The Babadook – A Quick Capsule Review (Revisited)

The Babadook – A Quick Capsule Review (Revisited)

Quick Review

Phil’s Quick Capsule Review:
There’s little left to be said about The Babadook.  From All Things Film’s own Andrew Mackay’s glowing review to the heaps of 5 star reviews across the globe, it’s fair top say the film arrives with bucket loads of hype.  And you know what… for once it actually deserves it! Scary as hell, this old school horror film is so unsettling and oppressive that it will stay will for you for weeks to come. Needless to say this is a film that demands to be seen in teh best possible way – so turn off the lights, send teh kids to bed and get prepared to be scared shitless.

Best Bit: Direction.  One of the most assured feature debuts ever.

Buy, Rent, Stream, Borrow: Buy

If You Liked this Try: The Shining, The Others, We Need To Talk About Kevin



Author: Phil Hobden




Click here for related articles 

Phil’s Quick Capsule Review & Friends: 2016 In Review Podcast

Phil’s Quick Capsule Review & Friends: 2016 In Review Podcast

Other Cr*p Year In Review

Phil’s Quick Capsule Review End Of Year look at the best and worst of 2016 in podcast form.  Yes in a tradition that stretches back to The Film Podcast and filmsploitation before it, I get together some friends and we argue/debate./discuss the best and worst of 2016.  In a podcast.

And this year for the first time there’s a video also!

Join host Phil Hobden, podcaster Andrew Mackay, filmmaker Ross Boyask and writer Matt Duddy as they run down the best and worst films of 2016, their surprises, heroes and villains work through a legendary Ross Boyask quiz and help deliver the Quick Capsule Review’s end of year awards for 2016.

Available on Podcast (Via PodBean, YouTube and torrent).
For more check out as well as searching The Smoking Lamb Podcast on itunes.


Download via Torrent Link 


Download on PodBean



Blog: All Things Film – Everybody Wants Some!! (2016) Reviewed (Advanced Screening)

Blog: All Things Film – Everybody Wants Some!! (2016) Reviewed (Advanced Screening)

All Things Film Blog Other Cr*p Uncategorized

Writer/director Richard Linklater can be a very acquired taste. To some he’s the epitaph of teenage revolt, revel and ruminations; a clever vox pop of youth in any given setting and their trials and social tribulations are woven carefully into the subtext.

Or, as in the case of Everybody Wants Some!!, Linklater can be infuriatingly annoying and unmask what we all fear to be true; that he’s a chancer riding on the success of Slacker and later Oscar-bait such as Boyhood.

There’s no point in telling you about two things. First up is the story. There isn’t one, save to say, a boy named Jake arrives at college in 1980 a weekend before his classes start and mixes into a clique of mostly bearded, tight-jean wearing misogynists. Second, I cannot remember any of the characters exclusively as they sort of all meld into one giant unpleasant vomit ball of sexism.

The opening scene would no doubt do Michael Bay proud. Linklater passing no opportunities up to shoot at great length the bottoms of the freshman teenage girls. it’s all under the guise, of course, of the leering boys in the car as they examine the talent before heading off to a party. Jake, the closest we get to a protagonist (simply because he’s new, and very charming) becomes the centre of attention – and will eventually attract a meaningful relationship to Beverley, who’s treated with slightly more dignity by the camerawork.

What results is a two-hour borefest of extremely lame jokes (actually, they’re more observations) and when the ‘dudes’ aren’t stereotyping themselves as future revenge porn stars with their trite and dull dialogue, they’re attempting to dance at the innumerable nightclubs we find ourselves in.

The entire affair is a colossal bore. It’s pretty much the worst of Kevin Smith meets the worst of Linklater himself. My attention drifted away to other things at a few points in the film, and at about the halfway mark I decided that the film had nothing to say, and nowhere left to go. This revelation proved to be something of an overstatement. It treads the same ground as the unnecessary final twenty minutes of Boyhood, and attempts to throw in some quirky characters along the way. These characters come across as desperate. The entire movie flat-lines early on. I’m here to tell you that the resuscitation not only doesn’t work, but an attempt never even bothers happening.

I guess – on a positive note – you could argue that the eighties soundtrack is well put together. Sure, no problem there. But that’s hardly a dizzying feat when clearly all your budget has been stoking those particular fires.

There were a good dozen people laughing regularly throughout the movie at the ‘jokes’. I failed to find any of them funny, as the characters are so atrociously drawn (though no doubt fairly accurate) and are very hard to like given their extremely chauvinistic attitudes. I felt sorry for the women in the movie.

I felt even more sorry for any future audience who may find themselves sitting in front of the damn thing.


Author: Andrew Mackay


To hear more on this review (and others like it) make sure you download our very own show, The Film Podcast! 

Blog: All Things Film – Friend Request (2016)  Reviewed

Blog: All Things Film – Friend Request (2016) Reviewed

All Things Film Blog Other Cr*p Uncategorized

I suppose it was inevitable that last year’s Unfriended may spawn some copycat thriller/horror movies. Now that I’ve delved (albeit not too deep) I discover that Friend Request could well have been made before Unfriended and has been sitting on the distribution shelf for a while.

It’s not hard to see why. Friend Request does for horror, what any idiotic teen slasher movies does for ingenuity: i.e., not very much. Sure, it’s set around the whole world of Facebook and a few young, dumb pretty teens getting offed one by one by a malevolent spirit who’s recently committed suicide. The popular girl, Laura, is befriended by Miriam, who’s a total goth loner. Laura’s acceptance of Miriam’s friend request makes her day, and she sets about stalking her until the inevitable mid-point twist of her hanging herself and setting her feet on fire.

If Friend Request sounds a bit like 2000’s Gossip, starring Lena Headey, then you’d not be far off. There’s a university campus/gossip-y thing going on there, which quickly descends into Fatal Attraction (I’m sure the writers were thinking of Glenn Close for the Miriam character) and then, all-out stupidity and any number of recent shite like The Conjuring or Insidious more than fits the bill.

Yet again, we sit back and suffer one dimensional characters making the most idiotic decisions in horror movies. For once I’d like to see a set of teenagers with a pulse and a brain who don’t operate as if they’re aware that they are in a horror film. Creaky, darkened corridors with torches and repeated call outs of “Josh! Are you there?! This ain’t funny, dude?!” are starting to wear really thin.

And so, to the aggravating bugbear. Do teenagers life their lives *constantly* on FaceBook? I found myself shaking my head in utter disaffection more than once, thinking “For God’s sake, stop checking your phone!”. Sure enough, the blonde bimbo who gets killed (I think third) actually advises Laura to just cancel her account and log off. She can’t, you see, as the spirit world is keeping her in check in much the same way we saw in Unfriended.

How about this, Laura: why not throw your laptop in an incinerator? I doubt she’d do that though because, according to recent news stories, even prohibiting these infantile morons from texting during a movie is considered against their human rights; an arbitration of their civil entitlements akin to lopping off a limb.

Ahhh, it’d all be so woefully dull and ironic if it weren’t so maddeningly lame-brained and inconsequential. The film is far from being able to cause offense. Unless, of course, you’re a witch with a black mirror from five hundred years ago; apparently, the netherworld had a clause in its spirit-bothering contract; “thou shalt only haunt those on social media”. This is just utter pish.


Author: Andrew Mackay


To hear more on this review (and others like it) make sure you download our very own show, The Film Podcast! 

Blog: All Things Film – Eye in the Sky (2016)  Reviewed

Blog: All Things Film – Eye in the Sky (2016) Reviewed

All Things Film Blog Other Cr*p Uncategorized

Really, this should be re-titled “Good Kill 2” as it’s basically the exact same film that starred Ethan Hawke undergoing some severe traumatic interludes as he’s manning the trigger on the drone that’s going to wipe out a bunch of Brown people. Here, the action is set in Nairobi where a group of terrorists are busy strapping suicide vests to themselves and recording videos.

A curious thought struck me during the film; as Helen Mirren’s hard-nosed colonel is watching this event unfurl on her screen, it appears that these terrorists are really slow in getting ready to go out. It allows enough time for Jeremy Northam, Monica Dolan and Alan Rickman at Whitehall to ponder the various outcomes of dumping a drone and wiping out the targets and assesing the damage of the perimeter.

Thankfully, Barkhad Abdi is on the ground to release a tiny little bug drone to fly into the compound and view the events from inside. Not so much Eye in the Sky, then, as Fly on the Wall – or rather a beam on the ceiling. Director Gavin Hood manages to skilfully interleave the debate of whether or not to strike when a little girl selling bed settles herself just behind the brick wall of the target area. She’s dressed in red, presumably because the guidebook on modern existentialism makes frequent nods to Spielberg and demands that all innocent targets dress in red. But, perhaps that’s just so us Westerners don’t confuse one cannon fodder child from another.

It gets quite tense toward the third act when the decision ultimately seals everyone’s fate. There’s the typical western trope in that another level of innocence enters the scene once it’s too late.

Another worthy note here is just how strangely funny the entire movie is. It seems no-one wants to take responsibility for the actual attack and an inordinate amount of time is wasted faffing around when everyone has to call the next higher up to ultimately pass the buck on to someone else. is it ‘haha’ funny? Not especially. I think the humour comes from the likes of Rickman and Northam playing the higher echelons of political society having to wrestle with the decisions they are ultimately doling out to someone else; we can easily envisage these characters in real life, and imagine David Cameron having to call Donal Trump in less than a year’s time in precisely the same situation. Only, of course, should he be calling President trump, I’m sure the resultant film would only be half as long as Eye in the Sky, and certainly contain more innocent casualties.

If this all seems needlessly misanthropic, then that’s just as well. Hood makes no attempt to mask his opinion on the whole affair. The film segues neatly into a heart-tugging “told you so” sort of epilogue which ultimately damages the movie’s incredible journey to the decision. It’s not needed. Andrew Niccol did much the same thing in Good Kill, but with far less fist.

And so, is Eye in the Sky one for you to catch? Like the characters in this film, I’ll pass the buck to you to decide – but if you enjoyed Good Kill, and don’t mind another finger-waving slap in the face, then this is worth catching.


Author: Andrew Mackay


To hear more on this review (and others like it) make sure you download our very own show, The Film Podcast! 

Blog: All Things Film – Eddie the Eagle (2016) Reviewed

Blog: All Things Film – Eddie the Eagle (2016) Reviewed

All Things Film Blog Other Cr*p Uncategorized

Could it possibly be that director Dexter Fletcher is the one British director who’s not had a faultless movie on his resume? First Wild Bill, then Sunshine on Leith and now Eddie the Eagle. At this rate, Fletcher’s next film will earn him Best Director at the Oscars and, if the trend continues thereafter, perhaps his fifth film will cure AIDS.

I have to admit, I barely remember Eddie the Eagle when I was a little kid. In fact I’m quite sure I confused him with Evel Knievel at various points. I mean, both of their names begin with an “E”. I vaguely remember all the coverage on the TV but if you were to ever ask me the name of any ski jumper, Eddie ‘The Eagle’ Edwards is probably about as far as my vocabulary goes.

A true underdog story if ever there was one – and of course we’ve seen dozens – this has to be among the best of the bunch. In many ways, Fletcher’s direction plays out exactly as you’d expect: a plethora of Eighties soundtracks after a series of mishaps and training montages (often in the same sneeze), and the obligatory growing-up-and-older opening segment where we see the bespectacled and socially inept Edwards getting shat on from high.

This may sound like a downer if you’re reading this and considering going to see the film. It’s really not a downer because in the hands of Dexter Fletcher (who’s clearly learned a lot from working with some of the world’s greatest directors) Eddie the Eagle is lean, bold and enormously entertaining. It’ll take a stone cold heart not to toe-tap to the awesome soundtrack and marvel at some of the more sumptuous cinematography I’ve seen all year.

Taron Edgerton (the lead in Kingsman) plays Eddie absolutely perfectly; mannerisms are down to a tee, and it’s a far cry from the hooded thug he portrayed earlier last year. Hugh Jackman – for once not playing Wolverine – plays the drunk ex-jumper and mentor extremely well. Even Christopher Walken has a cameo.

If the film has one or two flawed spots, then it’s probably in the Keith Allen’s character of the father who seems to veer from extremely supportive to completely disaffected on the spin of a dime. Perhaps this is what really happened to Eddie – but I guess we’ll never know.

Eddie the Eagle is the feelgood smiler of the year. Will it high-jump to the awards? Remains to be seen, I suppose. But I loved it, and I’m pretty sure anyone reading this far will do, too.


Author: Andrew Mackay


To hear more on this review (and others like it) make sure you download our very own show, The Film Podcast! 

Blog: All Things Film – Bastille Day (2016) Reviewed

Blog: All Things Film – Bastille Day (2016) Reviewed

All Things Film Blog Other Cr*p Uncategorized

Proving that a crime thriller always works better with a black/white protagonist duo, Bastille Day runs its 92 minute gauntlet like a widow with severe learning difficulties, panting and clutching its chest before tripping over the finish line. The film will have exhausted every single tried and tested cliche from this genre before finally waving the white flag.

I am sure this film was shot nearly a year ago, and I do wonder how the filmmakers would have reacted to the tragic events in Paris in November of last year. The film of course is about terrorists in Paris – of all places – and the hardened CIA operative played by Idris Elba will enact his bad boy routine in torturing the poor pickpocket, played by Richard Madden,to find out why he’s blown four people to tits in front of a fountain with a rucksack.

It wasn’t the youngster’s bag you see – he managed to swipe it from a reticent-at-heart terrorist French women who bottled her duties a few minutes earlier. Will Elba believe Madden when he says he stole it and didn’t know it was a bomb? Will the chief of police turn out to be the bad guy after all? Will the film ever acknowledge that terrorists in area life are rarely white, and that if we are to take any acts of revolution seriously, then evidently only Iceland can be bothered to get off their arses to oust the crooked politicians?


In Bastille Day, Syria doesn’t exist. The poor old Bataclan doesn’t even get a look in. I bring this up because, in being so rudimentary and by-the-numbers token action film making, director James Watkins (working from a copy-and- paste screenplay he farted out with cowriter Andrew Baldwin) clearly hasn’t seen any films with any twists in, ever.

The action is moderate and rarely violent until the final scene. Elba could just stand on his own and command the screen. There’s an action scene that takes place in the back of a police van that so tight and closely edited, you fail to register who’s punching who.

All of this is unfortunate timing. I’m sure we all saw the news that fateful night in November 2015 covering the Paris attacks. We cannot take any of this seriously; Idris doesn’t walk away clean. In a movie where you have the rugged, seen-it-all copper who’ll take no prisoners (unless they’re female and with a pert bottom; i.e. all of them) and a confidence trickster out to smarm and con his way to glory – I think the latter of the two is more interesting. Unfortunately for the film, Idris wasn’t cast in that particular part.


Author: Andrew Mackay


To hear more on this review (and others like it) make sure you download our very own show, The Film Podcast! 

Blog: All Things Film – Criminal (2016) – Reviewed

Blog: All Things Film – Criminal (2016) – Reviewed

All Things Film Blog Other Cr*p Uncategorized

Surely a film starring Ryan Reynolds, Kevin Costner, Tommy Lee Jones, Gary Oldman and Gal Gadot has to be better than this? Sure enough, Reynolds is reduced to an extended cameo as his CIA agent character is killed as he’s trying to track down some money. Michael Pitt turns up as a Russian terrorist who’s able to launch missiles and so on and so forth…

Jones is coerced by Oldman into transplanting Reynold’s barely-living brain into a psychopath named Jericho (of course) played by Costner. Apparently, you see, he’s the only one on the planet whose frontal cortex is underdeveloped enough to absorb Reynold’s memories so that he can be pushed around to find the flash drive that contains the launch codes for the nukes.

I know, it took me a good five minutes to stop laughing before attempting to take the plot seriously, too. I feel your pain. This is a lamebrained movie, where if you’re able to buy the Brain/Off conceit there’s a sliver of a chance you’ll be entertained. Sure enough, there are some entertaining moments in this shitpile; Costner manages to escape a prison escort which establishes director Ariel Vromen’s intentions to film a number of high octane car chases and have umpteen police cars toss and turn into oncoming trucks. Costner gets to pummel some geezers in a kebab shop (in perhaps the movie’s best scene) and steal a tin of cola as he does it.

The film is set in London. It’s not the first film this year to endanger Londoners by having them trip, fall and scarper away from terrorist shootouts. It’s getting rather tiresome. And when you’re sat there watching the film, you’re not thinking of the plot; if anything, like me, you’ll be thinking “man, they must have closed down Westminster bridge for hours causing untold annoyance for everyone trying to get home!”. Luckily for the cast, they’re basically Skyping their performances over wifi; you can almost hear their fingers swipe on their smart phones, refreshing their bank account pages as they anticipate their fee rolling in.

A few weeks ago there were news stories that London bridge (I think) had an explosion carried out on it for a Jackie Chan movie. So this means London will once again be the target of some espionage frolics for some time to come. Criminal is a wet fart of a movie trying to spotlight some of its good ideas, but ultimately struggles under the weight of its overblown cast and definitely ‘under-blown’ script.


Author: Andrew Mackay


To hear more on this review (and others like it) make sure you download our very own show, The Film Podcast! 

Blog: All Things Film – Where to Invade Next (2016)  Reviewed

Blog: All Things Film – Where to Invade Next (2016) Reviewed

All Things Film Blog Other Cr*p Uncategorized

Having been a massive fan of the even-massiver Michael Moore and his early work (Roger & Me, Bowling for Columbine) and, seeing as his last cinematic effort was six years ago with the ‘running-on-steam’ Capitalism: A love Story, I was wondering when we’d see the next production from Michael Moore.

In Where to Invade Next, the somewhat predictably cloy and smarmy mega-tonned rabble-rouser visits Europe on a hop, skip and jump tour of every country that’s better than America for its own reasons. We visit Germany, France, Slovenia, Finland and even the nothern part of Africa for Tunisia to see just how much better they are at schools, food, taxes, employee’s rights and general common welfare.

This propagandist polemic runs at two hours and is exactly what you’d expect from Moore. he has a healthy disdain, quite clearly for America, and is trying his utmost to create a paralysingly apocryphal tale of woe unto the States via the countries that have stolen its best ideas and made them work.

No doubt if you’re reading this far you’ve seen Sicko, for example. A large portion of that film had Moore stumbling around Charring Cross hospital (located curiously in Fulham and, even curious-lier, right down the road from where I used to work) espousing the wonders of the UK NHS and holding it up as a work of great magnitude, entirely solvent in its quest to aggrandise other developed countries that has chosen not to look after its poor. And speaking of poor, Sicko was indeed ‘poor’. It didn’t dig deep enough and root out the key problems we face. We know this because we’re a British audience, and we know the foibles and eccentricities that Moore elects to negate.

How do we know Michael Moore isn’t just pick-n-mixing a greatest hits of the countries in order to act cry-baby about his own country? Sure, North America may have guns, an anti-abortionist lobby (unlike the Arab nation of Tunisia which healthily decides to enact abortions left, right and centre) – it’s almost as if Moore’s satirical wit and incisive voice over is signalling to the US government that things have to change.

Does this guy not realise that the US President and anyone who has the will of the people probably don’t watch his movies, anyway? So who are they for? They’re for us; the slack layabouts who’d rather post on FaceBook about how angry we are, rather than enact a mass revolution along the lines of what we saw not two weeks ago in Iceland. Moore, sadly, is preaching to the converted. The intellectuals among us already know how flawed North America is. And so what?

Why hold it against the shining light of Europe? A light not so shining, unless you’re the main demographic for a wide-eyed, and wide-belted polemicist trying to wage war from a cinema screen, or front lounge.

Where to Invade Next is about as rudimentary and ‘safe’ as documentaries go. One scene has a hard-on for women so enraged that we endure a series of female faces staring directly at us for what seems like hours. Moore shouldn’t batter the message home quite so obtrusively. After all, we have sat down to watch the film – and not everyone nitwit will do that.

The clue was in the title – “Where to Invade Next”? I tell ya, man, one of those places shouldn’t have been our heart strings – that’s just cheap, Michael.


Author: Andrew Mackay


To hear more on this review (and others like it) make sure you download our very own show, The Film Podcast! 

Blog: All Things Film – Captain America: Civil War  Reviewed (*SPOILER FREE*)

Blog: All Things Film – Captain America: Civil War Reviewed (*SPOILER FREE*)

All Things Film Blog Other Cr*p Uncategorized

Team America: Civil Partnership (2016) Sounds like a sarcastic renaming of Captain America: Civil War, right? Well at first I thought it was funny; sparking up a long-awaited and well-earned post cinema cigarette, trundling back to my car… and then suddenly, I realised – hey, I’m right. There’s A LOT of Team America about the various Avenger characters and as for the civil partnership gag – well, we’ll come to that.

Anyone who knows me reasonably well knows that I care little for these types of movies. Anyone who knows me a bit better knows I’d never score a Marvel movie more than about a 6 out of 10. And sure enough, if I were to assign a score to the movie, that score would be about right.

If there were any doubt that the earnestness of films dutifully open themselves up to parody, then this film is a shining example. I do gratefully acknowledge that what Marvel needs to do these days – now that it has established its cookie cutter, comedy and 4th wall breaking phases – is to inject some existentialism and deep-rooted philosophy; a commentary on the world we live in.

So to Civil War, which opens in much the same away Team America: World Police does; the Avengers all descend upon a bad guy to prevent him from stealing a nuclear device from a building. In trying to prevent the theft, they utterly – and accidentally – decimate – a building, sending it toppling over and crushing many civilians to death. Later on in this film we’ll discover with the Avengers that one of those killed is the son of someone who you shouldn’t mess with.

Another narrative strand shines a spotlight on a more contemporary issue: namely, the somewhat governmental reverse-privatisation of The Avengers model. Team America now finds itself on the receiving end of bad publicity and must be kept in check. Quite how the stern and bearded William Hurt plans to compel a bunch of superheroes succumb to signing a modest treaty with enough clauses to effectively render their services useless is beyond me. But of of course, we soon realise that he’s playing to their solipsistic and moral compasses: all them want to sign, that is, except for Mr. America himself.

How Marvel are differentiating their superheroes to their own films is a bit of a muddle. This is really no more Captain America’s movie than it is Iron Man’s… or Black Widow, or Don Cheadle’s robot thing, or Anthony Mackie’s Icarus-inspired outfit. Spiderman gets his reboot in this film – it’s more The Avengers III than Captain America. Ant-Man is here, as well as Jeremy Renner’s contemporary Robin Hood dude, and thing off of Martha Marcy May Marlene is that super-chick with plasma powers who seems to be able to do anything – always – at will. I swear she even turned back time at one point, which sort of negates the entire thing.

And of course, there’s the sidelined bad guy – some Eastern European psychologist nutcase who is pitting the Team America against itself.

There are a good number of extremely wonderful action set pieces among the dreary humdrum. The opening sequence is a colossal eyeful, as is the remarkable “better than that stupid freeway scene in the second Matrix movie” underground bike chase. The meld of CGI into the action is efficient under the direction of duo Anthony and Joe Russo. This is more ‘blockbustery’ than probably any film this year.

Then there are the attempts to wean out the humanity. Some of it is well done: Robert Downey Jnr is less his self-efficacious clown and far sterner than in his own movies. There’s quite obviously a reason for this which I shan’t go in to, here. Then there’s something called Vision, played by what looks like Paul Bettany, who eerily reminds me of Dr. Manhattan from Watchmen. Could it be a case of too many cooks spoiling the broth?

I’ll leave that up to you to decide, because I’m seriously unqualified to make that assessment. The major set piece takes place in an airfield, where the Civil War really heats up. It’s basically next to impossible for a non-fan to keep up with who’s on which side – thankfully, though, the directors know enough to have them march toward one another in a line-up and open fire. There’s a sense of genuine desperation with the characters; each have their own emotional turmoil to overcome. And they don’t have batter the shit out of each other. For superheroes who possess quite extraordinary abilities, surely wouldn’t one of them – Stark, I’m looking at you – hang fire for a moment and say ‘Hey, why are we fighting? This doesn’t seem right!’.

But then, that wouldn’t service the script, would it?

The whole endeavor treads into a mildly autistic homoerotic frisson between Captain America and Iron Man, which now totally vilifies my “Civil Partnership” gag. Don’t get me wrong, it’s nowhere near strong enough to trouble the franchise (and now I’m writing this, I remember Pepper Potts is missing from the film, so…) – hey, we can only dream one of these characters may be at least bisexual, can’t we? After all, they’re doing a good job of ticking the token race boxes. Maybe the next character can push a different boundary.

Civil War is, without question, the usual expensive jiggery-pokery all-told. Though while it’s on, it’s pretty good fun. I’d recommend thinking twice about taking any child under, say, the age of 8. It’s pretty fierce and violent; each punch resonates and there are some pretty nasty falls all over the place. Some of the thematic moments could either be too much to bear for some, or – like me – will pass you by due to non-committal interference – and it’ll make the 147 minute run time feel that much longer.

Marvel needs to be winding this up, now. I guess for them there is no end to the variations it has so expertly stockpiled and nurtured since 2008’s Iron Man. We can expect more of this type of thing every single year for a long, long time to come…


Author: Andrew Mackay


To hear more on this review (and others like it) make sure you download our very own show, The Film Podcast!