Suicide Squad (2016) Review

"Oh I'm not gonna kill you. I'm just gonna hurt you.
Really, really, bad."

By now, you may have heard of this little indie film called Suicide Squad, starring some of the comic book world’s most notable villains… OK, obviously we’re kidding, and the chances of you having not heard of this cinematic entity by now are very slim, so we’ll make this introduction quick and get to the juicy stuff.

The basic premise of this squad-tastic outing is that a secret government agency, headed up by Amanda ‘The Wall’ Waller (Viola Davis), coerces imprisoned supervillains and metahumans into doing its dirty work, in the form of hazardous black ops missions tackling some of the worst opponents in exchange for smaller sentences. Recruited for said operations, and micro-managed by Rick Flag (Joel Kinnaman), is a whole gaggle of weirdos: an assassin named Deadshot (Will Smith), psychiatrist-turned-crazed-supervillain Harley Quinn (Margot Robbie), LA gang member/flaming metahuman El Diablo (Jay Hernandez), expert martial artist Katana (Karen Fukuhara), deadly thief Captain Boomerang (Jai Courtney), reptilian Killer Croc (Adewale Akkinnuoye-Agbaje), possessed archaeologist June Moon/Enchantress (Cara Delevingne) and mercenary Slipknot (Adam Beach). Occasionally turning up to throw a spanner into Waller’s plans is Harley’s boyfriend, the psychologically manipulative Joker, played by Jared Leto. 

Somersaulting onto screen is the unpredictable and highly anticipated Harley Quinn, the deranged girlfriend/abuse victim of the Joker. It has to be said that Robbie expertly nails this character, effortlessly creepy-smiling her way into a number of ridiculous scenarios with her trusty bat in tow. Quirky, sassy, abrasive, kooky and inherently athletic, Harley is a real scene-stealer and Robbie deserves the credit for taking on such an iconic creation and making it her own whilst staying true to the essence of the character – think Animated Series Harley with the potential to evolve into New 52 Harley.

Of course, where there’s Harley there’s likely to be the Joker, and Jared Leto bursts into view like a garish paint gangster sporting bright neon green hair, twisted tattoos and a plethora of pimp outfits. It’s visually striking, needless to say, and Leto assumes the role of the Joker with eerie ease, being outwardly terrifying and intimidating as he snarls at and slaps around his adversaries. Granted, he’s not in much of the film, but perhaps this is a good thing, as it would be quite overwhelming to introduce him and have him be a substantial villain whilst also giving the other cast members their screen time. Let’s say he’s around enough to tantalise your jokey taste-buds, but not too much so that you’re choking on it. You can rest assured that this particular incarnation of the Joker has effective chemistry with Harley, and Leto and Robbie shine as the chaotic clown king and queen, with the potential for them to star in a sequel together more prominently.

Unsurprisingly, the performances all-round are exceptionally spot-on, with Jay Hernandez and Will Smith being especially notable. Hernandez, who portrays pyrotechnic El Diablo (think of a murderous Seamus Finnigan), beautifully illustrates his character’s brutal backstory as it unfolds tragically on screen, whilst also proving to be the moral anchor that guides the film to its conclusion. Meanwhile, Smith’s Deadshot is an assassin who enjoys danger and his skills, but this conflicts with his love for his daughter. In the end, Smith manages to balance character comedy flair as the sarcastic gun-slinger with emotive familial energy relating to his child. 

Other players in this suicide squad include Katana, who newcomer Fukuhara portrays with a steely determination, flexing her sword-slicing skills this is one woman you don't want to mess with - but it would have been interesting and more fulfilling to have her feature more in the story, especially regarding her backstory. Killer Croc is a cannibal with rage issues courtesy of Akkinnuoye-Agbaje, who has moments of humour and viciousness, whilst Courtney’s Captain Boomerang is like a hobo squirrel with a penchant for fluffy pink unicorns who always seems to have his booze detectors on, and actually provides some of the more ridiculous but hilarious moments of the film.

Delevingne’s Enchantress also occasionally pops up in her quest for something convoluted, and although she’s received some negative attention for her performance, its actually rather fittingly creepy and her rhythmic dance movements are in-keeping with a mud-covered, Grudge-esque ancient witch. Somehow Rick Flag manages to make an unlikely team out of these misfits, so props to Joel Kinnaman. You might think that amongst these bunch of baddies there’s no one who could possibly keep them in line. But the ‘baddest bitch’ is well and truly the menacing Amanda Waller played sublimely by Viola Davis. She’s intimidating, fierce, gives absolutely no fucks and is perhaps the most manipulative of all as the ominous puppet master.

Having said all of these positives about the characters, there are a few negatives that bring the film down, such as the seemingly haphazard editing in some sections, that make the film seem rushed (possibly due to the deleted scene debacle and studio interference), such as the Joker/Batman chase scene and some in the middle part (held back for spoilers). Whilst this isn’t life-threatening for the film, it does diminish the overall quality of the picture as this could have been fixed for a more effective and triumphant return for DC. For instance, some more character development for the Enchantress and her motivations as well as Katana’s background would have helped fuel the purpose of the missions and added to the effectivity. Additionally, characters such as Batman, the Joker (although not so much a personal gripe) and Katana could have featured more, and Slipknot’s whole escapade doesn’t have the impact the studio might have been hoping for (it's seriously bad).

Fortunately, however, the movie succeeds in other avenues, such as acoustically, as it features an impressive soundtrack that is as twisted and vibrant as you’d expect (Kehlani’s ‘Gangsta’ being a standout), a firm departure from the dark and dreary Dawn of Justice. Visually, Suicide Squad is a colourful explosion as mad as its characters, featuring fun titles akin to Scott Pilgrim, with less of a focus on being a ‘superhero movie’ and more on being a comic book adaptation. Whilst the plot is nothing revolutionary or ground-breaking, it works well in context with the large personalities on screen, and is thoroughly entertaining ride.

Ultimately, Suicide Squad is stylistically vivid, and boasts an array of quirky characters and commendable performances to make up for its missteps; you’d be an absolute joker to miss it.

Star Trek Beyond (2016) Review

"Fear of death is illogical."
"Fear of death is what keeps us alive." 

It’s time for us to embark on a voyage bound for the beyond in the latest space blockbuster, Star Trek Beyond, which recruits a new director in the form of Justin Lin (Fast & Furious) – taking over from Star Wars traitor, J. J. Abrams (just kidding). Back along for this epic operatic journey are the trusty crew of the USS Enterprise: Captain James Kirk (Chris Pine), Uhura (Zoe Saldana), Spock (Zachary Quinto), Bones (Karl Urban), Scotty (Simon Pegg), Sulu (John Cho) and Chekov (Anton Yelchin), who star alongside new additions Jaylah (Sofia Boutella), an alien scavenger and Krall (Idris Elba), our vengeful villain. Unfortunately, things take a turn for the dramatic for Kirk and co., and soon a tricky rescue mission descends into disaster as the team face harrowing repercussions.

Trying to move on from the Alice Eve debacle of previous Star Trek Into Darkness, you can tell the film has made a conscientious effort to develop its characters more – especially its women – and in an attempt to inject a bit of life back into the dreary crew, this new incarnation offers us up Jaylah. A severely blunt and snappy scavenger, Boutella is a wise choice for Jaylah following her performance in Kingsmen, and she shines in the role. Her captivating aesthetic (props to the make-up artist) combined with her broken English, quick-fire lines and charming penchant for metal music make her a bewitching addition. Similarly, Uhura has a far more meaningful role as she attempts to save her crew and stand up to Krall, and this is intertwined with a splash of Uhura/Spock silliness that will have you warming up to them as a quirky couple.

If we were to tell you that Spock and Bones’ antagonistic relationship might be one of the more refreshing and engaging elements to the film, you probably wouldn’t believe us at first – but alas, it is true. Surprisingly, the two function quite formidably as an energetic and charismatic duo, with Quinto’s deadpan delivery, and Spock’s firm and factual nature offset by the doctor’s pessimism and brashness, portrayed humorously by Urban. The whole affair is utterly amusing, and rivals even the Pine/Quinto bromance. 

Needless to say, Elba had a difficult challenge ahead of him going into this role. Following on from a hugely anticipated villain such as Cumber-Khan is no easy feat, and although Idris Elba is thoroughly intimidating as Krall, it just doesn’t quite measure up, even with the tantalising twist.

When you’ve got Lin at the helm of the new Star Trek, there's a certain preconceived notion of how it might pan out, and it’s pretty much what you’d expect. In true Fast & Furious fashion, Lin channels his frenetic directorial style into this space oddity, creating jagged, in-the-moment action sequences that can be difficult to focus on – even if they are certainly energetic. But fortunately, the galaxy graphics are out of this world, with fantastical, immersive space battles covering up any missteps in over enthusiastic camera angles or pacing.

Whilst the plot may actually be one of the better Trekkie ones, it also feels very similar to previous outings, which might feel a bit repetitive to those who aren’t fully engaged in the material. This is also limited by the ‘safe’ story that doesn’t challenge or attempt to break any previously established Star Trek formulas. Whether they will attempt to create something new in future instalments is uncertain, but welcomed.

However, the themes of unity and companionship are quintessentially ‘Trek’, and the uplifting vibe that undercuts the film is very inspirational for new generations, especially when you acknowledge the touching tributes to old and departed characters that are tastefully commemorative and fitting. This is one for absent friends, old, and new viewers; the message of unity and strength together hopefully resonating beyond the screen.

Thankfully, unlike Kirk’s doomed ship, this cinematic voyage sails safely back to base with just some minor damage, and a few bumps along the way. 

Jason Bourne (2016) Review

"Jesus Christ, that's Jason Bourne!"

Much like Ethan Hunt and James Bond, James Bourne is one of those never-ending entities that just keeps on going; an unstoppable movie force that execs have no problem resurrecting. Using his steely gaze and focused demeanour for good – sort of – Bourne is back in this new self-titled endeavour, searching for more truths from his past (at this point, how many more secrets can you realistically unearth?). Also back to save us from Jeremy Renner’s disappointing outing in The Bourne Legacy, is Matt Damon as he tries to redeem the Bourne franchise and deliver a contemporary action film of Rogue Nation standard. Needless to say, there’s a lot to accomplish this time around.

Check out this review over on WE MAKE MOVIES ON WEEKENDS. It's a great site and could really use some love! x Thank you :) Happy reading! 

Set a decade after his disappearance at the end of The Bourne Ultimatum, Jason Bourne (Matt Damon) returns with the help of Nikki Parsons (Julia Stiles), as he attempts to discover information about his past that has been brought to light. Unfortunately for Bourne, Operation Ironhand is attempting to hunt him down and exterminate, led by Robert Dewey (Tommy Lee Jones), the CIA Director, who has enlisted an asset to help (Vincent Cassel). Also starring is Alicia Vikander as Heather Lee, a CIA agent who is eager to bring Bourne in, instead of killing him.

What Bourne excels in is the fundamentals of its genre – breath-taking, thrilling action sequences – executed with precision in the hands of director Paul Greengrass and cinematographer Barry Ackroyd. The latter takes great care in transporting you to the heat of the action, with visceral, in-your-face shots that capture the agile and immediate nature of the scenes superbly. Whether it’s on the back of Bourne’s rickety motorcycle, in the swift movements of deadly falls or trailing behind an intense car chase, Ackroyd and Greengrass know how to assimilate an audience into the fabric of a movie. Without a doubt these action sequences – particularly the Athens Protest scene, and the ending Vegas chase – are the best feature of the film, and should be commended for their sublime execution. Truly, the locations and sets used rival Skyfall, with Jason Bourne showcases the alluring and mysterious destinations that make action and spy films so enthralling.

Fortunately, Matt Damon excels in his signature role as the cool-headed, dead-pan assassin who you can’t anticipate what he will do next. Regardless, Damon brings a sense of believability to a character whose feats are above all, ridiculous and mind-blowing, and in anyone else’s hands, Bourne would melt into a meagre puddle that is forgettable. One of the more promising characters from the original series also returns (Julia Stiles’ Nikki Parsons), although prepare yourself for her quick exit, and this is perhaps one of the more frustrating elements of the film. As a rare, complex character, she is reduced to a jerk-reactionary character that is used to fuel Bourne’s venture back into the world he so adamantly swore off entering again. It’s lazy at best, and a travesty at worst. 

The film attempts to compensate you by introducing another female counterpart – this time played by Alicia Vikander – Heather Lee, who admittedly, Vikander manages to make relatively interesting, but she’s not given much to work with. Aside from Bourne himself, the movie fails to introduce any solid characters that have more than an initial impact, although it does a rather impressive job at covering this up with explosive action, so you have to give them props for that.

While the plot itself is a little predictable, Jason Bourne tries its best to remain familiar to audiences with its classic musical score, and key stylistic elements, whilst also introducing itself as something fresh and invigorating, that isn’t simply a rehash of former Bourne outings. For the most part, the film succeeds in being engaging and different, while also maintaining its familiarity, although this does have a few moments of overlap.

In this particular ultimatum, Jason Bourne manages to reign supreme and regain his former identity (see what we did there), proving to be a compelling and relevant action hero amidst several competent competitors. You can rest easy and rely on Jason Bourne to fulfil your unsatisfied action cravings, despite a few expected flaws.  

Cinderella (2015) Review

"Have courage and be kind." 

In a kingdom where residents look like anthropomorphised quality street wrappers, there lives a girl who can’t seem to keep herself clean and suffers harrowing saw-style abuse. OK, so maybe we’ve over-dramatized it a little, but in case you haven’t guessed it already (and the title didn’t give it away), we’re talking about Kenneth Branagh’s 2015 Disney live-action reboot, Cinderella.

In case you’re not familiar with the plot of Cinderella, it is essentially a film about tragedy and love. The movie follows the titular character (Lily James) as her loving mother (Hayley Atwell) dies, which prompts her father (Ben Chaplin) to re-marry, to the overbearing Lady Tremaine (Cate Blanchett), who brings along her two daughters, Anastasia (Holliday Grainger) and Drisella (Sophie McShera). Unfortunately, her father falls ill and dies on a voyage, leaving Ella with her cruel ‘family’. But fate is kind, and she soon meets Kit, a.k.a. The Prince (Richard Madden) and adventures ensue, with a little help from her Fairy Godmother (Helena Bonham Carter).

Needless to say, the film’s casting is impeccable, and Disney has found a true princess in Lily James, who sheds her Downton dress for an iconic and impressive ball gown, complete with impractical footwear. James illuminates the screen with her warmth and energy, emulating the kind and courageous darling she is portraying, whilst also proving to have sparkling chemistry with Richard Madden’s Prince Kit.

Not one to shy away from kooky characters, Helena Bonham Carter assumes the role of The Fairy Godmother, adding an extra sprinkle of glitter and comedy to a film that could have been a little too sickening, if it didn’t seem to be rather self-mocking, with injections of humour and loveable bizarreness (the Lizard footmen, in particular, as well as the whole carriage creation, come to mind). Also worth noting is Cate Blanchett, who tackles Lady Tremaine with vigour, whilst also trying to add dimension to a character whose raison d'être is cruelty and bad parentage.

Cinderella certainly doesn’t overlook the importance of aesthetic, and each carefully crafted costume is a delight to behold, whilst gorgeous colours and patterns unite with the heavily romanticized movie to give a sense of true magic and dreams, without being too sickly sweet. Everything is more grandiose and elaborate, from the set design to the hair and make-up, with the step-sisters, Anastasia and Drisella looking every inch excessive and striking. Patrick Doyle is also on hand to imagine an enchanting soundtrack that is every bit as regal as you'd expect, and featuring some bewitching vocals from James and company. 

Considering the plot of Cinderella is incredibly weak, Branagh & Weitz perform admirably in their quest to flesh out the rather dull tale, making monumental improvements on the 1950 animated classic, which benefits greatly from the live-action treatment. Whilst Cinderella may not be revolutionary by any means, as the second notable live-action Disney reboot of recent years (behind 2014’s Maleficent), it proves that there is substance and significance in Disney’s endeavour, whilst also providing a dazzling, family adventure with a moral message that all can enjoy.

Overall, Cinderella is liable to sweep you off your feet, provided you enjoy/can overlook the hazy romanticism that is intrinsic to its story. 

Now You See Me (2013) Review

"First rule of magic: always be the smartest person in the room."

In honour of Now You See Me 2 (The Second Act) being released in cinemas worldwide this week, we thought it fitting to revisit the film that started it all (aptly named Now You See Me), and provide you all of our thoughts and commentary on the American heist thriller.


Now You See Me, released in 2013, follows the story of 4 magicians, come together to form some sort of super-group – think One Direction but with ~magic~ and a creepy troupe name – the Four Horsemen. There’s J. Daniel “Danny” Atlas, aka The Lover (oh, did we mention they all have super creepy tarot card nicknames?), who is played by Jesse Eisenberg. Atlas is overwhelmingly arrogant, specialises in illusions, and seems completely clueless when it comes to women. Eisenberg plays him with all his usual peculiarity – albeit resonating a strange charisma and charm (who knew?). Atlas acts as the leader of the ragtag bunch of tricksters, although that’s not to say the other magicians don’t get their fair share of screen time.

Merritt McKinney aka The Hermit (Woody Harrelson) and Jack Wilder aka Death (Dave Franco) play key roles in the group’s plans, and Franco particularly is given the opportunity to shine as the sleight of hand illusionist, street magician and voice impressionist. Completing the quartet is Henley Reeves aka The High Priestess (Isla Fisher), an escape artist and stage magician, who also has the benefit of being Danny’s past lover (awkward…).

At the beginning of the film, the group receive information from an unknown benefactor and a year later, they are bang in the middle of the razzle-dazzle of Las Vegas, performing their first major show, funded by insurance big-cheese Arthur Tressler (Michael Caine). During their show, the magicians appear to transport one of the audience members to a bank vault, and using a seemingly rather elaborate fan system, the money is drawn into the vents of the bank, and suddenly the Las Vegas audience is showered with bills. After the euros are shown to be real, and the vault in Paris is revealed to be missing its recent shipment of euros (eh gad!!), the Feds are called in to investigate.

Cue the entrance of FBI agent Dylan Rhodes (Mark Ruffalo) and Interpol agent Alma Dray (Melanie Laurent). Dylan Rhodes appears to be your typical bumbling buffoon. He falls into literally every trap the Four Horseman set for him, and oh boy, his antics seem to have no end. *Cue spoilers*

Let’s break it down.

(1) He tries to interview them and gets handcuffed to a table and his phone (and crucial info) is stolen.

(2) He follows them to their New Orleans show and shouts the buzzword as they try to escape at the end causing several audience members to rugby tackle him.
(3) He engages in hand to hand combat with Wilder (despite being severely underqualified) and sustains multiple injuries, lets his partner hands almost be eaten by a garbage disposal, pursues Wilder in a vehicle with all the road safety of Wiley Coyote, & is fooled yet again by the Horseman, believing Wilder to be blown to hell in a car crash.

(4) He follows the wrong lorry when trying to protect a safe full of money, and leaves the horseman able to steal the dough.
(5) He makes numerous tactical and strategic errors, not to mention he absolutely fails to heed the advice of professional-magician-debunker and altogether bad-ass Thaddeus Bradley (Morgan Freeman), and ultimately fails to apprehend the magicians.

What a guy right?

Who could be that stupid?


Well, apparently this is just an unbelievably ridiculous plot device to hide the true identity of the anonymous benefactor and ‘fifth horseman’ member. Who is it? Yep, you’ve guessed it. Grade A bumbling buffoon and altogether worst FBI agent ever Dylan Rhodes.


...I’m sorry, what?

Despite making genuinely no sense to the narrative of the story Is Rhodes a magician? – he seems to display no magic – apart from apparating out of Thaddeus’ cell at the end, Dumbledore style. How does he know about the Eye – the mysterious magic organisation – and what actually is it? Why become an FBI agent, especially in this division, when your overall plan is to aid the people you are tasked with apprehending? Why wait a gazillion years to exact your revenge on behalf of your father? Why engage in an extremely bland relationship with your co-worker? I have questions that NEED answering.

For me, this film was satisfactory up until the last 5 minutes when it’s revealed Ruffalo’s character is the main man. Ruffalo is a fine actor – yet he absolutely fails to portray any of the complexity needed to be some sort of magician mastermind. He’s very good at staring at you with his puppy dog eyes, but solely staring does not equate to acting (yes, we’re talking to you, Twilight). With this knowledge, the entire previous plot seems absurd and meaningless. We are not invested enough in the background of Rhodes to care at all about his plight, his sufferings or his motivations, and ultimately this is where the film falls short.

The introduction to all characters (not just Rhodes, although it is a particular fault with regard to him) is very brief and we have very little background information to go on. Henley and Danny’s relationship is mentioned frequently in the film yet their chemistry is not evident (despite the best efforts of the actors). World-class veteran actors such as Caine and Freeman are not used to their full potential and the film is worse for it.

The visuals are impressive, and the cinematography is something to marvel at, however, even these aspects cannot save the film, and despite all the illusion and mystery, the final trick feels hollow.


It is Danny who notes ‘The more you look, the less you see’, but in the case of Now You See Me, the more you look, the less you want to see.

The Legend of Tarzan (2016) Review

"He is no normal man. He was thought to be an evil spirit, a ghost in the trees."

We’ve all heard the story. Man meets woman. They both fall in love. You go home, meet the parents – only to find it’s a family of gorillas. You probably all know the standard story of Tarzan (made famous by Disney, no doubt), but this one’s a little different, but has plenty of nods to the original stories, created by Edgar Rice Burroughs, minus the Phil Collins classics.

The Legend of Tarzan follows John Clayton III, formerly known as Tarzan (Alexander Skarsgård), as he journeys back to his home-land alongside his wife, Jane Porter Clayton (Margot Robbie), to help George Washington Williams (Samuel L. Jackson) uncover slave-trading schemes. Naturally, there are many plans afoot, most of them being instigated by Captain Léon Rom (Christoph Waltz), who has aligned himself with Chief Mbonga (Djimon Hounsou), a vengeful tribe leader who controls the diamond region, and who wants Tarzan dead.

Predictably, Alexander Skarsgård swings in to play the titular character, with all the bravado and vigour you’d expect from the notorious ape man, along with an abundance of convincingly menacing stares to make up for the lack of dialogue. Not content to play a docile Jane, Margot Robbie attempts to give the character some clout, but isn’t given a great deal of material to work with; managing to captivate with what little she has clearly fought for (kicking, spitting, punching, marking sassy comments), but never fully reaching her true potential. Regardless, when Robbie & Skarsgård do meet on-screen, their chemistry is effortlessly tangible, and make for a passionate pair.

For much of the film, Skarsgård & Jackson seem to embark on a jungle bromance, traipsing through the jungle lovingly, patching each other up and cracking jokes along the way. It really shouldn’t work, but it rather oddly does, as Jackson provides a sense of Django humour, guns blazing, whilst Skarsgård offsets the balance with natural heart and spirit.

After a lacklustre performance as the villain in Spectre, Waltz hits the mark as Léon Rom, with his suave white hat and trusty choking rosary in hand. Commanding, ruthless and with a certain sense of cavalier befitting a man in his position, Rom is the villain you definitely want to see go down, Captain Hook style, and Waltz delivers. However, when you have some of the greats in your arsenal, you should probably use them more than The Legend of Tarzan does, and quite frankly, this is one of those films that heavily relies on its actors to elevate above standard blockbuster fare.

Fortunately, with director David Yates at the helm alongside cinematographer Henry Braham, the two manage to create a visually breath-taking movie that revels in its lush surroundings, cascading waterfalls and atmospheric animal acoustics; an impressive feat considering the majority of filming took place in England. Nevertheless, each destination, animal and environment feels as if it is real, and this is essential in a movie that focuses so heavily on heart, life, and freedom.

Whilst The Legend of Tarzan isn’t particularly ground-breaking or original, it is a feverishly invigorating, gorilla-fighting ride that is visually astounding – and one that is certainly propelled to higher heights in the trusty arms of its actors.