdition” by Max Allan Collins & Richard Piers Rayner

Michael Collins Sr (Tom Hanks) is a mob enforcer for the Rooney family, but when his son Michael Jr (Tyler Hoechlin) witnesses an unjust murder on the part of Connor Rooney (Daniel Craig) the two go on the run, under threat from the terrifying John Rooney (Paul Newman), the big don, and Connor’s father. The depression set Irish mafia film takes Hanks out of his likable roles and turns him into a cold blooded killer, Daniel Craig, Stanley Tucci and Jude Law all do great stuff around Hanks, but the film belongs to the late Paul Newman who holds the screen whenever he’s on, in his final screen performance. Deservedly gaining an Academy Award nomination. Thomas Newman’s score, and Conrad Hall’s gorgeous cinematography make the film a work of art.

2) A HISTORY OF VIOLENCE (David Cronenberg 2005) Based on “A History of Violence” by John Wagner & Vince Locke

When nice, mild mannered coffee shop owner Tom Stall (Viggo Mortensen) finds himself in a robbery situation come closing time, he springs into violent action to protect himself and those around him. Hailed as a hero by the town, he is soon visited by a scary eyed guy named Fogarty (Ed Harris) who demands he answer to Joey. Stalking the family, he insists Tom is a mafia member wanted for several killings, much to the fear of Tom’s wife Edie (Maria Bello) but is he Tom or is he Joey? This tense nailbiting thriller hinges on Mortensen’s natural and convincing performance, with Harris on scary form and William Hurt being outstanding in just ten minutes of screen time.

1) SCOTT PILGRIM VS THE WORLD (Edgar Wright 2010) Based on the Scott Pilgrim volumes “Precious Little Life”, “Vs The World”, “& The Infinite Sadness”, “Gets It Together”, “Vs The Universe” and “Finest Hour” by Bryan Lee O’Malley

Scott Pilgrim (Michael Cera) plays bass in the Sex Bob-ombs an okay rock band, he’s dating a highschooler, and lives with his gay roommate. Then he meets Ramona Flowers (Mary Elizabeth Winstead) and has to fight her seven evil exes to win her hand, and get his life together. Taking all six volumes and turning them into one brilliant film, Edgar Wright’s colourful rock and roll arcade game of a movie keeps the O’Malley verse going as the film rolicks along, boss fight after boss fight. It’s an absolute blast from start to finish and proof that Edgar Wright is one of THE directors of the moment.

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Kaiju Du Cinema’s Top Ten Films of 1993

Cronos (Guillermo del Toro): Del Toro’s debut film is a brilliant vampire movie that tells the story of vampirism without it being sexual. Fredderico Luppi is fantastic as the person effected by this whole thing, while Ron Perlman also stars in a terrific supporting role. The film is an early example of what makes del Toro tick, with religion, clocks and Perlman all being deeply important to the film.

The Fugitive (Andrew Davis): The story of a man accused of killing his wife and then goes on the run is a brilliant lesson in tension. Harrison Ford is the man accused, Tommy Lee Jones is the cop hunting him down, The Fugitive is the film that keeps your attention gripped from start to finish. As far as thrillers go, it’s a tour de force, white knuckle ride.

Groundhog Day (Harold Ramis): I got you babe is just one of the brilliant gags of this deja vu comedy film. Bill Murray is his usual grumpy self assigned to report on the annual Groundhog Day, where he finds himself in a time loop, until he re-examines his life. Andie McDowell and Chris Elliot provide great support, and the always brilliant Stephen Tobolowksy also stars in a brilliantly annoying role. A fitting tribute to the late Ramis.

Carlito’s Way (Brian De Palma): The not-a-sequel to Scarface, Carlito’s Way is probably the last great masterpiece by De Palma, and featuring a brilliant turn from Al Pacino and a surprisingly bearable Sean Penn. The final sequence is probably a standout by both De Palma and Pacino, and the entire film is surprisingly enjoyable. It’s not Scarface, but it is very good.

The Remains of the Day (James Ivory): Probably THE Merchant-Ivory production, based on the novel by Kazuo Ishiguro about a butler, a maid and the house at which they serve. Hopkins is superb as Stevens the butler, even bit as proper as you’d expect from him. While Emma Thompson is every bit as good as Kenton, creating a beautiful, thoughtful character that stands every bit as tall as Stevens. A beautiful film.

Mrs Doubtfire (Chris Columbus): When Robin Williams sadly passed away not long ago one of the films that came up time and time again was Mrs Doubtfire. Voice over artist and bad divorced dad, Williams, dresses up as an old dearie to spend more time with his three kids. What follows is a touching story of a dad trying to make up for lost time, with brilliant support from Sally Field and Pierce Brosnan. A family hit from the late, great and sorely missed king of comedy.

In The Name of the Father (Jim Sheridan): Earning nominations for everyone involved this true story of Gerry Conlon and the Guilford Four. Daniel Day Lewis is Gerry Conlon rightfully nominated for an Academy Award, a man fighting the system and proving his right to say what he likes. Emma Thompson is Gareth Pierce, his lawyer fighting his corner for all she’s worth. But the great achievement of the film is Pete Postlethwaite as Giuseppe Conlon, Gerry’s father, a towering figure in this brilliant, harrowing film.

Jurassic Park (Steven Spielberg): From the man credited for creating the blockbuster, comes the 90s Blockbuster in Jurassic Park. Screen legend Lord Richard Attenborough opens a theme park with genetically engineered dinosaurs, and invites boffins Sam Neill, Laura Dern and Jeff Goldblum along to give it the seal of approval. Naturally things go terribly wrong, with Wayne Knight and Samuel L Jackson offering support, and John Williams terrific score keeping the tension going. The film is timeless, and brilliant, meaning poor Jurassic World has a lot to live up to. Clever Girl.

Philadelphia (Jonathan Demme): Jonathan Demme’s powerful drama about a man fired for having AIDs who takes it to court, with a lawyer who grows to understand his illness is one of the greatest films ever made. Tom Hanks is the AIDs ridden Andrew, while Denzel Washington is Miller, his lawyer and eventual friend. The ending is one of the hardest to watch, but it’s an important film as it shows the true nature and cost of homophobia.

Schindler’s List (Steven Spielberg): Possibly Spielberg’s greatest dramatic achievement of all time, the true story of Oskar Schindler and his factory of jews in Nazi Germany and the ends he went to to keep them alive. Ben Kingsley is his assistant, and Ralph Fiennes is the Nazi who has secret lusts for jews. The true story is played out with class and understanding and Liam Neeson is great in a role he has never matched in his career.

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DREAM SEQUELS: The Incredible Hulk 2

Title: The Incredible Hulk: Anger Unleashed

Tagline: Don’t make him angry.

Plot: Away from the Avengers, Bruce Banner pines for his lost love, Betty Ross, while staying with his cousin Jennifer Walters. When he gets a call from an old professor asking to talk to him, he’s drawn into a plot that involves Agent Maria Hill, an old mercenary and General Thunderbolt Ross, whose bent of revenge.

Director: Kathryn Bigelow

Probably not the most obvious choice for a superhero blockbuster but Bigelow’s action cinema has informed much of 21st Century filmmaking. Point Break and The Hurt Locker remain her uber-texts, and in the hands of Bigelow, the Academy Award pedigree would bring some prestige. She could also make the female characters sparkle bringing some feminine wit, while still being gun-metal hot when the Hulk action takes place.

Writer: Mark Boal

Boal is the writer of The Hurt Locker and Zero Dark Thirty and clearly has a way of writing that appeals to Bigelow. Given the canvas to really makes something of the hulk, Boal could write an intellectual, and engaging script but also deliver wit, and action that a blockbuster requires. He also as previous writing military personel so his dialogue will have an air of authenticity.

THE CAST

Dr Bruce Banner/The Hulk: Mark Ruffalo

Of course the best on screen version of both Banner and the Hulk, and the only person to make it through more than one feature film, Ruffalo’s easy going way of talking is what makes his Banner so interesting. He really sells the idea that she is fighting to keep control. Giving Ruffalo his own film would be the chance to do the character true justice in a solo film. A planet Hulk film is too much of a risk considering Ruffalo’s Hulk has only been a success in two Avengers films and a cameo in Iron Man 3. But to give him an adventure action film to sink his teeth into and then Planet Hulk would be interesting.

Dr Elizabeth “Betty” Ross: Vera Farmiga

I’ll make no bones about this, I thought Liv Tyler was awful as Betty Ross. I really did. So, since it’s been a few years and contracts have expired it’d be high time to offer a role to someone like Vera Farmiga. Farmiga is a great actress able to do horror films (The Conjuring, Orphan) crime thrillers (The Departed) and even comedy (Up in the Air). Farmiga can really sell the idea that Betty has been pining for Banner but not putting her life to a complete stop. In Farmiga we’ll have a beautiful woman who has wit and intelligence and has secretly been tracking Banner’s movements.

General Thaddeus “Thunderbolt” Ross/Red Hulk: William Hurt

William Hurt’s turn as General Ross was the highlight of Louis Letterier attempt at a Hulk film. Bringing him back would be the first step towards creating continuity with that first film. Finding him disgraced, stripped of ranking and obsessively trying to track down Banner and reclaim his own glory. This could also lead to Ross being turned into the Red Hulk which will segway into Planet Hulk. And of course, what is a Hulk film without Ross, the Ahab, to Banner’s Moby Dick. If Hurt has no interest in returning, another good shout would be Nick Nolte or Donald Sutherland, but William Hurt was seriously good.

Jennifer Walters/She Hulk: Gina Carano

Because DC missed their chance to cast her as Wonder Woman, Carano should be given free run of Jennifer Walters, showing off her decent acting abilities. Then when she becomes She-Hulk be allowed to use her MMA fight training to give the She-Hulk a different feel and movement than Hulk or Red-Hulk. And of course, Marvel giving Carano a multi movie deal could show up in another Hulk movie, or someone else film, and a certain Infinity War. And Walters work as a lawyer could be referenced in something like Daredevil.

Brigadier General Glenn Talbot: Adrian Pasdar

While I actually like Josh Lucas’ turn in the 2003 car crash (him and Jennifer Connelly being the only good things), Pasdar is doing a good job on TV Agents of S.H.I.E.L.D. Beefing up his role as someone who holds his own grudge against Banner, and someone who knows all too well that Ross is right about the Hulk, Talbot would make for a fun secondary antagonist and could bridge continuity with the show, since it seems to be hiding from the movies of late.

Maria Hill: Cobie Smulders

The world needs more Cobie Smulders, so give the people what they need. Maria Hill is great because she works in all the films and shows. Having been solid in Captain America 2, having her be the go-between for Banner and the yet unseen G.W. Bridge would be fun, as well as her showing no fear when confronted with the prospect of Banner hulking out on her.

Dr Geoffrey Crawford/Ravage: John Goodman

In the form of new characters, John Goodman’s Dr Crawford would also offer some kind of backstory to Banner. As a former colleague and someone who didn’t approve of Ross’ super soldier ideals. Crawford would been seen as a Columbia University lecturer, having retired from the world of practical science in order to teach new practitioners. It’d also be interesting to see Goodman play both villain and good guy. Ravage could work as an antagonist or anti-hero, when Crawford attempts to save himself from a crippling illness.

George Washington “G.W.” Bridge: Stacy Keach

Another character that can cross into other films or TV shows, taking the veteran S.H.I.E.L.D. character and updating him for the MCU, Bridge would be an ex-S.H.I.E.L.D. agent turned mercenary that still does the odd job for his old colleagues. Having kept his ear to the ground following Pierce’s Hydra takeover, Bridge will be introduced as a no nonsense and gruff soldier of fortune type who has been hunting Ulysses Klaw in South Africa, and Wakanda (tying into Black Panther). Hill would take Banner and Betty to him when Ross and Talbot come after them and would open Bridge up to being in the show, and possibly other things (like The Punisher if they ever do it).