SPIDER-MAN: INTO THE SPIDER-VERSE (Dir: Bob Persichetti, Peter Ramsey & Rodney Rothman, 2018).

SPIDER-MAN: INTO THE SPIDER-VERSE (Dir: Bob Persichetti, Peter Ramsey & Rodney Rothman, 2018).

Produced in a distinct style utilising 2D and 3D animation techniques, Sony Animation’s Spider-Man: Into the Spider-Verse is the most visually spectacular feature film in recent memory. Unconnected to the Marvel Cinematic Universe or, indeed, any of Sony’s many incarnations of the Spider-Man universe; it has its roots in Marvel’s Ultimate Marvel Comics, a series set in an alternate universe to the regular comic lines.

The set-up - high school student is bitten by radioactive spider, struggles with newfound powers before using them to fight evil - is a familiar one, but here the bitten is not the expected Peter Parker but new kid at school misfit Miles Morales. Parker does appear, as a mentor to Miles. But this is an older Parker; a sweatpants wearing, out of shape, midlife crisis Parker from an alternate universe. They and a bunch of other alternate universe Spideys team up to fight his (their?) old adversary Kingpin.

This sounds complicated but Rodney Rothman and Phil Lord’s screenplay is brought to life with surprising clarity. The movie is never difficult to understand and doesn’t get bogged down by its complex multiverse concept. In fact its story is unexpectedly moving, dealing with Miles’ difficult family relationships and his seeming inability to find acceptance in new social surroundings.

The voice work is also exemplary. Shameik Moore is a suitably hip, streetwise yet vulnerable Miles and Jake Johnson brings a worldweary charm to the middle-age Parker.

In a cinematic landscape littered with superhero movies, here is one that really stands out from the crowd. With its humorous, thoughtful storytelling, action set pieces that are genuinely exciting and beautiful graphics Spider-Man: Into the Spider-Verse is one the most satisfying comic book adaptations to grace the big screen.

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VENOM (Dir: Ruben Fleischer, 2018).

It is rare for a superhero villain to have the lead in a superhero movie. The disastrous Catwoman (Pitof, 2014) is one example, the upcoming Joker (Todd Phillips, 2019) is another. Then we have Venom.

You may recall Venom as Spider-Man’s nemesis, portrayed on screen by Topher Grace in 2007’s Spider-Man 3. In this latest adaptation Tom Hardy stars as Eddie Brock, the investigative journalist who, while attempting to take down corrupt scientist Carlton Drake (Riz Ahmed), is infected by an alien symbiote transforming him into super-strong, super-hungry super-villain Venom.

However, Venom isn’t really the bad guy here. Perhaps sensing that audiences would have trouble identifying with a baddie, the character is more ambiguous here, an anti-hero rather than an all out no-good. Gone is the white Spidey logo emblazoned across his chest and indeed any obvious connection to the world of the friendly neighbourhood arachnid. Although a future onscreen hook-up is said to be in the works.

As a Marvel character to which Disney does not hold the movie rights, Venom is not destined to be part of the Marvel Cinematic Universe, in spite of the fact that Spider-Man is now part of the MCU. What this means for future films in the series is uncertain. What is certain is that Venom as a stand-alone movie is a lot of fun. Granted it is not particularly original or groundbreaking. This may account for its lukewarm critical reception. It is certainly no Black Panther (Ryan Coogler, 2018). However, the effects are top notch, the action set pieces are thrilling and the movie is genuinely funny, reminiscent of a somewhat moodier The Mask (Charles Russell, 1994). Tom Hardy is also great in the title role.

While the movie does not rank among the greatest superhero titles neither is it one of the worst. Its relatively short runtime (90 odd minutes if you discount the title sequences) means Venom is a fun, exciting action movie which never gets too dark and doesn’t outstay it’s welcome.

With a positive audience response and a worldwide box office exceeding $850 million a sequel is guaranteed. Venom 2 is set for release in Autumn 2020.

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THE LOVE BUG (Robert Stevenson, 1969).

Released three years after the death of the its founder, Walt Disney Productions’ The Love Bug continued the tradition of fantasy comedies established by the studio a decade earlier with The Shaggy Dog (Charles Barton, 1959). It introduced Herbie, the anthropomorphic VW Beetle, to cinema audiences and would prove a massive hit for Disney, spawning a franchise which would include four theatrical sequels, a TV series and a made for TV movie.

The movie stars Dean Jones as washed up racing driver Jim Douglas whose fortunes are reversed thanks to the lovable VW Bug. He is pitted against arch rival David Thorndyke, who uses every dirty trick in the book to defeat Douglas in a cross-country race, the stakes of which are ownership of Herbie.

Disney regular Jones and love interest Michelle Lee make for attractive leads and prove themselves adept at light comedy. Less subtle, but just as effective are Buddy Hackett as a kooky new age mechanic and Joe Flynn as Thorndyke’s long suffering assistant. Best of all is the magnificent David Tomlinson as the comically villainous Thorndyke.

Ultimately the star is, of course, the car; brought to life through a combination of impressive stunt work and pre-CGI effects that hold up fine 50 years after release. Herbie has an endearing puppy dog charm and more personality than most humans!

Bill Walsh and Don Da Gradi’s screenplay mixes slapstick humour with some genuinely witty dialogue while Robert Stevenson, arguably the greatest director on the Disney roster, brings his flair for whimsical fantasy to what might be his best work after Mary Poppins (1964).

The Love Bug was to become the highest grossing movie of 1969 and one of the highest earners of all time. It’s easy to see why. With its winning mix of racetrack thrills and good natured laughs, it is a deftly performed, expertly crafted gem.

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The Love Bug (1969)

The Love Bug    (Dir: Robert Stevenson, 1969).  Released three years after the death of the its founder, Walt Disney Productions’ T

Movie number 51: The Hatton Garden Job aka One Last Heist (Ronnie Thompson, 2016). Proving that coming first doesn’t always make you a winner, The Hatton Garden Job, like last year’s King of Thieves (James Marsh, 2018), is based upon the true story of the Hatton Garden safe burglary of 2015. Arriving in cinemas a full 17 months before King of Thieves this bungled bank job of a movie is weaker than its competitor in every department.

While purportedly based on the actual crime, this version of events is largely fictionalised. The basic plot of a bunch of ageing criminals conniving to pull off one last job is the same, yet the involvement of the Hungarian Mafia and a corrupt ex-copper are entirely fabricated. This would perhaps be forgivable if the retelling had any entertainment value. How such an audacious real life story can be transformed into such a dull and insipid movie is anybody’s guess.

Matthew Goode, Larry Lamb, Phil Daniels and Joley Richardson prop up the otherwise less than stellar cast but are severely let down by stilted dialogue and lazy character development. The screenplay by Ray Bogdanovich and Dean Lines fails to draw upon the inherent humour of the situations while Ronnie Thompson’s bland direction is lacking style and imagination.

If you like geezer ladden crime movies that take themselves too seriously then maybe The Hatton Garden Job is for you. Otherwise you would be better off checking out the superior King of Thieves. #thehattongardenjob #onelastheist #ronniethompson #raybogdanovich #deanlines #matthewgoode #larrylamb #phildaniels #joleyrichardson #kingofthieves #hattongarden #london #britishfilm #britishcinema #everymovieiwatch2019

MISSING LINK (Dir: Chris Butler, 2019).

2019 is the year of the animated sequel, with follow-ups to How to Train Your Dragon and The Lego Movie recently leaving cinemas and further instalments of Toy Story, Secret Life of Pets, Shaun the Sheep, The Angry Birds Movie and the mighty Frozen to come. In a market oversaturated with sequels this, the fifth feature from Oregon based animation studio Laika, is a rare treat.

The second Laika production written and directed by Chris Butler, following 2012’s Paranorman, Missing Link is a departure from the dark fantasy of Paranorman and Coraline (Henry Selik, 2009) and finds the studio in decidedly lighthearted mode.

The adventure comedy concerns discredited explorer Sir Nigel Frost (Hugh Jackman) who teams up with a Sasquatch-like creature Mr Link (Zach Galifianakis) on a quest to the Himalayas to unite Link with his Yeti cousins.

As is to be expected from Laika, Missing Link is a beautiful realised stop-motion spectacle. It is easily the funniest Laika movie and the exquisitely detailed, hand-crafted animation is a joy. Galifianakis is a sweet natured, lovable Mr Link and is is supported by a first rate vocal cast which also includes Zoe Saldana, Emma Thompson and Stephen Fry.

Despite its disappointing box office Missing Link continues the run of excellent animations from Laika, proving them to be the most consistent of all animation studios. The movie is a sweet and humorous adventure, as entertaining for grownups as for children and is almost certainly the most original animation you will catch in cinemas this year.

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WINNIE THE POOH: SPRINGTIME WITH ROO (Dir: Saul Blinkoff & Elliot M Bour, 2004).

A A Milne meets Charles Dickens in a weird hybrid from a time when Disney’s Pooh franchise had seemingly lost both direction and appeal. At least for anyone above pre-school age. Yes, this is Dickens’ A Christmas Carol re-told for Easter with, despite Roo’s billing, Rabbit as an Easter banning Scrooge.

Walt Disney first filmed Pooh in the animated featurette Winnie the Pooh and the Honey Tree (Wolfgang Reitherman, 1966). Two more featurettes followed and were combined in the movie length compilation The Many Adventures of Winnie the Pooh (Reitherman & John Lounsbery, 1977). While some bemoaned the Americanization of Pooh and the replacing of Pooh’s hums with songs by Mary Poppins’ tunesmiths Richard and Robert Sherman, the original shorts were praised for their charming, whimsical nature, delicate storybook-esq animation and general faithfulness to Milne’s text. The New Adventures of Winnie the Pooh, an animated TV series not directly based on Milne, debuted in 1988. While a success, The New Adventures... marked a distinct change of tone for Pooh. Gone is the innocent charm of the featurettes and of Milne’s tales upon which they were based. Insecurity and doubt have crept into The Hundred Acre Wood. This is a new neurotic Pooh for the modern age. Sadly this mood continued through a series of theatrical and straight-to-video features, most notably the dark and downbeat Pooh’s Grand Adventure (Karl Geurs, 1997). Most of the latter Pooh movies are surprisingly melancholic as is this feature in which, after cancelling Easter, Rabbit is shown, via some heavy handed moralising, the negative impact his actions have on his friends.

At 65 minutes Springtime with Roo is mercifully short. The animation by DisneyToon Studios, while not up to the standard of the theatrical product, is bright and colourful but on the whole this movie is a rather joyless affair. Those wishing to indulge in Pooh would be best advised seeking out The Many Adventures of Winnie the Pooh or, better still, reading A A Milne’s original literary classics ‘Winnie the Pooh’ and ‘The House at Pooh Corner’.

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