aavengerendgame

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The Courier (2019 film)

Without hyperbole, Zackary Adler’s The Courier is perhaps the worst film of the year. It’s riddled with terrible performances, it shoe-horns in every thinkable action movie trope and cliché, the plot is nonsensical and it’s tonally inconsistent throughout. And yet, because of its commitment to its own single-minded insanity, there is surprisingly some charm and entertainment value to be found here for those willing to look for it.

The plot centres around an unnamed London courier (Olga Kurylenko) who, discovering she’s been set up to deliver a bomb, finds herself in the middle of a New York crime lord’s (Gary Oldman) plot to eliminate the only surviving witness who can testify against him in court (Amit Shah). With a team of hired guns on their tail, the courier does whatever she can to protect the witness while trying to escape from their pursuers.

The Courier

An admittedly standard premise for the genre, almost all the potential for this to be a genuinely fun flick is erased from the offset due to by-the-numbers script and flat delivery – including a title sequence you’d expect from a straight-to-video B-movie from the early 2000s. The biggest culprit is Oldman as eye-patched villain Ezekiel, who exerts no effort into his performance, coming across like a bored pantomime Bond villain. Had he – and other cast members – embraced the lunacy of their characters, then this could have been a completely different film.

Kurylenko, on the other hand, is by far the highlight here. She’s a source of personality and humour and is always fun to watch onscreen. Likewise, Craig Conway as the head goon goes beyond Nicholas Cage levels of crazy to be equally as engrossing. However, alongside the other performances, comically excessive and cheap gore effects, serious tone and stylish but out-of-place black and white flashbacks, these pieces just don’t fit into a cohesive whole. That is, until the flick hits the climax, where it goes all-in on its over-the-top gore and B-Movie thrills to create something rather brilliant.

Generally speaking, The Courier delivers a generic, flat and pretty awful film thanks to noticeably bored actors and tonal mess of a screenplay. But when the pieces do eventually slot together, Adler’s vision of a ridiculous action thriller is there for a brief time. By no means a good film, The Courier makes for a good rainy day flick this winter.

[aavengerendgame]

Avengers Endgame movie review: An epic conclusion to Marvel’s Infinity Saga; it’s a triumphant tear-jerker

With Avengers: Endgame, the Marvel Cinematic Universe has arrived at its long-awaited ‘conclusion’, offering fans an old-fashioned mix of grand spectacle and undiluted emotion. To say that it is a success would be too simple an observation; what it deserves instead, is a eulogy.

Like a series finale of a television show you’ve loved for years, it crosses all the Ts and dots all the Is - some more neatly than others - and ends not so much with a feeling of rigid resolution, but a sense of freeing possibility. For new doors to open, Marvel seems to be saying, old ones must first be closed. It’s a film that will compel even the Frost Giants in the audience to whoop and weep.

123movies avengers endgame

For films like Avengers: Endgame to succeed, piled as they are with unfathomably large expectations, a well-oiled system is required to be in place. There needs to be a discipline in the writing, a crispness to the editing, and a generosity in the performances. True ambition in the Marvel Cinematic Universe, more often than not, is born out of a strict adherence to rules. And there are perhaps no two filmmakers better at working within studio sandboxes than Anthony and Joe Russo - at least not on this unprecedented scale.

Avengers: Endgame is a terrific example of that epic intimacy that Marvel does so well - alternating between glorious action and subtle character moments. Watching it almost feels like taking a wistful walk down memory lane, flanked on either side by a Russo brother, our hands held firmly in theirs. It’s an odd feeling that I can’t quite describe; a mixture of déjà vu and nostalgia, of melancholy and euphoria.

It’s a delicate balance to strike, but not nearly as difficult as having to write a review without revealing potential spoilers, whose definition, it seems, is as subjective as the idea of Iron Man 3’s Mandarin being a good villain.

Robert Downey Jr and Chris Evans in a still from Avengers: Endgame. Robert Downey Jr and Chris Evans in a still from Avengers: Endgame. But there won’t be any spoilers here, at least not beyond what we’ve seen in the trailers. The marketing campaign that Marvel put together for Endgame is a work of art in itself - I can confirm that most of the footage we’ve seen is pre-opening credits stuff. There are, however, parallels to the scientific methods trailer companies employ and the Russos’ keen understanding of blockbuster storytelling. Despite being the longest superhero film in history, and the longest film in the MCU, Avengers: Endgame is paced like Quicksilver on crack cocaine. Not a single moment feels unnecessary, but there are scenes - especially in the first act - that feel slightly rushed.

It’s their own fault, really. Over the years, we’ve come to develop certain expectations from our Marvel movies, as well as a patience for their indulgences. This makes the ‘getting the band back together’ scenes in Endgame rather tedious. We know what needs to happen, so why dilly-dally?

Avengers assemble for their final stand against Thanos in Avengers: Endgame. Avengers assemble for their final stand against Thanos in Avengers: Endgame. The fatal flaw with Avengers: Infinity War, I feel, was that at no point did the Decimation feel like it would be irreversible. It was a scene - a very good scene - built entirely on shock value that dissipated almost as swiftly as one of ‘the fallen’. And after all, they say that no movie death should be believed unless you see a trickle of blood escaping from the corner of the character’s mouth.

It was a similar situation with Captain America: Civil War. Steve Rogers and Tony Stark’s differences felt more like a momentary tiff than an ideological confrontation; in other words, of course they were going to get back together.

Avengers: Endgame isn’t like that, and that’s what elevates its credibility, and injects unexpected drama to its already weighty themes. There’s a sense of finality to it that feels wholly unprecedented in the MCU. The Russos are probably operating at their most mature here, examining themes of parenthood and patriarchy, loss and legacy - and of power; how it switches forms as it moves from one hand to another (literally). The only way to confront radical terrorism, the film asserts - and Thanos is a radical terrorist, make no mistake about that - is through unity and bravery.

Robert Downey Jr as Tony Stark/Iron Man in a still from Avengers: Endgame. Robert Downey Jr as Tony Stark/Iron Man in a still from Avengers: Endgame. This isn’t to say that Endgame is a dour film - the trailers have certainly sold it that way; like an unholy love child between Back to the Future and The Leftovers. But I was surprised by how funny it was, and when it needed to be, how purely entertaining.

One scene in particular - I won’t say a word more - will extract the same sort of response from audiences’ as Thor’s entry did in Infinity War.

Also read: Avengers Infinity War movie review: Marvel has made an epic tragedy of Godlike proportions

But regardless of what they say, Endgame is very much Infinity War - Part 2, in that it directly addresses the fallout of the Snap. Certain scenes feel like they’ve been there since the earliest drafts of the script, while others genuinely feel like they were added post the release of Infinity War - the Russos have always had a finger on the audiences’ pulse, so it would make sense for them to have done that.

They’re insisting that this is the end, but it’s like Tony choosing pizza over cheeseburgers - we all know that’s never going to happen. The more movies they keep making, the more they’re going to dilute the impact of Endgame, But for fans who’ve been there from day one, it will be the satisfying conclusion they’ve been waiting for, and a love letter to the franchise they adore. The MCU, in this moment, has given us a once-in-a-lifetime experience. Cherish it. Hold it dear. Whatever it takes.