BELFAST : Wednesday 9th February 2022.

I saw the M Rated 'BELFAST' last week at my local independent movie theatre, and this British coming of age comedy drama film is Written, Directed and Co-Produced by Kenneth Branagh whose previous film making credits include his 1989 debut feature 'Henry V' then 'Peter's Friends' in 1992, 'Mary Shelley's Frankenstein' in 1994, 'Sleuth' in 2007, 'Thor' in 2011, 'Murder on the Orient Express' in 2017, 'All Is True' in 2018, with 'Death on the Nile' released just last week. This film saw its World Premiere screening at the Telluride Film Festival in early September last year and also won the People's Choice Award at the 2021 Toronto International Film Festival. The film was released in the US in mid-November 2021 and in the UK and Ireland on 21 January. It has received positive reviews from critics and has, so far, grossed over US$26M at the global Box Office, and has picked up thirty-eight award wins and another 230 nominations from around the awards and festivals circuit (many of those nods are still awaiting a final outcome at the time of writing).

The film charts the life of a working class Northern Irish Protestant family from the perspective of nine year old Buddy (Jude Hill), during the rise of the Troubles in Northern Ireland in Belfast, where Buddy and his family live. Father Pa (Jamie Dornan) works overseas in England on a construction project, while the family—Ma (Caitriona Balfe), elder brother Will (Lewis McAskie), and paternal grandparents Granny (Judi Dench) and Pop (Ciaran Hinds) live in Belfast. 

Opening up on 15th August 1969, a mob of angry Protestant loyalists randomly and without warning attack the homes and businesses of Catholics along the street where Buddy lives, smashing windows in, breaking down doors and torching a car. The local folk set up a barricade at the end of the street to prevent their re-entry, and Pa returns from England (as he does every other weekend) to check on the safety and security of his family. Buddy and Will attend church one Sunday without their parents on this occasion, and the minister delivers a fire and brimstone speech about choosing the right fork in the road - one which leads to the sanctity of heaven and the other to all damnation in hell. Buddy continues to reflect on the words of the minister throughout the film. At school, Buddy begins to develop feelings towards high-achieving Catholic classmate Catherine (Olive Tennant), and in time they become friends, so much so that in conversation with Pop, Buddy alludes to one day marrying her. 

In the meantime, local low level crim and Protestant loyalist Billy Clanton (Colin Morgan) approaches Pa demanding his involvement in 'the cause' but when Pa refuses, he turns aggressive and starts harassing Buddy saying that he expects his Pa to do the right thing. The family also is struggling to pay off their accumulated debts to the tax office. Pa produces brochures about emigrating to Sydney or Vancouver as the chance for the family to start afresh, however, as far as Ma is concerned this is not an option, as she is dead set against leaving her home, her friends and her family. But, on the other hand, she can no longer deny the option of leaving Belfast as the conflict deepens. Pa returns home after his fortnight in England and tells Ma that he has been offered a promotion in England to work on a five year long construction project that comes with a housing deal from his employers. His employers want an answer from him by Christmas. They try to discuss the matter with their boys, but Buddy has a melt down at the thought of leaving Belfast.

Buddy, local teenage girl Moira (Lara McDonnell) and another young lad attempt to steal chocolate bars from a sweet shop, but the plan goes south and Buddy narrowly escapes the clutches of the shop owner carrying a single bar of Turkish Delight. Moira chastises Buddy for making off with the sweet confection when there were Crunchie's and Flake's to be had instead. When later questioned by the Police, Buddy does not reveal his accomplices. Afterwards, suitably impressed by Buddy's resilience, Moira recruits him into her local gang, who participate in a looting of a mini-supermarket. A reluctant Buddy is forced into stealing something and grabs a box of laundry detergent before returning home and telling Ma of his activities. Ma berates him and immediately drags both Buddy and Moira back to the ongoing looting in order to return their stolen items. Billy Clanton then appears and shouts at them that they take things and don't put them back and promptly takes them hostage to leverage his own escape. Pa, Will and the British Army arrive at the scene to bring an end the riot. This results in a standoff with Billy who attempts a shootout until Pa and Will manage to disarm him. Billy is then arrested and swears retribution.

The Christmas deadline for Ma and Pa's decision to move to England comes and goes - and they further delay until Easter. In the meantime Pop has died. Realising that they are no longer safe in Belfast, the family decide to relocate to England. Before leaving, Buddy bids farewell to Catherine. He laments to Pa whether he could have pursued a future with her despite the fact she was a Catholic. Pa responds that it doesn't make a difference what culture, creed or beliefs someone has, they will always be welcome in their home. As Granny watches, the family boards a bus headed for the airport, saying to herself 'go, go now, and don't look back'. Granny is left alone after the death of her husband and the departure of her children and grandchildren, as she closes the door behind her and rests her head on the window, sobbing. 

'Belfast' is a film for the ages, and anyone who grew up in Britain during these turbulent times will be able to relate to Branagh's tender, whimsical, thought provoking semi-autobiographical offering, centred firmly in his young childhood formative years. The casting is top notch, and Jude Hill as the central character of Buddy is a standout, with equally impressive performances from Dornan, Balfe, Dench and Hinds who all deliver grounded, believable and relatable roles. Whilst the troubles of Northern Ireland are secondary to the plot here and there are no political machinations behind them, this is a film of family connectedness, community solidarity, fun and laughter, love and emotion, music and cinema as seen through the eyes of a nine year old who is struggling to come to terms with a changing world being ripped apart by violence. And within it, Branagh has crafted a crowd pleasing, awards worthy addition to his already impressive resume. 

'Belfast' merits four claps of the Odeon Online clapperboard from a possible five claps. 

-Steve, at Odeon Online-

FIRST MAN : Tuesday 16th October 2018.

'FIRST MAN' which I saw at my local multiplex this week, is an American biographical drama film based on the 2005 book by James R. Hansen titled 'First Man : The Life of Neil A. Armstrong' and is Directed and Co-Produced by Oscar winner Damien Chazelle of 'Whiplash' and 'La La Land' fame. Made for US$65M the film saw its World Premier screening at the Venice International Film Festival back in August, and was subsequently screened at the Telluride Film Festival and then the Toronto International Film Festival in early September. The film went on general release in the US last week too having received generally widespread critical praise for Chazelle's Direction, the performances of Ryan Gosling and Claire Foy especially, the score and the cinematography. Box Office receipts so far amount to US$30M.

The film charts the riveting story of NASA’s mission to land a man on the moon by the time the clock ticks over into 1970, focusing on Neil Armstrong and the years 1961-1969. Launching (literally) in 1961, we see Neil Armstrong (Ryan Gosling) struggling at the controls as a NASA test pilot of an X-15 experimental hypersonic rocket powered aircraft that was able to reach the edge of outer space, when after a moment of weightlessness the plane inadvertently bounces off the atmosphere. Even though he successfully manages to navigate the plane to a safe landing somewhere in the Mojave Desert, his superiors air their concerns about his recent spate of mishaps, and therefore choose to ground him. Meanwhile, his young daughter Karen, has a brain tumour, and is receiving cutting edge treatment. But despite this, Armstrong is distracted and pours over books, keeps copious notes on her symptoms, treatment and searches out some possible cure. But, before long Karen passes, and as any father would be, Armstrong is gutted.

Shortly afterwards Armstrong applies for Project Gemini (NASA's second human spaceflight programme) and is accepted, requiring Armstrong, his wife Janet (Claire Foy) and son Rick (Luke Winters) to move to Houston, together with a bunch of other astronauts chosen to take part in the Gemini Programme. Here he befriends Elliot See (Patrick Fugit) and Ed White (Jason Clarke) whilst under the watchful eye of Deke Slayton (Kyle Chandler) - NASA's first Chief of the Astronaut Office. Up to this point, them pesky Russians have eclipsed Uncle Sam in every aspect of the '60's Space Race, as so Slayton states in no uncertain terms the importance of Project Gemini as a precursor to the Apollo missions and the ultimate aim of putting a man on the moon by the close of the decade. Armstrong and the chosen handful of hopefuls are put through a rigorous training regime that tests them to the very limits of their endurance . . . and beyond.

Meanwhile, Janet gives birth to another son, Mark (Connor Blodgett). After the Ruskies notch up another first by performing an EVA (ExtraVehicular Activity - a spacewalk performed outside a craft orbiting the Earth), Armstrong is advised by Slayton that he has been chosen to be the Commander of Gemini 8 which would see the first docking of two spacecraft in orbit, with David Scott (Christoper Abbott) as his pilot. Armstrong and Scott successfully launch on Gemini 8 and dock as planned with the Agena Target Vehicle in space. After celebrating their success, things go rapidly pair shaped as the docked pairing of space craft begins to spin uncontrollably. Armstrong is able to successfully undock the two craft, but Gemini continues to spin at an ever increasing rate. After almost blacking out, Armstrong is able to bring the rapidly rotating craft under control and safely aborts the mission, saving their lives in the process. Janet, however, has had the privilege of listening in to their radio transmission is none too impressed with her husbands near death experience and promptly berates Slayton saying that they are all 'just a bunch of boys playing with balsa wood models . . .  you don't have anything under control'.

In due course Ed White announces that he has been selected for the Apollo 1 Mission together with Gus Grissom (Shea Whigham) and Roger Chaffee (Cory Michael Smith). During a launch simulation test on Apollo 1 on 27th January 1967, a fire inside the cabin and the resultant explosion takes the lives of White, Grissom and Chaffee. Armstrong meanwhile is representing NASA at a White House function, when he is interrupted by an urgent phone call from Slayton, advising him of this tragedy. A year or so later Armstrong is testing a Lunar Landing Research Vehicle and is nearly killed in the process, ejecting over a field and being dragged along the ground by his parachute, while the test vehicle crashes to the ground in a ball of flame.

Shortly afterwards Armstrong is advised by Slayton that he has been chosen to command the Apollo 11 Mission with a view to this culminating in a Moon landing. His crew will be Buzz Aldrin (Corey Stoll) and Michael Collins (Lukas Haas). Collins will pilot the command module Columbia alone in orbit while Armstrong and Aldrin are on the lunar surface. Shortly after, the three astronauts hold a Press Conference where Armstrong is particularly blunt and succinct in his answers to the gathered world press, leaving Aldrin to interject with more broader and lighthearted answers.

The night before the launch while Armstrong is needlessly busying himself with packing, Janet confronts him about the strong possibility that he won't survive the Mission, and steadfastly demands that he explains the risks to both Rick and Mark - his young sons. Armstrong is evasive and is clearly uncomfortable with such a confronting and potentially emotional conversation with his two boys, let alone his wife. After a brief conversation around the dinner table before the boys bedtime, Armstrong bids his boys farewell and kisses his wife goodbye, and departs for the Moon.

The day arrives, and Apollo 11 successfully launches, and within four days of flight touches down on the surface of the Moon on 20th July 1969. Armstrong became the first person to step onto the lunar surface six hours after landing on 21st July, with those immortal words 'one small step for man, one giant leap for mankind', with Aldrin joining him some twenty minutes later. After exploring the surface for some time, Armstrong walks over to a small crater and gently drops into it a bracelet that was his daughter's - forever leaving a memento to her memory on the surface of that far away place. Having spent the best part of whole day collecting samples, taking photographs, observing the Moon's surface, and going walkabout, the pair take off to rejoin Collins aboard the Columbia and head back to Earth landing in the North Pacific Ocean on the afternoon of 24th July 1969. The crew are placed in quarantine for a month. Janet visits Armstrong and through the glass panels of his temporary isolation, the pair share a quiet moment of contemplation, touching hands through the plate glass.

The film also stars Ciaran Hinds as Robert R. Gilruth - the first Director of NASA's Manned Spacecraft Centre and Pablo Schreiber as Jim Lovell, the backup Commander on Armstrong's Apollo 11 Mission.

Here, continuing with his run of Academy Award success, Damien Chazelle has crafted a nuanced film that will be surely worthy of some Oscar consideration come nomination season. Rather than the all too common chest beating and hero worship associated with such space age films, here 'First Man' paints a picture of a an everyday ordinary man pushed to extraordinary lengths in his quiet determination to be the first man on the Moon. In equal measure we see the emotion, the joy and the tragedy of Armstrong's every day family life coupled with the errors, flaws, accidents and incidents and the all too many deaths experienced by NASA and Armstrong's fellow astronaut colleagues during the course of those Gemini and Apollo Missions. Gosling gives a stoic and reserved performance as both the troubled and completely focused on his day job at the expense of his family Armstrong; while Foy more than ably supports as the no bullshit tell it as it is supportive, caring and understanding (to a point) wife. Chazelle's attention to detail throughout the film cannot be faulted, and his recreation of the era, the inner workings of NASA, and the failures and successes of the technology of the time really make this film. Concentrating on the '60's era only and the events leading up to the first Moon landing was Chazelle's choice and who can argue with that, but perhaps an insight into the reserved man post that heroic journey to go boldly where no man has gone before would have rounded out the film more completely. Nonetheless, certainly worth the price of your ticket, and you should see this on the big screen for sure.

'First Man' merits four claps of the Odeon Online clapperboard, out of a possible five.

-Steve, at Odeon Online-

RED SPARROW : Tuesday 6th March 2018.

'RED SPARROW' which I saw this week, here sees Francis Lawrence Directing this American spy thriller based on the 2013 book of the same name by former CIA operative Jason Matthews. Francis Lawrence is no stranger to big screen spectacle having Directed, amongst others, 'Constantine' with Keanu Reeves, 'I Am Legend' with Will Smith, 'The Hunger Games : Catching Fire' with Jennifer Lawrence and 'The Hunger Games : Mokingjay Parts 1 and 2' also with Jennifer Lawrence. Here he teams up with his namesake Jennifer Lawrence once again with the film going on general release around the world just over a week ago having cost US$69M, and having garnered mixed and average Reviews at best so far. The film has so far grossed US$55M in Box Office receipts.

The film centres around Russian and American espionage, the central figure of which is Dominika Egorova (Jennifer Lawrence) a former prima ballerina forced into an uncertain future as a result of an injury that brings her chosen career to an abrupt halt. She lives with her ailing mother Nina (Joely Richardson) in a very modest apartment which is funded, together with her mothers medical expenses, by the ballet company for whom Dominika dances.

After corrective surgery to her lower leg, and feeling spent, she is approached by her Uncle Ivan (Matthias Schoenaerts) who works for the Russian Secret Service. He tasks her with seducing Russian Politician Dimitri Ustinov (Kristof Konrad) and switching his mobile phone with an identical state provided one, in exchange for which she can continue living in her apartment with her mother and all medical expenses covered, when this line of charity runs dry from the ballet company. Dominika must follow a fairly simple set of instructions, which she does. This leads to her being raped by Ustinov in her hotel room, but this is cut short by a garrotte around Ustinov's neck delivered at the hands of Simyonov (Sergej Onopko) slicing his throat open and killing him. After making a quick escape on motorcycle, Ivan reveals to Dominika that he had always intended to kill Ustinov and that she performed her job very well. But, Russian Intelligence rule that there can be no witnesses to such acts, and so she has a choice to make - either be executed, or begin a new career with Russian Intelligence.

Meanwhile Nate Nash (Joel Edgerton) is a CIA operative working in Moscow. While meeting with a Russian asset (codenamed Marble) at night in Gorky Park, their meeting is interrupted by a random drive-by Police car. To protect his asset from detection, Nash creates a diversion in order that they can both evade capture and questioning. After a foot chase through the streets of downturn Moscow, Nash narrowly escapes, and is sent packing back to the US to explain his actions, and to be grounded. Nash spent three years nurturing his relationship and building up trust with Marble who has now gone underground and contact lost. As a result, Nash is reassigned to Budapest to reconnect with Marble.

In the meantime Dominika is packed off to 'Sparrow School' having made the correct decision. Here young men and woman are trained to seduce their targets using physical, mental and emotional cues to do so. Dominika excels at her studies largely at the hands of the 'Matron' - the Head of Sparrow School (Charlotte Rampling), although rebels at some of the elements of her training, including stripping naked in front of her classmates, and her willingness to being raped by a fellow trainee. Despite this she shows promise and is singled out by General Vladimir Korchnoi (Jeremy Irons) overseen by Colonel Zacharov (Ciaran Hinds) and assigned to Budapest to seek out Nate Nash, gain his confidence by whatever means necessary, and learn the identity of his asset.

In Budapest, Dominika shacks up with Marta (Thekla Reuten) and quickly makes contact with Nash at a local swimming pool where Nash regularly swims laps for his afternoon exercise. Nash works out pretty quickly that she is a Russian Intelligence operative, and she reveals her true identity to him and that she is wanting to gain the identity of his asset. One day while Marta is out, Dominika takes the opportunity to snoop through her bedroom. She uncovers a notebook in which is recorded the name of Stephanie Boucher (Mary-Louise Parker), a Chief-of-Staff for a US Senator and a sum of US$250,000, whom Marta is working with to gather information from.

Later, following a surprise visit from her Uncle Ivan, Dominika reveals her plan to secure secrets from Boucher, which is overheard by Marta who believes that she is trying to take control over her planned assignment. A few days later, Marta winds up very dead in her bathtub at home - her tortured mutilated murdered body laying blood soaked for Dominika to discover. Simyonov creeps up behind Dominika and reveals that he killed Marta as a warning not to divulge Russian secrets.

Dominika offers her services to Nash to work with the CIA as a double agent. She sees through Marta's planed assignment with Boucher and sets up a covert meeting in a London hotel room where several disks containing sensitive information will be exchanged for US$250,000 in cash, all the while monitored covertly by Nash and his team. The meeting goes off well, Boucher leaves the hotel room with her swag bag of cash, but is spooked by CIA operatives who move in too quickly and without the command, and is killed outright when she steps into the road and is mown down by a passing truck.

Dominika's Russian handler sees that the mission has been compromised, and she is whisked away quickly to Heathrow, then back to Russia where she is interrogated and tortured for seemingly compromising Boucher. She repeatedly denies this, and is subject to more beatings and torture. Ivan enters the room to deliver an ultimatum, but Dominika convinces her Uncle that her interrogation will give her credibility with the CIA, and as such she should be allowed to return to the field to complete her assignment. She returns to Budapest, and meets with Nash stating her desire to defect to the US with her mother.

Nash and Dominika spend the night together. The next morning Dominika awakens alone in bed, but with muffled sounds coming from the next room. She investigates to find Nash bound to a chair with Simyonov standing over him, demanding the identity of Marble or suffer the consequences at his torturous hands. Simyonov unravels and array of sharp instruments of torture. Dominika goes along with the ruse to show support of Simyonov and takes part in the torture, lulling him into  false sense of security, before she administers a crashing blow to his temple sending him reeling backwards. In the ensuing scuffle, Nash is able to free himself but by now Simyonov is on his feet slashing wildly away with a surgical blade at them both. Ultimately Dominika gains the upper hand and after repeatedly stabbing Simyonov administers the final blow with a blade into his neck.

Later, Dominika comes round in a hospital bed, with her wounds dressed. She ventures out of her private room to take stock of her location, and is greeted by General Korchnoi who reveals to her that he is in fact the mole, codenamed Marble. He explains that his anger and frustration by the deep rooted and ongoing corruptness of Russia led him to becoming a secret double agent. He further adds that she should reveal his identity to her Uncle, Ivan, and that her outing such a high ranking official will gain her instant promotion and set her up for a high profile career in Russian Intelligence, as well as continuing the work with the CIA that they are both secretly engaged in too. Back on Russian soil, Dominika makes contact with her superiors and advises them who the mole is, but instead of outing Korchnoi, she frames her Uncle Ivan instead who ultimately dies with a bullet to the head during a prisoner exchange overseen by Nash and the CIA. Dominika gains her reward of promotion and the recognition that goes with it, and returns home to care for her mother in the same apartment.

'Red Sparrow' joins the ranks of Russian/American international espionage thrillers that we see all too often, and in some cases done better. This offering does stand up on its own two feet, but be prepared to pay attention throughout as the plot twists and turns every which way and you'll need to concentrate on who's side who is on, why and when. The film is graphic in its violence and sexual violence and seems to rely all too heavily on putting the Jennifer Lawrence character through just about every degradation possible from torture through interrogation through rape (twice and almost a third time) through multiple beatings in between and bearing witness to some pretty grisly murders. The film at 140 minutes is also too long for the subject matter and could have been easily paired back to two hours without the padding and a little more straightforwardness. Despite this the films redeeming points are its cast, and this is Lawrence like we have never seen her before as she bares all (literally) to join the ranks of Angelina Jolie ('Salt') and Charlize Theron ('Atomic Blonde') as an action heroine, joined by an ensemble cast of fine acting talent that help levitate the film above a by the numbers offering. This is potentially the first film in a franchise of three, as author Jason Matthews has penned two further novels in the series. We'll see if the lessons learned from this first film transfer to any subsequent follow-up.

-Steve, at Odeon Online-

JUSTICE LEAGUE : Tuesday 21st November 2017.

'JUSTICE LEAGUE' which I saw earlier this week is here finally after all the hype, the media attention and the speculation surrounding this long awaited and eagerly anticipated fifth film in the DC Extended Universe following hot on the heels of 2013's 'Superman', 2016's 'Batman v. Superman : Dawn of Justice', and 'Suicide Squad', and 'Wonder Woman' earlier this year. Zack Snyder Directed 'Man of Steel' which grossed US$668M, and 'Batman v. Superman : Dawn of Justice' which grossed US$874M, with David Ayer Directing 'Suicide Squad' which grossed US$746M and Patty Jenkins on Director duty for 'Wonder Woman' which grossed US$822M. Once again Zack Snyder is back in the Directors chair for this collective Superhero offering featuring a cast of DC characters thrust together for the first time in a live action instalment, an ensemble cast and a price tag of US$300M to bring to the big screen, making 'Justice League' one of the most expensive films ever made. But, I guess on the strength that the first four films cost a combined US$800M and grossed a collective sum total of US$3.1B, then this fifth film should represent a sure bet for the numerous Production Companies involved. A sequel to this film was scheduled for a mid-2019 release date, which has subsequently been pushed back to make way for a stand alone 'Batman' film. At the time of publishing this Post, 'Justice League' had taken US$308M at the Box Office.

This story then follows on several months after the end of 'Batman v. Superman : Dawn of Justice' in which Batman/Bruce Wayne (Ben Affleck) who is now inspired by Superman's selfless act to sacrifice himself for the greater good of all humanity, teams up with new ally Wonder Woman/Diana Prince (Gal Gadot) to fend off a new threat, with the help of a few others yet to be recruited to the Team.

That threat comes in the form of Steppenwolf (voiced by Ciaran Hinds) - an alien high ranking military officer who is immortal and possesses superhuman strength, speed and stamina from the planet Apokolips, and who has a very specific mission on Earth that could have catastrophic consequences for our humble little green planet. He leads an army of winged flying Parademons who extend into their countless thousands, are fiercely loyal to their leader, have heightened strength and high pain tolerance, carry powerful weapons and resemble giant pesky flies only twice as ugly and much more menacing! Steppenwolf wants to capture three 'Mother Boxes' and combine their energy source into 'The Unity' to remake Earth into the hellish domain he can call home and rule over. Back in the day Steppenwolf and his legions of giant pesky flying armed creatures were thwarted by the combined forces of Olympian Gods, Amazons, Atlantians, Green Lanterns and humans, and the three all powerful Mother Boxes secreted away in various places of hiding around the world to lie dormant for thousands of years . . . . until now!

Following the death of Superman, the Mother Boxes are all triggered back into life which prompts Steppenwolf's return to Earth to retrieve them. The first such box is housed underground in Themyscira, the island home of Diana Prince, which he successfully overruns and escapes with his Parademons in tow. Queen Hippolyta (Connie Nielsen) sends a warning to Diana Prince that Steppenwolf is on his way. This prompts Bruce and Diana to try and muster the support of other known metahumans Arthur Curry (Jason Momoa) and Barry Allen (Ezra Miller) which Bruce goes in search of, and Victor Stone (Ray Fisher) which Diana searches out. They fail to convince both Curry and Stone to join their Team, but Allen is very enthusiastic and enlists immediately, giving the young lad some purpose in his otherwise meandering wasteful life. Stone joins the group after his father Silas (Joe Morton) is kidnapped by Steppenwolf searching out the Box left to the humans. Curry also joins too after Atlantis is attacked and the second Mother Box buried deep within the ocean is retrieved by Steppenwolf.

Commissioner James Gordon (J.K.Simmons) advises that he has learned that the Parademons are underground. Surmising that the only location is a long abandoned facility under Gotham Harbour, he advises Batman, Wonder Woman and The Flash, now joined also by Cyborg and they converge on the facility and engage with Steppenwolf and his Parademons. In the ensuing close quarter fight, the walls of the facility are ruptured allowing torrents of water to flood into the underground chamber.  Aquaman comes to the rescue and holds back the water so allowing the others to escape.

Stone has been in possession of the third remaining Mother Box, as it was the energy from it that allowed his father Silas, to develop the power to rebuild his son into the Cyborg he is today. Batman hatches a plan to resurrect Superman using the same energy from the Mother Box. This would enable them to fight Steppenwolf on another level and overcome this formidable enemy, whilst at the same time restoring some hope in the world that all is not lost.

Reluctantly Prince and Curry agree although are not too happy with the prospect. Stone and Allen exhume Clark Kent's body and take it to the Kryptonian Ship with the Mother Box. Kent is laid in the incubation waters, and with Allen generating enough electricity they are able to bring Clark Kent back from the dead. However, Superman (Henry Cavill) is suffering from some memory loss and makes a sharp exit out of the ship and into a nearby park where he attacks The Flash, Cyborg who inadvertently tried to kill him, Wonder Woman, Aquaman and Batman. With Superman as expected gaining the upper hand in any battle, things don't go so well for the group or the gathered Police. Until that is, Batman brings out his secret weapon - Lois Lane (Amy Adams), at which point his memories come flooding back. While the Team are distracted with all this in-fighting and Clark and Lois reconnecting, the third Mother Box is left unguarded and easy pickings for Steppenwolf, which he claims from right under their noses.

Cyborg tracks Steppenwolf and the heightened seismic activity from the three Mother Boxes now drawn together, to a remote Russian Village - the scene of a nuclear disaster some decades earlier and where a small enclave of people still reside. With Steppenwolf commencing The Unity, time is fast running out for the world as we know it. The Team of five make their way via the supersonic Bat Jet arriving with a plan to distract the Parademons while Cyborg sets about separating the three Boxes. The team of the remaining four are no match for Steppenwolf and his hordes of Parademons, who are unable to provide sufficient distraction to allow Cyborg to be effective. Until that is, Superman arrives and beats the crap out of Steppenwolf; saves the lives, with The Flash too, of multiple families trying to flee the conflagration; and helps Cyborg separate the Mother Boxes successfully so stripping Steppenwolf of his power. Seeing their leader overcome with fear, the Parademons descend on Steppenwolf just like flies on a freshly laid turd, and transport him instantly back to the world from whence they came.

In the closing scenes we see Alfred (Jeremy Irons) escorting Bruce and Diana to the burnt out shell of Wayne Manor. They agree to rebuild it as the centre of operations for the new Team, with room for future expansion as more metahumans join. The newly formed Team then all default to what they do best - Curry returns to his home of Atlantis; Stone works with his father on developing his cyborg technology and abilities; Prince take her place in the spotlight as a hero of truth and justice; Kent takes up his former role as Superman; and Allen gets an official job with the Police Department of Central City impressing his imprisoned father Henry Allen (Billy Crudup). Remain seated for the mid-credits sequence which sees The Flash race Superman to the Pacific coast, and the end credits scene in which Lex Luthor (Jesse Eisenberg) breaks out of Arkham Asylum with a new and deadly ally.

I enjoyed 'Justice League' perhaps more than most Critics who seem intent on bagging the Hell out of the DCEU in favour of the MCU. Sure this film is not perfect, and the MCU still has the upper hand in the Superhero stakes - both singularly and collectively, but this film is moving the DCEU in the right direction that's for sure. There is more levity in this film from the principal cast members which makes them more grounded, approachable and human; the action sequences are well executed; the storyline whilst a little thin is relatable; and in particular Ezra Miller, Gal Gadot and Jason Momoa steal the show, whilst Ben Affleck's Batman often looks bewildered and confused by all the going's on. After all he should be centre stage as the corner stone, the originator of the forming Justice League, but is sidelined by his colleagues who do (unlike him) possess real super powers - he's just super 'rich' after all! As an origin story for The Flash, Aquaman, and Cyborg there is just enough back story to set the scene (remembering that a standalone 'Aquaman' film has just wrapped production, and arrives in our cinemas in December 2018), but Steppenwolf as the big bad villain in the piece is very one dimensional and he just barks orders as his Parademons and beats up anyone or anything that gets in his way, until Superman arrives on the scene. The film is fun and fast paced, and holds promise for future DCEU instalments - I wish it well, and in giving those guys at the MCU a run for their money!

-Steve, at Odeon Online-