Review Category: DVD/Blu Ray

Review: Under the Dome / Cert: 15 / Director: Various / Screenplay: Various / Starring: Mike Vogel, Rachelle Lefevre, Colin Ford, Dean Norris / Release Date: November 18th

Welcome to Chester’s Mill, a picture-perfect New England town where everybody knows everybody else’s business and nothing exciting ever happens. Then, out of nowhere, the Dome comes down, sealing the town in and keeping the outside world out. While the initial emergence of the impenetrable bubble creates a flurry of casualties, it’s the aftermath that provides the most drama as the town becomes an insulated melting pot of terror, suspicion and panic from which there is no escape.

Providing the centre point for the show is Dale ‘Barbie’ Barbara (Vogel), an ex-Special Forces vet turned debt collector with blood on his hands but his heart in the right place. Fighting alongside him for truth, justice and the New England way is Julia (Lefevre), a journalist with a nose for trouble, and the temporarily orphaned Joe (Ford), who along with out-of-towner Norrie (Mackenzie Lintz) become the key to understanding the Dome. Providing the counterbalance is the town’s self-proclaimed King, ‘Big Jim’ Rennie (Norris) and his son Junior (Alexander Koch), both of whom harbour dark secrets that threaten to unravel as the tensions build towards a dramatic climax.

In 1990, IT became something of a TV phenomenon. Not just because it was a huge ratings winner, but because it was the perfect medium to transfer one of Stephen King’s lengthier stories to screen. At over 1000 pages long, any attempt to truncate the story into a 120-minute movie would have been a travesty. It’s no surprise then that 23 years later, his third-longest tale, Under the Dome has received a similar treatment, only this time it has found a different way to break new ground; by translating the story into a 12 episode run. Well, sort of.

There is no doubt that Under the Dome is a huge improvement on any of the Stephen King TV adaptations of recent years (the last being Bag of Bones starring Pierce Brosnan, which was made two years ago but seemed like it had been made a good ten years earlier). Thanks in no small part to the likes of The Walking Dead, this translation to screen feels more grounded in the real world and less like it takes part in the hokey King universe imposed by the last 20 years of average book-to-screen conversions. That said, there are still some remnants that cause frustration. There’s far too much melodrama for one, exacerbated by a series of issues ranging from occasionally corny music to suspect acting or just plain hammy dialogue. All of which is entirely unnecessary when you consider how flawless King’s dialogue and character work is on the written page.

There is little point in deploring the multitude of differences between this and the book as, understandably, certain elements had to change. In fact some of them are for the better. ‘Big Jim’ is a much more fleshed out character here, a testament to the writers as well as Norris’ performance while Barbie (despite being an Oliver Queen clone) becomes less of a two-dimensional hero. Interestingly, the main issue is the very thing that made this such an enticing prospect in the first place: the format.

It won’t spoil anything to reveal that the final episode leaves you hanging (a second season was announced just weeks into the series’ run), and that in itself provides the biggest problem. Had this tried to encapsulate King’s story tightly within one 12-episode run, it would have been perfect. As it is, it’s far too saggy. Episodes pass by where nothing of any note happens and sadly (unlike The Walking Dead for instance) the majority of the characters just aren’t strong enough to keep you glued to the screen. And that brings us another major issue, which again takes its key from one of its progenitors. Over the last three or so years, TV has been awash with shows depicting the end of existence as we know it, while following a small group of survivors struggling on, searching in vein for salvation. No doubt their popularity got this project green-lit, but it’s just too similar a concept to allow King’s themes to shine out.

As a slice of King lite, Under the Dome makes for passable entertainment, but it doesn’t quite hold its own among the other big hitters. Whether a second season will improve matters remains to be seen, but even so it can’t stop you from feeling like this was a little bit of a missed opportunity.

While deleted scenes pop up occasionally with certain episodes,  the mother load of Special Features show up on the fourth disc. These include thoughts on the project from Stephen King himself as well as an in-depth discussion on the challenges of turning his mammoth book into an ongoing TV series. Two further featurettes on the show itself discuss a wide range of subjects from the perspectives of the writers, directors and actors. It’s great stuff and really embellishes the experience, allowing you to re-experience elements of the show that you might have missed the first time around. That and a genuinely amusing gag reel and Colin Ford’s in-character blog interspersed with self-shot videos make for a strong selection of extras.

Extras: See above

Review: Nosferatu / Cert: PG / Director: F.W. Murnau / Screenplay: Henrik Galeen / Starring: Max Schreck, Gustav von Wangenheim, Greta Schroder, Alexander Granach / Release Date: November 18th

The most relaxing horror film you’ll ever watch. Terrifying as it may have been at the time, Nosferatu makes for some remarkably laid-back viewing in this age of screeching soundtracks; jump scares and that Inception noise that tends to accompany every film with half a budget. It’s not as scary as it once was, but Nosferatu remains one of the most beautifully soundtracked films of all time. It took me several attempts to watch it all the way through, simply because classical music always makes me feel like dozing off.

Visually, it’s also quite lovely. Age may have dulled its power to terrify, but Nosferatu is one of our earliest horror films and maybe the defining vampire movie. Much credit must go to Bram Stoker’s Dracula, which it rips off so shamelessly, but the rodent-like, otherworldly Count Orlok is an incredible creation – one of the greatest cinematic vampires of all time. It’s ironic that this adaptation of Dracula should be an unofficial one, since it’s one of the best and most faithful out there. With an amazing lead performance from Max Shreck and gloriously Gothic, expressionist visuals from F.W. Murnau, it deserves to be seen – and owned – by any self-respecting fan of horror and the cinematic arts. It’s hard to be scared, still, by images which have since been spoofed and copied to kingdom come (notably in Leslie Nielsen’s Dead and Loving It, among others) but there’s no denying their imagination and iconic power. The use of colour tinting on this print is nothing short of incredible, putting to shame those modern filmmakers who think that the only way to light a horror film is by turning the lights off and relentlessly throwing cats and dogs and jump scares at the audience, one after the other.

This Masters of Cinema release treats the film with the respect and care it deserves. Visually, it looks great, with the print having been cleaned up, sharpened and relieved of many of its troublesome scratches (so much so that you can occasionally see the seams in Shreck’s makeup). This being a silent film, the soundtrack is all-important. Here you’re given Hans Erdmann’s original music, performed by full orchestra, as it should be. This is available in stereo or 5.1 surround sound, with or without subtitles. The possibilities are endless! Accompanied by a host of commentaries, documentaries, artwork and special features, this is, at last, the definitive Nosferatu.

Extras: Audio commentaries / Video intros by Abel Ferrara and Kevin Jackson / The Language of Shadows – 50-min making of doc

Review: Gaslight / Cert: PG / Director: Thorold Dickinson / Screenplay: Patrick Hamilton, A. R. Rawlinson, Bridget Boland / Starring: Anton Walbrook, Diana Wynyard, Frank Pettingell, Cathleen Cordell, Robert Newton, Jimmy Hanley / Released: November 18th

You know what “gaslighting” is, don’t you? It’s driving someone mad by making them doubt their own memories and perception. Telling them things they remember never actually happened; moving things from where they left them, and so on. This writer’s family does it to him all the time. Anyway, the origin of the phrase “gaslighting” comes from Patrick Hamilton’s 1938 Victorian-set play Gas Light and was more prominently put into the public conscience by its subsequent film adaptations: Gaslight (1940) and, well, Gaslight (1944). So with that in mind, we’re not going to worry about spoilers too much. If you’re wondering why there should be two movies of the same story made so soon after each other, it’s because the British version was such a success that Hollywood felt the need to knock out their own version. But MGM didn’t want any comparisons so they had all the prints of the Brit version destroyed. Fortunately, original director Thorold Dickinson kept a print and gave it to the BFI, so the Americans didn’t entirely get their wicked way. Nevertheless, it’s the remake that usually gets shown on the box and the original hasn’t been available on DVD until now.

Needless to say, it’s a bona fide fog-bound classic; any story that’s managed to become part of the English language is going to be a strong one, so you’ll be pleased to hear that this version’s telling of a rotter trying to drive his wife insane to prevent her giving his identity away is closer to the original play than the remake was. But whether or not it’s actually any better (as some will attest) then the more commonly seen Yank version is rather down to a matter of taste. Diana Wynyard gives a terribly, terribly British performance as a woman losing her marbles while Anton Walbrook is in full pantomime villain mode as her murdering bigamist husband; you’re left in no doubt from the outset that he’s up to no good. Frank Pettingell’s retired policeman investigating a long cold case is also a very British, steadfast sort of chap, and while all this is part of the charm, it might put some off. George Cukor’s 1944 version is far more cinematic and the performances more subtle; this version is a bit stiffer; maybe even a bit more ’30s. But the odd thing is, this just makes it all a bit more fun. Gaslight isn’t really thought of as a fun story, but well done claustrophobic British melodrama is so thoroughly entertaining that it ought to be seen with a smile on your face. There are times when you feel the need to boo Walbrook for messing with his lovely wife’s head while cheering Pettingell’s dogged copper. But don’t. Trust us, it was really embarrassing.

While this version is probably more enjoyable, the American one is more dramatically effective. Sadly, this British version doesn’t feature Angela Lansbury either. She got an Oscar nod in 1944 for her role as Nancy the maid in her debut film. She’s a very bad girl indeed in it and it makes it essential viewing for the Lansbury fan. Which is all of us. Slightly over the top British fun or American cinematic drama with added Angela Lansbury? The Americans never play fair, do they? In the end, you’re just going to have to watch both versions because they’re rather good.

Extras: Five (count’em!) Thorold Dickinson short documentaries from the ’30s and ‘40s / Promotional material / Booklet

Review: A Monster Christmas / Cert: PG / Director: Chad Van De Keere / Screenplay: Michael Shear, Samantha Shear / Starring: Emilio Estevez, Ray Liotta, Ariel Winter, Nolan Gould, Jane Lynch / Release Date: Out Now

It’s all too clear the audience at which some films are aimed. A Monster Christmas, also known under the catchier title ofAbominable Christmas (watch the film and you’ll understand why), is one such. Featuring the voice talents of Emilio Estevez and Ray Liotta, this festive family animation directed by Chad Van De Keere, though harmless and innocuous fun which should amuse kids for a while, may prove a strain to sit through for anyone older than about ten.

Abby (Winter) and her brother Adam (Gould) are warned by their father (Liotta) not to venture from their home in the Colorado mountains to the town below. The thing is that Abby and her brother are Abominable Snowkids and their father is the Abominable Snowman. Knowing that his family are in danger from humans – especially the nutty scientist Margaret Knowhow (Lynch) ,who is determined to capture the Abominable Snowman for her research – Abby and Adam’s father is desperate to keep them safe. But Abby has ideas of her own and – along with Adam, who has been given the task of watching over his sister – decides to explore the town with predictably disastrous results.

Christmas is the time for family orientated entertainment, which often consists of feature length animation that clearly falls into one of two categories. Firstly you have those that come from the major studios such as Disney, Fox or Warner Brothers, which spend years on the drawing board (literally) and it shows. They may be of varying degrees of accomplishment, but generally the standard of animation on films like Arthur Christmas and the upcoming Frozen is high enough, and the stories clever enough (often with a smattering of double entendres and hidden meanings) to keep audiences of all levels interested for their ninety minutes-plus duration. Then you get those which were clearly done on a lower budget. They may get a few B-list Hollywood stars involved to give life to the characters; however, you can’t help but feel that paying for the services of these people didn’t leave much of the budget for the animation.

A Monster Christmas, unfortunately, falls into the second grouping. Don’t get us wrong, there’s nothing the matter with the film per se. In fact, in and of itself it’s quite charming, with its story of a hapless father doing his best to bring up his unruly offspring single-handedly after his wife has died. The characters however appear stereotypically irksome – an overprotective parent, feisty young daughter, know-it-all older brother, as well as bumbling baddies and buffoonish representatives of the law – whilst the storyline offers little opportunity other than to involve everyone in endless misunderstanding-induced chases. The animation – though by no means as bad as the recent Scottish abomination Sir Billi – is not much above the standard you’d expect from a made-for-television film, which A Monster Christmas was originally intended as.

This piece of festive whimsy is no Christmas cracker. Probably diverting enough for younger family members should they get bored with the rest of Santa’s gifts, it will, like the majority of the same presents, be forgotten by end of the year.

Review: Appleseed XIII – Complete Series / Cert: 15 / Director: Takayuki Hamana / Screenplay: Junichi Fujisaku / Starring: Lucy Christian, David Armitrage, Emily Neves / Release Date: Out Now

This hugely ambitious thirteen episode 2011 CGI anime based on Masamume Shirow’s manga series Appleseed is set in the aftermath of a worldwide non-nuclear conflict which has decimated the world’s population, leaving the hi-tech ‘city-nation’ of Olympus standing as a symbol of power and hope in a ruined world. But the city, governed by a huge artificial intelligence called Gaiea, administered by genetically-engineered bioroid humanoids, is under threat from a melting pot of simmering racial, religious and political discontent bubbling away beneath the city’s idyllic façade. Olympus is protected by ES.W.A.T., an elite military force whose numbers include Deunan, a feisty and nubile female agent and her partner/lover Briareos, a formidable cyborg soldier. Deunan and Briareos dream of finding their own, more simplistic utopia out in the blasted wasteland, whilst a terrorist group known as the Human Liberation Front is hostile to the city’s plans for the bioroids to preserve the essence of humanity for the sake of future generations. Scooby-Doo this ain’t…

Anime newbies (hello there!) are likely to find themselves variously baffled, thrilled and dazzled by the scale and scope of the imagination on display in Appleseed XIII. This is big, bold, brash hardcore sci-fi which makes no real concessions to newcomers; its violence is tough and occasionally disconcerting and the animation (farmed out to 13 Japanese CG studios who were responsible for one episode each) is vibrant and only very occasionally inconsistent, the stylistic differences between the various studios briefly noticeable now and again. But what most impresses is the ambition of the story itself; what initially appears to be a standalone series of episodes soon starts to reveal its arcs and its pervasive influences from Greek mythology – indeed the whole series takes its inspiration from the Twelve Labours of Hercules, with episodes effectively based around one of the Labours. Inevitably some episodes are stronger than others and the numerous larger-than-life action sequences are balanced by some surprisingly deep characterisation, gentle moralising and some downright weird and ambiguous imagery.

It’s a bold and well-executed series but its uneven pace and artistic pretensions – not to mention its controversial deviations from the Appleseed story familiar to classic manga aficionados – suggest that it’s likely to be regarded as a misfire and a missed opportunity for the very audience it was designed for. Worth a look but inevitably hard work for newcomers to the genre and a disappointment for fans.

Extras: Commentaries / Behind-the-scenes featurettes / Trailer

Review: The People Under the Stairs / Cert: 15 / Director: Wes Craven / Screenplay: Wes Craven / Starring: Brandon Adams, Everett McGill, Wendy Robie, Ving Rhames / Release Date: Out Now

While perhaps not one of the better-known or more celebrated films of Craven’s undeniably patchy oeuvre, The People Under the Stairs has definitely improved with age. Like many of his films from the ’80s onwards, it’s a slice of Urban Gothic, shining the spotlight on the horrors that may lurk unseen right under our very noses, next door, or just around the corner from where we live out our own ‘normal’ lives.

Life isn’t looking to rosy for young ‘Fool’ (Adams) and his family: mum’s got cancer and his big sister is turning tricks, and to cap things off they’re about to be evicted from their grottier-than-grotty tenement building to make way for some new condos. They may at this juncture perceive their stinking rich landlords to be evil bastards, but they don’t know the half of it yet. On a hot tip concerning some hidden gold, Fool and feckless family ‘friend’ Leroy (a pre-Pulp Fiction Rhames) break into said landlords’ fortress-like house, and an insane game of cat and mouse ensues as they discover the full horror of the house’s secrets, falling foul of the demented ‘Man’ and ‘Woman’ (McGill and Robie, best known respectively as ‘Big Ed’ and the eye-patch-wearing ‘Nadine’ of Twin Peaks). But who are the titular under-stair dwellers, lurking in the walls? Well, we won’t spoil that one in case you’ve never seen it. We’re good like that.

Mostly played for laughs like many a genre flick of the time, People is an enjoyable ghost train ride, complete with electrified door handles, booby traps (a recurring Craven motif), trapdoors, secret passages, plenty of stray body parts, and one formidable mutt. It comes across like a darker-than-dark, Marxist inversion of the previous year’s Home Alone, with the homeowners posited as the ultimate capitalists, their (literal) cannibalism serving as a metaphor for this. Occasionally the humour falls flat, and the odd suspense sequence is bungled, but there are some great performances to enjoy, especially from the two villains and Rhames. The presence of Rhames and the full-body gimp suit that McGill dons to embark on his murderous rampages leads one to wonder if a certain young Quentin caught the movie at a vital point in the writing of his 1994 film.

All things considered, it’s infinitely better than the succession of dire Elm Street sequels that had been seen by that time (not to mention Craven’s own Shocker), and is certainly a breath of fresh air seen again today, in a genre now dominated by glossy-but-soulless remakes, ‘torture porn’, identikit slashers and increasingly tedious ‘found footage’ melodramas. This is simply because it contains three elements lacking from most of these: originality, a modicum of wit, and, above all, heart. And this immaculate transfer from Arrow Films represents the best possible way to (re)discover it short of catching it on the big screen.

Extras: Audio commentary with Brandon Adams / Cast and director retrospectives / Original trailer / Collector’s booklet

  

Review: 8½ / Cert: 15 / Director: Federico Fellini / Screenplay: Various / Starring: Marcello Mastroianni, Anouk Aimee, Claudia Cardinale / Release Date: Out Now

“Even if I set out to make a film about a fillet of sole, it would be about me.” With this comment, Federico Fellini summed up the abundance of self-indulgence on display in 8½, his semi-autobiographical meditation on the creative process and its effect on the self. That this never resulted in a film loaded with pretentious, sub-Camus Euro-babble is testament to the strength of the film’s cast, the wit of Fellini’s script and the brilliance of his imagery.

The latter is established from the off in a dream sequence that begins in a nightmarishly claustrophobic traffic jam and ends from the POV of the protagonist as he floats above a beach, looking down at a man on the shoreline who is holding the other end of the string that is tied around his ankle. From this moment on, whenever the film threatens to test one’s patience with its wordy meanderings on the struggle of the artist, there is always some jaw-dropping sequence of surrealism to maintain one’s interest.

The plot, such as it is, concerns Guido Anselmi (Mastroianni) a celebrated filmmaker battling a creative block while attempting to make a science fiction movie. As he struggles to generate any ideas as to what his film should be about, he is plagued on all sides by individuals from his past and his present (most of them women), some in dreams and flashbacks and some supposedly from the here and now. We say supposedly as the distinction between past and present, reality and fantasy is not always clear (8½ flits between the lot with gay abandon), which results in a storyline that will appeal most to those who don’t concern themselves too much with linear narrative.

As the story progresses and Guido is no closer to resolving his creative difficulties, the themes expand until it’s less about the problems with Guido’s film and more about whether it’s possible to be creatively fulfilled and happy in one’s personal and professional life without the need to compromise (a philosophical question often referred to as ‘the dilemma of the selfish arsehole’).

8½ is regularly voted one of the greatest films of all time, by film critics at least. While it’s certainly visually arresting, technically brilliant and effortlessly stylish (with Claudia Cardinale, Barbara Steele and Anouk Aimée, how could it not be?) it is occasionally irritating, particularly so if you’re the sort of person who can be alienated by too much navel-gazing. But it is this very self-indulgence that enables Fellini to produce an honest and insightful examination of the anxiety of the feted artist, namely, “What do I do next?” This bewilderment is encapsulated when Guido, expressing both his frustration with his artistic impotence and the vitality of his creative impulse says, “I really have nothing to say, but I want to say it all the same.”

We watch films for many different reasons. Sometimes we watch them because they have a personal meaning for us and we wish to generate the emotions that we know they’ll deliver on demand. Then there are those films that we watch for pure enjoyment and to share with some friends, films that deliver pure escapism. Then there are those films we watch to remind us of the unique possibilities offered by cinema, films that tell a story in a way impossible in any other medium and that are as close to a waking dream state as any art is capable of. 8½ is exactly that sort of film.

It also has to be said that for the most part the black-and-white image looks exceptional. The image is as crisp as you like, with whites looking Daz fresh and, if you’ve ever wondered what Blu-ray enthusiasts are on about when they talk about black black, this transfer will answer that question.

Extras: Lost Sequence – a 50-minute documentary on the making of 8½ / Interview with assistant director Lina Wertmuller / Fellini’s speech on receiving his Life Achievement Academy Award / Theatrical Trailers

Review: The Disco Exorcist / Cert: 18 / Director: Richard Griffin / Screenplay: Tony Nunes, Ted Geoghagen / Starring: Michael Reed, Ruth Sullivan, Sarah Nicklin / Release Date: Out Now

As though we couldn’t get enough of them, The Disco Exorcist is yet another exercise in Grindhouse pastiche, and although it does many things well it ultimately fails due to a very flat script and some leaden pacing.

The concept sounds fun: Disco King Rex Romanski (Reed) seduces and ensnares the alluring Rita Marie (Sullivan) one night on the local dance floor and, although she is smitten, he strays the following night following a chance meeting with porn star Amoreena Jones (Nicklin). Rita goes ape-shit and invokes a curse on Rex which naturally leads to an all-out zombie onslaught at a sex orgy. See? Sounds like fun.

However, in order for them to really work, these faux Grindhouse movies have to be better than the originals. This isn’t. It’s all very well to say, “Well, yeah, but the acting is supposed to be bad, the dialogue corny and the pacing all over the place, but it’s okay because we’re all in on the joke”. Unfortunately, that argument will only wash if the result is funny, scary or thrilling. The Disco Exorcist isn’t. The first 45 minutes in particular drag terribly and many of the worst lines are delivered with all the ill-deserved confidence of someone spewing forth comedy gold. Indeed, it looks as though the cast are really enjoying themselves at times but most of the supporting actors are so pantomime that they seem to be on the verge of winking at the camera after each line. Again, you can get away with this if it is funny.

Having said that, it’s not been made without love and isn’t devoid of merit. The three leads are likeable and engaging, and it has to be said that they all attack the frequent and varied sex scenes with gusto. Ruth Sullivan in particular delivers a performance that is pitch-perfect as the wronged woman who turns to witchcraft for revenge, looking and acting as though she’s just stepped out of some fleapit cinema screen in order to sashay her way down 42nd Street.

It’s also very well lit, with an abundance of primary colours shot through a disco haze invoking the cheap glamour of the ’70s club and porn scenes. Special effects are also good while being sufficiently rough around the edges to evoke that exploitation cinema feel.

Most Grindhouse movies have been forgotten because they were awful. However, the very best could be urgent, exciting, visceral slices of adrenalin-fuelled depravity that both appalled and delighted their audience. It was guerilla filmmaking successfully realised by obsessives with little money but talent in spades who were eager to push the boundaries, regardless of budget. The very best examples that reinvent Grindhouse (and for the very best example see Father’s Day from Astron-6) emulate such films. The Disco Exorcist however is an intentionally awful film and an average faux Grindhouse spoof. Fans with a penchant for either may find something here that is worth their time. For us, this joke is over now. It was fun while it lasted but it’s perhaps time to move on.

Extras: None

Review: Necessary Evil – Super-villains of DC Comics / Cert: MPAA / Director: Scott Devine, J.M. Kenny / Screenplay: Scott Devine, J.M. Kenny / Starring: Christopher Lee, Paul Dini, Mike Carlin, Jim Lee, Zack Snyder, Scott Snyder, Geoff Johns, Dan DiDio, Richard Donner, Scott Porter, Clancy Brown, Kevin Conroy, Guillermo Del Toro, Neal Adams, Marv Wolfman / Release Date: Out Now (US import)

Necessary Evil is something of an oddity. It is essentially a DVD bonus feature to accompany DC Comics’ recent Villains Month event. That’s not to say that it’s a bad thing, it’s just that the film seems to lack any clear vision in how it handles its subject matter.

The big problem with the film is in the way it is structured, jumping from one character, story or theme to another with no clear through-line. It’s such a wide area to cover in such a short running time that nothing is really said and you’re largely left knowing little more than when you started watching it. Some characters seem to be skimmed over briefly in an attempt to at least appease that character’s fans, without using too much screen time on them.

Given that there is no talk of how characters are adapted for their many incarnations outside of the comics, the inclusion of multiple clips from various movies, TV series and cartoons serve as nothing more than a point of reference for people who have never read a comic book.

Likewise having people like Zack Snyder, Richard Donner and Guillermo del Toro weighing in seems to be about little more than getting some big names to put on the box to pull in casual fans. Their inclusion is mostly redundant as they have nothing really to offer on the characters they are talking about, with Snyder particularly looking like he doesn’t really know what he’s doing there beyond having just made Warner Bros a ton of money with Man of Steel.

As a fan of comics, this writer will happily sit and watch anyone talk with passion about the stories and characters they have created and there is a payoff for that in particular from the likes of Mike Carlin, Neal Adams and in particular Geoff Johns talking about Sinestro, but on the whole the overall thing is a largely forgettable affair that doesn’t really tell us anything that can’t be found out from reading the comics themselves.

This film currently has no UK release date, but is available now to import on Region 1 DVD or Region Free Blu-ray. 

Extras: None

Review: Kick-Ass 2 / Cert: 15 / Director: Jeff Wadlow / Screenplay: Jeff Wadlow / Starring: Aaron Taylor-Johnson, Chloe Grace Moretz, Christopher Mintz-Plasse, Jim Carrey, Morris Chestnut / Released: December 9th

The follow-up to Matthew Vaughn’s Kick-Ass had a lot to live up to. After the cult status that the first film achieved, not to mention the hype generated by Kick-Ass creator Mark Millar, the film always had the potential to fall flat on its face. With Jeff Wadlow taking the directorial reigns (Vaughn served as a producer), the story is based around Millar and John Romita Jr.’s Kick-Ass 2 and Hit-Girl books. With Big Daddy cremated in the first movie, we find the pair of Kick-Ass (Taylor-Johnson) and Hit-Girl (Moretz) struggling with their own identities and their place in the world. Whilst Dave/Kick-Ass decides to once again don the wetsuit and become Kick-Ass, Mindy/Hit-Girl decides to try and focus on just being a normal high school teen. Lurking in the background, we have the growing threat of the villainous Mother Fucker (Mintz-Plasse)…

Similar to its predecessor, Kick-Ass 2 juggles ferocious bloodshed with crisp, sharp, funny dialogue. The film is also not afraid to poke fun at itself and its subject matter, while there’s a lot of heart and emotion on show at times. With the exploits of Kick-Ass in the first movie having inspired the public, there’s plenty more characters on show this time out. Whereas the first film was intertwined around Kick-Ass, Hit-Girl, Big Daddy, and Red Mist, this time we’re given the team of Justice Forever – featuring Jim Carrey chewing scenery as Colonel Stars & Stripes (whilst his dog chews testicles) and we’ve also got the fantastically named bad guy group, The Toxic Mega Cunts.

Kick-Ass 2 is a film that is fluid, fast-moving and snappy. With a running time of little over an hour and a half, the story comes across as progressive, well-delivered, and sharply executed. With an almost black humour to the movie, there are genuine laughs on show in Kick-Ass 2, particularly from the again impressive Chloe Moretz’s Hit-Girl. With one-liners aplenty, Hit-Girl steals the film, be it when administering bloody beat downs or when dealing out a fantastic put down, and one of the film’s highlights is when she comes face-to-face with the gargantuan Mother Russia (Olga Kurkulina).

Yes, Kick-Ass 2 has a lot of gore-drenched action – too much for Jim Carrey, at least – but there’s also some nice character development as our heroes come of age; Dave as a hero, and Mindy as a teenager.

With Kick-Ass 3 seemingly a given – stick around until after the credits – Kick-Ass 2 works as both a standalone film or as part of a series. Maybe a little clichéd for some, Kick-Ass 2 is a worthy sequel, even if it doesn’t deliver quite as much as its predecessor.

Extras: Alternative scenes / Three featurettes / Commentary with cast and director