Röyksopp & Robyn - Do It Again [EP Review]

Norwegian Electronic music duo Röyksopp teamed up with Swedish Recording Artist Robyn to produce an EP entitled Do It Again, which features 5 tracks; opening with the smooth electronic jazz mix track, ‘Monument’, which features subdued vocals from Robyn. The instrumentals on ‘Monument’ are just that; monumental. The shifts in tempo and the variety of electronic sounds being produced are captivating and engaging enough to hold your attention for the 9 minutes 57 seconds that the track consumes, which is no small feat. Whilst ‘Sayit’ is an exploratory piece, featuring human and mechanical vocals, which create an intriguing contrast and help to build the tempo of the track, resulting in an effective dance vibe. 

‘Do It Again’, the title track from the EP, features a feverish display of electronic vibes, whilst the subject of the track is all about chaos and knowing that it’s wrong, but still wanting to, as the song goes, ‘Do It Again’. This is echoed rather poignantly in the lyrics, we see Robyn on top form; ‘We should not be friends/ We’ll just do it again/ If you stay around/ We’ll just do it again’. ‘Do It Again’ showcases the momentous feeling the builds until breaking point, and after that feeling is over, you want to feel it again – and this is reflected in the building of the tempo as the track reaches its breaking point with Robyn’s repetition of ‘Again’ signalling the madness ensuing. You can read our full-length review of the single, 'Do It Again' [and the accompanying music video], here. 

‘Every Little Thing’ is a particular mid-tempo gem, featuring soft vocals from Robyn, that combined with the beat, make for a haunting sound that isn’t easy to forget. The track oozes nostalgia, as if the pair has been friends for a life-time. ‘Every Little Thing’ is the shortest track on the EP, coming in at just over 4 minutes [4:03], yet it is still a highly effective addition, which mixes usual electronic beats with more dramatic instruments that display the type of passion that the artist express through their music; ‘Baby, why you falter/ When you know I’m waiting/ When you know I’m waiting here’. 

‘Inside The Idle Hour Club’ is the last track on the EP, and is almost as long as the opening track, coming in at 9 minutes, 54 seconds. This makes for an impressionable conclusion to the EP, as most of the track is intrinsic instrumentals, which build that type of pace that you just don’t get from vocally-heavy tracks. The track combines deep bass beats with lighter, string instrumentals that give off a quintessential club acoustic, which is a very fitting end to their collaborative EP. ‘Inside The Idle Hour Club’ is perhaps a more deeply fitting title, as the track has a soothing aura, but ultimately does feeling like you’re passing by time – but that you don’t really care; it’s an infectious calm. 

Whilst we would have liked to hear a bit more of Robyn’s addictive vocals, the explosive pairing is satisfying enough in this particular EP, as Röyksopp and Robyn prove to be a force to be dealt with when they combine their musical efforts, and the EP is extravagant and bold, with intrinsic electronic styling’s that are unrivalled. 

Lucy (2014) Review

                                          'Ignorance brings chaos, not knowledge.'

Luc Besson, best known for his film The Fifth Element, turns his talents to one of the summer's anticipated science-fiction action films, Lucy, which he directed, wrote and edited. 

Lucy stars Scarlett Johansson in the leading role as the title character, a unsuspecting party girl, who after a fateful encounter with a Korean drug boss (Choi Min-sik), is forced into becoming a drug mule for a mysterious new drug; CPH4. After the bag leaks while inside of her, Lucy starts to develop new superhuman abilities as her brain is able to quickly use more than 10% of its capacity, prompting her to seek out help from Dr. Norman, portrayed by Morgan Freeman. On her escapades, she also manages to run into French Police Chief, Pierre Del Rio (Amr Waked). 

The concept of the film is certainly intriguing; you probably won’t see anything like it this year. It seems evident that Besson’s latest cinematic venture achieves mixed results – the action sequences are delightfully thrilling without overdoing it, and the visuals are arguably some of the best of the year. However, the abundance of visual metaphors and some painfully slow pacing (particularly towards the beginning of the film) makes it a little uneasy to watch. You end up get the feeling that the director should have approached this at full volume, and made the film have a more frenetic pace, and really gone all out with the special effects; that the trailer suggested. Arguably, the sequences shown in the trailer are the highlights of the film, and this can feel a little disappointing when you gear yourself up for the hour and a half thrill ride that you were expecting, only to find this is not the case. Fortunately, in the more captivating sequences, the film is clearly on a momentum, and benefits from effortlessly cool performances from Johansson and Freeman. 

In regards to Johansson and Freeman, the two make for a surprisingly delightful pairing, and Johansson’s transformation with her character is delivered in a suitably calculated fashion. Prior to becoming a drug mule, Johansson’s bambi-esque naivety is a strong contrast to the logical, almost cold and emotionless demeanour that her later self expresses, once the drugs have entered her system and she is ‘super-human’. 

Freeman provides a professional contrast to the no-nonsense Lucy of late, as his research as Professor Norman provides the basis for the film’s trajectory. Sufficed to say, Freeman is perfectly suited in his intelligent character, and is an intriguing match to Johansson. A moment of light relief in the film comes courtesy of Amr Waked, who stars at the everyday French police chief, Pierre Del Rio, and his bewilderment with Lucy as a character mimics the feelings some audience members might have to her; the representative of the audience itself. Waked and Johansson’s characters also share some more emotional, human moments as Lucy is becoming more devoid of her conventional humanity. 

To say the ending was surprising would be an understatement; it seemed obvious that certain things would have to give if she was really going to self-combust when she reached 100%. However abrupt, the ending felt a little anticlimactic, despite being conventionally ‘satisfying’, and this could have possibly been explored more, as it seemed like throughout the film there was never really a particular ‘goal’ as to what we were heading for. There are certainly a few unanswered logical questions that hinder the film from reaching its very own 100%. However, the thrills are there at certain places, and it’s suitably silly and intriguing as a concept and as said, the visuals are pretty remarkable, and the piece is interesting as a conceptual film about life as we know it, even if the facts aren’t always there. 

The point is, the film knows it’s a little silly, and it plays off this well, even if it doesn’t quite manage to reach its full potential, taking into account its talented cast and the clear draw that female leads are having over recent years (see: The Hunger Games, Maleficent and others). With this new level of appeal surfacing for female leads, Lucy had much potential to become a strong science-fiction action film, but its gaps in logic and uneven pacing hinder it from being a true success.  With that said, Besson’s Lucy deserves at least one watch, even if it is just for Johansson’s enthusiastic and devoted performance. 

Troye Sivan - TRXYE [EP Review]

Having recently peaked on the Billboard 200 last week at number 5, Troye Sivan’s third EP (his first with major label Universal Music Australia [EMI Music Australia]), TRXYE, has proved popular amongst audiences and allowed the singer to make a big impact on the industry.

The stylized EP features 5 tracks; ‘Happy Little Pill’ being track-listing number one. The song focuses on the idea of loneliness, and how different people respond to that type of isolation, and the track makes particular references to addictions in its lyrics ‘Nothing but time to kill/ Sipping life from bottles’, which showcases a deeper side to the singer. Cased in brooding vocals and atmospheric electro-pop beats and synths, ‘Happy Little Pill’ is an infectious track which proves the singer has the ability to make music that is worth listening to. Suitably dark in places, and glazed with a touch of the enigmatic, the track positions the listener in a manner in which to experience the rest of the EP. It is at this point you will be wondering whether the rest of the EP follows the same suit, in regards to the more hidden depths hidden beneath the dance-floor vibes. You can also read our full review of Sivan's 'Happy Little Pill', here. 

Track #2 is the sensual ‘Touch’ which depicts the first interaction between lovers, when they finally embrace each other and feel that sense of energy. ‘I can almost feel your breath/ I can almost feel the rest/ Night is young and we’re living’ encapsulates this feeling perfectly; it is the nature of anticipation and living in the moment and being excited for what’s next. Sivan’s lyrics give reference to his level of maturity, having co-written ‘Touch’ with Thomas Rawle, and this level of knowledge and emotion transfers beautifully into the songs that have been produced, with Sivan managing to convey through his hazy and soft vocals the exact emotion that he wants. This is particularly significant, as it shows that the 19 year old singer has potentially an intriguing career ahead of him in the music industry.  

TRXYE is particularly poignant as it manages to juxtapose fairly energetic beats with rather more solemn and deep lyrics, which make for an interesting contrast in between the nature and construction of the track. ‘Fun’ is a perfect example of this, which features striking lyrics including ‘Let’s go have fun, you and me in the old Jeep/ Ride around town with our rifles on the front seat/ Fun, you and me in the Middle East/ Shooting at rocks, bullets cocked in the midday’ which makes fun of its own name, considering in reality, this is anything but ‘fun’. This once again makes reference to a more complex, meaningful EP from such a young vocalist, and chucks in a bit of social commentary for good measure.

The fourth track is the more solemn, piano laden ‘Gasoline’, which showcases the singer’s regret over a failed relationship; ‘I’ve done you wrong, I regret it/ I write this song, try to forget it’. This are possibly some of the most personal lyrics of the EP, in that they are no doubt relatable to most people, and this feeling of mistake and regret is one that most people will have faced in their life. Sivan is no exception, and his vocals ooze emotion in the sincerest form, as the touching beat continues in the background.

The last track from the EP is Sivan’s ‘The Fault in Our Stars’, an ode to the book (and film) of the same name. Naturally, the lyrics focus on the relationship between two people (from the book) and the obstacles they face together, considering their illnesses and conflicts. It’s a heartfelt addition and it earns its place amongst the other great tracks from the EP. 

Although Sivan can certainly perfect elements to his delivery and rhythms, this third EP shows that the singer has a great deal of potential, and that he has the ability (and the team) to help make this happen. TRXYE is a surprisingly well-constructed EP, with strong substance and hazy electro beats that make for compelling listening that’s easy on the ears. 

Into The Storm (2014) Review

                                         'That's the biggest Tornado I've ever seen.' 

Are we about to get an upgrade to a disaster movie for the Internet generation? Does Steven Quale’s Into The Storm deliver what its many trailers have promised? Starring Richard Armitage and Sarah Wayne Callies in the leading roles, the found footage disaster film aims to offer up an alternative for viewers who have got tired of the cheesy, clichéd devastation films of the past (or those who are looking for an alternative to Sharknado).

Armitage, fresh off the Hobbit trilogy set, stars as Gary Fuller, the Vice Principal of Silverton High School, whose son becomes trapped by a mysterious storm in an abandoned paper mill, forcing Gary to go rescue him. Meanwhile Wayne Callies stars as a Meteorologist, who works a storm chaser team, headed by Pete (Matt Walsh). With the town of Silverton, Oklahoma in jeopardy from the impending storm and colossal EF5 tornado, the question remains as to who will actually survive this devastating example of Mother Nature at its most brutal.

It seems almost a time-honoured tradition that movies which feature heavy amounts of special effects rarely succeed in pairing these visual feats with a coherent and intriguing storyline, and when the occasion arises that a film features both it is a somewhat surprising marvel to behold. Unfortunately, Steven Quale’s Into The Storm is not one of these marvels. Relying heavily on its CGI effects to distract you from the lack of a plot, the film tempts you with exciting sequences only to disappoint you after they end and you suddenly realise that the story hasn’t actually gone anywhere, and seems lost within its own internal storm.

A strong case of visual style over substance; as the film draws on the plot vastly unravels, and no sooner than the characters are introduced are they forgotten. The main failure of the film is its aversion to coherent and strong storylines, with many characters being introduced only to be killed off in bizarre manners; admittedly the visual effects are the films centrepiece and are treated as such. If you were to go into the cinema expecting to see trucks flying in the air, schools being ripped apart and general meaningless devastation then you may find a strange sense of enjoyment from watching this haphazard affair unfold on screen -  if however, you were expecting more then it’s safe to say you won’t find it anywhere amidst the rubble. A disappointingly pale imitation to Twister, Into The Storm is just not the disaster film we need or deserve, and although the visuals are impressive for its budget, if it was really attempting to go all out for high-tech special effects, it probably needed a larger budget (see: Michael Bay’s Transformers series).

Richard Armitage tries his best to save the piece (and the town), but even his best efforts can’t save this particular feature, which features some disastrous dialogue and half-hearted performances from its other cast members. The resulting effort of Into The Storm is relatively weak, but the better moments certainly come courtesy of the effects and the (fake) found footage style, these manage to make the film entirely watchable, and perhaps even possibly enjoyable for adrenaline junkies who want to be blown away by the visuals, and who can ignore the lack of progression in the (almost non-existent) story. Whilst Into The Storm will certainly not be to everyone’s taste, its visual flair manages to save it from ending up in the bargain bin come DVD release.

Jessie J, Ariana Grande & Nicki Minaj - Bang Bang (Official Video) [+ Review]

Pop songstresses Jessie J, Ariana Grande and Nicki Minaj have joined forces to create the riotiously sassy 'Bang Bang', and it's stirring up a storm with the release of the new music video (watch below). As expected, the video sees the trio feature in separate segments of the song whilst singing their verses, and then sees them unite at a dance party. It's a colourful infusion of dancing styles and kaleidoscopic dresses, and each singer has their own dedicated 'atmosphere' in which to sing their verses. 'Bang Bang' certainly benefits from its unison of three successful pop singers, and the video certainly has the draw of three artists to help attract attention to the song. 

We have detailed our thoughts on the song itself here, if you want to go read the separate review of [just] the song. But now for the video itself. As the video opens, a shot of the singers' names overlaps the background of a hustling and bustling city, and then the infectious, jazz-influenced beat begins to come in. This type of busy atmosphere assists in amping up the nature of the song, building up the expectation and excitement for the beat to drop and the verses to start [this is also helped along by quick shots of the singers as they gear up ready to perform in their video together]. Up first is the sultry Jessie J, who blazes onto the screen in her vibrant pink car (and of course their are the obligatory flashes of Beats merchandise, as is seemingly custom in any music video now) and soulful bursts out her verses with confident flair, in her usual power-house manner, complete with energetic dancing. 

As the chorus builds, Grande takes to the [figurative] podium, clutching a 'Bang' old style speaker-phone and begins to dance around her palm tree themed room (complete with pink neon palm trees lights in a similar style to Miley Cyrus' most recent album artwork). We like this build up of anticipation and tension, and Jessie J's vocals are on point [as we have mentioned in the song review], and her video portions have that 'summer vibe', with hazy lighting and street dancing that wouldn't be out of place in a Step Up film. There is also head banging [which we love]. With that, it's now Grande's turn and its pretty much of the same, distinctly sassy but sort of cutesy at the same time [it is Grande after all], and she really reaches for those high notes and succeeds, and the whole kitschy motel theming is appropriate for the song [although we do wish she would switch up her hairstyles and expressions a little bit, as it can get a little dull and repetitive - but that's more personal taste]. 

Jessie J and Grande's parts then interchange and this segment is suitably fierce and feisty (especially in regards to Jessie J's expressions and segments), and it fits perfectly.That's enough of Grande and Jessie for now, and it's Nicki's turn (and this time, no wardrobe malfunctions in sight - success!) and she steps out of her designated helicopter effortlessly and prepares for her verse. The rap is on, and Minaj brings it, killing her segment with snappy rhymes amongst her background dancing (who are really, quite good). 

In case you weren't dead by this point, Jessie J really does what she does best and reaches for those high notes with a triumphant close 'See anybody could be good to you, You need a bad girl to blow your mind (your mind)'. With the video almost over, the trio kick it at Nicki's rooftop setting, with an energetic and vigorous closing party. Director Hannah Lux Davis really did a tremendous job with the music video. Keen to check it out for yourself? Then watch 'Bang Bang' below, and tell us your thoughts in the comments! 

Charli XCX - Break The Rules (Official Video) [+ Review]

 Charli XCX has been everywhere recently, joining up with Iggy Azalea on her hit single 'Fancy', teaming up with The Fault in our Stars for her love-central 'Boom Clap', and of course providing verses for Icona Pop's 'I Love It', and it would appear the singer has got something new to share, in the form of a music video (watch below) for her latest track 'Break The Rules'. The new video [and track itself] sees the singer show off her rebellious side, with an incredibly catchy chorus in typical turbulent fashion, with the singer declaring that 'I dont wanna go to school/ I just wanna break the rules'. 

Well, you certainly can't argue with that; at least she's honest. In a suitable fashion, the music video follows a similar suit, with Charli hijacking a school bus (which has been altered to read the name of her upcoming album, Sucker, in spray paint), dropping by the local prom, and generally causing mayhem wherever she goes. That's until of course, she runs into the chaperone, played by Rose McGowan, who gets her own back by pouring pink liquid over the girls - who actually don't seem that bothered. Go figure? 

The track is brazen, outlandish and sung in a typical XCX manner, with vocal emphasis on the chorus and Charli showcasing her fun-loving and unruly side. Things certainly can't keep this girl down. 'Break The Rules' draws some parallels with 'Fancy', as the music video for the two are both set in a school setting [albeit Iggy's pays tribute to the film Clueless], and both are typically rebellious in nature, and laden with attitude [you could call this Fancy: The Sequel], and we have to say, it sort of works for the singer. 

The whole affair could seem a little forced if any other singer was doing this sort of thing, but Charli seems to be in her element on the track, showing that she knows how to have a good time and that she won't let anything get her down, as emphasised by the lyrics, 'I'm so alive'. Charli and her recalcitrant group of women certainly wreak havoc in the 3 and a half minutes, but we can certainly see the track itself being popular, no doubt having a special appeal to students for its defiant lyrics. The video matches well with the track, and admittedly, it's rather fun to see Charli and the gang play and goof around in a silly manner, and the cameo from McGowan makes it entertaining. Watch the music video for Charli XCX's 'Break The Rules' - and listen to the track - below: 

Ariana Grande - My Everything [Album Review]

Recently awarded 'Breakout Artist of The Year' [for her achievements over 2013], Ariana Grande is fast becoming a well-known name in the music industry, and her hits over the summer of 2014 have only cemented this notion. Grande's second studio album My Everything quickly established itself as one of the most-anticipated albums of August, but the real question is, does it deliver? Read below for our track-by-track review, and overall opinions on the album as a collective: 

‘Intro’ is a very strange sounding ‘introduction’ to the album, and it honestly feels a little out of place, although I suppose the incredibly generic sound does set up the pretence of the album rather fittingly, if bluntly. The strange introduction is thankfully followed by smash hit ‘Problem’, which is dripping with attitude and brings a strong female force with it, in the form of Ms Iggy Azalea, the Australian rapper who dominated the music charts over the summer (and continues to do so). Her interlude on the track gives it the added spice it needs to be a holiday smash, as the duo sing about how they have ‘one less problem without ya’. You can check out our full opinion on the track itself, here. 

‘One Last Time’ has a slick pop production, and benefits from a powerful chorus from the 21 year old singer, and this helps steer it away from the realms of the unforgettable, and all in all, it’s a sweet and touching addition, that tries desperately to cling onto any fabric of emotion that producers may have wiped clean. Whilst ‘Why Try’ is a cutesy addition, with its airy vocals and repetitive ‘nanana’s’ enough to garner your attention for a minute or two, it quickly descends into a rather manufactured pop sound that may as well be any other song from the track (take track listing 8, 9 or 10, for example). It’s not bad, but the track just doesn’t have that edge and wow factor that other additions on the album do have, and although it doesn’t quite fall under the category of ‘album filler’, it’s not particularly notable either.

‘Break Free’ bursts in as track listing number 5, and is another confident addition, despite the grammatical faux pas, which I’m sure most people will have heard about. The track represents a switch in styles for the singer and the addition of EDM and Zedd on single makes it one of the most distinctive in Grande’s discography, and the pairing is rather ingenious, if unexpected. The track benefits from a righteous and powerful chorus, which combined with the electronic beat manages to create a floor-filling anthem. You can also read our full review of the ‘Break Free’, here. In a similar fashion, ‘Best Mistake’ featuring Big Sean fortunately isn’t a mistake, and Grande’s vocals are complimented by the soft instrumentals and her diction and enunciation is probably the best it has ever been on this track. Big Sean’s addition gives the track an edge that would otherwise be lacking, and it’s no wonder this was chosen as a promotional track for the album.

‘Be My Baby’ is a more soulful addition to the album, and the result is surprising, think Bieber’s ‘Baby’ without the annoying nasal tone and the initial impact. However, the sultry backing beat combined with light piano instrumentals makes for an interesting mix of styles, and Grande’s voice is, as always, impeccable on the track. However, with every good track on an album, you’ll be hard pressed to find a few duds, and honestly, tracks 8-10 almost faded into each other seamlessly, which is actually a negative, as they are so easily forgettable. This was actually quite worrying, as they sounded very similar in style and you may as well be listening to the same song; very dull. Fortunately, ‘Hands on Me’ featuring A$AP Ferg is a refreshing and addictive addition that tries to make up for its three previous tracks’ lack of engagement. The track has a very early 2000s influence, with catchy beats and smooth but sassy drops in vocals reminiscent of singers like Gwen Stefani and Beyonce [‘Baby Boy’ era]. 

‘My Everything’ is actually a rather poignant ending to the album, as it concludes the affair as track listing number 12, with its bittersweet lyrics ‘He wasn’t my everything till we were nothing/ And it’s taking me a lot to say/ But now that he’s gone, my heart is missing something’. Conveniently, the ending actually summarizes what is missing from the album; heart. Is it ironic that the ending track contains ultimately more emotion and personality than the majority of the entire album?

It seems evident that Grande’s second studio album My Everything establishes the pop singer as a new and potentially successful star in the current music industry, but unfortunately there are some elements of the album that ultimately hold the singer back. The album’s slick production is obvious, and it perhaps this whole glossed over affair that prevents Grande from truly connecting to a listener who is desperate to get to know the singer as an artist. It would seem evident in this case that the flaws of the album do not relate to the singing ability of the singer, but within the lack of personal touches throughout the tracks – some of which are disappointingly forgettable. Grande can sing, this is clear, but the album is exceptionally contrived and seems devoid of the singers’ personality, and we sincerely hope that this changes in the future, and that Grande takes a few lessons from perhaps Ed Sheeran or Taylor Swift, the former who’s intensely personal song ‘Don’t’ is filled with emotion and personal reactions, and the latter who has an extensive discography that relates to personal experiences. 

There appears to be hope, however, for Grande in the future, assuming she can rectify this artificiality that is laden through the album, and indeed, dig deep and create something that is striking and impressive. In pop music, it’s not all about the hits, it’s also about creating something personal and memorable, and Grande and her team [on the album] have managed to create an album that does contain at least a few hits and dance anthems. What the album shows is that Grande is trying something new, by incorporating EDM and dance rhythms into some of her songs, and playing around with her style, if this does seem a bit inconsistent when listening to, at least she is trying to find her place in the music and a sense of self. Her maturity on the album is clear, and her vocal ability is impressive, it’s just a shame that the lyrics are relatively generic on most tracks, considering the album could have been so much more.

Ella Eyre - Comeback

After her successful single 'If I Go', and being announced as the next VEVO Lift Artist, Ella Eyre is back with a new song entitled 'Comeback', which now has a new music video featuring the striking young singer. At just 20 years old, Eyre is certainly making waves in the industry and her strong and powerful vocals make for a compelling listen, and 'Comeback' is a perfect example of this. Eyre's voice has a unique sound to it, and we have already mentioned, and this is ever more evident on 'Comeback' and the singer uses her powerful vocal range to sing about cheaters and how essentially, they are 'all the same'. It's a fierce addition to Eyre's discography, and her attitude matches her voluminous hair, in the sense that they are both at intense levels.

 Eyre oozes attitude and sings in a sassy and a distinctly confrontational fashion 'We've all been played, we all get hurt/ Just take that pain and let that mother-fucker burn'. The addition of 'motherfucker' just really gives that song the edge that it needs to become truly memorable, and Eyre is successful in creating another real hit. The singer is certainly establishing a name for herself and we predict big things for her in the future. 

In case you were looking to feel truly triumphant and get a bit of payback against someone who has wronged you, feel free to live vicariously through Ella in the video as she completely obliterates her cheating boyfriend's house, and sets fire to a picture of the two of them, which she then tosses onto a car (presumably his). It's certainly a fiery affair, and would be good to watch if you need to let off some steam (without injuring anyone else). Eyre's videos certainly seem to always have a chaotic edge to them, and this one is more of the same. Watch the music video for 'Comeback' below: 

Captain America: The Winter Soldier (2014) Review

                                'Before we get started, does anyone want to get out?'

Oh, Marvel Films.

Certainly, we have seen some great additions to the Marvel cinematic universe recently, what with the release of the Guardians of the Galaxy recently. It almost seems like Marvel can do no wrong. Once again, this is the case for Captain America: The Winter Soldier.

Whilst the first Captain America film (The First Avenger) was an ‘ok’ addition that set up the character of Captain America/Steve Rogers, the sequel was infinitely more daring, thrilling and dramatic. With the release of the DVD out today, we aim to give you plenty of reasons why you should be hitting play on this enthralling, action-packed film. 

Captain America: The Winter Soldier starts off two years after The Battle of New York (which took place in 2012’s The Avengers/ Avengers Assemble), following Steve Rogers who now works in D.C. for S.H.I.E.L.D., under the guise of Director Nick Fury. Natasha Romanoff a.k.a. Black Widow is also along for the ride, working to extract data for Fury. The film centres on an imminent threat from a mysterious assassin named The Winter Soldier, and soon Fury and the gang are put in dangerous circumstances, when Hydra looks to be involved. Sufficed to say, it’s one of Marvel’s more complex and intriguing storylines, with an emphasis on national security and threats that exist in today’s society, which make it more of the more ‘realistic’ escapades, which is clear through the Russo brothers’ direction.

First off, the Captain America film series benefits greatly by having some of the more engaging characters of the Marvel universe intertwined with the First Avenger’s life. For instance, The Winter Soldier benefits from having the elusive and highly intelligent (and specially trained) spy, Natasha Romanoff/Black Widow (Scarlett Johansson) woven into the plot, along with Nick Fury (Samuel L. Jackson), the director of S.H.I.E.L.D., and several other key S.H.I.E.L.D. players, including Peggy Carter (Hayley Atwell), Alexander Pierce (Robert Redford), Sharon Carter (Emily VanCamp), Brock Rumlow (Frank Grillo) and Maria Hill (Cobie Smulders). Not only is S.H.I.E.L.D. one of the more notable and satisfyingly epic organisations, the addition of Scarlett Johansson’s Black Widow certainly makes the film more captivating, as the aforementioned and Captain America are certainly two dynamic personalities, with contrasting methods on how to go about things, and this is clear on screen. The film did a great job of juxtaposing these two differing personalities, but at that same time showing that they were both after the same thing, ultimately, and showing how much more intimate their friendship is becoming, and how one another is influencing each other.

It goes without saying that Captain America: The Winter Soldier had one of the most sympathetic villains, in the form of the ominous Winter Soldier himself, a.k.a. Bucky Barnes. Warped from multitudes of torture and brainwashing, Barnes was certainly a deeply conflicted villain – but this is what made him so compelling to watch. Sometimes Marvel is guilty of playing down certain villains, and in some cases these villains can translate on screen as not real threats (take Thor: The Dark World and Malekith, for instance), but that is not the case for Sebastian Stan’s Barnes. It would be accurate to say Stan really assumes the role of Barnes, with his particular penchant for face masks evidently apparent, this Winter Soldier is a force to be reckoned with, but also maintains some of his former self. He’s inherently ruthless and driven, with his seemingly incapableness at failing, this is what drives him to complete his missions (after all, he has been a trained assassin for ages, complete with robotic arm), and this is what makes his character so interesting to watch; there’s a story, and it’s developed well on-screen.  

Whilst the latest Captain America film is clearly aiming for a certain element of realism, this does not detract attention away for its intrinsic fight and action sequences, of which, range from kick-ass fight sequences to more stripped-back struggles, featuring naturalistic lighting and classic framing, indicative of the 1970s crime-thrillers. It’s clear the Russo brothers were going for a particular look, style and feel to the film, and it’s executed brilliantly, with excellent cinematography from Trent Opaloch.

A significant step-up from its predecessor, and containing plenty of snarky one-liners from Johansson’s Black Widow, Captain America: The Winter Soldier is an effortless character piece that provides fantastic development for its subjects, whilst taking an audience on a classic, thrilling adventure that is sure to intrigue and beguile even the most disinterested viewer.



You can also check out this article on I'm With Geek, here.