Terminator Genisys, Inside Out and Ant Man. Cutting these a little shorter.

So cards on the table, I've not done one of these in a

while. Now I'm sure many of you are in outrage and are a week short from storming my home with torches and pitchforks but sarcasm aside and for the people who do enjoy these, here's some movies to see or avoid. That's up to you, what do I care?

So right out of gate we have the supposed revivification of the Terminator series, the fifth feature release and most definitely the dumbest title so far.
Yes, Genisys spelled that way is the true title of the film and has a plot convoluted enough to match. Robo apocalypse saviour, John Connor once again sends his younger father back to the eighties to protect his mother from a terminator to ensure his birth.
 If you're new to the series then just a preemptive warning that it involves time travel and causality paradoxes by the truck load, with first two movies you could grit your teeth and get on with it, Genisys however doesn't quite have the same luxury.
 This isn't so much a spoiler because the actual trailer ruined what should have been the great twist but John Connor has been reconstituted into a terminator and goes back in time to ensure the rogue AI system Skynet is created.
 The film feels unnecessary and is sadly marred by actors Jai Courney and Emilia Clarke who have the intense chemistry of a bowel movement, Terminator alumni Arnold Schwarzenegger is it's only saving grace despite Clarke's Sarah Connor cringe inducingly referring to him as 'Pops'.
I can't in good conscience recommend this to even the most ardent fans.

Pixar gave toys feelings. They gave monsters and cars feelings, 2015 is the year Pixar Animation Studios gives feelings feelings and it's just short a stroke of genius.
A relatively simple tale of a small family moving away to San Francisco and the effects it has on their daughter Riley. Inside Riley's head (and everyone else for that matter) we're introduced to the five dominant emotions that pilot us: Joy, Sadness, Fear, Anger and Disgust. The various emotions are quickly established as unique and versatile characters with each getting some good laughs in but Fear, Anger and disgust sadly being a little underused.
 The story is very much about the relationship between Joy and Sadness however, Joy informs the audience early on that each emotion is essential to protect Riley, for example Fear takes the reigns to keep her from getting hurt and Disgust even helps Riley socially. Joy however cannot figure out why Sadness is there and views her as more of a hindrance, it's through their journey together however that Joy learns that she herself can't steer Riley through life by distracting her with happy things when opposition arises and that Sadness's true purpose is to alert others to when Riley needs help.
It would have been easy to sugar coat it and go for the tired old 'smile and everything will be fine' routine that Disney is famous for, Pixar does something much braver and culturally important in teaching kids and even the grown ups that it's okay to be sad sometimes.
This reason alone makes Inside Out one of the most memorable films of the year.

Marvel Studios is back again with something of a wild card that may initially put some of the more dubious viewers on the back foot, but Ant Man realises how ridiculous it sounds and has fun with it.
Paul Rudd plays Scott Lang, an ex-convict fresh out of prison who is roped into pulling a robbery to pay child support, things go a little awry however when he is roped into a heist while utilizing his new mentor, Hank Pym's shrinking Ant Man suit. Allowing Scott to shrink to the size of an insect while maintaining the strength and mass of his full size essentially makes him a bullet, the helmet also lets him control ants and believe me when I say that despite the incomprehensible premise, that Ant Man has action, humour and a surprising amount of heart.
Compared to the other Marvel entries this one feels scaled down (size puns, yay). The villain has believable motives and once the heist is under way there's palpable tension, in true Marvel style though a witty quip is interjected before it wades into taking itself too seriously and mostly by supporting cast member Michael Pena who near enough steals any scene he wanders into. At it's heart this is a story about fathers and their daughters and doing right by or repairing the fractures in their relationship, and with just under two hours these new characters are quickly fleshed out and feel organic, something summer blockbusters tend to negate.

Jurassic World

It's been twenty one years, with one classic and two let downs. Thankfully we're getting back on the right track.

Yes, as all the posters and promotional material may have informed you, the park is indeed open. We cut back into a world where we're told that at least in the films timeline, it's been open a while and dinosaurs are starting to lose their attraction. What bizzaro world do these people live in? After the passing of John Hammond (the late Richard Attenborough) the park has passed onto his colleague, Simon Masrani (Khan) an eccentric billionaire who see's the park as an experience and more than just zeroes on a payslip.

The main plot of the film basically follows the formula we're used to, fun in the park, dinosaur gets loose, mayhem. As mentioned earlier, this is a world where dinosaurs roaming around isn't the crowd puller it used to be so by the handy work of the only returning character from previous films, Dr Wu (Wong) and Masrani's funding a hybrid is created. A blend of many things I won't spoil, the Indominus Rex is basically a giant white Tyrannosaurus with longer arms. It's scarier than it sounds.

Leading the human effort this time around is all around perfect human being Chris Pratt, who plays an ex-marine turned velociraptor trainer named Owen, he's virtually invincible and the writers love him, much apposed to Dallas Howard's character, Claire. Claire Dearing is the parks operation manager and a bit of a stick in the mud, she's by the book and rarely see's the bigger picture which contrasts to Owen's character yada-yada.

You have seen this dynamic before.

 As much as I enjoyed the movie this is my biggest gripe, the notion of mutant dinosaurs is also more plausible to me than a woman running through a jungle wearing high heels without any setback. Claire's nephews are visiting the park because of a subplot involving their mother not happy with the fact her sister has put off seeing her nephews for seven years, it doesn't really matter but luckily the children aren't too annoying. Taking over the role of Tim and Lex we see Zach and Grey bad decision themselves from one tense action beat to the next, Grey himself reacting as any human would at the notion of seeing giant lizard monsters and Zach staring at teenage girls and being apathetic because teenagers.

The film is a love letter to the fans who grew up with these movies and provides countless wide eyed spectacles and some genuinely tense moments that will terrify the younger viewers who made their parents see it with them. The people hiding while the snout is only a meter away moment is overplayed a bit too much however. The tense raptor and motorcycle chase is one of the films highlights and your nostalgia will ease you past all the plot holes and mildly dumb moments.

Did anyone else near the end get that Anchorman vibe near the end? Baxter talking to the bear? I laughed at what I think was meant to be a powerful moment. Ah well.

I don't really need to recommend this, you're bound to see it.
It's Chris Pratt and dinosaurs. Nuf Sed.

Mad Max: Fury Road

Balls to the wall and brutal.

So a little disclaimer, first and foremost I'm going to try and not spoil anything that isn't already known about the film, there isn't too much of a plot here but enough to segregate it from some of the more soulless action movies.
Secondly I have never seen any of the previous Mel Gibson movies so if I give an opinion or speculate something about the titular character or universe then I'm probably going to be wrong, don't take it to heart.

In a post apocalyptic Australian wasteland (nuclear weapons are bad) we're quickly introduced to Max Rockatansky (Hardy), a disheveled and shifty survivor living day to day on the run from the personal army of a cult leader known as Immortan Joe (Keays-Byrne.) Though Max is healthy it appears not everybody has been so lucky and 'the dead' live half lives and capture healthy people to use as personal blood bags, an eerie opening chase scene put mildly in fast forward sets the pace for the return of the road warrior, this isn't your grandaddy's action movie.

Max inadvertently finds himself in the middle of Imperator Furiosa's (Theron, and yes they all have silly names) plot to smuggle five of Immortan Joe's breeder wives out to somewhere known as the 'Green Place.' It's assumed by a scene where Joe opens up a waterfall to the parched masses that the land is sustainable but they keep the water from the people most of the time as to not make them greedy. Yeah he's a dick. There's not too much left to write about the plot other than Joe and his war parties travel across the Aussie wasteland to bring back the wives and to kill Furiosa.

Fury Road's main selling point is it's spectacle, an early scene in which Max is strapped to the front of a modded car to be used as a blood bag by the fanatic Nux (Hoult) sets the tone. Into the heart of a desert storm it's hard to make things out until bolts of lightning hits and bodies rain from the sky. Joe's followers could best be described as zealot's, eagerly sacrificing their own lives after screaming at their associates to 'witness' them, they then proceed to spray their faces with a chrome aerosol and leap in front of/onto/turn themselves into fireballs to kill our protagonists. It's savage and you can't help but love the barbarity of it. Plus seeing one guy playing a flame-throwing guitar on a giant tank made from amplifiers and drums is so dumb it's ingenious. It revels in it's own madness.

I mentioned earlier I know little of the Mad Max lore but I did find out that Mel Gibson had only around fifteen lines in the first movie, so it only fits that Hardy's portrayal is also laggard when it comes to his dialogue. Unfortunately and not to take anything away from Hardy, but it does tend to put Max on the back seat (pun intended) in his own movie. The characters that really shine in this pumped up testosterone laden thrill ride are the ladies.

Don't let anybody tell you a woman couldn't lead an action movie. Ellen Ripley and Sarah Connor are already proof enough but Furiosa sets the bar in not to be f-ed with. From her superior driving skills to going toe to toe with Max in a fist fight (did we mention she only has one arm?) she delivers far more than she takes and ended a certain character in a particularly bloody and bad ass way. It takes a lot for a film to leave your jaw hanging (people who've already seen will know what I mean) but Mad Max proves that you can teach old dogs new tricks.

I'll avoid the white knuckle power hour cliché but Fury Road is a definite cinema viewing and feels like a humongous punch to the gut that you enjoy. Confused? The film will have you feeling the same way.

The Avengers: Age Of Ultron

I'm going to try not to spoil this one, I swear.

Earth's mightiest heroes are back again and director Joss Whedon revels in his element here, It's explosive, visually gorgeous and has more one liners than you could throw your shawarma at. Opening up to a Bond style infiltration scene we can see that there's been a few missions between films since The Avengers work as a strong unit, often teaming up with each other to throw moves that devastate the opposition, all the while exchanging trademark Whedon banter between each other. Thor's fish out of water style comedy still remains a personal favourite and he delivers continuously. The confidence takes a blow however when they face themselves with HYDRA experiments Pietro and Wanda Maximoff, "He's super fast and she's weird". Wanda gets into the teams heads and and we see their deepest fears, each hallucinogenic trip spawning seamlessly from their reality.

The villain of the piece voiced by James Spader breaks the mold when it comes to Marvels usually two dimensional villains, Tony Stark (Robert Downey Jr/Iron Man) has the idea to dabble with an AI code found in the HYDRA base to create a self aware safety protocol to protect the world so the Avengers can take it a little easier, Stark telling Bruce Banner (Mark Ruffalo/Hulk) that it would achieve "peace in our time," however as in any artificial intelligence scenario, the Ultron program goes rogue and comes to the conclusion that world peace can be brought about by the extinction of humanity. Cue drama.

The films highlights are the characters interactions with each other, ten movies in to the cinematic universe and the core team members are already well established and yet for a team mainly compromised of leaders the friction that results is satisfying, mostly that the relationship between Stark and Steve Rogers (Chris Evans/Captain America) paving the way to the upcoming Captain America: Civil War. There's even a budding romance between an unlikely couple and I think I can finally say it...

I like Hawkeye.

That's right the bow and arrow guy, fighting besides monsters and literal God's, Jeremy Renner's Hawkeye is actually one of the stand out performances, possibly for being short changed in the last Avengers movie but he has some of the funniest lines and really puts things into perspective to a later reformed Wanda. I think on Whdeon's part Hawkeye was written to be the most relatable team member as without powers and still giving as good as he gets we feel we could be part of the action too.

The film is visually incredible and each action piece is memorable for the most part, a crazed Hulk going head to head with Iron Man's hulkbuster armor is a stand out moment yet the third act of the film isn't too dissimilar to the end of the first Avengers, countless fodder enemies merely being there to make the heroes look good and straying just a little too close into disaster porn. It's not Michael Bay bad, far from it in fact it just feels unnecessary in parts.

My only two gripes with the film are that despite Ultron being a compelling and unconventional villain he is sidelined a little for more of the teams interactions. An eight foot killer robot with a Stark -esque personality and dry humour is a delight to see and Spader is clearly having a field day with it, I just wish they showed us more of him. The other is quite an unpopular opinion but Samuel L Jackson returns as Nick Fury and it's not needed in the slightest, he gives a pep talk and that's really it.

  Yes I'm probably seeing this through rose tinted glasses but I loved Age Of Ultron, Whedon manages to juggle all these conflicting egos delicately and only teases future events to come rather than shoehorning them in like many other Marvel films have been known to.

See it for the child in you.

The Theory Of Everything

Biopics always tend to be an ambitious project for actors and directors alike, the portrayal of real life figures can easily come across as gaudy but thankfully the life of theoretical physicist Dr Stephen Hawking, much like his real story, passes all expectations.

Also there's no spoiler tag since his biography is open to the public, don't be shocked at the reveal that he gets motor neurone disease.

From humble yet great beginnings we are introduced to the films main focus, Stephen (Eddie Redmayne), a bright yet somewhat lazy astrophysics student studying at Cambridge University. While attending a party he meets fellow student Jane Wilde (Felicity Jones) a student of literature and the pair hit it off despite their differences when it comes to science and religion, a somewhat recurring theme in the film. Stephen seems at a loss when trying to figure out what his thesis will be, while his focus lies elsewhere, his professor, Dennis Sciama (Thewlis) brings him along to a lecture on black holes and the building blocks of the infamous essay "Singularities and the Geometry of Space-Time" were set.

Throughout his daily life and the blossoming romance between himself and Jane there are subtle visual clues that allude to his oncoming disability, from slight slurred speech to the fumbling of chalk the ongoing threat of the disease about to take over fills you with dread, it doesn't take Redmayne long to charm you and it's hard to see such awful things happen to a genuinely likable character. Eventually after a nasty fall, for me was one of the most standout moments in the film, that being his diagnosis from the doctor. They sit beside each other on a bench in an empty hospital corridor as the full details of Lou Gehrig's disease are told to Stephen under a rising white noise, the shots are solely focused on facial reactions and the poignancy of the question "will it affect the mind?" lingers. Something perhaps put in by the screenwriter to foreshadow Stephen Hawking's resolve to make the best of the hand he's been dealt. Yet the doctor retorts with the grisly news that "the mind will be fine, it's just you won't be able to communicate your ideas."

The film is based on two memoirs written by Jane Wilde herself and chronicle the ups and downs of her marriage to Hawking, there is an interesting parallel between Hawking's ailing health and the deterioration of their marriage, the pair eventually have three children yet don't have the money to get a carer to assist Jane with Stephen. Realising she never really achieved any of her goals and a meeting with local church choir conductor Jonathon (Charlie Cox), what begins as additional help around the house eventually stretches into a mutual attraction between the two and further straining her marriage with Stephen.

Though both Redmayne and Jones are relatively new on the big budget scene, they display excellent chemistry and there use of mannerisms and quirks from their real life counterparts gives the whole thing an incredibly organic feeling. Portraying disability is always an arduous task for any actor and many times in the past it has come across as hammy and mostly insulting, yet Redmayne manages to keep you under the illusion that he really is going through the phases of physical degredation authentically and sympathetically.

Evocative, harrowing and above all a story that inspires hope, The Theory Of Everything gently keeps religion and science at its side to portray the power of the human spirit. That's super cliche'd but watch the movie and you'll see what I mean. It's incredible to watch Redmayne and Jones with that inkling they very well could be this generations Mckellan and Smith.