Skyfall

The name’s Bond. Emo Bond.

Yup. Forget Brosnan’s lazy charm, Connery’s flinty coolness, crap Roger’s independently moving eyebrows. This time Sam Mendes – renowned for his emotionally wrought character studies – is in the directorial driving seat, so it’s all about 007’s angst and inner pain. We can only be grateful that Skyfall, unlike American Beauty, doesn’t open with our hero disconsolately cranking one out in the shower.

So, the story: Bond gets ‘killed’ in the opening scene (except of course he doesn’t) and cyber-terrorists steal a hard drive containing a list of secret agents’ names, which they then leak online. It’s Wikispooks, essentially.

We soon find Bond living in a beach hut, drinking heavily and even growing a beard to show us how much he’s really hurting inside. When the MI5 headquarters in London are blown up, he comes out the shadows so he can look pained and bicker with M (Judi Dench). During re-training, our struggling hero can’t shoot straight, fails the fitness tests and even throws a hissy fit during the psychological assessment. Are you getting the picture yet – he’s REALLY VULNERABLE, okay?

Given all this navel-gazing, Skyfall is unquestionably more talky-talky than most Bond movies, which in itself isn’t a bad thing. (Quantum of Solace, produced during the Hollywood writer’s strike, had about six lines of wonky dialogue). Most of the actors – Judi Dench, Ralph Fiennes, Rory Kinnear – are pretty solid. Young Ben Whishaw, as Q, is great in the single scene – a verbal joust with Bond – where he’s allowed to do more than rat-a-tat at a laptop, squeaking: ‘They’ve hacked into our system!’. (Note: this happens a lot.)

But we already knew Mendes could ‘do’ talking – the problem is he just isn’t really into the action stuff, and it shows. He’s the directorial equivalent of the brainy, speccy boy at school, and there’s a sense that the livelier scenes for him must feel like a double Games lesson in the rain.

Can't you see he's hurting, he hasn't shaved

A big set-piece in a Shangai casino is a massive damp squib. Filming the scene apparently chewed up entire weeks and millions of pounds, but somehow it’s arse-numbingly boring.

Bond simply breezes into the enemy’s lair, announces his real name, chats up the baddie’s girlfriend, beats up some henchmen, narrowly avoids the obligatory deadly animals in a pit and breezes out again. So, when did that ever NOT happen? It’s all been done before with much more aplomb, and Mendes brings nothing fresh to the mix. It’s Karaoke Bond, essentially.

The movie’s big success is Javier Bardem, playing the bonkers, campish villain. He’s a truly bizarre sight, his big, meaty Spanish features topped with a straw-coloured wig that makes him look like a Catalan cousin of the late, unlamented Jimmy Savile. This unsavoury impression is heightened when he starts stroking a tied-up Bond between the legs. You half expect him to suddenly spout: “Now, then. Now, then...”

However, even a creature so magnificent as Jimmy Bardem is soon neutered by the lumpen direction and formulaic plot. Almost as soon as he’s introduced, the flaxen fanatic gets caught – with suspicious ease – and is taken to MI5’s new secret HQ. Once there, he trades insults with M, chews a bit of scenery then promptly escapes again. As Q helpfully exposites, while rat-a-tatting on a keyboard: “He’s actually been PLANNING this for years…”

Now, that shuffling, grating noise you can occasionally hear throughout this 20-minute sequence is the sound of Heath Ledger spinning in his grave, because the whole thing is a bare-faced lift from his identical stunt as The Joker in The Dark Knight. Except this time, obviously, the entire conceit is transparent from the outset – and thus a bit pointless.

Now then, now then, Mr Bond

However, it’s in the film’s final act that things really unravel. There are lots of uncertainties in the world, but one thing you could always count on was an explosive final half hour in a Bond movie, involving a huge set (preferably inside a volcano), hundreds of disposable extras, a cat-stroking maniac and some proper excitement.

Instead, Bond drives M to his bleak ancestral home in the Highlands so they can sort out his ‘mommy’ issues. There’s a misjudged, semi-comic turn by Albert Finney as the family retainer and, just as the movie should be cranking up to grand finale mode, the audience spends a full ten minutes watching what looks like out-takes from Emmerdale.

Finally, as night falls, Jimmy Bardem and a gang of goons arrive in a huge helicopter. It lands. The baddies jump out. They shoot big guns at the house, and Bond, M and Albert fire rifles back. The helicopter takes off again, ostensibly so it can resume shooting at the house, but really so Bond can blast it with a couple of gas canisters that happened to be hanging around in the kitchen (just next to the teabags).

Inevitably, the chopper crashes and a CGI fireball fills the screen, much as a palpable sense of anti-climax fills the mind of the viewer.

Exploding helicopter innovation 

Not much to report, really. Once hit, the big, Chinooky-type chopper slowly sinks and crashes into the side of the house, lighting up the night sky with a massive explosion. Mendes’ deft and realistic touch with an action scene is once more in evidence, as Bond and Bardem remain entirely unscathed by a huge volley of burning petrol and molten metal, despite standing right next to – and, in Bond’s case, virtually underneath – the unfortunate conflagrating vehicle.

Positives 

There are a lot of individual good scenes, and it’s a genuine pleasure to see talented actors in a generic movie raising the bar with more than the usual action guy tough talk…

Negatives

…but Skyfall often meanders and forgets that it is, after all, supposed to be a Bond movie. Despite all the critical hoopla, it reminded me in parts of Timothy Dalton’s discouraging turn as ‘new man’ 007 in the Eighties. Existential angst does not a good Bond movie make.

Favourite quote 

“Now, then. Now, then.” [Javier Bardem]. Note: I may have just imagined that, due to the wig.

Interesting fact 

What with Bond's 50th anniversary, Dame Judi's final turn as M, the celebration of British-ness theme, the celebrated home-grown director, post Olympics and Jubilee euphoria – this movie was never going to get anything other than a soft and comfortable critical landing. What most reviewers seemed to miss is that, for long stretches, it's actually pretty boring.

Review by: Chopper

Still want more? Then listen to the Exploding Helicopter podcast episode on Skyfall. You can listen via iTunes, Player FM, Stitcher, Acast or right here...

Deadly Prey

There are good films, and there are bad films. There are even ‘so bad they’re good’ films. And then there is Deadly Prey (1987).

This movie exists in its own universe. Like a comet, it hurtles past the Good and Bad constellations, briefly orbits planet So-Bad-It’s-Good, before exiting our galaxy for as yet uncharted regions of critical understanding.

But, lest we become lost in deep space, let us pause to consider the plot, which is very much rooted in our own earthly world.

In the backwoods outside Miami, a team of mercenaries – led by ruthless Colonel Hogan (David Campbell) – is rigorously preparing for a covert mission. To hone his soldiers into finely tuned killing machines, Hogan has adopted an extreme and unconventional approach at his training camp.

You see, the Colonel is the type of man who laughs at mere assault courses, who snubs his nose at bayonet-holed straw dummies. Not for him the tired fakery of pretend military exercises, oh no: Hogan prefers to keep it much more real and lethal.

In fact, his approach revolves around having his soldiers hunt and kill ‘runners’ – ordinary people kidnapped off the street and forced to flee for their lives in a secluded wood before they’re caught and killed.

The film opens with the latest ‘runner’ being easily chased down and murdered. Unimpressed, Hogan orders his men to head into town and bring back some fresh meat. By a huge coincidence, the elite mercenaries make the mistake of snatching Mike Danton (Ted Prior).

Unbeknown to them, Danton is highly trained ex-soldier and Vietnam veteran, who doesn’t take kindly to being used as glorified human bait. Instead of trying to scarper out the woods, Danton turns the tables on his kidnappers and starts to hunt them down, picking them off one-by-one.

So, given these kill-or-be-killed stakes, only one question remains: can Colonel Hogan and his mercenaries kill Danton, before Danton kills them?

Now, this may not sound like a plot that you’d need a PHD in astrophysics to understand, but – much like the mysteries of our solar system – Deadly Prey asks questions baffling enough to leave even Stephen Hawkins’ electronic voice box speechless.

Why, for instance, does Danton spend the entire film running around naked, except for a pair of skin tight denim shorts cut so short they verge on the pornographic?

Why, despite fighting for his life against a team of elite soldiers, does Danton decline to pick up a gun? I made it fully 49 minutes before Danton, having fought off numerous assailants, finally thinks to picks up a weapon. (Having said that, Danton had in fact killed 20 people by this point with relative ease, so maybe that’s a moot point.)

And why does Danton’s girlfriend, having seen him kidnapped and bundled into the back of a van, call – not the police or any other recognisable form of law enforcement – but her freaking dad, for heaven’s sake?

I know I ask these questions, but your time would be better spent searching for the origins of the universe than trying to find answers in the plot. With Deadly Prey it’s not so much a case of suspending your disbelief, as completely erasing it.

This is nowhere more evident than in the credulity-shattering scene where Colonel Hogan, examining the crumpled corpses of two of his men, is suddenly struck by a chilling realisation.

“I know this, I know this style… It’s my style… Danton? Mike Danton, it’s gotta be.”

“Know him?”

“Know him? I trained him.”

Really, where does one start? With the fact that Hogan and Danton just happen to be old foes from the army? That, by complete chance, they find themselves pitted against each other courtesy of a random kidnapping?

I especially enjoyed the in-no-way-unbelievable revelation that the Colonel can recognise precisely who killed the two men by the nature of their butchery. What did our hero do, carve ‘Danton wuz here’ into their abdomens? Utter piffle.

Still, for all its brain-dead tomfoolery, Deadly Prey is a thoroughly enjoyable romp, particularly when Danton tears about the woods employing the kind of advanced cub scout skills seen in First Blood or Predator.

Yes, the acting is universally horrendous but, combined with the lamentable editing which leaves everything happening a beat too slow, the film gradually begins to take on an odd, mesmeric charm.

This works best in moments of inspired gonzoid genius – such as when Danton severs an opponent’s arm during a fight, then uses the dismembered limb to beat him to a bloody pulp. It’s like the famous Monty Python and the Holy Grail black knight scene, only played straight – and all the funnier because of it.

So there’s certainly plenty to enjoy, and that’s even before we get to the exploding helicopter.

Intent on finishing off Danton, Hogan deploys a chopper to track down and kill the pesky veteran. Caught in open ground, it doesn’t look good for Danton as he desperately tries to evade machine gunfire from the aerial vehicle.

Finally, after ineffectually firing his own machine gun at the helicopter, Danton remembers his weapon is also fitted with a rocket-propelled grenade. One shot later, and Colonel Hogan has no more air support for his manhunt.
Artistic merit

One moment the chopper is there: the next it’s a dirty great fireball. It’s almost like they didn’t actually blow up a real helicopter. That’s low budget filmmaking for you.

Exploding helicopter innovation

First, and only, known destruction of a helicopter by a man wearing stone-washed, skin-tight denim shorts.

Positives

While it makes precious little sense, Danton’s refusal to pick up a gun until halfway through the film does have some benefits.

Sans gun, Danton has to improvise weapons and traps out of sticks, branches and whatever else is lying around the woods, making for some highly entertaining methods of despatching bad guys.

Negatives

The music in the film is bizarre. A keyboard heavy ballad, it sounds like the score for a daytime soap opera rather than a testosterone-fuelled, macho action movie. Again, cost considerations probably played a part in all this.

Favourite quote

Exposition is an art. When it’s done well, it can effortlessly give the viewer vital information about the story without getting in the way of scene. Conversely, when it’s done badly an actor can be left slowly chewing big chunks of indigestible dialogue.

Deadly Prey’s scriptwriters imaginatively opt for a third way and seek to short-circuit the whole process. So when Danton unexpectedly runs into yet another old army buddy, we get to hear the immortal zinger: “Mike Danton? I haven’t seen you since you took a bullet trying to save my life.”

Were there any other important details you needed about their relationship?

Interesting fact

The cult around Deadly Prey’s has steadily grown over the years. So much so, that it appears a sequel Deadliest Prey with Ted Prior himself is on the cards for next year.

Review by: Jafo

Surrogates

Imagine a world where you can sit on your arse all day in the comfort of your own home and get someone else to do your work for you. Sounds great doesn’t it?

In fact you could argue that people living on benefits in this country currently enjoy this luxury (ooh, little bit of politics there). But wouldn’t there be a price to pay for creating a bland and safe facsimile of society? What would happen to our self-esteem and social skills? Wouldn’t we all just end up sitting around in our pants, stuffing our faces with crisps, looking like Elvis circa 1977?

This is the dystopian future envisioned by Jonathan Mostow in the surprisingly cerebral sci-fi actioner Surrogates (2009). In the future people don’t go out in the real world. Instead, they sit at home, remotely controlling idealised robotic versions of themselves, living out their lives vicariously through these “surrogates“.

Tom Greer (Bruce Willis) is one such sluggard. He’s an FBI agent called in to investigate the deaths of two people who mysteriously die when their surrogates are destroyed - something that should be technically impossible.

Greer’s sleuthing leads him to the anti-surrogate movement whose leader The Prophet (a bizarre mix of Bob Marley and Martin Luther King, played by a virtually unrecognisable Ving Rhames) wants to wipe out surrogacy. He wants to get everyone back to experiencing life directly, or at least washing once a month.

Ving Rhames: With a wig dafter than Bruce Willis'

But, just in the same way you can never be sure that the 18-year old underwear model you think you’re talking to in a chat room isn’t a 44-year old truck driver from Burnley, nothing is quite what it seems. Slowly Greer realises the murder is part of a vast and terrible conspiracy.

In a genre dominated by dumbed down studio fare with no intellectual returns, I found Surrogates to be an unexpected pleasure. The film reunites the team behind Terminator 3, writers Michael Ferris and John Brancato, along with director Mostow. They create a fully realised, plausible universe with great touches such as robots “jacking” with electronic “drugs”, beauty salons that resemble garages and roadside surrogate battery chargers.

Willis is not his usual bullet proof self and shows a refreshing vulnerability when dealing with some of the movies philosophical themes. Similarly, his flawed relationship with his wife Maggie (Rosamund Pike) elevates the film above the standard sci-fi action fare that normally relies on fancy effects and a blue tint for its authenticity.

Mostow keeps the action moving and at an economical 90 minutes the film doesn’t outstay its welcome either. Fortunately, amidst all the futuristic fun there’s still time for the retro thrills of a helicopter explosion.

Willis is in a police chopper tracking the murder suspect. The police on the ground move in and corner the suspect not knowing he is in possession of a developmental weapon which has the ability to kill people through their surrogates. After using it to wipe out the pursuing police the weapon is unleashed on chopper, overloading the pilot’s circuits and blowing his eyes out.

The out of control chopper spins wildly for what seems an eternity, clips the top of a building, before crashing down, flipping over like a child’s toy until it explodes.

Artistic merit

Whilst you have to appreciate the way Mostow’s prolongs the suspense, the helicopter was only ever heading one way - and that was down.

The crash itself looks surprisingly cheap and CGI’d compared to some of his previous efforts. The washed out yellows looked uncannily like the old Amiga game Persian Gulf Inferno.

Exploding helicopter innovation

None

Do passengers survive?

Survive is perhaps not the most apt verb in the scene is a robot. The chopper pilot does not surface after the fireball but Willis escapes with his arm torn off seeping some sort of green fluid which may or may not be absinthe.

Positives

The fact that in this fantasy world everyone has flawlessly beautiful surrogates to hide the fact that in the real world they are so ugly they couldn’t get a date from a calendar is a concept anyone familiar with Second Life will well appreciate.

Negatives

As with most sci-fi you can pick holes in the minutiae until the cows come home. Why, for example, have coffee shops for robots that don’t need to drink coffee? Don’t be a smart arse, its called artistic licence.

I won’t spoil it for you but the dénouement is too farfetched to be plausible for such a massive company with undoubtedly hundreds of fail safes to prevent their units from malfunctioning on a monumental scale.

Favourite quote

(Willis questioning an attractive female surrogate lawyer)

Female Lawyer: Agent Greer, we're not doctors. Tom Greer: Honey, I don't know what you are. I mean, for all I know, you could be some big, fat dude sitting in his arm chair with his dick hanging out.

Interesting fact

Oddly, Disney did not hold any press screenings for Surrogates. This is normally the sign of a studio in full damage limitation mode with an absolute turkey on their hands that they don’t want universally panned before it’s had a chance to see the light of day.

Perhaps Disney should have had more faith as subsequent reviews have been, at worst, “mixed”. Disney’s failure to back a sci-fi film with brains does the film and the movie industry in general a disservice.

The future isn’t particularly dangerous, in fact crime is virtually non-existent, but there is no underestimating mankind’s desire to do as little as possible. First came the remote control and now this.

Review by: Neon Messiah

The Day The Earth Stood Still

Keanu Reeves is an artist who divides opinion. There are those who say he's a bad actor with the emotional range of an Easter Island statue, while others simply describe him as “bollocks”.

Whichever side of the fence you reside, the real mystery is how such a limited talent has managed to cultivate such a long and successful career with a delivery as flat as Keira Knightley’s chest.

Weirdly, it was probably his ability to act with an almost zombie-like detachment that drew casting directors to award him the part of the robotic alien Klaatu in Scott Derrickson’s remake of the B-movie classic The Day the Earth Stood Still.

The plot sees Keanu cast as a tree-hugging alien despatched to Earth wipe out the human race as punishment for destroying the environment. 

After landing in Central Park, Klaatu is met by a hostile welcoming committee of stereotypical 'hoah-ing' marines who set about interrogating him Guantanamo style. With reluctant scientist Dr. Helen Benson (Jennifer Connelly) in tow, Klaatu uses his extra-terrestrial powers to affect an escape and finish his mission to destroy mankind.

Dr Benson attempts to stop Klaatu by taking him deep into a forest to see Nobel prize winning Professor Barnhardt (John Cleese). He persuades Klaatu that we aren’t all bad eggs and that mankind has the capacity to change. Just as he is about to buy that baloney Dr Benson’s brat-ish stepson grasses Klaatu to the cops and leads them to his hideout.

As the law move in, a pair of police choppers loom over the tree line and home in on the alien invader. Before they can mow him down, he uses his powers of telekinesis (or bad acting) to fry the helicopters circuitry. 

With the pilots disabled by a cacophony of high-pitched interference coming from their headsets, the helicopters go into the now traditional tailspin that fans now will end in an exploding helicopter. The two whirlybirds smash into each other and break apart. Debris plummets to the ground and blows up in a delicious ball of flame.

Artistic merit

The film is chock full of choppers so it was only a matter of time before one went to helicopter heaven. The explosion here is nicely realised with some rich and satisfying oranges and is all the more impressive for silhouetting Reeves in much the same style as Hugh Jackman in X-Men Origins: Wolverine. It would have been nice to see the wreckage hit the floor but there is no doubt about the chopper’s demise.

Exploding helicopter innovation

Helicopters destroyed by alien mind control - it's unconventional if nothing else.

Do passengers survive?

We don’t know for sure as Derrickson refrains from showing us the impact of the stricken choppers on the ground but chances are the pilots are barbecued to a crisp in the chunky fireball.

Positives

For a film that relies so heavily on special effects it is just as well Weta Digital made the visuals plausible. I particularly liked the swarms of tiny nano-machines programmed to wipe out every man made device and bring the earth back to its natural state.

Oh, and James Hong (Big Trouble In Little China) turns up for a cameo in a bizarre scene which only really succeeds in reminding you that this film isn’t as good as any of the other films you’ve seen him in.

Negatives

The film has very few interesting elements to distract you from a pedestrian plot chock full of genre clichés, product placement and forgettable performances. Worse, the film ends on a preachy, environmental message when all you want to see is the aliens get their ass handed to them by the human race. 

Favourite quote

Helen Benson: "Have you done your homework?"
Jacob Benson: "School's cancelled on account of the aliens."

Interesting fact 

A photo of GORT the humanoid robot and purveyor of destruction alongside Ringo Starr dressed as Klaatu graces the cover of Ringo’s 1974 Goodnight Vienna album. Rumour that purchasers of said album wanted the world to end after hearing it could not be verified at the time of going to press.

Review by: Neon Messiah

Morlocks

“Let me see if I’ve got this straight: you want me to travel through a rift in time, find and repair a device you lost and broke, while all the trying to avoid rampaging creatures from the future – that about sum it up?”

It most assuredly does. And even I, in my lofty position as the editor of a micro-niche film blog about exploding helicopters, couldn’t have put it better.

Credit for the above succinct summary of Morlocks’ plot goes to its hero, a certain Dr Radnor (David Hewlett). He’s a top boffin scientist who, much like this viewer, seems to be struggling to make sense of things in this turgid time-travelling saga.

With America’s economy on its knees, a top secret military unit – led by the shady Robert Picardo – has developed a time-travelling device called ‘the latch’. They plan to preserve Uncle Sam’s industrial might by bringing technology back from the future, thus preventing the US from becoming an insignificant and irrelevant bit player in global politics, an impotent shadow of its former glorious self. In other words: Britain.

Unfortunately, the grand plan runs into a hitch when the future turns out not to be the giant Apple Store they’d hoped for, but an apocalyptic wasteland inhabited only by murderous creatures (Morlocks).

Things go from bad to worse when the latch – now missing somewhere in the future – begins to malfunction, threatening the present-day world with obliteration courtesy of a massive time rift that no-one can be bothered to explain. That’s presumably because, by this point, even the writers were exhausted by garbling up so much nonsensical pseudo-science.

David Hewlett, looking as happy
as I did after watching Morlocks

As the one scientist with the cranial capacity to save the day, Radnor is sent into the future with a team of soldiers to fix and retrieve the device. Will he succeed? Or will the world end in…in…an undefined, non-specific way. Oh, the drama!

Sadly, given this is a film about travelling to the future, I was left wishing I could travel back in time: ideally to a point 90 minutes earlier, when I first decided to watch this torpor-inducing piece of tomfoolery.

One never likes to be unkind to made-for-cable fare – with all the limitations on time, budget and talent that the genre inevitably involves – but this was just toss. It was so bad, that even those familiar genre clichés, normally guaranteed to raise a smile, failed to entertain.

Normally, there’s nothing I love more than watching a film’s dead meat, sorry, unfortunate extras (here fatally cast as soldiers sent to the Earth’s apocalyptic future) meet predictable and pointless deaths. Note: Star Trek raised this phenomenon to the level of high-art, with ‘landing parties’ proving deadly for anyone who wasn’t a regular character.

However, in Morlocks the senseless extras carnage all has a routine, by the numbers feel. If you’re going to serve up a cliché then it should be delivered with gusto and brio, not sloppily ladled out with the bored disinterest of a school dinner lady.

Denied such pleasures, my only interest comes from trying to work out whether certain characters have crossed the ‘immunity threshold’ – namely, have they established themselves sufficiently to indicate they’ll make it to the end of the film unscathed. Such pursuits provide about the only glimmers of entertainment amidst the dross. Still at least there is an exploding helicopter to talk about.

Yes, the special effects are this good

At the end of the film, the surviving characters have returned from the future. Unfortunately, a bunch of Morlocks have tagged along and are with causing havoc at the military base.

Two of our remaining heroes jump aboard a helicopter to attempt an escape. Hovering just off the ground, a couple of Morlocks jump onto the tail of the chopper, causing the pilot to lose control.

The helicopter crashes into ground and partially explodes, but fortuitously the cockpit remains intact allowing the two occupants to flee the wreckage and dive inside a nearby tank. With the Morlocks occupied on the wreckage of the chopper, our heroes fire the tank’s cannon destroying the Morlocks and what’s left of the chopper.

Artistic merit

This was an every-expense-spared helicopter explosion rendered in grade Z CGI. Much like the rest of the film, it is distinctly underwhelming.

Exploding helicopter innovation

This helicopter explosion is directly caused by Morlocks (who it turns out are actually genetically mutated humans). That’s definitely a first.

Do passengers survive?

Yes, the two occupants of the helicopter who scramble to safety had long since passed the immunity threshold by this point in the film.

Positives

Sorry, I just can’t think of one.

Negatives

As films about time travel are written by Hollywood hacks and not quantum physicists, there’s usually an irresolvable paradox lurking somewhere in the plot: Morlocks is no exception.

Here the insoluble question is: why bother to save the present, when the future’s totally buggered? Inevitably, no-one stops to consider this.

Interesting fact

Morlocks is a very loose adaptation of HG Wells’ The Time Machine, which begs an interesting question: if Wells had possessed the power of time-travel and seen what a mangled dog’s breakfast someone would make of his novel, would he still have written it?

Review by: Jafo

The Dark Knight Rises

If it were a comic book villain, Hollywood would be a snide little shite whose superpower was sucking the creativity out of innovative film-makers.

And so it is that, with The Dark Knight Rises (2012), bright spark wunderkind Christopher Nolan finally succumbs to the lowest common denominator demands of a Hollywood franchise. More characters! More explosions! More stuff! Less interest.

This bloated conclusion to his gritty Batman reboot is a misfiring attempt to tie up the trilogy’s loose ends by burying them in a morass of a plot, and hoping the audience will be too distracted by Christian Bale’s grating Barry White impersonation to notice.

Batman (Bale) is now a Howard Hughes-esque recluse, having retired from the crime-fighting game following the death of Harvey Dent and the misguided backlash from Gotham’s citizens. He cuts a pitiful figure as he mopes about Wayne Mansions eating Coco Pops in his pyjamas.

He’s awakened from his reverie by muscle-bound psychopath Bane (Tom Hardy) who, in traditional comic book fashion, has an inexplicable urge to blow up Gotham City – perhaps to compensate for his steroidally shrunken genitalia.

The pontificating beefcake steals one of Wayne Enterprises very own fusion reactors and holds the city to ransom. Of course, only one man can save them. Cue much chop-socky action, car chases and close ups of Anne Hathaway’s PVC-covered derriere.

This is a very long film – into which much plot, action, location-hopping and plot-twistery is squeezed – but precious little of it engages the audience, and there’s a rudimentary, by-the-numbers feel to much of it.

Similarly, the attempts to inject a meaningful credit-crunch zeitgeist into the carnage-strewn plot – with Bane’s socialist masses rising up to crush their bourgeois oppressors in a sub Occupy Gotham angle – feels largely like an clumsy attempt give the numerous fight scenes a worthy edge.

Finally, just as Gotham is about to be reduced to rubble, Batman hooks the nuclear bomb by cable to the underside of his one-of-a-kind Batcopter (a design inspired by crossing a V-22 Osprey and an AH 64 Apache) and rushes away from Gotham out to sea. As the timer ticks down, Batman gets further away until he is a mere speck on the horizon. Just then, the foreground is filled with a familiar mushroom cloud and it’s goodnight Vienna.

Artistic merit

There is no massive explosion, no aftershock, no carnage – just a puff of white smoke in the distance. The destruction of this helicopter and the hero within could have been the mother of all fireballs yet we are left with an almost zen-like explosion. The scene is completely at odds with the general ethos at Exploding Helicopter HQ, but in a perverse way you have to admire Nolan’s restraint and avoidance of cliché.

Exploding helicopter innovation

A helicopter killed by nuclear explosion. Seen it before, but perhaps not like this.

Do passengers survive?

That would be telling, wouldn’t it? But there are some clues towards the end that indicate there’s more cash left in the cow yet.

Positives

As you would expect from a mega-normous action blockbuster there are some adrenalin-pumping set pieces – such as the opening mid-air hijacking – which are delivered with Nolan’s customary directorial panache. The last five minutes of the film almost redeem Nolan’s reputation with the plotline twister par-excellence, but by this point you may have already slipped into a deep sleep.

Negatives

Despite a $300 million budget and a raft of top-notch actors, it renmains a severely underwhelming film. It’s way too long, pretty po-faced and contains some of the least plausible behaviour since Bean: The Movie.

For instance Bane, instead of stealing the bomb and detonating it immediately, decides it’d be more practical to just meaninglessly drive it round the city in the back of a transit van until the good guys have time to track it down before detonation. To further assist the good guys, there is a handy red LED countdown timer on the bomb conveniently informing the world how long it has until its impending combustion. Do they make these things at Argos?

Anne Hathaway is no Michelle Pfeiffer and really should stick to The Devil Wears Prada fluff leaving challenging roles to real actresses who are able to do more than just look good in a catsuit. Why Batman trusts her, despite being repeatedly double-crossed, can only be attributed to either deep-seated mental illness or an overwhelming urge to get into her pants.

Tom Hardy is a great actor but tragically wasted playing the one-dimensional Bane in a face-covering mask that forces him to act only with his eyes (I acknowledge Roger Moore did make a career out of similar restrictions). His voice is also overdubbed in post-production so really they could have just hired Ross Kemp and saved a few quid.

Favourite quote

Lucius Fox (on Batman’s one-of-a-kind helicopter): “Nothing like a little air superiority.”

Interesting fact

Nolan said that each of the Batman films have a central theme underpinning the story. For Batman Begins it was ‘Fear’, The Dark Knight deals with ’Chaos’ and this film's overarching emotion is ‘Pain’. After three hours trying to make sense of this mush with a surly 11-year- old absent-mindedly kicking the back of my chair, I couldn't fault the director for not delivering his promise.

Review by: Neon Messiah

True Lies

Looking back, we can see True Lies (1994) as the zenith of Arnold Schwarzenegger’s 30-year career.

A deft blend of entertainment and action, the film was a critical and commercial success. Moreover, it was the culmination of Arnie’s efforts to become a genuine box-office star rather than a simple purveyor of violent action thrillers.

Here, Schwarzenegger plays Harry Tasker, seemingly a dull office equipment salesman living out a bland suburban life with his wife (Jamie Lee Curtis) and daughter. In reality though, he’s a top secret agent out to stop Art Malik’s terrorist group setting off a couple of stolen nuclear bombs.

Unfortunately, Arnie’s personal and professional lives become messily entangled after he is forced to reveal his double life to Curtis. It’s then up to Arnie to save the world and his marriage – a feat the maid-bothering philanderer was sadly unable to repeat in real life.

True Lies was the Governator’s third film with James Cameron. Unable on this occasion to cast him as a monosyllabic robot – and no doubt aware of the potential embarrassment that might ensue when Arnie attempted to ‘act’ like a human being – Cameron was confronted with a problem: what to do with the lumpen one’s ungainly presence?

His solution was both genius and admirably simple: stuff the film with cartoon-ish supporting turns and hope to God no-one notices him.

And so we have Bill Paxton’s loony sleazeball, Jamie Lee Curtis’ awkward housefrau persona and Tom Arnold’s motor-mouthed sidekick – all of them smokescreens to distract you from the Austrian word-mangler’s presence at the centre of the film.

Top that off with a surprisingly foul-mouthed Charlton Heston, a vampish Tia Carrare, and Art Malik’s pantomime terrorist and the overall assault on the senses is almost enough to distract you from the lumbering beefcake’ performance. Almost, but not quite.

Arnie is so wooden, watching him leaves you tugging splinters from your eyeballs. It’s lucky that his role requires so much running and jumping around since, if he stood still too long, someone might be tempted to sand and varnish him.

That said, I don’t imagine anyone in this film ever imagined they were going to be troubling the acting nominations at the Academy Awards. True Lies aims to be nothing more than an unashamed piece of entertainment and in that regard it‘s a rip-roaring success.

The film’s two major action set pieces are superbly handled. The extended opening is a thoroughly enjoyable Bond pastiche, as a tuxedo-wearing Arnie infiltrates an embassy soiree and steals some computer files before escaping with a small army on snowmobiles in hot pursuit.

However, Cameron saves his best work for the film’s final act – an almost continual action sequence, complete with shoot outs, car chase, and crucially an exploding helicopter.

With his scheme unravelling fast, Art Malik absconds to the top floor of an under-construction skyscraper with some stolen nukes and Arnie’s daughter, who he’s kidnapped as a little extra insurance. With the deadline for detonation fast approaching, Arnie borrows a fighter plane and jets off to halt Armageddon and rescue his daughter.

While the terrorists are temporarily distracted, Arnie’s plucky progeny steals the trigger for the nuclear bomb. With nowhere to flee, she clambers onto the girders of one of the cranes constructing the skyscraper. Pursued by Malik, it looks like she’s about to meet a sticky fate, either at the end of Malik’s machinegun or courtesy of a hundred storey fall to the street below.

From here, the precise sequence of events would be fiendishly difficult to explain so I’m going to hit the fast-forward button. Suffice to say, Arnie arrives in time-honoured nick of time style and, before you can say ‘Aaaah’ll be beckkkkk’, his daughter is clinging to the jet’s cockpit and Art Malik is left dangling from one of the fighter jet’s missiles.

If this wasn’t enough jeopardy for the former Mr Universe to contend with, Malik’s henchmen turn up in a helicopter and fire at him before darting round the back of the partially built skyscraper. Spying the chopper through a gap in the building, Arnie hatches an ingenious terrorist two-for-one deal to extricate himself from the situation.

With Malik still hanging from the jet’s missiles, Arnie fires the rocket – complete with the sometime Casualty doctor – at the enemy chopper. Stuck to the missile, Malik is sent whizzing through the under-construction building towards his cohorts, who are only briefly able to register their surprise at the sudden and unexpected reunion with their leader before the helicopter explodes.

Artistic merit

A bravura helicopter explosion. Elaborate, inventive, and executed with verve and panache. Truly superb.

Exploding helicopter innovation

Helicopter destroyed by rocket-propelled terrorist: if you weren’t already sure, I can confirm this is unique in the annals of helicopter explosion.

Negatives

True Lies is as much a comedy as an action film. While most of the jokes still tickle the funny bone, the passage of history has rendered the gags at the expense of Art Malik’s Islamic terrorist group the equivalent of comedic tumbleweed.

Clearly, the mid-Nineties were a simpler political age for America and the idea that a bunch of religious fundamentalists could hurt Uncle Sam in his own backyard was, well, laughable. Unfortunately, the events of 9/11 and the consequences of two subsequent wars have dispelled that notion. Were it proposed today, it’s hard to imagine True Lies getting made.

Favourite quote

“Have you ever killed anyone?”
“Yes, but they were all bad.”

Interesting fact

There’s a few. True Lies is actually a remake of French film La Totale! (1991).

To many admirers of the female form, the highlight of True Lies will no doubt be Jamie Lee Curtis’ sexy dance scene. Supposedly a demure housewife, Curtis is initially slow to get into full pole-dancing diva mode. But just as she seems to be getting into the swing of it she makes a misjudgement and falls over, much to the viewer’s amusement. Possibly the funniest moment in the film, this was actually a genuine goof which James Cameroon decided to leave in because it worked so well.

I also had a moment of déjà vu while watching the helicopter explosion in True Lies. It was done so well that the makers of straight to video actioner Executive Target re-used a brief shot from it, of the helicopter wreckage crashing to the ground onto a police car.

Review by: Jafo

Listen to the Exploding Helicopter podcast on True Lies. Find the show on iTunes, Stitcher, Podomatic or YourListen.