Movie Review – Avengers: Infinity War

Avengers: Infinity War may not break new ground, but it certainly polishes it.

⭐ ⭐ ⭐ ⭐
Zachary Cruz-Tan 

I cannot account for your feelings towards the Marvel Cinematic Universe, nor anyone else’s. I can only account for my own, and my feelings have decided that the Universe is something special. To see each new Marvel movie is to add a chapter to a saga. As reviewers, we are perhaps encouraged to distance ourselves a little from every film we see, but make no mistake, to enter into Avengers: Infinity War is to enter a stream that’s been flowing for ten years. We may try to combat the current but it will inevitably wash us away.

This is a thunderous superhero movie that hurtles along at breakneck speed. It is about the end of humanity, the heartbreak of sacrifice, the will to bring about change, the pratfalls and jubilations of the human spirit. And, of course, it brings together a cast large enough to populate a small moon. Credit must be given to directors Anthony and Joe Russo for not going utterly bonkers from their logistics, but then, are they perhaps merely binding knots left loose by the countless instalments before them?

In many ways, yes. Infinity War begins with the simplest of premises: an oversized purple alien called Thanos (an utterly bewitching Josh Brolin in motion-capture) wishes to eliminate half the universe’s population by seizing cosmic weapons known as Infinity Stones. The movie plays out his quest and charts the ways in which all the good guys attempt to resist him.

If you’ve been keeping up with the movies, you’d know them all by now. The smart thing about Christopher Markus and Stephen McFeely’s screenplay is that instead of bottlenecking the cast into one room, several throwaway subplots are created to micromanage the Avengers.

Thor (Chris Hemsworth) zips off with a few Guardians of the Galaxy to rendezvous with a rather unexpected cameo. Iron Man (Robert Downey Jr.), Spider-Man (Tom Holland) and Doctor Strange (Benedict Cumberbatch) venture into space. Captain America (Chris Evans) and his friends take a trip to Wakanda, domain of the fearful Black Panther (Chadwick Boseman). And so on. Everyone’s spread around like mah-jong tiles, which, while clever, can be a little jarring to keep up with.

Much criticism has already been targeted at the movie’s 149-minute runtime, which is actually about fifteen minutes too short. Infinity War dashes from one scene to the next, occasionally pausing for comedic interludes, but hardly ever for any meaningful interactions. I guess it comes with the territory of trying to cram a bloated cast into a runtime that must pacify today’s audiences. The movie needs to breathe a little, not necessarily for exposition, but to give us, the viewers, a chance to process all the whizzing and frenetic images, because there are a lot of them.

And yet, Infinity War is a tremendous achievement, not atop the Marvel greats, but perhaps more valuable than many of the weaker ones. There are fantastic action sequences, a boatload of one-liners, heroic reveals, shattering developments. And Thanos, enlarged in the middle of everything, is a surprisingly complex figure, not so much an antagonist as a lonely crusader whose journey threatens to undo even himself.

It’s quite a feat to make us care so much about a bunch of goofy superheroes. This cinematic universe feels like an extended TV series; we’ve grown along with these characters through the years to the point where their superpowers are no longer as interesting as their stakes. And in Avengers: Infinity War, their stakes have never been more desperate.

Avengers: Infinity War is available in Australian cinemas from April 26

Image courtesy of Walt Disney Studios Motion Pictures

Top 5 Bond Villains 

As we come to the end of our Bond series in the lead up to the release of Spectre, it seems only fitting to go out with a bang by shining a radioactive light on the most dangerously diabolical, and magnificently malevolent Bond villains.

**WARNING: spoilers ahead**

Corey’s Pick: Auric Goldfinger, Goldfinger (1964)

“He’s the man with the Midas Touch… a spider’s touch!” so crooned Shirley Bassey of the first truly memorable Bond nemesis; Auric Goldfinger, a  prosperous businessman with a penchant for golf and, of course, a psychotic obsession with gold. Played by the late German actor Gert Fröbe (though dubbed by the British Michael Collins due to Fröbe’s poor English), Goldfinger remains a truly iconic adversary for his sadistic, yet undeniably imaginative methods of murder- such as suffocating his rogue seductress Jill Masterson by covering her in gold paint. With almost equally unprecedented henchmen – Pussy Galore and Oddjob – and an extraordinarily diabolical scheme involving chemical and nuclear warfare, Goldfinger shall forever be one of Bond’s – and cinema’s – greatest villains.

“No, Mr Bond, I expect you to die” – https://www.youtube.com/watch?v=DoQwKe0lggw


Rhys’ Pick: Raoul Silva, Skyfall (2012)

Batman and the Joker, Luke Skywalker and Darth Vader; the best villains have the capacity to mirror an aspect of the hero, and for James Bond (Daniel Craig) in Skyfall, Raoul Silva (Javier Bardem) represents his complicated relationship with, and his potentially misplaced trust in M (Judi Dench).

Silva, a past MI6 operative himself, is a victim of M’s uncompromising, take-no-prisoners attitude; the very same attitude which sees Bond shot through the chest, and left for dead at the very start of the film. Whilst Bond was able to put M’s questionable decision behind him, Silva was left disfigured and determinately disgruntled with his former handler. Driven by this personal vendetta, Silva’s plan involves disgracing MI6, dispatching Bond and, finally, exacting his revenge by assassinating M.

“Look upon your work, mother”https://www.youtube.com/watch?v=xMOYiV7hUR0


Zachary’s Pick: Le Chiffre, Casino Royale (2005)

Among a great many surprises, Casino Royale treats us to one of James Bond’s most human villains; a man who makes some poor financial choices, and compensates by putting up a stoic front to try and redeem himself.

Le Chiffre is suave, deadly, deceitful, and a master of high-stakes poker, but weakness is ever-ready to gnaw away at his resolve. He’s not above sacrificing his girlfriend’s arm to African warlords, yet when deadlines close in, and debts have to be paid, he is impatient. Afraid, even. And Mads Mikkelsen hides a steely peril behind his cold, bleeding eyes. You know at once that this isn’t a man to be trifled with.

Le Chiffre’s not a larger-than-life organisation like SPECTRE, neither is he a megalomaniacal tech fiend like Max Zorin. He is very flawed. Very real. Very human. Not to mention he pummels Bond’s dangly bits with unabashed glee.

Le Chiffre wins – https://www.youtube.com/watch?v=6IQb_ewSih4


Tom’s Pick: Dr. No, Dr. No (1962)

1962’s Dr. No successfully kicked off the ever-lasting 007 franchise with a hearty concoction of Sean Connery, gorgeous settings, and that white bikini. However, unlike most Bond villains, its titular antagonist is a dangerous, well-defined character. Dr. Julius No (Joseph Wiseman), part of super-villain super-group SPECTRE, fits the mad scientist trope. His thirst for radioactive materials, costing him his hands, drives his thirst for mass destruction and power. No’s plan, disrupting multiple rocket launches in superpowers including the USA and Soviet Union, resonates effectively. Sporting bionic metal paws and an elaborate island lair, the character, physically and psychologically, resembles the archetypal Bond foe. Bond, lured to No’s abode in Jamaica, is threatened by multiple attacks on No’s behalf. Capturing Bond and Honey Rider, No’s confronting persona and mercilessness make for a worthwhile obstacle throughout the climax. As the lair self-destructs, however, No is foiled by his physical deformities. Unable to grasp onto anything, he falls to his destructive demise into boiling coolant.

SPECTRE revealed – https://www.youtube.com/watch?v=rsT1bLR2sfM


Rhys’ 2nd Pick: Ernst Stavro Blofeld, From Russia With Love (1963), Thunderball (1965), You Only Live Twice (1967), On Her Majesty’s Secret Service (1969), Diamonds Are Forever (1971), For Your Eyes Only (1981).

James Bond has faced dozens of foes over the years, but none have been quite as fearsome and iconic as Ernst Stavro Blofeld, head honcho of international terrorist group SPECTRE. The villain against which all others are measured, Blofeld has recurred more times than any other antagonist, and in many ways has transcended the series to influence cinema as a whole.

Concerned with only one thing – total world domination – Blofeld has orchestrated potential nuclear war between Russia and the United States, threatened to sterilise the world’s food supply and, perhaps most tragically, assisted in killing Tracy Bond (Diana Rigg) mere minutes after her wedding to James.

Although numerous actors have played him, perhaps his most iconic appearance was in You Only Live Twice when Donald Pleasance was cast in the role. With a pale and scarred visage, and gently stroking a white cat on his lap, Blofeld is also a villain who has been parodied a thousands times over, from Mike Myers’ hilarious Dr Evil in the Austin Powers series to the outlandish volcanic lair used by Hank Scorpio in my personal favourite Simpsons episode of all time.

“Allow me to introduce myself”https://www.youtube.com/watch?v=MUQbmDMySpw


Images courtesy of United International Pictures, Chapel Distribution & Sony Pictures

Top 5 Bond Theme Songs

Swirling graphics. Crisp silhouettes. A screen drenched in blood… every 007 romp opens the same way: an intricate opening credit sequence backed by a killer song that boasts a powerful voice. From all-time legends (Paul McCartney), to eighties icons (Duran Duran) through to today’s megastars (Sam Smith), only the best of the best are fit to carry Bond’s theme songs, and below you will find our top 5 picks for the greatest of the great.


Zachary’s Pick: Tina Turner – Goldeneye (1995)

A Bond song has to sound like a Bond song. What’s the name of his game? Seduction. Espionage. Violence. Cheek. There have been a fair few theme songs over the years to wittingly capture the essence of 007, notably classics sung by Garbage, Adele, and perennially, Shirley Bassey (you can wipe all the love ballads of the ‘70s and ‘80s from your memory). While Bassey’s Goldfinger will forever remain the cornerstone of the Bond musical canon, none encapsulates all that the franchise is more succinctly and proudly than Tina Turner’s Goldeneye.

From the second it begins, Goldeneye hints at something clandestine, almost taboo; dark secrets not yet revealed. Then Turner sweeps in, singing as if she too is concealing deadly secrets, and is happy about it. The song has a masterful ebb and flow of power and restraint, much like Bond himself. Apart from Goldfinger, no other song in the Bond universe tells you everything you need to know about this character and the dangerous world he inhabits.

Tina Turner sings Goldeneye – https://www.youtube.com/watch?v=4hGQ97tCTOs


Tom’s Pick: Adele – Skyfall (2012)

Like Skyfall itself, the titular song eclipses everything that has come before it. Building upon the already immense success of British pop singer/songwriter Adele, this theme song elevated her career into Golden Globe and Oscar glory.

Hitting its stride immediately, the song’s orchestral riffs and straight-edged tone establish the film’s dark, gritty aura. Like the accompanying credits sequence, Adele’s sombre, hushed style firmly emphasises the film’s refreshing rebirth angle.

The singer’s graceful harmonies pay tribute to the Shirley Bassey era whilst ushering in the new-and-improved Bond universe. From the piano-key lead-in to the ear-shattering crescendo, Skyfall delivers an array of memorable, heart-pounding touches. Eclipsing recent entries including You Know My Name and Another Way to Die, the track is one of very few themes to successfully accompany, and elevate, the film and franchise.

Adele’s Skyfall music videohttps://www.youtube.com/watch?v=7HKoqNJtMTQ


Rhys’ Pick: Paul McCartney & Wings – Live and Let Die (1973)

Despite racking up the most appearances as the iconic super spy, Roger Moore’s era is lumbered with a divisive reputation; however, you can’t deny that the titular track on 1973’s Live and Let Die didn’t get things off to a rip-roaring start.

Written by Paul and Linda McCartney, and performed by Paul’s band WingsLive and Let Die was a departure from the series norm of grandiose horns and operatic themes. It’s a much stranger beast as McCartney kicks things off with a gentle piano intro before diving into racy guitar snarls, hammering drums and some spacey, fever dream weirdness in the middle.

It’s a fitting companion to the film also; Live and Let Die concerns itself with drug trafficking in New Orleans, Blaxploitation and voodoo rather than maniacal supervillains in Alpine bases or volcanic lairs, and marks the first time that 007 cosies up with an African-American character (Rosie Carver played by Gloria Hendry). Simply put, it’s a vastly different song for a vastly different Bond.

Live and Let Die opening titles sequence – https://www.youtube.com/watch?v=sn8alMYSu44


Corey’s Pick: A-ha –The Living Daylights (1987)

The two Timothy Dalton-starring Bond films – The Living Daylights and License to Kill – seem to divide 007 aficionados; some welcoming a darker, more realistic side to their favourite spy, others criticising Dalton’s sombre, humourless hero. Their theme songs, on the other hand, were decidedly upbeat; particularly the former. Performed by Norwegian synthpop rock band A-ha (yes, the guys who did Take On Me) The Living Daylights is among the catchiest of the many Bond theme songs, despite not ranking among the most well-recognised. After the commercial success of Duran Duran’s A View to a Kill, the producers sought after another popular band, first asking Pet Shop Boys (who declined) before opting for A-ha. A clash with the film’s composer John Barry led to the existence of two versions of the song; Barry’s string arrangement that wound up in the credits, and A-ha’s synth-heavy reworking for their own album – though both are deliciously 80’s and perfectly capture the essence of Bond’s style with cryptic lyrics. An underrated gem.

The Living Daylights opening titles: https://www.youtube.com/watch?v=Eo9uXd48HME


Kit’s Pick: Shirley Bassey – Goldfinger (1964)

Performed by the mightily lunged Shirley Bassey, the opening theme to 1964’s Goldfinger is not only not only synonymous with James Bond; it’s also one of the most recognisable theme songs in film history. The searing vocals, catchy lyrics and bold brass section marry together to create something truly special.

The song set a high bar and generated a long-standing influence that can be seen in later themes that copied its formula. Bassey would return to record two more efforts for the franchise for 1971’s Diamonds Are Forever and 1979’s Moonraker, making her the only artist to record multiple Bond themes. The song, along with an iconic opening title sequence (featuring sexy female silhouettes painted gold) capture the film’s tone perfectly.

Goldfinger title sequence: https://www.youtube.com/watch?v=Fy_PJODH3p0


Images courtesy of United International Pictures, Chapel Distribution & Sony Pictures