Archive for the Film Reviews And Conversations Category

The Raid 2: Berandal Review

Posted in Film Reviews And Conversations on April 13, 2014 by Adam Broome

The Raid: Redemption came out in 2012; a little Indonesian action film made by a welsh director that quickly became a cult hit with action and martial arts fans alike. Some critics called it the greatest action film of this century, so needless to say, the expectations for this film were so high God kept bumping his head on them. How does it fare?


This film picks up immediately where the first film left off, tying off the stories of the survivors of the first installment within the first five minutes, and focusing the rest of the film entirely on central protagonist Rama. With his family placed into police protection, Rama’s identity is wiped, as the crooked police and mob bosses are actively hunting him in the aftermath of the first film. Forced to change his identity, Rama decides to go undercover and befriend the son of of one of the city’s most notorious kingpins, in the hopes of weeding out the corrupt policemen on his tail.

The first film was relatively low-budget and low-key, set almost entirely within the confines of an abandoned apartment block rife with criminals hiding from the law. This time around, the first thirty minutes are set in a police precinct, and the subsequent two hours are set all over Jakarta, allowing for much more variety in pacing and locations to keep things interesting. The cinematography is much more experimental in this film, and it is also longer, with much more going on this time around. However, that’s not necessarily a good thing.


Character development is central this time around, attempting to provide context to the bone-breaking fight scenes that follow. Alas, as you often find with the best action films, the acting and scripting just isn’t that great. After a heart-stopping opening half hour, the following hour sags, with a few characters and sub-plots that weren’t really needed, and didn’t lead anywhere. I found myself thinking that the film was just killing time to the final denouement, bulking out a film with even more fighting that, in all fairness, it probably didn’t need.

Not that the fight scenes are bad – quite the contrary. Some have said the scenes this time are even better than the first (and I whole-heartedly agree). Comparisons have even been drawn to Bruce Lee and Jackie Chan films, with some citing one of the final brawls in a kitchen as one of the best fight scenes ever put to film. Like… ever.



Personally, I relished the stylised gore and anime-esque characters of the much talked-about ‘hammer girl’ and ‘baseball-bat man’. Funnily enough, in a fight scene they share towards the end, I found myself caring and sympathizing more about these two mysterious characters, than I did about characters that the film had spent the entire duration trying to build up. Some scenes should have packed a real emotional bite, but just didn’t. Most of the emotion came from the wincing when a leg got broken, or an extra’s chin accidentally hit a concrete wall as he fell.


Despite the characterisation being a bit flat (which is a big problem in a film with this many characters), everything else goes smooth as butter, with massive improvements from the first film in terms of black humour, imagination, and scope. Despite it’s failings, we all know it’s the action that people come for, and this is the best in show bar none, and rightfully puts the standard American action film to shame. It’s gritty, it’s violent, it’s funny, and it keeps you engaged just long enough to survive it’s rather long running time.




Gravity Review

Posted in Film Reviews And Conversations with tags , on November 14, 2013 by Adam Broome

I’ll start by saying: This is going to become one of those films that everyone raves about at the time of it’s release, but five years down the line, after the special effects in it are featured in every single blockbuster going, people look back on and say “Actually… it wasn’t that great really, was it?”


The film is essentially a disaster flick. George Clooney and Sandra Bullock (both on good form) are astronaughts who are doing a little maintenance work on the ol’ Hubble Space telescope, when Houston Control warns them that they ‘have a problem’. The Russians destroy a spy satellite with a missile, but unfortunately due to the high satellite density in the immediate surrounding area, create a cloud of ‘space debris’ in the process. This debris starts to orbit the Earth at speeds faster than sniper bullets, and subsequently hits the Hubble Space Telescope, killing all but our two survivors, and leaving them without any satellites left to use to contact Earth (or for that matter, any shuttle to land back on Earth with).

The ninety minute run time is (pardon the pun) well-spaced out – the pacing is great, and the film rarely drags. A lot of people seem to have problems with knowing that Sandra Bullock carries at least half the film by herself, but to her credit, she does an amicable job in the shoes of a rookie space engineer who goes from ‘panicking newbie’ to ‘female Bear Grylls’ in the space of three hours. Whenever her character has the potential to annoy, the effects are there to back her up, and the two come together seamlessly, with ‘Gorgeous George’ around to keep everything on track.


Be under no illusion – never before have I seen such unity between real life film clips and digital animation. If the green screen tricks of The Great Gatsby blew you away, you will flip out when you watch this. I don’t think there was a single person in the audience who wasn’t full-on bricking it for the first thirty minutes. What people don’t seem to mention is the brilliant use of point-of-view shots, putting us inside Bullock’s suit and allowing us to see the disorientating effects of zero-gravity first hand as she lashes out to hold onto anything at all with her two flailing arms. You’ll find yourself quickly starting to panic along with her.

Overall, I enjoyed this film. It’s an almost painfully simple plot about the need to survive, and the films Open Water and 127 Hours came to mind. With all due fairness, if it’s characterization and a solid script you’re looking for, they’re the better films to watch. What you have here is a better sense of special effects, and cinema taking it’s first steps into next-generation digital trickery. 3D is definitely recommended, if only for the awe-inspiring sense of travelling miles above the Earth (and you can throw in a few ‘flinch’ moments too for good measure). Disaster movie enthusiasts will have all their boxes ticked, and it was also nice to see a 12A film that didn’t feature a copious amount of violence.

Ridley Scott made space a terrifying place to be in 1979 by adding an alien. This film creates one of the best white-knuckle film experiences I’ve seen in a long time by simply taking one thing away.



Kick Ass 2 Review

Posted in Film Reviews And Conversations on August 19, 2013 by Adam Broome

I wasn’t a huge fan of the first Kick Ass, but Jim Carrey’s much-talked-about performance, and the fact this film was getting a mixed reception, convinced me to trade in my coins for my second London cinema experience. I sat in the Vue theatre on Leicester Square on a rainy Sunday afternoon, with the room pretty much to myself. I’ve not had a screen this much to myself since ‘Reign Of Fire’, and that wasn’t great (though I liked it more than my mum did). So we got bad signs from the start. But they quickly disappeared.

ImageThe story generally follows every superhero story sequel myth-arc: Kick Ass and Hit Girl are now trying to hang up their costumes and live normal lives, but are finding it difficult. However, the antics of the first film have inspired people all over America to copy them, and now a plethora of costumed ‘average-Joes’ walk the streets. Enter Colonel Stars And Stripes (played by Carrey), who unites all the vigilantes under the guise ‘Justice Forever’.

Whilst all this is going on, Christopher Mintz-Plasse’s character Chris D’Amico is still smarting from the events of the first film (which, if you’ve seen any of the promotion material for Kick Ass 2, has probably been spoilt for you). Angered that Kick Ass has joined the first team of superheroes, D’Amico turns himself into the world’s first super-villain, aptly titled ‘The Motherf*cker’, and starts a super-villain group of his own.

To say the story is relatively cliche-city, this is probably the best I’ve ever seen it done. Opening with ten minutes of awkward exposition, you may be convinced the script is going to be bad throughout. But once we actually get on with telling the story of ‘Kick Ass 2’, the pace never lets up.

Aaron Taylor-Johnson keeps his lead character in check, narrating the events and generally just trying to keep alive amidst the action all around him. He basically does what he did in the first film.

Chloe Grace Moretz reprises her role as Mindy, but her alter-ego takes a back seat for much of the two-hour running time. Actually, Moretz’s character spends most of the film trying to fit in at high school, which although sounds mawkish, actually gives her character room to develop, and for Moretz to show her acting talents on a much greater scale than the first film. She responds accordingly, and carries half the weight of the film easily.

Carrey steals every scene he’s in, and although Mintz-Plasse basically reprises his ‘Mclovin’ persona (he’ll never live that name down), it fits perfectly with the script and comedy of the charade. D’Amico gets all the best laughs, and scenes such as his attempt at raping a woman are laugh-out-loud.

I was also surprised to see several cameos from some of my favourite actors of the moment, which added some extra gravitas to proceedings.

The special effects are better handled than the first, although that’s probably to do with it being less of an independent production this time around. I’m pleased to say, however, with the absence of Hit Girl, a greater sense of realism is achieved, with much more emphasis on the ‘normal guys trying to be Batman’, and less on the jet packs and bullet-dodging.

For me, this was the key to the film’s success – it keeps itself well within the boundaries of reality, with people running away from fights, and generally acting like complete wussies when confronted with any real danger. When Hit Girl does make her inevitable return, the laws of physics are pushed, but this film gets away with it more than the first, as she is saved in the background as the ‘only real superhero’, only revealing herself to take on Mother Russia – D’Amico’s only real super villain. Because of this, you accept the Matrix-style fight scenes much more easily when the film reaches it’s climax.

Some critics say this film has no ‘memorable scenes’, but for me that’s nonsense – Mother Russia taking on five police cars full of officers on a suburban street, and the final battle (which was everything the finale of X-Men 3 wished it was) were awesome to watch.

I think your enjoyment of this film is down to how much violence you can take – Carrey has already spoken out against it. For me, there was no problem, as it bears a 15 certificate (thus, it fares better than ‘The Dark Knight’ in my books). My generation are generally de-sensitized. I don’t speak for everyone. But if cops getting hacked up with lawnmowers, or a villain attempting to rape someone sounds like it could be a laugh, then this is a great film. It’s tongue-in-cheek, and if you get offended, you’ve simply taken the film too seriously (a hard thing to do, considering it’s a comedy for the most part).Image

Overall, this is probably one of the best superhero movies I’ve ever seen. I went in with a list of boxes, and it ticked every single one. It didn’t try to go the extra mile, and it didn’t need to. It is what it is – a comedy summer blockbuster, with a lot of gore and violence. It didn’t attempt to change the formula, but rather got a tighter grasp of what it tried to do the first time around, and improved itself.

I also noted, this has all the best parts of everything that’s gone before; the philosophy of Spider Man, the grittiness of Batman, the violence of Watchmen – and where those films all had flaws, this film seems to have learned from their mistakes, and compensated by filling in with good parts of other franchises. So it has talking and character-development alongside violent action scenes at a perfect ratio, and with great pacing.

So yes, to me this is the best superhero flick since Batman Begins. The Dark Knight is the film to counter the argument, but I never really recognised that as a superhero film anyway. I came out of Kick Ass 2 sated, happy, and with closure. And I couldn’t ask for more than that.


Cloud Atlas Review

Posted in Film Reviews And Conversations on February 24, 2013 by Adam Broome

From the visionaries who brought us the revolution-inspiring V For Vendetta, and the man who taught us the principles of the chaos theory in Run Lola Run, comes this new, three-hour multiple-narrative hybrid of the two concepts, combined to weave a story-line spanning hundreds of years, as a seafaring businessman’s half-finished journal ultimately inspires a series of events that culminate in the creation of a future holy doctrine that will one day save the human race.

(How’s that for an opening line?)


This film is split into six primary narratives. The first takes place in the mid-19th century atop the seven seas, as a businessman battles illness whilst trying to protect a stowaway slave hiding in his quarters. The second takes place seventy years later, as a young academic assists an old composer to create his final masterpiece. In the 1970s, a journalist uncovers a deadly corporate secret that could affect the lives of millions, whilst in present day, an elderly publisher becomes confined to an old folks home by his family. In the 22nd century, a Korean clone gets rescued by a revolution needing a voice, whilst several centuries on, two people must ascend a mountain to reach an ancient secret concealed within the ruins at the summit.

It’s no surprise then, that there is lot to process in this movie. Each narrative plays alongside the rest, with the stories being revealed in installments lasting between thirty seconds to five minutes. It operates on many levels, and will no doubt encourage academic talk for days after viewing regarding what it all means. In short though, the message is slightly diluted by the many vestiges it goes through. Run Lola Run effectively delivered exactly the same message about inter-connectivity in (quite literally) half the time.


That is not to say, however, that this is not an enjoyable movie. The cinematography is perhaps the most beautiful I have ever seen, effectively accomplishing what Zack Snyder has been trying to do for years – create a believable and brilliant vision of the past and the future. Two crews were used in the production, and this is to great effect – the scenes in the retirement home story are every bit as beautiful as those set in Neo-Seoul.

The acting is superb on every count, and the cast should be thoroughly proud of themselves for juggling so many roles. One of the best parts of the experience is right after the credits role, and you find out how many times Tom Hanks has played a woman, or Susan Sarandon a man. I assure you there’ll be parts they starred in that you completely missed, making this the ‘Kind Hearts and Coronets’ of this generation. Even Hugh Grant plays about eight different roles within the film. I’m sure some of the cast will be bagging trophies next year.

CGI is used sparingly, the script intermingles coherently, and the pacing is generally consistent throughout. The film retains your attention for the entire three hour span, with always just enough intrigue to keep you watching and guessing. Some parts didn’t go so well together – scenes with police shooting gravity guns that send people flying ninety foot into the air do not go so well alongside a group of pensioners plotting to escape from a retirement home, but overall the film works surprisingly well, and I commend the effort.


In case you haven’t caught on yet, this is a very complex film. It’s not all-action, or lovey-dovey, or a simple popcorn blockbuster. It’s something of an art house film that does a lot of things, but keeps you caring about the characters, the narratives, and the ultimate denouement. Think of it as Inception but with double the ‘layers’ – and believe me, if that film confused you, you’re going to have a hard time this time around.

But for those who stay on board, you have a gorgeous-looking and enticing story that is all parts ‘Master and Commander’, ‘The Reader’, ‘One Flew Over The Cuckoos Nest’, ‘Erin Brockovich’, ‘Minority Report’ and ‘The Last Of The Mohicans’, and to say it creates a movie of this calibre, means it deserves respect. This is an intelligent blockbuster, and best of all, Christopher Nolan had nothing to do with it for once.



Nightwish at O2 Academy3 – 6/11/12

Posted in Film Reviews And Conversations on November 8, 2012 by Adam Broome

Four and a half years ago, I visited Birmingham at the now-relocated O2 Academy to see one of my all-time favourite bands. Symphonic metal band Nightwish can sell-out stadiums the size of Wembley in their home country of Finland, yet here get lucky to sell out even adequate venues. It certainly gives them a variety in audiences – to add to their variety of music, variety of style… and variety of singers.

The band reached cult status with original opera-class singer Tarja Turunen, but when she left in 2005, her replacement Annette Olzen got fans in a stir. With followers decisively split, the last five years have been rather uneasy territory for the band. Eight weeks ago, Olzen also split, leading Nightwish to cast dutch singer Floor Jansen as their new lead singer. Word got round that this new singer had the ability of both previous singers – operatic vocals complete with pop-inspired pitch. There is no doubt that all eyes were on her tonight – did this newcomer carry the entire weight of the gig?

First up, Peter Tagtren’s band ‘Pain’. Same warm-up from four years back believe it or not. This time, I knew the songs. The blend of cyber-dance-metal is still a strange one to couple with the neo-classical goth that proceeds it, but it definitely gets heads banging and the floor thumping. Overly-enthusiastic teenagers punched the air repeatedly, reminding me of how I must have looked four years ago! True to memory also – no mosh pit. Tonight, I was thankful – I’m getting too old for it all nowadays! Still, it is always good to note that audiences outside of Nottingham always seem more chilled out – Rock City still seems to host the most mental nights and audiences.

Pain left upon announcing an up and coming tour in 2013, before the stage got set for the main event. Nightwish opened the sound of their single ‘Storytime’, before Jansen took to the mic. I have to say, my heart sank. Despite being almost deafened by the speaker right next to me, I could still hear that Jansen was struggling to hit Annette’s high notes. It got me worried – maybe she could play all the old stuff from a decade ago really well, but this notion would surely divide fans once again.

However, it wasn’t long before Jansen started to settle into the role. The more she did, the better her renditions of the last two albums became (after all, it was really only those two we were expecting to hear!) But the longer the concert went on, the more Nightwish started to bring back their older works… and something really special started to happen. Keep in mind that some of these songs haven’t been played by Nightwish in over seven years – ‘Planet Hell’, ‘Over The Hills And Far Away’ and the rather legendary ‘Ghost Love Score’ all made appearances, as did ‘Nemo’ and ‘Bless The Child’. Other hits from Tarja’s era with the band appeared, and the crowd hit the roof with excitement. To hear such old songs sung well is something fans have been hoping for for many years now. It was a wonderful moment.

As for the newer hits of recent times, Floor Jansen got more relaxed after hearing the roaring approvals of ‘Dark Chest Of Wonders’, and settled into the new material just fine, contrary to my initial expectations. Plenty of the new album was played, and although we never went as far back as the ‘Wishmaster’, the set-list was about as eclectic as any present-day Nightwish concert could get. The band all looked like they had a wonderful time, and the audience certainly did. The teasing ‘none-event encore’ at the end finished the concert with a whimper instead of a bang, but there was no doubt that history had been witnessed in the making of this ever-changing and much-loved band. The question now is – what happens next?


Skyfall – Review

Posted in Film Reviews And Conversations on October 30, 2012 by Adam Broome

These last few months for me have been the best for cinema in years. Catching the unforgettable and shocking ‘Irreversible’, the inspiring ‘Fitzcarraldo’, the dark and disturbing ‘Mulholland Drive’, and the beautiful ‘Let The Right One In’, it seems the art of actually going out to watch a film has been rather lost on me just recently. Enter one of the biggest event movies of the year, James Bond’s return to form after the failure of four years ago: ‘Quantum Of Solace’. Having been a one-time avid fan as a child, does this have what it takes to bring my interest back to the franchise?

Most of the marketing ploys have given the plot outline away already – the film starts on another routine mission, before Bond ends up being ‘killed in action’. The death is short-lived however, with Bond enjoying cocktails and women on far away islands in an early retirement. That is, until a new villain appears on the horizon – Mr Silva, played with pinnace and style from the ever-brilliant Javier Bardem. It seems this new villain has it in for MI6 and all of it’s agents, and it soon becomes more evident that Judi Dench’s ‘M’ is the absolute top of his hit-list.

This felt to me like another re-boot of the franchise right from the off. Casino Royale of six years ago was a re-boot of the franchise after the rather silly ‘Die Another Day’, but it seems that after ‘Quantum…’, Bond is getting a second shake-down. So many changes occur in the plot, most discussion points have to kept under lock-and-key at all times to avoid spoilers, but anyone who caught ‘The Dark Knight Rises’ earlier in the year will certainly see similarities regarding the themes of ‘rebirth’ right from the opening scenes. The running time of the film – just like that other film also – I found rather long, with me fidgeting a good thirty minutes before the closing act.

Bardem’s villain is probably the most interesting and memorable since Carlyle’s ‘Renard’ from the ‘90s, with most of his character development being hinted at, whilst keeping him ‘in the shadows’ for the most part. I do think some of the developments were re-treads of Sean Bean’s rather untouchable performance from Goldeneye however. There are also attempts to reveal more about Bond’s character, and his relationship to ‘M’ – things not explored in any great detail in any Bond movie until now.

The cinematography is more beautiful than you’d expect, and their are solid performances all around, with everybody doing their bit. Much like Casino Royale, the first hour of the film is globe-trotting around exotic locales, leading to the most memorable parts of the film. The second half takes place primarily in Britain however, and although that could seem ‘exotic’ to audiences outside the UK, it left the final showdown looking a little bleak for my tastes (particularly compared to the Venice showdown from that previous film). I found some parts of the film looking like they’d heavily borrowed from the Bourne franchise also – motorbike chases across arabic towns and shootouts in remote farmhouses have all been done before to a very high standard. There is no need to re-invent the wheel with films made less than a decade ago.

Overall though it is an enjoyable film. It certainly tries to do things differently with the Bond franchise cliches, but you can tell that this is the film where Bond is starting to become less ‘Casino Royale’ and more ‘Goldeneye’. It is not about what Bond was originally designed to be – it is about what Bond had become, after developing in a franchise spanning fifty years. Although this film did not set my world alight, it is a massive improvement on it’s predecessor, and it’s every bit as good as other spy films on the market. Hopefully the next installment will get us back to the classic Bond films of old, with a new modern style coupled with the touch of old-fashioned class.


The Dark Knight Rises – Review

Posted in Film Reviews And Conversations on July 25, 2012 by Adam Broome

Ever since 2005, director Christopher Nolan has been re-inventing the Batman franchise. Starting out with ‘Batman Begins’, Nolan followed up with one of the most successful films of the decade, ‘The Dark Knight’, in 2008. However, Nolan began to tire of his dark comic-book storytelling, and went to on to make ‘Inception’ in 2010. Now, under pressure to seal the trilogy and the legacy of the caped crusader, Nolan brings super-villain Bane to the forefront – the iconic bad guy of the comics who effectively ended Bruce Wayne’s vigilante career once and for all. Can the film withhold the legacy?

Although not specified at the start, this story takes place roughly eight years after the events of ‘The Dark Knight’. No, we never do find out what eventually happened to The Joker, but Nolan perhaps thought it best to leave that character to rest (for obvious reasons). We quickly move onto the main story arc of this film, with a decisively older Bruce Wayne (Christian Bale) now needing a stick to walk around on, and having adapted to a reclusive life in his new manor house, after the events of the second film. However, finding his jewelry getting robbed by the ‘Cat Woman’ (Anne Hathaway) one night prompts him to venture out into the world once more, following the slinky anti-heroine into Gotham’s new underworld, where he finds an enhanced soldier called Bane (Tom Hardy) raising a mercenary army in preparation for an uprising. Despite the objections of his butler Alfred (Michael Caine), the past-it playboy decides he may just need to don the cape one last time.

This is a very long film. I’ll give an idea of how this will go down right now by saying that the experienced film goer will be able to tell this movie is going to be a messy business from the opening twenty minutes. There’s a shootout on a plane, Wayne gets robbed, and then we’re talking about stock shares. This approach to film-making is pretty much consistent throughout, and unless you’ve seen the first two films (and also know them pretty well), your enjoyment of this third film will most definitely be affected.

I’ll start with a classic point of discussion – can you tell what Bane is saying behind his mask? Simple answer – no, you can’t. His voice is reverberated to sound something like an upper-class Sean Connery, but despite what some people argue about it being about ‘not being able to see lips’, the fact of the matter is that people talk very fast in this film, and the main antagonist’s voice is muffled throughout. That was always going to be a bad production choice – Bane really needed to speak slowly if his voice was to become that distorted. If you’re hearing is great, you’ll have difficulty understanding him. If you have difficulty hearing, you will miss entire sections of the central plot.

I use the term ‘central’ there to highlight the main plot about Batman saving Gotham City. That is to say, there are around fifteen different stories going on in this film – the future of Wayne Enterprises, Bruce Wayne’s love-life, Bane’s past, commissioner Gordon’s secret about Harvey Dent’s true fate – just to name some of the plot lines off the top of my head. Watch out for cameos from previous villains throughout the film – further plot strands to add to the higgledy-piggledy. You’d think just under three hours of film would cover all of it. It just about does. Just.

My criticism also turns to one of the most obvious points – there is very little of Batman. In the two hour and forty-four minute running time, the bat armour comes out a sacred three times. The vast majority of this film is about Bruce Wayne, Bane’s uprising, and said multiple plot strands. Perhaps too much attention is given at things other than what we would expect – that is, Batman kicking ass.

Performances are good all round, though the script is somewhat lacking this time round. Opportunities for quirky quips and memorable one-liners are missed at many different points, which were really the only window left to insert any laughs into this film. Batman Begins had humour, and The Dark Knight had dark humour, even if only for the comic villain. Here, all humour has vanished – the film is jet black (even darker than the second film, if at all possible) and the laughs are few and far between, and not even that good when they arrive.

To try and wrap this up, the special effects are great as always, but the film is too long and too complex for what it is, attempting far too hard to live up to expectations and become the big all-inclusive finale to the trilogy we were expecting. There are lots of guns and lots of violence for a 12A certificate again – particularly on Bane’s part (though the violence is actually toned down in this one compared to the previous film).

The film lacks any great spectacle – there’s no Hong Kong skyscraper or ninjas in this film, and neither a charismatic villain. Bane’s character is essentially two-dimensional (sinister though he is), but there is no real depth to his character that I feel we had in the villains from the first two installments. Fight sequences generally take place in back alleys, streets and office buildings, and only the final battle provoked any sort of excitement for me. The climax is definitely not the major, epic, ‘Sixth Sense’ plot twist that everyone has hyped-up on social media platforms. Ultimately, I thought the finale was convoluted, and the way Batman eventually overcomes his seemingly invincible arch-enemy is a complete and utter cop-out.

I would like to say for all it’s sins that this is still a good film, but I might be pushing it. Christopher Nolan is known for pushing the boundaries of film-making and doing new things, but he’s just tried far too hard here, and it shows. It’s well-shot, and everything is in place for an epic climax, but even with a major budget and star-value, the final word is decided on the script and the plot. These are two things that everyone knows Nolan can do well, and yet here we have a muddled and complex story that could have just been really easy. These complications lead to the biggest plot holes of the trilogy (mostly around the aforementioned final twist). Overall, it’s worth watching if you’re a fan, just to see how it ends. But this is by FAR the worst film of the three.