For May, Film Fight has 4 films…

First up, Child 44 is a slow-paced thriller, starring Tom Hardy as a Russian officer trying to link together the disappearances of several children. It takes its time to cover the ground it needs to, building up slowly over the 2 hour or so runtime, without becoming a slog. While some of the accents are weak and the action sequences are ill-advised (but infrequent), it manages to do what it needs to do fairly well. Solid. (See my Child 44 Twitter review).

Samuel L. Jackson seems like he’s open to do pretty much any film that seems like it’ll be fun, and Big Game is no exception. It’s clearly on a tiny budget given its action aspirations, but does surprisingly well within its constraints. Following the dual plots of a boy sent into the Finnish wilderness to become a man and the attempted assassination of the US president, that quickly come together, it starts silly and remains generally fun. It’s definitely not a classic, but is an entertaining enough way to pass an afternoon. (See my Big Game Twitter review).

We’ve waited a long time for another in the series, so it’s good to see that Mad Max: Fury Road does not disappoint. This is a film that manages to get a surprising amount of world-building and characterisation through the deluge of action; with Charlize Theron’s Imperator Furiosa a clear stand-out. The main event, however, is the relentlessly paced and breath-taking action. Tere are several lengthy sequences of chases that are always crystal clear, and constantly moving. While the handful of quiet scenes are a welcome relief, they are weaker than the rest of the film. An excellent action movie that is as technically brilliant as it is fun to watch. (See my Mad Max: Fury Road Twitter review).

Finally, Tomorrowland is probably the most well-meaning film you’ll see for a long time; focussing on a central message of trying your best to improve the world. It’s genuinely nice to see such a hopeful message given in a fun way. Sadly, the film doesn’t quite get to where it is trying to reach. It’s inoffensive, but fairly bland. None of the action sequences really grab you, the plot is a little flimsy, and it does get more than a little heavy-handed when delivering its core message. All in, it’s pleasant but forgettable. (See my Tomorrowland Twitter review).

The winner for May is Mad Max: Fury Road. Great action is rarely done with this level of clarity.

April is a little quieter, with just three films…

First up, Kurt Cobain: Montage of Heck is a documentary that covers the early years of Cobain’s life, through his success with Nirvana, his relationship with Courtney Love, and ultimately his death. It starts off strongly, by showing a side of the icon that we rarely see, his formative years, in such a way that we both get insight into and sympathy for his later struggles. There are powerful moments throughout the piece, but the presentation is somewhat lacking. Lengthy montages over Nirvana songs make up the bulk of the piece, and these are the weakest segments by a long way. It works far better when it’s being a more traditional talking-heads documentary. Languid pacing ultimately ruin an otherwise interesting take on the man. Mediocre, meandering, maybe dull. (See my Kurt Cobain: Montage of Heck Twitter review).

Keanu Reeves has a reputation for being a little wooden as an actor, and John Wick does very little to shake that, even amongst a movie full of forgettable performances. The story is pretty weak, and the world building is a mess, but it does have some fairly spectacular action sequences. The action choreography works extremely well, stylised and efficient gun play throughout. It’s fun but absolutely mindless. (See my John Wick Twitter review).

Finally, Avengers: Age Of Ultron gives us exactly what we now expect from these films: a large ensemble (including some newcomers), fight against a huge threat (in this case, the titular Ultron, played well by James Spader), in a series of increasingly large scale battles. It’s a high quality blockbuster action film with everything that implies. It’s polished, fun, exciting, but very much of its genre. If you like the rest of the Marvel canon then you’ll know whether you want to see this; it’s not the best in the franchise, but it’s certainly not the worst. (See my Avengers: Age of Ultron Twitter review).

The winner for April is Avengers: Age of Ultron. It wouldn’t win in a stronger month, but I’d watch it again long before seeing the other two films.

For March, we have five films to review…

First up, Predestination is that rare film that does far more than the description. The synopsis suggests a time travel plot about catching a mysterious bomber before he strikes again. The actual plot is very different, but to speak about it would spoil some of the surprises. Obviously made on a lower budget, the film manages to fit in a remarkable amount of world and character building, with striking visuals and genuinely unexpected twists. Very good. (See my Predestination Twitter review).

Catch Me Daddy is a dark and provocative look into so-called “honour killings”. While the details of the plot are best watched, it’s fair to say the film progresses slowly and grounded firmly in a realistic style, giving a sense of grim menace. Despite the pacing, the film is gripping throughout. The performances are, for the most part, understated, but that feels right given the subject matter. Worth seeing, but not easy going. (See my Catch Me Daddy Twitter review).

Neill BlomKamp’s latest, Chappie, manages to further erode the stellar reputation the director set up with his debut, District 9. The plot is thin and limp, telegraphed from the outset, and with little originality on display. Despite a great cast, the performances from the traditional actors are bare, and those by Die Antwoord (who make up the emotional core of the movie) are atrocious; consisting of either flat line readings or one-note, overwrought depictions. You won’t care about what happens to anyone. It’s an awful film, avoid. (See my Chappie Twitter review).

If you’ve ever seen a con-man film before then Focus will have few surprises. Expect the usual breezy dialogue, heavy use of narrative exposition (usually explaining the next con), and twists-upon-twists that you can see coming from the outset. That’s not to say it’s a bad film: it’s entertaining and competent, if a little predictable. Fun, but far from essential. (See my Focus Twitter review).

Finally, The Voices is about a man whose dog and cat speak to him, and encourage his better and worse natures. The film takes sharp turns between comically overdone violence and brutal, gritty realism, which greatly helps amp up the dark humour. Ryan Reynolds does well as the lead (as well as providing the voices for the dog and cat), and the remaining cast fit nicely around his increasingly strange behavour. Weird, but funny. (See my The Voices Twitter review).

The winner for is Predestination. Despite me trying to avoid saying anything too substantial about the plot, it’s worth seeing.

February is a lot shorter than January’s behemoth edition with just 3 films.

First up, Jupiter Ascending has some stunning visuals. If you took the Wachowski’s latest film as a series of isolated moments, it can be absolutely striking. Sadly, those moments are tied together as a film; and a terrible one at that. The plot is nonsensical, largely told in exposition, and with characters for whom it would be a stretch to call them “sketched”. Some of the devices and ideas tying the world and action together are beyond dumb, the gravity skates being a particular low point. This film is awful, and I’d wager a contender for worst film of the year. (See my Jupiter Ascending Twitter review).

Selma is a fresh take on the American civil rights movement, focussing on the period Martin Luther King took his campaign to Selma, Alabama. It’s a fascinating insight into both a small moment of the movement, and does a reasonable job of showing that King was a visionary but not perfect. David Oyelowo puts in a fantastic performance as the lead, demonstrating King’s well-known oratorial prowess, and some of his frailties. At times the swelling music and sweeping visuals can be a little on the Oscar-bait side, but this is a movie worthy of that grandeur. Very good. (See my Selma Twitter review).

Finally, Kingsman: The Secret Service is the kind of big, silly, fun, comic-book chaos that you expect from a Matthew Vaughn film. Sure, it doesn’t quite make sense, and some of the action is a little more chaotic than clear, but it’s entertaining. It’s not going to win any awards, but some films don’t have to in order to be enjoyable. Good. (See my Kingsman: The Secret Service Twitter review).

Fairly easy but deserving win for Selma in February.

Welcome to Film Fight 2015! I haven’t checked to be certain, but I believe this is going to be the biggest month yet with 9 films in the fight. Even the thought of tackling this number has delayed this post by a silly amount. Because this was during the season for Oscar releases, most of these are going to be better than average.

First up, Big Hero 6 rightly makes a big deal of the main character’s robot, Baymax, and his understated and unintentional humour. He’s a great addition to an otherwise barely sketched cast of characters, none of whom get enough individual screen time to get beyond a single character trait. I’m not expecting nuance, but a little more than we get would be nice. That said, the film is the kind of fun adventure we’ve come to expect from Disney Animation Studios. It’s certainly not the best kid’s animated film you’ll see, but it’s far from the worst. (See my Big Hero 6 Twitter review).

St. Vincent has Bill Murray play a grouchy but funny old man, a role with which he has become more than comfortable. Keeping the act fresh is the introduction of a single mother and son as neighbours who begin to rely on him. All of the characters build just enough, their interactions work very well, and the movie ticks along nicely. A funny, and at times sweet, comedy. Well worth seeing. (See my St. Vincent Twitter review)

Taken 3 is the next inevitable cash grab in the series, following the surprisingly great original. There’s nothing new here, and many of the ideas have been done to death. It’s formulaic, but fun; entertaining, but with an utterly nonsensical plot. The action set pieces that we’re always moving towards are reasonable enough but you won’t care about any of the cast, making those sequences fairly hollow. Watch if you want something mindless. (See my Taken 3 Twitter review).

The relentless pace and movement given to Birdman by both its seamless editing and direction define it. There’s no looking away from Michael Keaton’s lead performance as an actor losing himself to self-doubt and self-obsession, a nihilistic narcissism played out between stage performances. The supporting cast are equally brilliant, particularly Edward Norton and Emma Stone, each bringing their own distractions. We’re never allowed to see what is real and what is imaginary, where the play within the movie ends and the lead’s breakdown begins. An excellent movie. (See my Birdman Twitter review).

Foxcatcher is based on the true story of a millionaire funding wrestling in the US, for mostly vanity reasons, and the two brothers who get caught up in his ill-conceived act of egotism. The lead performances are exceptionally strong. Steve Carrell shows a serious side we haven’t seen before, and Channing Tatum puts in a great physical performance as an awkward, lumbering wrestler. As a whole, however, the movie is languidly paced. Until the very end, you want things to move just a bit faster. Worth seeing. (See my Foxcatcher Twitter review).

Never before has musical performance been so tense as in Whiplash. I can think of few films that had my muscles tighten so much as when the lead, an aspiring drummer, performs as hard as he can whilst being berated by his bully of a coach, fantastically played by JK Simmons. As you might imagine, the film sounds incredible, one of the few times going to the cinema pays dividends unless you have a high-end sound system. The story itself is weak (you’ll see most of it coming) but it’s the two thoroughly unlikeable main characters going head-to-head that make this film something you. Excellent. (See my Whiplash Twitter review).

There are many war films that have something to say that would be worth hearing. American Sniper is not one of them. Its few messages (the impact of war on veterans, the unflinching/harmful patriotism of some) have been said far better in other movies. The plot itself, focussing on a sniper chasing one of his counterparts over the years, is dull: each of the four main segments are similar enough that even the few action sequences are pretty unengaging, with the only stand-out being the scene used for the trailer. Not worth seeing. (See my American Sniper Twitter review).

I have a lot of time for James Franco and Seth Rogen. Their comedy is often juvenile, but it frequently tickles me just the right way. The Interview is not one of those occasions. The premise is thin, the jokes are one-note (and it’s a dud), the progression is contrived, the acting is weak, and there’s really not much else. It fails to do just about anything well. There are a million better comedies to see than this. (See my The Interview Twitter review).

Finally, Ex Machina is a fascinating and gripping take on some very important issues. It’s an exploration of AI, human nature, and manipulation. There are enough twists and turns, layers of complication, to keep things moving nicely. Alex Garland has shot this beautifully, squeezing surprisingly great and nuanced performances from his small cast. This is an exceptionally good movie, directorial debut or not. (See my Ex Machina Twitter review).

There are at least three movies that could win the year this month, but only one gets through. Very hard to call, but I think it has to be Birdman, for keeping up that pace and quality for so long.