Elvis – Review

Rating: 12A Cast: Austin Butler, Tom Hanks, Olivia DeJonge, Helen Thomson and Richard Roxburgh. Directed by Baz Luhrmann. Written by Baz Luhrmann, Sam Bromell and Craig Pearce. Length: 159mins. 

The release date for Baz Luhrmann’s ‘Elvis’ has arrived and it’s sure to get audiences dancing. We seem to be going through a phase of legendary musician biopics and this one falls slightly out of the framework pattern but that isn’t a surprise to those who know the previous work of Luhrmann. This is the story of Elvis’s dramatic rise to superstardom and the mistreatment he suffered at the hands of those he trusted. 

The film opens with a voiceover by Elvis’s former manager, the infamous Colonel Tom Parker, played by Tom Hanks (unrecognisable beneath layers of prosthetics and unflattering makeup). After sharing details of his gambling addiction, he finishes with the ominous reveal: ‘some people say I robbed Elvis … some even say I killed him’. We get the basics of Presley’s career: the early days of hardship, the profound influence of black music, the blues and gospel; a glimpse at his days on the country circuit before signing for Parker, his huge success, military service in Germany, marriage to Priscilla, a flash of Hollywood, the Comeback Special and the long Vegas goodbye…considering this is the basics and not really in too much detail, it’s an awful lot. With a run time of 2hr39 it’s a bit of a slog but having said this I would have no idea what you can cut. The challenge of a biopic is that audiences need to see a journey, but when the journey includes so much it’s inevitably going to be a lengthy watch.  

This is a very technical film that screams awards season which is unusual for a movie released at this time of year. I hope that it is recognised for what it is as the performances, scoring, editing and direction are bold and deserve acknowledgement. I do feel like some audiences might be disappointed with Elvis – not because it’s bad, it’s actually quite brilliant. It’s just that the trailer presents a movie that is very appealing to the masses. It suggests a straight forward story with a few well known songs and it’s much more complex than that. It’s full of interesting cuts, colours and a wonderfully fused score of music of the era and contemporary hits. 

Elvis is a brilliant film, it’s not one that I would watch again but I would definitely recommend that people give it a watch. It’s another reminder that the grass is not always greener on the other side and that when people appear to have it all – there’s often a lot going on that isn’t known.  

Top Gun: Maverick – Review

Rating: 12a Cast: Tom Cruise, Jennifer Connelly, Miles Teller, Val Kilmer and Glen Powell. Directed by Joseph Kosinski. Written by Peter Craig, Justin Marks, Ehren Kruger, Eric Warren Singer and Christopher McQuarrie. Length: 130mins. 

 Thirty-six years after Top Gun was released and became a smash hit, Tom Cruise is back doing what he does best – flashing his superstar smile and jumping into an aircraft for this brand new blockbuster that doesn’t fail to take your breath away. Top Gun: Maverick re-joins our hero – Naval captain Pete ‘Maverick’ Mitchell, not quite where we left him at the end of the first movie. He’s still flying, he’s still fast and he’s still unapologetically himself. He’s recalled to Top Gun, to train the Navy’s best young aviators for an almost impossible, dangerous and time sensitive mission. While the mission is a challenge in itself, Maverick has to face (and train) the son of his ex-wingman and best friend ‘Goose’ as well as reuniting with an old flame… 

What is so wonderful about this film is that the original was a perfect standalone – it didn’t need a sequel, it was so well rounded just as it was and was released in a time where it was much more common to release a film on its own. BUT, come 2022…delayed ever so slightly due to Covid:19 the sequel lands and it is almost perfect. It embodies just the right amount of nostalgia and reference to the original, the plot is interesting and exciting – different to ‘Top Gun’ but is so well thought out and fitting with the first film. I just think it’s so difficult to create a really great sequel full stop, but to manage to create a sequel over 30 years later and for a film that no one expected a sequel for seems like an impossible task and the creative team nailed it. 

I don’t know enough about how much Tom Cruise was involved, other than I expect him to have been the driving force and quite frankly he deserves a pat on the back. This film released at the perfect time, bringing audiences of all ages back into cinemas and reminding folk what watching motion pictures on the big screen, as they were designed, is all about.  

Tom Cruise doesn’t drop a beat with his Maverick; I expect the initial role was so important to him and he seems to pick the character straight back up with ease. The casting was perfect. Particularly in the selection of Miles Teller as ‘Rooster’. Not only does Teller look like his fictional father but he brings really authentic emotion. This character ‘feels’ so much in this film and is really going through all sorts while still competing to be selected for this mission and Teller nails it. It’s really quite wonderful to watch the character develop and grow in confidence throughout the movie and see his relationships change with him. Jennifer Connelly plays the beautiful, confident bar owner Penny who, of course, captures the eye (and heart) of Maverick. My only slight comment here was that the romantic element wasn’t really necessary. It’s nice – it’s well performed, it breaks up the story a bit and of course the romantics are there for it but it didn’t progress the plot. Maybe I’m scraping the barrel for criticism, but that’s all I’ve got!  

Top Gun: Maverick is simply, a brilliant piece of cinema. Everyone should watch it, at least once, on the big screen. It has a relatively short running time but it holds its audiences from the first moment and doesn’t drop them.  

Operation Mincemeat – Review

Rating: 12A Cast: Colin Firth, Matthew Macfadyen, Kelly Macdonald, Penelope Wilton and Johnny Flynn. Directed by John Madden. Written by Michelle Ashford and Ben Macintyre. Length: 128mins

Operation Mincemeat was the bizarre real-life scheme cooked up by British intelligence in 1943 to fool Nazi Germany into thinking the allies planned to invade Greece, rather than their actual target, Sicily. The corpse of a tramp was dressed up as fictitious “Capt William Martin” and carried elaborate plans for this nonexistent invasion; the body was dumped into the sea so that it would wash up in Spain where the British were confident this incorrect intelligence would be passed to the Germans. It sounds as if it was written with a screenplay in mind, but the fact that this is based on real events makes gives this film a different feel. Had the plot been fictitious, I’m not sure people would necessarily be on board, but a glimpse into this bizarre piece of history that played a role in the outcome on the war is truly fascinating. 

Adapted from the non-fiction best seller by Ben Macintyre, the plot takes us steadily from the birth of the idea, through all sorts of ‘phases’ of the operation and right up to the suspense filled moment of finding out whether it was successful or not. As I understand, this isn’t the first film re-telling of the story, however the fact that the corpses real name was only revealed to the public in 1996 allowed the filmmakers to include a more personable approach with regards to he who was known, simply, as ‘The Man Who Never Was’. 

This movie was funnier than I expected it to be, which made a real difference to me as a member of the audience. I was intrigued and excited to learn more about a situation I only knew small amounts about, but to be honest, I was expecting quite a heavy, suspense filled piece. While, of course, there were brilliant moments of that suspense; built with a great score and really authentic performances by the two leading men – the fact that there were moments of humour mixed in throughout just brought the mood up enough to keep things interesting and me engaged. 

As a James Bond fan I particularly enjoyed the involvement of the character Ian Fleming. Of course he was actually involved in the planning of the operation, I don’t mean to belittle his importance in the actual history of the event, but the film gave us plenty of little Bond Easter eggs that I have no idea if they actually happened, but I like the idea that his novels were inspired by that which he had seen. Colin Firth and Matthew Macfadyen didn’t put a foot wrong, both managed to play likeable but imperfect characters, and lets be honest, any Pride and Prejudice fans will be delighted to see both contemporary ‘Mr Darcy’s’ sharing the screen. 

This is another of the home front wartime ‘Brit-films’ that we’ve seen plenty of in recent years. Focussing their emphasis on domestic morale, strategic questions and political shenanigans, rather than battlefield action. Operation Mincemeat is watchable enough, but certainly not the best ‘war film’ i’ve seen. It’s a pleasant way to spend a couple of hours, but not a must watch. 

Ambulance – Review

Rating:15
Cast: Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza Gonzalez, Garret Dillahunt, KeirO’Donnell and Jackson White.
Directed by Michael Bay
Written by Chris Fedak
Length: 136mins

Michael Bay’s Ambulance is tale of two estranged brothers, Danny (Gyllenhaal) and Will (Abdul-Mateen), and a bank heist gone wrong. Based on a 2005 Danish picture of the same name Michael Bay drags the story out to a much longer telling of the story. While the plot is relatively basic, Bay manages to pad out the movie with a whole lot of extra ‘stuff’, some of it nonsensical and some of it to add the Michael Bay wow-factor. 

Watching this film was unusual for me, mostly because having watched the trailer a couple of times I thought it looked awful. The trailer really put me off. It’s a pity, because at the core of the film, partially concealed by Bay’s posturing is a relatively slickly executed action film – Danny and Will hijack an ambulance: inside is a critically injured cop and a ballsy paramedic (González); outside are guns, explosives and a lot of very angry law enforcement officers. While in general I thought it was better than the trailer suggested it would be, it was frustratingly ridiculous at some points. I’m not just talking about the slow motion stunts or classic ‘Bay’ whoosh of a camera down the side of a building to heighten drama, but some of the core plot points, that used up so much time, just made no sense. One example that I can give without spoilers is a big emphasis on confusing the police by joining with other ambulances, thus stretching the polices attention and giving an opportunity to escape. However, the plan was to spray paint the focal ambulance, which makes no sense at all, and they spend so long discussing and achieving this and they somehow manage to slip a neon green ambulance past a police blockade…I’m all for a bit of creative licence, but it surely should be at least a tiny bit plausible! 

Yahya Abdul-Mateen II and Jake Gyllenhaal are fine; there’s nothing in their performances that will blow the audience away but that’s more down to a relatively basic script and character stereotypes.  The tension building is effective throughout, the score having a strong impact, however the whole film is a build. They don’t really let it drop, which either exhausts it’s viewers, or loses their attention. The film essentially plays out as one extra-long car chase, with Bay’s trademark direction present in all its glory. Throughout, Bay’s camera rarely stays still, sweeping and swooping through the LA streets as the ambulance does its best to evade the constantly growing police presence. This kinetic camerawork, coupled with Bay’s choppy editing style can at times leave it’s audience feeling nauseous. 

Despite it’s glaring flaws, audiences seem to quite enjoy it. Ambulance wasn’t for me – but I appreciate that many others might enjoy the escapism and high speed car chases to allow them to step into a couple of hrs without thinking about todays troubles. If you can forgive some nonsensical choices and enjoy a high speed action film, then there’s a good choice you’ll enjoy it. 

Uncharted – Review

Rating: 12A Cast: Tom Holland, Mark Wahlberg, Antonio Banderas. Sophia Ali and Tati Gabrielle. Directed by Ruben Fleischer Written by Rafe Judkins, Art Marcum, Matt Holloway, Jon Hanley Rosenberg and Mark D. Walker Length: 116mins

Uncharted is a straightforward action/adventure flick and a bit of fun for all the family. Of our leading characters we have Nathan Drake (Holland), a tough kid with a passion for history, making money as a cocktail waiter/pickpocket, ripping off rich people in the bar and ‘Sully’ (Wahlberg) who observes Nate’s thieving and presents him with a proposition: a scene with similarities to that of George Clooney meeting Matt Damon for the first time in Ocean’s Eleven. Sully entices Nate into helping him track down a golden key that could lead them to riches, riches that Nate had heard about and studied with his brother, who incidentally is now missing. In preparation for their quest to seek out Magellan’s  16th century loot, Sully’s admission that he once knew Nate’s brother, only adds a personal drive for Nate to assist his new partner in crime. 

Nate and Sully’s relationship is the heart of the narrative, though the film takes an origin story approach in this first instalment. Our two heroes learn to trust each other as their adventure unfolds, even if the road to get there is a bumpy one. They’re a far cry from the chummy partners in crime that are portrayed in the origin materials, with Nate questioning Sully’s motives every step of the way. Chloe Fraser (Sophia Ali) adds an extra layer of intrigue as a fellow treasure hunter, with a steely focus and determination of her own. Nate is never quite sure who to trust, or if he can trust anyone at all.

Tom Holland is the real driving force of the film. He brings his usual ‘cheeky chap’ vibes while throwing himself fully into the widespread story. Wahlberg has been criticised for his role in this movie, it seems several fans of the games were upset with his casting initially, but his portrayal of Sully is a bit flat – it’s fine, but nothing to shout about. Sophia Ali and Tati Gabrielle bring sass and strength to both of their characters which helps to broaden the overall feel of the movie. Of course, Antonio Banderas is the ultimate family movie villain, he’s just threatening enough to know he’s the ‘bad guy’ without engaging in a darker side that wouldn’t be appropriate for a movie of this type and certification. 

Uncharted isn’t a great action movie, but it is a good one. It’s definitely a good option as a film for all the family. It’s simplistic ‘solve the clues onto the next’ type plot doesn’t keep you guessing and it’s twists are obvious to audiences to enjoy a film of this genre. But purely based on entertainment value, I can’t really criticise it too much – it’s simple, possibly a bit forgetful, but enjoyable in the moment. 

The 355 – Review

Rating: 12A Cast: Jessica Chastain, Penelope Cruz, Diane Kruger, Lupita Nyong’o, Bingbing Fan, Sebastian Stan and Jason Flemyng. Directed by Simon Kinberg. Written by Simon Kinberg and Theresa Rebeck. Length: 122mins

When a top-secret weapon falls into mercenary hands, scorned CIA agent Mace Brown (Chastain) goes off grid in an attempt to retrieve the weapon. She joins forces with former rival and German intelligence agent Marie (Kruger), her MI6 ally and computer scientist Khadijah (Nyong’o) and Colombian psychologist Graciela (Cruz) to track the weapon down, all while staying one step ahead of a mysterious woman, Lin Mi Sheng (Fan), who is tracking their every move.

The plot is relatively basic in the ‘spy film’ genre; a threat is established and the intelligence agencies around the world race against time to get their hands on it. Although somewhat generic, the fast pacing of the movie keeps the audiences attention, meaning the audience doesn’t sit and think too deeply into logistics or intricate details. The writing does lack surprise, the main twist isn’t difficult to see coming, and its missing any real suspense or humour. But I think it works. Audiences have such high expectations in this genre and of course it will be compared to the well established, male led franchises like James Bond, Mission Impossible or Jason Bourne, but I think it’s our job as audiences to try to avoid such comparisons. Not to say that it shouldn’t be scrutinised to the same level – we have expectations and a desire for those to be met, but I think it’s an obvious concept that a female led movie in a genre that is dominated by male leads should be different. Celebrating the strengths and weaknesses of the characters, as you would expect in any other film, depending on who they are and how their stories unfold.

While the character relationship development is perhaps a little clunky, particularly between Mace and Marie, the group forms with an interesting chemistry. The writers do manage to avoid some of the cliches one might expect to see; our group doesn’t become really close, really quickly, they don’t all use their appearances to get what they want (apart from one of the characters, once…but even then it’s not a massive plot point). The focus relies on the concept of five, highly trained individuals who are going after their mission. The writing also allows our leading ladies, to retain their own sense of feminimity throughout, without changing for the sake of making any of it’s audience ‘feel better’, they are strong, they are determined, they are skilled, they have vulnerabilities and they are human. It makes it work.

It’s been said that the cast are ‘wasted’ in The 355, and yes, I can understand that the acting abilities of the cast were not stretched to reach the full potential of their skill, but the work didn’t need it. Chastain’s character goes through real emotional turmoil throughout and she rides it with just the right level of drive, Kruger brings a real strength and passion to Marie, while Cruz doesn’t push too hard for her character to be anything other than it’s written to bes. Nyong’o and Fan play roles who are somewhat more mysterious with their past experiences hinted at but not really explored. All of the women are generous in their performances, none demand focus and quite frankly having 5 leading ladies in an action movie who are all aged between 38-48 is something I would like to see more of.

Unfortunately, I’ve already seen some folk turn their nose up and not being willing to watch the film purely because it features “women playing mens roles” (not my words, but a quote from a moviegoer who didn’t buy a ticket for this particular feature…), which is really sad to me. It’s a thoroughly entertaining film that isn’t trying to push any agenda and it’s really worth a watch. While not a perfect movie it had everything that I wanted from a film in the action/spy genre.

King Richard – Review

Rating: 12A Cast: Will Smith, Aunjanue Ellis, Jon Bernthal, Saniyaa Sidney and Demi Singleton. Directed by Reinaldo Marcus Green Written by Zach Baylin Length: 144mins

King Richard follows Richard Williams, as he executes his long imagined planned for two of his daughters, Venus and Serena, to become tennis champions. The genre of this film isn’t explicitly clear – it’s sort of a sports flick, sort of a family drama, but I’m not sure it matters. The brilliance of this film is the fact that it’s based on reality, with both Venus and Serena Williams serving as executive producers on the movie which relieves concerns about the use of too much artistic licence. As well as this the flawless cast that bring the characters to life; Will Smith, a fan favourite, leads the charge and certainly doesn’t disappoint.

Smith, who is arguably the main draw of the movie, plays a man who refuses to acknowledge anything besides his own opinion, yet he is hauntingly effective when forced into silence.

The scenes where he shows Williams’ vulnerability have a damaged quality that lingers long after the moment has passed. The silence and the subtext are so powerful in this film and Smith lands them expertly, allowing the audience to capture a glimpse of the wounded man under all the bravado. While she doesn’t feature quite as predominantly as Smith, Aunjanue Ellis, matches Smith in screen presence in her portrayal as Brandi Williams. She brings a warmth and dignity as well as expressing a quiet power that she isn’t afraid to release when necessary. The scenes where she stands up to her husband, are some of the more powerful scenes in the movie and Ellis is flawless. It would be unfair to comment on the actors without a nod to Sidney and Singleton, who play Venus and Serena; they both shoulder the responsibility of mimicking two of the greatest athletes with absolute class. They do well to match the pressure on their characters against the warmth of their youth and lives within their family, it’s a pleasure to watch their work.

Reinaldo Marcus Green’s direction is wise, he clearly knew that the strength of the storytelling is in the acting, in trusting his cast to carry the story. He manages to hit the beats that you want without falling into melodrama, allowing the fact that it’s the telling of a true story to resonate with it’s audience. The most frustrating element of this movie for me, is the marketing, which is know is a bizarre aspect to comment on. I have spoken to so many regular cinema goers who haven’t even bothered to give it a look in due to the name – many people assuming that it’s Shakespeare or a period drama of some sort, while also commenting that the poster isn’t particularly eye catching. It just seems a shame to know that people are missing such a brilliant film due to relatively simple problems.

I don’t say this lightly, but I truly believe that King Richard is one of, if not, the best film released in 2021 (so far). Obviously everyone has different taste and that is to be celebrated but I really do feel that most people would enjoy; or at least take something from this film. It’s a shame that it seems to have flown somewhat under the radar but I really do encourage you to watch this film in a cinema if you can, but definitely at home once it’s been released for the ‘small screen’. 

The Harder They Fall – Review

Rating: 15 Cast: Jonathan Majors, Zazie Beetz, Regina King, LaKeith Stanfield and Idris Elba. Directed by Jeymes Samuel Written by Jeymes Samuel and Boaz Yakin. Length: 139mins  

When outlaw Nat Love discovers that the man who murdered his parents in front of him as a child is being released from prison, he reunites his gang to take revenge. What more could you ask for? A revenge Western packed with memorable characters played by brilliant actors, each scene and moment staged for power and authority. 

This movie caught my attention while scrolling through Netflix, mostly thanks to the big name cast. The trailer presents a very accurate snapshot of what it is, a contemporary Western, which is an interesting concept in itself. Now the plot is relatively basic, but the content is just so interesting to watch. You can see a lot of Jeymes Samuels influences within the film, it feels very Tarantino at times and is a really artistic film. The framing and the camerawork is beautiful, the colour palette is vibrant and the music is something else. While the general aesthetic is classic western,  there are quick-draws, large-scale gunfights, horse stunts, and chases, a train robbery, bank robberies, and a couple of hand-to-hand brawls with several cliches that we would expect in a Western; bottles smashed over heads, fights with pitch forks, men thrown out of windows etc…the soundtrack and fight sequences are the main elements that keep it feeling modern and fresh.

The Harder They Fall is Jeymes Samuel’s debut feature film but his CV boasts experience of working with some incredible talent. In this film he gifts his actors with precious moments where their characters are allowed to listen to each other and quietly glance at each other. It truly feels like a ‘filmmakers film’ and I can only imagine that the cast leapt at the opportunity to be a part of it. While the whole cast is strong, lead by the brilliant Jonathan Majors, there are a couple who stand out. Idris Elba, unsurprisingly, brings a cool, mysterious quiet to the high energy of the rest of the cast and Regina King who we all know delivers in every single role. King brought everything that her character required, moments of vulnerability countered with absolute brutal, no nonsense reactions.

Now the film does feel quite long, the plot isn’t particularly captivating and some of it is fairly predictable, but it’s very difficult to criticise a film that really does feel like art. Yes, it wont be to everyones taste, but it really is worth the watch for all of the heart that comes through in its presentation. While speaking to GQ, Samuel said  “I always loved Westerns, but they would always present a very narrow scope in those stories. They’d be very white male-centric. They wouldn’t even show women with any power in those stories.” and I think you can really feel his words in this movie, he explores human nature, gives voices to powerful women and explores a genre that he clearly cares so much about.

The Last Bus – Review

Rating: 12A Cast: Timothy Spall, Phyllis Logan, Ben Ewing and Natalie Mitson. Directed by Gillies MacKinnon Written by Joe Ainsworth Length: 86mins

The last bus follows Tom, a retired engineer, who, upon losing his wife decides that he wants to make one last, long bus trip. After a tragedy early on in their marriage, the pair moved from Lands End up to John O’Groats and the film picks up with Tom as he sets about making the trip back down to the most southernly part of England to wrap up the story of their love. 

In theory, this Brit-flick should be a warm, relatively easy watch; pulling at the heartstrings of it’s audience as they follow the elderly hero as he sets off on his nostalgic journey. Unfortunately, for me it just didn’t translate. Although it was a short film, I was checking my watch, it just didn’t move quite as smoothly as I’d hoped and I found it quite disjointed. Each new scene brought a whole new drama, it almost became funny as every possible thing that could have happened to Tom on his trip, does. 

Having said this, Timothy Spall plays Tom with integrity and commitment. He doesn’t present the total cliche of ‘cute old man’, which at least makes the character a bit more of a ‘real person’. We are allowed to feel his heartbreak and confusion as he negotiates the trip. It was a nice touch to have the memories of Tom and Mary’s relationship when they were first married, it broke up the action and allows the audience to connect with the pair and their experiences.It’s through Tom’s memories that we find the film’s emotional core – why he and his wife moved from Cornwall to the most northern point of the UK and the reasons for some of his stop-offs.

It’s a shame but this film just doesn’t hit the mark, it’s a slow mover that feels like drama has been added simply to push the story along. The writing feels lazy to the point that even with fantastic actors, there is only so much that could be done. Not worth a watch in my opinion. 

Black Widow – Review

Rating: 12A Cast: Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz and Ray Winstone. Directed by Cate Shortland Written by Jac Schaeffer, Ned Benson and Eric Pearson. Length: 133mins

The greatly anticipated Black Widow ‘stand alone’ movie has finally hit our screens after several release delays due to Covid:19. We join Natasha Romanoff inbetween Captian America: Civil War and Infinity War to learn more about her past and what drove her to become the Avenger that so many know and love.

There was a lot to pack into the plot of Black Widow. We uncover more about who Natasha was as a child and her experiences, we discover relationships that the Marvel audience has never seen before which needed a bit of grit  and history in around them to be believable, we have a couple of ‘mini-missions’, the main ‘mission’ and the fact that Natasha is currently on the run from shield to remind our audience of where this film fits into the MCU timeline. I really appreciated how they introduced the new characters of Yelena (Pugh), Alexi (Harbour) and Melina (Weisz). It could have been quite jarring to just announce these characters but with a bit of backstory and intelligent dialogue we get a real essence of who they are and what they do, without requiring a whole load of new introductory movies. The writers managed to acknowledge the world that this film exists in without dwelling on or focussing on the action of the other MCU films, it wasn’t too intense, but gave an appropriate nod to well known characters and situations when necessary. It’s an easy, entertaining watch, scattered with plenty of humour delivered wonderfully by the immovable Florence Pugh and brilliant David Harbour.

In true MCU fashion, this isn’t a short film. As previously stated they do cram a lot in and there were no moments that I found myself checking my watch but, for me, there were certain scenes that seemed unnecessarily long which was frustrating as there are other elements that might have served the story in a different, more impactful way. There was a lot of ‘falling through the sky’, which, although impressive started to get a bit boring after a while. Dare I say it, some of the more ‘explosive’ scenes towards the end of the film, felt like they were trying to match other films rather than embrace their own direction. 

Overall I thoroughly enjoyed Black Widow, and would absolutely watch it again. Obviously, it’s great to have a female hero in this universe and this story will only enhance peoples love for Natasha Romanov. She’s human, she’s flawed, but she’s fierce, strong and passionate and fights for what is right. What else do we want as a role model for children? One thing I would say, as cinemas are still fighting to survive after the massive blow of being shut for over a year, social distancing and limited capacity, please, go and watch this on the big screen. It was made for cinematic release and although some may find it easier to stream and watch it at home, I don’t think you’ll regret the cinematic experience for this movie. 

Oh, and don’t forget to stay until the end of the credits…