Four years after the events of the original film, bodyguard Michael Bryce (Ryan Reynolds) is on a company mandated sabbatical when Sonia Kincaid (Salma Hayek), the wife of hitman Darius Kincaid (Samuel L. Jackson) whom Bryce shares an uneasy friendship with, rescues him from an assassination attempt to rescue Darius. Due to his sabbatical, Bryce is not allowed to use firearms or lethal weapons of any kind and must use his wits and intelligence to save Darius and save the day.

Australian director Patrick Hughes returns to helm this much watch sequel to The Hitman’s Bodyguard, the film that took the world by storm and rewrote the very nature of what action-comedy could be. Now with Hitman’s Wife’s Bodyguard, Hughes really cranks up the volume and this time the action is gnarlier and the comedy is totally off the chain. And trust us when we say that action-comedy doesn’t get much better than this. Right from its opening moments, Hughes cranks everything up and soon the action gets heavy for former ace security expert Michael Bryce (Reynolds) as he is pulled kicking and screaming into another outlandish mission with the foul-mouthed assassin Darius Kincaid (Jackson) and his totally unhinged wife and lover Sonia (Hayek).

Right from the start Hughes puts his foot down and moment after moment the action of this film gets utterly crazy. Whether it’s a wanton path of destruction through the streets of Capri or an explosive yacht chase in the middle of Palermo, Hughes really goes over board with his unique mix of action and comedy. And the audience will get one hell of a rush because of it. While I’m a big fan of action as narrative, here we see action as comedy coming into its own, and Hughes continually throws an array of worsening situations as Reynold’s Bryce, who has to face them on with all his issues, while having to survive the presence of the flamboyantly dangerous Kincaid’s in the process.

Ryan Reynolds is back in top form as security expert Michael Bryce, and he’s in a hell of a funk when we meet up with him again. Carrying a deep sense of anxiety, he is literally ‘forced’ back into the bodyguard profession by the foul-mouthed and totally unhinged Sonia, and then you go in and mix ultimate ‘frenemy’ hitman Darius into the picture and you have one hell of a destructive threesome! Reynolds once again nails his comedic timing, and his talent for improvisation leads to uncontrollable laugh-out-loud moments. He also has to put up with the presence of two Kincaid’s now and this leads to plenty of questionable choices on behalf of Mr Bryce. And did we mention that his newfound sabbatical mindset and unique weapon choices also add to the hilarity.

Again sparring with Reynolds’ Bryce is Samuel L. Jackson’s Darius Kincaid, the most wanted hitman on the planet and one hell of an unpleasant, yet loveable assassin, and their ‘bromance’ has lost none of its fire. Again these two go head-to-head with one another, while also having to survive a host of murderous killers who are out to get them and Jackson proves yet again why he’s one of the best in the business. But aside from sparring with Bryce, Jackson’s Darius undergoes some serious character development here, mostly due to his wife Sonia’s desperate desire to start a family and you can be sure that this adds a whole new level of funny to Hitman’s Wife’s Bodyguard.

But stealing the entire movie is Salma Hayek as the foul-mouthed, psycho-would be baby mana Sonia Kincaid! Seriously Hayek completely owns this movie with her performance as Sonia, who we were only briefly introduced to in The Hitman’s Bodyguard, but whom now takes centre stage and who is unbelievably clucky this time around. Yes, she may be able to riddles any bad guy with bullets without a second’s hesitation, but mark my words when I say that Sonia is ‘crazy’ for a baby and this leads to so many memorable moments throughout this film. Without-a-doubt the two most hilarious moments of the film, which include the ‘Swing Scene’ and a ‘Burial At Sea’ scene come at the presence of Hayek’s Sonia and she completely makes this movie the out-of-control rollercoaster of fun that it is.

While there’s comedy aplenty in Hitman’s Wife’s Bodyguard, and I mean the most out-of-control, outlandish humour you can imagine, the action of Hitman’s Wife’s Bodyguard is also raised sky-high. Hughes and his team have a serious blast blowing Italy to hell and back. One minute you’re looking out at a beautiful vista over the Italian Riveria, the next minute Bryce, Darius and Sonia are ploughing through it in a minivan with guns blazing, helicopters whirling and rocket-propelled grenades exploding. Yep this is exactly the kind of movie you need in your life at the moment, and Hughes absolutely makes this a blockbuster spectacle in every single way possible.

Hitman’s Wife’s Bodyguard is an absolute standout blockbuster that audiences will fall in love with. With hilarious unhinged characters, insane action and some of the most inappropriately laugh-out-loud comedy you’ve ever seen, this is one film that is an absolute winner.

Image: Roadshow Films

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The lives of two mob hitmen, a boxer, a gangster & his wife, and a pair of diner bandits intertwine in four tales of violence and redemption.

When you witness Pulp Fiction for the first time it is a cinematic experience, unlike anything you’ve seen before. Violent, energetic and completely in-your-face, Pulp Fiction takes its audience on a wild ride and you never see what’s coming next. Exploitational in nature with a hard-edged crime noir narrative, Tarantino’s Pulp Fiction is an extremely visceral film experience and with its sensational dialogue and striking visuals it completely commands your attention for it’s 154 minutes of screen time. Through his innovative narrative framing, slickly written characters, crazy situations, stunning visuals and one hell of a cool soundtrack, Quentin Tarantino created a film masterpiece that works on every single level and it’s one hell of a fun ride.

Like Reservoir Dogs, Pulp Fiction is a lesson in serious style and its a film that absolutely nails what it means to be cool. From the casts’ stylized wardrobe to it’s collection and use of vintage 60s and 70s cars to the way in which Tarantino uses colour and framing to capture his film, Pulp Fiction is straight crime noir cool. Anyone who watches it is instantly mesmerized by its images and no doubt tries to re-create the idea of being one of these characters through appearance, stance or strut in real life. Everything about Pulp Fiction’s visuals works here, and the film is a beautiful piece of cinema to look at it. Adding to this style is the mismatch of genres and use of narrative that Tarantino brought to Pulp Fiction, and it really amps up its entertainment value.

A large part of Pulp Fiction’s success comes down to Tarantino’s phenomenal casting, and every actor here works. First up you’ve got John Travolta and Samuel L. Jackson as career hitmen Vincent Vega and Jules Winnfield who experience one really bad day at the office. Then there’s Uma Thurman as the sassy Mia Wallace who takes Vincent for a really bad trip that ends at the point of a large needle. And finally, Bruce Willis plays bruising bully boxer Butch Coolidge, who decides its a good idea to double cross mob boss Marsellus Wallace (Ving Rhames), but who ends up with him in a situation that both of them would rather forget. All of these performers bring their A-game to the film, and it’s so much fun to watch them work.

Alongside its memorable characters, Pulp Fiction has a perfect narrative to show off and Tarantino’s masterful dialogue is really on display. This film is filled to the brim with scenes and quotes that have entered film legend with the likes of “royal with cheese”, “I think it’s a wax museum with a pulse”, “pretty please, with sugar on top, clean the fucking car”, “I’m gonna get medieval on your ass”, Jules Winnfield’s Ezekiel 25:17 speech and my personal favourite line credited to Bruce Willis’ Butch Coolidge, “Zed’s dead baby. Zed’s dead.” Dialogue like this doesn’t get much better, and Tarantino’s use of it really drives the film forward. What we see with Pulp Fiction is the director building off of the work he began within Reservoir Dogs and it’s a practice he would continue with all of his successive works.

While he first showed his talent for conjuring ultra violence up in film with his debut Reservoir Dogs, Tarantino took it one step further here. Framed through his lens for narrative and extending the reach of his story, the violence of Pulp Fiction is at times viciously brutal and exceedingly funny. Case in point the film’s third act scene revolving around The Bonnie Situation where Vincent’s gun manages to go-off somehow and absolutely ruins Jules’ car in a blood shredded mess. No matter how many times I’ve seen this scene it still sends me into fits of uncontrollable laughter with just how crazy it all is, and there’s some serious entertainment value to boot. There are plenty of scenes like this throughout Pulp Fiction and Tarantino gets a reaction out of his audience time and time again.

Tarantino also provided some serious grooves here with Pulp Fiction’s eclectic soundtrack, and I can’t think of a greater piece of film score ever. Collecting together a host of classic songs that ranged from California surfer cool tracks like Dick Dale’s “Misirlou” to soulful R&B tracks like Neil Diamond’s “Girl, You’ll Be a Woman Soon”. Add in a good helping of “Jungle Boogie” and “Bustin’ Surfboards”, and you’ve got the ultimate mismatch soundtrack that scores one very entertaining film. It’s a soundtrack that to this day remains instantly recognizable to Tarantino’s name and is a major part of the legacy of Pulp Fiction, and it’s always fun to groove out to.

Alongside being one of the coolest, classiest and most entertaining motion pictures ever created, Pulp Fiction is also a love letter to cinema itself. Packed to the brim with delightful homages from Tarantino, Pulp Fiction is a film made by a film buff for film buffs. While there’s the very entertaining narrative that hits audiences on a surface level, packed out in the background detail are references to the long history of cinema and this is exemplified through one of the film’s most pivotal scenes at Jack Rabbit Slim’s, a retro-styled restaurant which is stuffed with classic pop culture and you can just tell that Tarantino was in his element at such a place. There’s just so much passion contained in Pulp Fiction for cinema itself and it definitely leaves an impression on audiences. That’s for sure.

To this day Pulp Fiction remains as one of the coolest films ever made, and decade after decade audiences continue to discover its greatness. The word masterpiece firmly applies to Pulp Fiction and it’s a film that needs to be watched again and again and again.

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Peter Parker (Tom Holland) returns in Spider-Man: Far From Home, the next chapter of the Spider-Man: Homecoming series! Our friendly neighbourhood Super Hero decides to join his best friends Ned (Jacob Batalon), MJ (Zendaya), and the rest of the gang on a European vacation. However, Peter’s plan to leave super heroics behind for a few weeks are quickly scrapped when he begrudgingly agrees to help Nick Fury (Samuel L. Jackson) uncover the mystery of several elemental creature attacks, creating havoc across the continent!

We’ve all wondered what would happen after the events of Avengers: Endgame, just what would come next? Spider-Man: Far From Home is the answer and it promises plenty of interesting detail. While it is a blockbuster on an international scope that is jam-packed full of action, director Jon Watts doesn’t go for the high-level heroics of The Avengers, instead he continues with his ground-level view of a hero who is still coming into his position as an Avenger, and Tom Holland’s Peter Parker has some serious lessons to learn about responsibility here. As a filmmaker tasked with bringing the story of this generation’s Spider-Man to the big screen, Watts approaches the growing Spider-Man saga with an amazing passion and it really shines through on screen. From the intimate desire for first love to the adrenaline of action-packed superheroics, Watts devotes himself completely to the narrative and it results in incredible entertainment.

Tom Holland is again the star of the show here, and Holland’s Peter Parker has been through a hell of a lot lately, most importantly losing his beloved father figure in Tony Stark to a sacrificial choice that saved the universe itself. Now with Tony gone, Peter has to figure out what’s next for him as a superhero crime fighter and this leads to plenty of interesting moments. While it’s always fun to see Holland jumping from buildings and slinging webs, the real interest in Spider-Man: Far From Home comes from the reconciliation that he has to face with the void left by Tony’s absence. While he may be a teenager looking for love and adventure, he also has newfound responsibilities, and this creates plenty of drama for audiences and leads to a very interesting watch.

Father figures play a crucial part in the Spider-Man myth, and if Tony was Peter’s adoptive father, then Samuel L. Jackson’s Nick Fury happens to be the new mean stepfather, and he ain’t got time for Peter’s petty teenage life when the fate of the world is at stake. Whatever Jackson does it always leads to genius and here as the uber gruff Fury audiences will be in for a real treat. While Peter is looking forward to a vacation, Fury has to save the Earth again and this collision between these two characters leads to plenty of hysterics here. It’s fun to watch Jackson and Holland play-off of one another and you can also expect some pretty epic bits of dialogue from Jackson as well.

If Nick Fury is the mean stepdad, then Jake Gyllenhaal’s Quentin Beck is the cool uncle and Gyllenhaal brings plenty of charisma to the big screen here. As a soldier from a parallel universe called Earth-833 who has arrived on Earth to stop the marauding Elementals, Gyllenhaal’s Beck takes on the guise of the ultra-powered, ultra cool Mysterio and his powers are pretty damn epic to see up on the big screen. This Hollywood leading man is certainly having a blast here, and he strikes up a great chemistry with Holland as he takes the young Peter Parker under his wing and helps him along with his journey as Spider-Man. Gyllenhaal absolutely commands the audience’s attention here in Spider-Man: Far From Home, and he’s got a few surprises up his sleeve as Mysterio that definitely leaves an impression.

At its heart Spider-Man: Far From Home is a road movie and Peter and his classmates get up to some serious fun as they travel across Europe on what’s supposed to be a vacation. This all-new European setting lends itself to a whole new level of comedy, and Spider-Man: Far From Home is an absolute laugh factory. Watts again has very capable control of what’s going on here, and watching Far From Home reminded me of the likes of classic comedy films such as National Lampoon’s Vacation for its jaw-dropping hilarity. It’s a real treat.

Alongside the laughs, romance also blossoms while on vacation and it’s here that the teen movie genre takes off. While Peter vies for the affection of MJ (Zendeya), it’s his best friend Ned (Jacob Batalon) who finds love with fellow classmate Betty Brant (Angourie Rice), and their chemistry and antics up on screen are just adorable to watch. Watts really captures the awkwardness that comes with first love and it’s fun to watch these characters fumble through their feelings of teenage romance, while also seeing the attraction and character development that comes with it. As a supporting star, Zendaya’s MJ again is a great foil for Peter Parker’s affections and it’s fun to see them up on screen together.

And if you’re looking for action, well, you’ve come to the right place, because Spider-Man: Far From Home delivers some massive thrills, and they sure do get your adrenaline up! The European canvas of the film’s setting provides a landscape for some particularly awesome moments up on screen, and watching Spider-Man and Mysterio trade blows with the Elementals sure is a lot of fun. However it’s the Berlin action sequence that makes for one hell of a mind trip and it’s twisty, combative presence is really fun to watch. As he’s also in Europe Peter gets another costume update this time as well, and it’s fun to watch him, retrofit a new Spidey suit which comes with plenty of fun gadgets.

From beginning to end, Spider-Man: Far From Home is a blast to watch and it’ll definitely get you amped for what is to come next in the MCU. With a terrific narrative, a wonderful cast, hilarious comedy and plenty of blockbuster action you’ll want to see this one on the biggest screen possible.

Image: Sony Pictures

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Set in the mid-1990s, Captain Marvel follows Carol Danvers (Brie Larson), a former U.S. Air Force fighter pilot, as she turns into one of the galaxy’s mightiest heroes and joins Starforce, an elite Kree military team, before returning home with new questions about her past and identity when the Earth is caught in the centre of an intergalactic conflict between two alien worlds.

Co-directors Anna Boden and Ryan Fleck take us back in time in this brand new addition to the Marvel Cinematic Universe, and in this, Marvel’s second notable period piece film, following Captain America: The First Avenger, we’re returning to the mid-1990s and there’s plenty of nostalgia to get excited about here. With its all-new setting not only do we get an origin story for a brand new heroine in the form of Brie Larson’s Carol Danvers but also the MCU itself. Here in 1995, we’re getting a snapshot of what the world was like before it had heroes in it, and just how rapidly it changes thanks to them. To any child of the 90s, well, you’ll be overcome with nostalgic emotion here with everything from Blockbuster video to Gameboys to Guns n’ Roses on full blast and it really makes this film a real pleasure to soak up.

Along with it’s unique setting Boden and Fleck give the film a style that really meshes with the films of the era. Equal parts action-packed and laugh-out-loud funny, Captain Marvel is a great ‘buddy-cop’ adventure in a similar vein to such seminal 90s classics such as the Lethal Weapon series and you can be sure that Danvers and Fury get up to plenty of hijinks here. Along with this angle of the story, our directors also focus in on the alien nature of Captain Marvel and if you think about it Captain Marvel is really a ‘first contact’ type of story. Boden and Fleck do a great job of melding these two genres together and there’s a great balance of both past and future going on here. While it’s a formative origin story, Captain Marvel’s presence at the end of Phase Three and following on from the events of Avengers: Infinity War also offers us an interesting look into where this universe is going next, and trust me when I say that it’s unbelievably exciting.

Stepping up and taking her place amongst the titans of the MCU is Brie Larson as Carol Danvers, and this heroine has a very interesting journey ahead of her in Captain Marvel. This daring Air Force pilot is one to always push the envelope and never back down from a challenge and finding herself as an elite member of the Kree Starforce she readily picks up the fight against the Skrulls. But while Larson’s Danvers is a soldier through and through, she soon finds herself questioning her choices and allegiances once she arrives back on Earth and it’s here that things get fun. With its strong focus on the alien and otherworldly, Larson’s central contribution to the film is the journey to rediscover Danvers’ humanity and the power that it gives her. As she learns to harness her vast alien powers she firmly walks into her destiny and it’s great fun to watch her soar through the sky throwing photon blasts at the bad guys. As the MCU moves forward into a new chapter it’s great to have such a dynamic heroine at its centre and I’m game to see where Larson takes us next.

Joining Larson up on the big-screen is Marvel’s all-around king of cool, Samuel L. Jackson, who once again returns as Nick Fury, but this time he’s a whole new man. Picking up in the mid-1990s following the end of the Cold War, this Fury is now riding a desk, past his prime and frankly fed up with everything. That is until a certain super-powered heroine literally crashes down to Earth and helps him find his spark again with a new purpose and mission. While we’re used to Fury’s gruff and all-business demeanour, here Jackson gets to call upon his considerable comedic chops and is allowed to let his guard down a bit as his mind opens up to the possibility of a whole new realm of heroes. While Jackson is regarded as Marvel’s elder statesman with his work throughout the MCU, it’s great to see him on more of a base level here and almost ‘starting out’ so to speak. And for those wanting some long-held Nick Fury secrets, well, Captain Marvel has plenty of them so keep your eyes open.

Stepping into Captain Marvel in the role of antagonist is Ben Mendelsohn as the calculating Skrull general Talos and he’s one villain who’s got a serious agenda. Putting his Australian accent to good use, Mendelsohn’s Talos is a calculating strategist who is fighting his own personal war with the Kree and who comes into direct contact with Danvers. While he can handle himself in a fight, Talos is much more of a strategist and a thinker and he’s holding plenty of his own secrets close to the chest. While I can’t divulge too much on Talos’ ultimate objective without running into spoiler territory I will say that Talos’ interaction with Danvers really spins you for a loop as an audience member, and it keeps you on your feet.

Finally, Jude Law makes a critical appearance in Captain Marvel as Starforce commander and Danvers Kree mentor Yon-Rogg who guides Danvers in her training and discipline as an adopted Kree disciple. In terms of a character, Yon-Rogg is an all-together different performance for Law and the British thespian really falls into place as this highly disciplined and capable soldier. His place in the story is almost like that of Danvers conscience and sensei as he pushes her in pursuit of her powers and the friction that comes from this leads us to an interesting place throughout Captain Marvel. With Law what we get is the unexpected and he really does a great job of playing against type. As an MCU experience, Captain Marvel really leads you into the unexpected on multiple turns and Law is a big part of this so watch out.

If you’re looking for some sci-fi fun then Captain Marvel is one ride you’ll really want to jump on. With everything from experimental space ships to photon blasts, along with Brie Larson’s considerable martial prowess, this latest addition to the MCU is jam-packed with action. Larson’s fighting abilities focus on a clear mix of judo and boxing, and with the advantage of considerable powers and a heap of alien tech they make for an exciting visual treat. I also found there to be a real retro styling to Captain Marvel’s action that really fits into that 1990s action cinema mould. The film has a great pulsating energy to it which really grips you as an audience member, especially as our heroine’s powers fully come into their own and she rockets into the stratosphere.

In addition to its retro feeling and impressive action, Captain Marvel also expands the MCU further into the future and gives us a greater insight into the intergalactic realms of the MCU. Our focus here is presently on the Kree/Skrull War and it’s a fascinating insight into moments that have only been hinted at in previous films such as Guardians of the Galaxy. Here we get an introduction into the universe and culture of the Kree, a highly evolved civilization who see themselves as above any other galactic entity and it’s interesting to see Danvers own humanity rise up and challenge the status quo. Captain Marvel’s thematic strands of personal power and testing one’s own strength really find an interesting place here and it’s interesting to see it play out amongst this formative chapter of the MCU.

Captain Marvel is a film that really goes for it with everything that its got and it’s a whole lot of fun. Packed out with brilliant moments of nostalgia, plenty of wicked sci-fi action and a whole heap of surprises, it’s very clear that the Marvel Cinematic Universe is in good hands with Captain Marvel and the future looks bright.

Image: Walt Disney Pictures

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Security guard David Dunn (Bruce Willis) uses his supernatural abilities to track Kevin Wendell Crumb  (James McAvoy), a disturbed man who has twenty-four personalities.

Comic book characters. They play an integral part in our society and the multi-coloured stories that collect their adventures of courage and heroism continue to inspire us and help lead us to reach our own true potential. These characters and stories are archetypal in nature and they have long served as a source of inspiration for Shyamalan. Following the birth of both hero and villain we are now at the final stages of this saga and in Glass, the director gives his final statement on just what it means for superheroes to exist in our real world.

Possessing a learned knowledge of both the superhero genre and the comic book medium Shyamalan takes this art form and presents it to us in a completely original take here in Glass. Using his film’s real world Philadelphia setting to great affect, Shyamalan employs the idea of reality to inform his narrative and frame the notion of how the extraordinary exist among the mundane. With Glass he throws away the blockbuster spectacle of traditional superhero fare and instead focuses his attention on this heightened normality, and just how these archetypal characters would act in our 2019 real world setting. While the characters of Kevin Wendell Crumb (James McAvoy), David Dunn (Bruce Willis) and Elijah Price (Samuel L. Jackson) are all superior beings in there own right, Shyamalan keeps them as grounded as possible which really makes their individual abilities even more fascinating to behold. He takes his audiences inside the minds of his characters and works to make you understand how each of them tick and how with the passage of time they have all grown to accept their abilities, and question just how their existence plays out in our world.

James McAvoy is far and away the star of the show here in Glass and as the conflicted villain Kevin Wendell Crumb, also known as The Horde, he builds on the masterful performance we first saw in Split. McAvoy’s chameleon performance really shifts up a notch here as we bear witness to 20 of his 24 personalities and his inventiveness and ease of transition between each of them really commands your focus. His physical transformation is also something to be admired here as he’s packed on a healthy dose of muscle mass to become a legitimate threat as the ferocious Beast and his howling, animalistic rage as this shadow-side villain will leave you gripped with fear. You never know whats going to happen next with McAvoy and his unexpected shifts in performance really keep you on edge.

Making a return to the Eastrail 177 trilogy is Hollywood veteran Bruce Willis as David Dunn and his heroic journey has been a long one since Unbreakable. Dunn has now accepted his abilities as a hero and takes his vigilante crime fighting seriously as he protects the innocent and seeks to punish the corrupt in a guise that becomes known as The Overseer. But every hero needs to be tested by the ultimate villain and Dunn finds his test in The Beast. What struck me with Willis’ performance in Glass was that we were watching a man who is committed to doing good and has this old-guard stoicism about him. Where as he was once a man of doubt, Dunn is now a man of action and has readily accepted his responsibilities as a hero and a father. Coupled with the film’s real world setting, Dunn’s presence is a much needed one and his penchant for heroic acts will have you cheering on as he takes the fight to the bad guys in a world that can sometimes feel so empty of any kind of real hero.

Finally rounding out Glass is the titular character himself, Samuel L. Jackson’s Elijah Price, a twisted genius whose belief in the extraordinary has led him to commit despicable acts in order for him to come to terms with who he is as a man and his archetypal nature. Jackson once again channels his characters twisted intelligence to good use here, and even though he may be the least threatening character, his mind and it’s cognitive ability make him the most dangerous person on screen. Jackson’s intelligence is on display here as Elijah and his determination to prove that the superior do exist leads to many frightening moments.

Walking in on this superhuman trinity is Sarah Paulson’s Dr. Ellie Staple, a psychiatrist specializing in cases involving delusions of  grandeur and her introduction throws a wild card into the mix. While Glass’s three main characters represent ideas of the possible and the miraculous, Staple’s character is a far more clinical persona and her presence is one that will really unnerve you. While on the surface their is nothing superior about Staple, the audience will come to learn that she herself carries her own ‘super-power’ in her ability to get inside the minds of her patients and how she very ably deconstructs their personas. Paulson’s sense of calm and composure within the film is completely unsettling and is a real credit to the actresses control of her craft.

As an exercise in worldbuilding, Glass is a piece of cinema that is extremely visually striking. As he did in both Unbreakable and Split, Shyamalan continues to utilize his unique colour palette with the prominent hues of green, yellow and purple to symbolize his characters and their motivations. These prominent visual references command your attention and help to pull you deeper into the arcs of the characters as an audience member. This use of defined colour, which is blended with the desaturated cinematography of Mike Gioulakis, and his use of framing, transforms the cinema screen into that of a literal moving comic book and makes for a unique visual aesthetic.

In discussing Glass, and Shyamalan’s process as a filmmaker I can also not go past his use of the unexpected and here it really keeps you on your feet. There is absolutely nothing predictable about Glass and Shyamalan takes his audience through plenty of zigs and zags and the result is a piece of cinema that is one of the most original narratives I’ve ever had the pleasure to witness in terms of superhero structure. I can’t go into specifics without leading to any notion of spoilers, it’s something that makes for a very interesting narrative.

If you’re seeking a superhero story with an intellectual twist then Glass is a film you need to see. Clever and meticulous in its characterization and visuals, Glass is something truly unique and is a fitting conclusion to the Eastrail 177 trilogy.

Image: Walt Disney Pictures

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Executive protection agent Michael Bryce (Ryan Reynolds) had it all….until it was all taken away from him. Now eeking out a living as a meagre ‘bodyguard’ Bryce finds himself caught up in protecting his nefarious mortal enemy, and wise cracking hitman Darius Kincaid () for Interpol, who is on his way to testify against ruthless dictator () at The Hague. But when everything goes to hell Bryce and Kincaid are forced into a wild and unpredictable road trip that will test them to their core. They might just save the day….unless they kill each other first.

If you love in-your-face and over-the-top action then you’re in for a treat with The Hitman’s Bodyguard. Director Patrick Hughes throws audiences into a 1980s buddy-movie throwback that comes with a whole lot of crazy and a lot more swearing. While today’s audiences are used to a more streamlined comic books style of action filmmaking, Hughes throws all of that out here. His action is heavily choreographed and arrives from out of nowhere, which as an audience member completely takes you by surprise. But this is not just action for action’s sake, and every moment of the film has a bigger piece to play in the film’s overall narrative.

And then there’s the perfect duopoly of Ryan Reynolds and Samuel L. Jackson as mortal enemies turned unexpected allies. But neither of these cats are heroes. Reynolds is ambitious and incredibly egotistical as Bryce, while Jackson’s Kincaid….well Kincaid is just one badass motherfucker who doesn’t give a shit. But put these two together and you have the recipe for one hell of a fun time in the cinema. The Hitman’s Bodyguard takes the structure of the traditional buddy-cop genre and throws it out the window, as these two, well, they really hate each other. And this never ending battle to not kill one another, and instead, kill the bad guys makes for a movie that is really fun to watch.

But while there’s all kinds of crazy going on, Hughes also uses his characters for a unique analysis of the themes of hero and villain. While Reynold’s Bryce would normally be treated as the typical hero, except his job is to protect an unholy host of scumbags and criminals. Kincaid, on the other hand, is the all around bad guy, except he makes his living killing even worse guys for a living. Hughes ability to play with the morality of his characters and make his audiences question the nature of hero and villain is something incredibly different in an action film of this size….and with this many explosions.

Then there’s Selma. Oh yes, Selma Hayek makes an appearance in this film, and this lady is so grand. Oh so perfectly cast as Kincaid’s wife Sonia, Selma is Jackson’s perfect counterpart in every way. Their romantic introduction together takes the best moment of any 80s romance film, and then add’s a good helping of gore to it. Then there’s their back and forth of love, hate and more love which is so damn cute to watch. It’s fun to see romance this honest up on screen, and their chemistry is so-good together that I’m calling for a Darius/Sonia sequel right now. This romance is real and is a testament that some characters are truly meant to be together.

Finally, I have to mention the film’s epic motorcycle chase scene through the streets of Amsterdam. BECAUSE. IT. IS. EPIC. I haven’t seen anything this inventive up on a movie screen in a long time, and Hughes and his stunt team go to work in the third act with this uncontrollable piece of motorized choreography. Trust me when I say this scene is worth the cost of admission alone.

The Hitman’s Bodyguard is one all around crazy film, and that’s a really good thing. Sometimes you just need a good dose of crazy to lose yourself in at the cinema and The Hitman’s Bodyguard is certainly perfect movie to do that in. So buy that ticket and take that ride to peak Reynolds/Jackson….you won’t regret it.

Image: Roadshow Films

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In a tale of high adventure and wild romance, Tarzan of the Apes lives again thanks to the genius and passion of director David Yates. Working from the idea that audiences know the basic history of Tarzan, Yates takes his story in a different direction, focusing on his central character’s return to nature, and rediscovery of his inner savage as he fights to save the ones he loves.

Holding his own on the big screen as Lord John Clayton/Tarzan is Alexander Skarsgard, whose physical commitment to the character is  clear to see. Skarsgard truly gives his all as this classic hero, and his transformation from mere mortal to jungle beast (which has been well documented) definitely shows on screen. Skarsgard is the truest representation of Edgar Rice Burrough’s character that I’ve ever witnessed, and he balances an animalist strength with grace and agility as he swings through the jungle. But while his physical skills are outstanding, it is his handling of the Tarzan’s emotional core that really impresses. He crafts the presence of a man who is lost between two worlds and racked by the pain of not belonging.

Joining Skarsgard’s Tarzan in his adventures is Margot Robbie as his beloved wife Jane Porter. But this is not the Jane of yesteryear, and this fiery redhead is no damsel in distress. Pragmatic, feisty, sharp, quick-witted and sassy, Robbie’s Jane is a fireball who throws back quick one-liners and gives as good as she gets, utilising her unique knowledge of the jungle to bring out the worst fears in her captors. Whether playing up the seriousness of her character’s kidnapping or the love she has for Tarzan, Robbie is completely committed to the character, and completely steals every scene she’s in.

Joining these two phenomenal young talents is Hollywood legend Samuel L. Jackson, who has plenty of fun as true life explorer and adventurer George Washington Williams. Williams uses Tarzan’s mission to the jungle as a way to right wrongs and uncover the misdeeds of greed and corruption of a foreign power. Giving both support and wisdom, Jackson’s adventurer provides the audience with a deeper insight into the character of Clayton as he transitions back to the man he once was as Tarzan, and he’s also first into every action scene with his own set of big guns.

Tarzan is always one to have a worthy adversary, and it doesn’t get much better than Christoph Waltz as the disturbing Captain Leon Rom, a mercenary with his own agenda and whose nastiness knows no bounds. Waltz definitely applies considerable creep factor in his face-to-face meetings with Jane, and his total lack of empathy for human life is chilling to watch.

The Legend of Tarzan combines amazing practical effects and CGI to bring to life the untamed wilds of the jungle, and the great apes who rule it. Skarsgard’s interactions with his ape family are beautiful to watch, and his challenge for leadership of the pack makes for a brutal action set piece. Praise must also be given to Henry Braham’s exquisite cinematography, which captures the rich colours and vast scale of the jungles of the Congo. Audiences will find themselves getting lost in the grandness of the sights that appear in front of them.

With a superb story, great characters, epic action and amazing visuals, The Legend of Tarzan is a film experience that will have you gripped from beginning to end.

Image: Roadshow Films

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While star Alexander Skarsgard is sure to enjoy plenty of vine-swinging action as the mighty Lord of the apes, it’s his mission in the jungles of the Congo that draws out the historical implications of the film. Set during the height of the Belgian occupation of the Free Congo State, Skarsgard’s Clayton will find an ally in real-life Civil War veteran and African American historian George Washington Williams, played by the legendary Samuel L. Jackson.

Williams’ involvement in the plot is crucial to the story. Following the American Civil War, he travelled to the Congo and was witness to the atrocities inflicted upon the natives by the Belgian contingent on orders from King Leopold II. Leopold had invaded the Congo region in an effort to exploit the lucrative ivory and rubber trades that were established there, and he was not above using terror to get what he wanted. In 1890, Williams took steps to address these atrocities publically to both the king and the international community in a damning letter and legal case, where he called for an investigation to be carried out.

Williams’ real-life journey will provide the backdrop for The Legend of Tarzan, where he teams up with the fictional hero to bring down the Belgian contingent and save Jane. In the trailers released so far, Samuel L. Jackson’s Williams is shown as a dynamic man of action, who will do whatever is necessary to restore justice.

The film has been given another historical touch in the form of Christoph Waltz’s chief antagonist Captain Leon Rom. This debonair but twisted villain has the cadence of a big game hunter, and appears to bear some kind of personal vendetta against Tarzan. Waltz’s portrayal appears to be in keeping with his real-life counterpart, who was a sadistic Belgian soldier appointed to annex the Congo State. He personally enslaved many Congolese into forced labour camps, and showed no mercy to those who fought back. His villainy was so well known that he even inspired famed author Joseph Conrad’s infamous Colonel Kurtz in a Heart of Darkness. Waltz has long had a skill for villainy, and he should prove to be a worthy adversary for both Tarzan and Williams.

The Legend of Tarzan will be released in theatres on June 30 in New Zealand and Australia and on July 1 in the US and UK.

Image source: Roadshow Films.

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In addition to showcasing the film’s breathtaking cinematography, the trailer also gives us an insight into Tarzan’s youth amongst the Gorilla tribes of the Congo, as well as showcasing more of the pulp hero as the gentlemanly Lord John Clayton the Third.

Alexander Skarsgård transforms into the King of the Jungle in our exclusive sneak peek at @LegendofTarzan.https://t.co/d8yKDSxYq1

— IMAX (@IMAX) June 6, 2016

Director David Yates appears to have done an amazing job with Edgar Rice Burrough’s iconic character, and Alexander Skarsgard has turned himself into a beast of a man to truly convey the strength and agility of this jungle warrior. With an excellent supporting cast including Margot Robbie, Samuel L. Jackson, and two-time Oscar winner Christoph Waltz, audiences will be in for an awesome action adventure ride when The Legend of Tarzan is released in cinemas on June 30 in New Zealand and Australia and on July 1 in the US and UK.

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Set 8, 10 or 12 years after the Civil War, The Hateful Eight finds bounty hunter John Ruth (Kurt Russell) and fugitive Daisy Domergue (Jennifer Jason Leigh) on their way to the town of Red Rock where Daisy is to be hanged. On their way, they encounter union soldier turned bounty hunter Major Marquis Warren (Samuel L. Jackson) and the roguish Chris Mannix (Walton Goggins), who claims to be the new sheriff of Red Rock. Stopping off at Minnie’s Haberdashery, they encounter five other men including Bob (Demian Bichir), hangman Oswaldo Mobray (Tim Roth), the mysterious Joe Gage (Michael Madsen), and former Confederate General Sanford Smithers (Bruce Dern). But it soon becomes clear that nothing is as it seems, and one or more of these men is not who he says he is.

From the film’s opening frame, Tarantino’s lightning fast dialogue grips your ears, and the full expression of his talent as a wordsmith is brought to light here. With dialogue and conversation leading the film, The Hateful Eight has the tempo of a play which is constantly changing and evolving as the film pushes forward.

Tarantino has the best of the best on hand here, and all of his performers give their all to this wide range of villains. Make no mistake…there are no heroes here. Standouts include Samuel L. Jackson’s portrayal as the charismatic Marquis Warren, Tim Roth’s eccentrically debonair Oswaldo Mobray, and the dual performance of Kurt Russell and Jennifer Jason Leigh as odd couple John Ruth and Daisy Domergue. As Domergue, Leigh offers a particularly captivating performance, and her twisted character will no doubt go down in film history.

It wouldn’t be a Tarantino film without lashings of blood and plenty of profanity, and The Hateful Eight has these trademark features in spades. Driving the narrative forward, these effects are at one with the savage world that the characters inhabit. The Hateful Eight might be placed as a western in terms of genre, but there’s definitely a good helping of horror in terms of tone within the film, especially Italian Giallo cinema, which Tarantino has long drawn from in his list of credits. Of particular note is the spectacular score by the legendary Ennio Morricone, who has delivered an evocative score that captures the heightened cabin fever of the haberdashery, and the mad souls trapped inside.

The Hateful Eight is another glorious addition to the Tarantino collection, brought to audiences by a filmmaker who never fails to entertain.

Image: Roadshow Films

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