Likewise, it can be as easy for a director to become typecast as an actor; Robert Pattinson has broken away from the dull love interest he played in Twilight, and this follows an almost-arthouse role in The Lighthouse. While a viewer might expect a different feel of film from Nolan, the action-heavy style of Tenet is not a flaw.

John David Washington's protagonist is a brilliant mix of a proactive instigator and an audience surrogate, buffeted along by the plot. What is happening? he asks, and How does this time reversal thing even work?. As we move through the film, his awareness and comprehension matches ours, ending with a satifying conclusion and the set up for the events before the beginning of the film.

While the plot and the time travel concept is measured out, the climactic battle scene is wild and chaotic. The gist and the core events are easy to follow, but the details are confusing. Just like a real battle, it's hard to spot the red and blue armbands or keep track of where the action is happening. The balance of action-packed moments and exposition-packed dialogue make this a textbook Nolan, in that watching it once is nowhere near enough to spot everything. Luckily, I found it so enjoyable I'm looking forward to those further viewings.

In conclusion, it's a brilliant sci fi.

I make no secret that I love both Peter Parker and Miles Morales Spider-Mans, and keep meaning to buy more comics. So, bias acknowledged, I loved this. Miles is a brilliant character and having a new story to tell made up for it being an origin story. With the new versions of Peter Parker being a retired and out of shape divorcee and a black and white film noir detective, they felt like new characters. Peter, Gwen and Miles were well developed; Miles was really explored as the main character.

The family dynamics and new twist on Uncle Ben were interesting. With two spider-women as well, Miles' afro-latino representation and Peni's presumably Japanese origin really played into the theme of everyone being able to see themselves as Spider-Man. Miles' black costume and trainers and Gwen's white and pink hooded costume are both lovely twists on the red and blue classic; be prepared to see them cosplayed at many cons!

The villain of the film, whose dimension meddling is both the catalyst and goal of the film, is Kingpin. Looking quite different from his appearance in Netflix original Daredevil, he is a hint to a world with other heroes (namely Daredevil). To see this multi-verse interaction taken further or even done with other characters would be amazing. To bring my own biases up again, everyone's favourite fourth wall breaker Deadpool would be a giggle to see meet himself; likewise seeing him fawn over a more age appropriate Peter Parker would be a treat.

Tragic backstories are a staple of the superhero story. Some are shocking the first time you see them, and for any not familiar with Miles Morales it might be upsetting to see Spider-Man killed off unceremoniously at the start of the film. Miles' own Uncle Ben moment is emotionally well done, and every Spidey tells their own tragic beginnings.

While not suitable for very young children who might be scared by the action or upset at the death, it's a great family film that requires no background knowledge. Almost every aspect of it is a nice change.

For what could have been a rushed-out and forgettable movie, the big stars involved put the effort in and made this a really great film. The two romantic relationships shown are very different but also both believable and well portrayed; the characters are well developed and layered. Gruff murderer-for-hire Kincaid reveals he refuses to kill innocents and enjoys his job killing criminals, but isn't too concerned with his moral status. His wife is a violent badass and swears hatefully down the phone to him, but protects him and seems to truly love him.

The genocidal dictator in the background storyline does make for some unpleasant scenes, and a main character does remove a bullet from their leg. These aren't gratuitous and you aren't entangled with other scenes, so you can easily look away for a moment. The action plot violence is mostly from a distance, leading to exciting sequences without unpleasant gore.

The characters do feel very familiar: With this film being made and released between the massively popular and perfectly cast Deadpool and Deadpool 2, it's easy to see why Reynolds character feels like a pre-cancer or alternative universe Wade Wilson. Instead of a lowly heavy for hire, Bryce was at the top of his career as a bodyguard until a client was assassinated. The comparison is more of a fun aside.

Likewise, Jackson has addressed slight criticism that he plays "that same motherfucker" in every film; his Kincaid feels like an older Jules Winnfield. Darius is a hitman with morals and seems to think he's indestructible. In Pulp Fiction, Jules is a hitman who believes a miracle saved his life, and decides to get out of the underbelly work he does. His plan to "wander the earth like Caine in Kung Fu" until G-d gives him a sign of what to do next might have led him to hitmanning. He has the skills, he only kills crimelords, and he still thinks divine intervention is keeping him safe.

Even without this further, theoretical reading, this is a great film with believable and likeable characters. You'll be invested in the storyline and feel sympathetic to the characters. A fun ride through the journey to the court, it's worth putting aside an afternoon to enjoy. By the end, the two men has learned to respect each other and the audience has grown to genuinely care what happens to them now.

The plot explores black supremacy, differing outlooks on racial liberation, the difference between African and African American, alternative history, moral decisions and what the future could hold. Which characters are right and wrong, and why and how, is not something for non-black viewers to express opinions on; Martin Freeman's white USian character is almost the white audience's placeholder. He quickly learns that what is going on around him is ancient and current and complicated, and his best choice is to be supportive to Black Panther's group.

Without spoiling the film too much, as it is definitely worth watching the story unfold without knowing where it leads, all sides have a point. The previous Kings did keep Wakanda safe by hiding it's resources away. Killmonger is right that countless black people suffered and fought without Wakanda stepping in to, you know, prevent or end the African/US slave trade, the colonialisation of Africa, and racial inequality. The Jabari are well within their rights to stay completely out of it. T'Challa is just trying to compromise and find the best option. Even the characters within the groups have nuanced and valuable opinions, choosing loyalty to the throne, nation or T'Challa, fighting reluctantly against loved ones, even just trying to survive the chaos. This is not the Golden Age of superheros, with it's clean good versus evil battles.

While there was a potential for LGBTQ representation in a relationship between two of the all-female Royal Guard that was cut, there is great representation of women. The Royal Guard is all female and King T'Challa's little sister is the head of technological advancement. There's a lot of variation in female beauty, too, with shaved heads and longer dreadlocks, form fitting armour and looser cut dresses, and makeup and jewellery emphasising different parts of the face in different ways.

The film, of course, is part of the wider Marvel Movie Universe, and while it follows a story that doesn't involve the other superheroes, the ending leaves space for some amazing events. Wakandan outreach, more vibranium, and good black characters in the upcoming Marvel films.

With the sheer amount of films being made, the hit-and-miss of watching indie films, and all the ways that films can be disappointing, it was truly amazing to see the credits appear and know I was truly thrilled. Picking for flaws left me only with some criticism of the characters' actions. The plot is airtight and the questions the viewer is left with are all intriguing and non-central. Even the casting of Joseph Gordon-Levitt and Bruce Willis as the same person manages to work perfectly.

The blend of genre work well for fans of any. The science fiction elements are easy to understand and grounded in real life. Time travel is here, of course, but it's simple; one way with explained timelines and without any technicalities in the plot at all. The futuristic setting of the present is not too far off, eyeball drugs and flying motorbikes aside, and the further-futuristic setting of the future is brief. There's some telekinetic powers, but as explained and logical as they can be without drawing too much attention from the time travel. The action is interspersed with conversation, exposition and character development: Nobody shoots without motivation, even if they shoot a lot of people. The main character is an assassin and the antagonists are gangsters without feeling like stock characters.

Some interesting questions or just concepts are brought up. The film is set in 2044, but there are only 2 types of gun seemingly in existence and only two new technologies. How did we get there from here? Time travel is invented and immediately banned in 30 years, but the first contact with the past is not explored at all. How did that happen? How were the loopers set up? Sara's past and her sister's death is skirted over when it comes up. What happened? After the end, we don't know if it all ends up okay. What becomes of Joe? A perfect ending to a pretty perfect film.

Bruce Willis is a fantastic action actor, and leads us through the film with his shooting and scheming as the smart and scrappy cop John McClane. He stays a step ahead of the criminals and unafraid to blow up a lift shaft and throw a dead criminal out of a window, but we also see some of his home life. He loves his wife but has been having some trouble with her career, he loves his kids, and he is truly upset by every innocent death. Willis gives us violence and the deadpan "yippee ki-yay, motherfucker" but also gives us subtle facial expressions.

The late, great acting sensation Alan Rickman graces the screen with him as the completely evil villain, Hans Gruber. He brings his well crafted lack of emotion and creates an ice cold portrayal of villainy for a character who kills without thought and fakes a massive terrorist hostage situation to steal six million dollars. His sheer talent is clear in every film he's in, but this was his most well known role before, and possibly the reason he was chosen for, Severus Snape in the Harry Potter films.

The 18 rating comes mostly from the swearing and shooting, though there are some moments of gore. As the action ramps up, McClane shoots one of the criminals legs out from under him, his knees turned into basic gunshot wounds in a painful looking moment. There's something about joints that makes even bad guy film injuries give you that ouch flinch.

There's also an intense moment where, after Gruber meets the barefoot McClane and so shoots out the windows surrounding the hidden cop, Willis stumbles into a bathroom with a trail of bloody footprint behind him. It only gets worse as we actually see his foot onscreen as he pulls glass from his skin. You'll know when to look away if you're squeamish and it doesn't cut back to his foot, although his bloody bandaged feet are present from then on.

Merry Christmas and Bah Humbug; however you feel, it's Christmas in the Nagatomi building and it's nearly Christmas in real life. Time to watch Die Hard, especially if you're like I was and had never seen this utter phenomenon of a film before.

Yes, half dressed and pretty faced Harley Quinn is also the highly intelligent psychologist Dr. Harleen Quinzel. She's been broken and driven insane by the Joker, but she retains her quick wit and the ability to 'read' people like books in an instant. This three-dimensional portrayal is par for the course, as all the characters are this complex and interesting. Despite there being ten of them, the film manages to show us them all in detail.

Will Smith is a fantastic Deadshot. The assassin who never misses a shot is not only a dead shot, but a deadpan snarker. His depth comes from his family; he wants to provide for his daughter by doing the well paid job that he's incredibly skilled at, but at the same time he wants to be a less villainous person to earn his daughters respect and moral approval.

​Likewise, Diablo is conflicted and is actually a reformed gangbanger when we meet him. His powers and reputation come before him, and his face tattoos make him very visible, but he's rather not hurt people any more. Boomerang, on the other hand, is an unrepentant jewel thief who refuses to take any of it seriously. He enjoys killing and takes opportunities for beer breaks, and just wants to escape and go back to stealing diamonds. Both grow as characters through the film, revealing backstory and changing their plans for the future.

Making way for the amount of characters are being introduced, the plot is not overly complicated or hard to follow, but does have some twists and turns. The mission and villain of the film was unexpected, at least to me, and there were plenty of moments that really took me by surprise. Perhaps a bit disappointing for a huge DC fan hoping for their favourite parts of the many Suicide Squad comics, it's still a great watch and a sign DC are really pulling their finger out to compete with Marvel.

There are fight scenes galore, so there is some violence. With a major character completely unable to cope with gore and a 15 rating, however, it isn't unbearable. The stunt coordinators and choreographers worked well, as the fight scenes are exciting and aesthetically pleasing. A huge multi-character battle, most likely included for the sheer enjoyment factor, is outstanding and makes the most of the way fights can be choreographed. Some great slow motion moments and prop use make it an ironically beautiful scene.

Back to the haemophobic character, Samuel L. Jackson's Valentine is a complex and interesting villain. Blood phobia, a lisp, and an understandable end-goal, he is far from the illogical and two dimensional villains of many spy and crime films. Eggsy is, likewise, a well rounded hero. His homelife troubles, distrust of the posh Harry and relationship arcs with other characters (including a very cute little dog) make him easy to identify with and like.

Of course, this is not a high brow or modern classic film, but it is a very good and enjoyable afternoon film. It might not become your favourite but it's definitely a good choice for an entertaining movie night. It could have been the lack of expectations I had, but I really think this is well worth the time to watch on an otherwise uneventful day.

Not only is the topic of argument different and more 'real-world', the new characters we're introduced to are not as we might have known them, and too feel more real to life. Say hello to Spider-Man and Black Panther, and say a surprised hi again to attempted real science Ant Man. For a Captain America title, not an Avengers title, there are a lot of characters given strong screen time. 

Multi-billionaire son of a multi-billionaire Tony Stark meets struggling student raised by his poor aunt Peter Parker and the issue of money comes up. No, Tony, Peter actually can't afford a better computer than that. His already-existing vigilante status means that the inevitable upcoming Spider-Man film won't be yet another origin story, thank goodness. There are only so many times you can watch Uncle Ben die, after all, before you want to just shoot him yourself to get it over with. I was hoping the next Spider-Man film would be Peter's young mixed race replacement Miles Morales, but you can't have everything.

We also get to meet the pro-black icon of Black Panther - in a world where non-male and non-white characters are highly limited, I was pleasantly surprised to find out we were getting the unapologetic hero who shares his name with the famed racial justice group. He's kept strongly black and unconnected from the white American Avengers and even the black American and white immigrant Avengers. Despite being from a fictional nation, his cultural origins feel authentic and genuine. To my geography-weak and non-African mind, he seems fairly Zulu.

These impressive issues are not the main focus of the film, of course. The fighting is. It's a for-everyone action film, after all. The fighting is enjoyable enough, but does feel very choreographed. It felt slightly more like watching a dance than a battle for me, with each hit connecting nicely but the impact not coming across strongly. It's one of those things that some prefer, of course, and does give a very nice look to the fight scenes.

Likewise, those things are not the main appeal of the film and neither is the fighting. Just like Black Widow has been for the previous Avengers films, the male characters are the superhero fanservice. No, seriously, it's all beefcake for the female gaze (and non-female fans who like men too, of course). The peak of this is Chris Evans as Steve Rogers pulling a helicopter. Just drool at those arms. It's not just him, either. Sebastian Stan's Bucky and Chadwick Boseman's T'Challa have their own yummy moments. Don't worry, straight man, there are hot ladies too.

If you are able to watch without feeling sick or dizzy (small screens recommended), there's plot and action to be seen. It opens up with some pornographic violence. I don't mean nudity, and I don't just mean it's gratuitous; the sheer glee with which the slow-motion neck stabbing and face smashing is shown makes me wonder if there wasn't some gore fetishist involved...

Protagonist and camera Henry takes a good close look at all the violence he witnesses and commits. Be ready for some intense fighting, some improvised surgery and a lot of shooting and stabbing. It feels like they got a special effects budget and got overexcited.

Under the nauseating motion and wanton gore, the plot... is lacking. According to the person who managed to stay in the cinema, the robotics of Henry are almost explained, but exactly zero explanation is given for the one telekinetic bad guy. The overall story is "Henry is made into a robot-man, he has to fight to the lab and avoid the bad guy" which is more of a game first mission than a full and captivating story. Shocking plot twist, the wife is not who she says she is - the 'surprise! not your wife' is basically a stock character for amnesia plots at this point.

And on the wife? Couldn't tell you her name. There is a grand total of one interesting developed character, but female characters get it a lot worse that male. At one point, we go into a brothel full of permanently naked lookie-likies whose only personality is "likes to touch penises". It's not particularly plot relevant, and most likely just an excuse to film a bunch of boobs. One is referred to as "wh*re" like that's reasonable, and minutes later they're apparently all dead. All of the stripper/sex workers. It's an inconvenience to the motorbikes-and-gun brunette madam, another stock character who probably has a name but whatever.

There's also a rape scene, or attempted rape scene, but I'm lucky enough to have been outside for that. It isn't a main character, it's not plot relevant, and it sounds like another random hyper-violence without concern for the sanity or stomach of the viewer.

​As I said at the beginning, I was looking forward to this film. I've been waiting since the first trailer, and I'm thoroughly disappointed on all fronts. There's some worthwhile concepts in here, and I'd love to see them better done.