Chappie (2015)

★★

Chappie PosterDirector: Neill Blomkamp

Release Date: March 6th, 2015 (UK and US)

Genre: Action; Science-fiction; Thriller

Starring: Shartlo Copley, Dev Patel, Hugh Jackman

As Chappie gets under way atop a wave of rolling news clips and documentary-style snippets, there’s a vague familiarity in the air. We soon meet Dean (Dev Patel), a quirky and smart employee, and shortly thereafter encounter the film’s titular robot (Sharlto Copley). The two become entrenched in a rebellion against corporate injustice, where agendas are warped by power and economics. There is a CEO overlord (Sigourney Weaver) with iffy morals and a brash militant understudy (Hugh Jackman) with iffier intentions, and it doesn’t take long for our artificially intelligent robot to intertwine with humanity’s complexities.

If you can hear any bells ringing in your mind at this point, it is because Chappie is another Neill Blomkamp film wrapped up in the woes of society and class and science. It’s District 9. It’s even sort of Elysium. The thematic content isn’t bad at all — the director has proven in the past that exploring societal issues can be a rewarding experience. Rather, Blomkamp’s third film struggles because it doesn’t differentiate itself from his previous two.

Nor does Chappie click tonally. We’re in a constant kinetic flux, the tone jumbled and jumping around too much, a problem embodied by our central machine who manifests as a bubbly toddler one minute and a gun-wielding lunatic the next. The robot doesn’t garner enough empathy to start with because he (it’s male, apparently) has never been a human. But the disconnect is ultimately established due to Chappie’s lack of identity. A human character can get away with this lack of identification because we can relate to a person more than a robot. It is possible for an AI character to do the same — Alicia Vikander manages without personality in Ex Machina — but not in this instance. Chappie, voiced fairly well by Sharlto Copley, is at his most engaging when he’s acting up; a car-jacking scene is one of the film’s few brilliant moments, almost as culturally reflective as it is hilarious.

Generally though, the bits and pieces that make up the film are all a bit weird. As former soldier Vincent, Hugh Jackman (despite being an entertaining watch) looks like he is about to film a Steve Irwin biopic. The South African duo, a musical group known as Die Antwoord, don’t fit into the gritty urbanised world. They belong in a Tim Burton fantasy adventure, though on the basis of their performances here, that won’t be happening any time soon. For some reason, Sigourney Weaver — who will be teaming up with Blomkamp again for his upcoming Alien revival — is underused as a plain company figurehead.

On the more reality-mirroring side of things, we see capitalist manipulation: “It’s expensive, it’s big and it’s ugly,” is the reply Vincent receives as he tries to sell army-ready machines to the army (we’re subsequently left to wonder why money isn’t being thrown at him). A thematic favourite of Blomkamp, machine intelligence versus human ideology, fuels an underbelly that is certainly justified given the postmodern technological surroundings, yet never really amounts to much. Had they not been made in such close proximity to one another, you would be forgiven for thinking the folks behind Chappie were privy to Wally Pfister’s Transcendence in relation to ideas on concluding. Despite that movie’s many shortcomings, it is actually better and more accomplished than Chappie.

On an aesthetic front, the post-industrial setting is a good one, however instead of being a vehicle for entrapment, the relentlessly murky and dank atmosphere quickly becomes a trend-setter for the bland story unfolding (pathetic fallacy gone wrong). There are some impressive slow motion shots employed during the action sequences that reverberate well with the film’s technological arc. In fact, Trent Opaloch’s cinematography is a success — in purely visual terms the film does its job. Opaloch worked on Blomkamp’s previous two outings as well as The Winter Soldier, and his notable efforts have earned him a spot on the next Captain America film too.

Unfortunately, the visual aspect can’t quite rescue Chappie from a messy final third. The film slowly saunters along towards a fairly energetic conclusion but by then we’re sitting wondering why we should care. There are so many different parties involved in the action at the end that it feels like the battle of the five armies all over again. In screenplay terms, this wholly contrived finale is just about the final nail in a coffin of banality and nonsensicalness.

Chappie isn’t a bad film, but at some point Blomkamp needs to change things up or else risk artistic homogenisation. He is obviously a talented filmmaker; the simple fact that his films have something pertinent to say about how we live, have lived and might live is testament to his skill level. But after two solid outings, Chappie feels like a step backwards. It’s almost as if the director who once challenged the norm has conformed to it.

Chappie - Jackman

Images credit: IMP Awards, Collider

Images copyright (©): Columbia Pictures

Videodrome (1983)

★★

Videodrome PosterDirector: David Cronenberg

Release Date: February 4th, 1983 (US); November 25th, 1983 (UK)

Genre: Horror; Science-fiction

Starring: James Woods, Deborah Harry, Sonja Smits

If David Cronenberg was as good at picking lottery numbers as he is at predicting the future, then he’d absolutely be a millionaire by now. No, a billionaire. You know that modern culture of consumption to which we all find ourselves enslaved, the same one that probably has you reading this on an electronic device? (Email, Twitter, Facebook, and Netflix later, perhaps?) It’s all here, in Videodrome, only thirty years early. Cronenberg unfurls a prophetic prosecution of television that feels even more relevant in 2014 than it likely did back in the early eighties, when small-screen dominance was probably just an anxiety-wrapped possibility. Videodrome, therefore, is steeped in a philosophy of purpose and accuracy, one that is interesting to consider within our contemporary context. Unfortunately, the film itself struggles to keep up with the ideas developed. Perhaps it’s because we’ve seen it all before, but Videodrome is just a bit… boring.

Max Renn (James Woods) is the kind of guy Sigmund Freud would’ve been had Freud awoken a century later and veered closer to the sexual in psychosexual. He runs CIVIC-TV, a television station based in Toronto that relays unorthodox programming, and is on the look-out for something new to up the ante, something different. Luckily for Max — or perhaps unluckily — he stumbles across a feed airing uncoordinated brutality, called Videodrome. What appears to be sensationalist artifice quickly takes on a disconcerting meaning, and begins to invade more of Max’s existence than desired.

“Television is reality and reality is less than television,” retorts Brian O’Blivion, a professor who professes only through the televisual medium. His character is the essence of Cronenberg’s agenda: a victim of media gobbling. O’Blivion has dedicated a significant portion of his own life to the study of human obsession when it comes to television in particular, employing the visual instrument ultimately as a means not to an end, but to a forever. If O’Blivion is the essence, then his creation Videodrome is the agent of consumption. Though the exhibits on screen are morally questionable, perhaps even legally ambiguous, our leading man Max is increasingly drawn towards goings-on. And not only Max, his romantic interest Nicki too. She, having seen Videodrome, desires only to become a part of it. To be infused in a new televisual reality. Up until this point, there’s a precise and engaging ideology being explored, one that is embedded firmly in the fabric of modern times. (We’re so absorbed by television that we now watch people watching it). The domineering TV pull is a wholly engaging stance and Cronenberg deserves credit, given how accurately Videodrome mirrors today’s norms.

Eventually, notions of mass societal control, planted memories and geopolitical monopolies come into play as Cronenberg’s condemnation of the television culture expands — in truth, perhaps too many strands are added. The tone switches from one of warning to one driven by preachy sound waves. Instead of a cautionary tale about how an inanimate object can become empirical upon leeching itself onto humanity, Videodrome advances down a route of denunciation as it attempts to make our minds up for us. We watch and listen as characters discuss standing firm against “savage new times”; society having to be “pure, direct and strong”; and a “cesspool TV station” whose viewers are “rotting civilisation away from the inside”. The message is clear: beware any abnormal pseudo-violent tendencies in order to avoid them flowing into real life. A noble message, had it not come by way of a fictional film.

A film, incidentally, coughing up splurges of violence from beginning until end. Torsos pave way for VCR slots and hands take on the form of guns. These images are nasty and gooey, yet not as memorable as Cronenbergian bloodshed normally is. The body horror prosthetics are as slimy and grimy as ever, but don’t quite fit the reality-imbued mould proposed by the film. There’s no denying the clarity illustrating this as an inherently Cronenberg creation: grotesque bodily malfunctions, a techno-infection prerogative, the socio-political framework, some inconclusive chronologies. Yet, unlike many of the Canadian’s previous outings, Videodrome manifests without much gusto. It feels a tad worn. Though the ideas mentioned earlier are engaging, perhaps they only really draw a fresh appeal because of their prematurity. These ideas of global consumption have been tossed to-and-fro relentlessly over the last few decades; only recently Transcendence hit cinemas, a film that takes this notion a step further by physically infusing technology with a human being.

James Woods is good as the disingenuous-cum-traumatised CEO Max Renn. He’s not a very likeable chap — not many of the characters are, another issue intertwined within the film’s ever-growing list of problems — yet Woods ushers forth enough of a switch in morality to justify some form of sympathy. As Max’s love interest and radio host Nicki Brand, Deborah Harry doesn’t have an awful lot to do, nor does her character boast any redeemable qualities, instead only a flip-flopping ethical stance. (“I think we live in over-stimulated times… and I think that’s bad,” explains Nicki, before chatting up Max whilst wearing a red dress.) Sonja Smits has a cup of tea as O’Blivion’s daughter Bianca, whereas O’Blivion himself Jack Creley implores us to listen through his direct and sincere vocal delivery.

David Cronenberg encourages discussion about issues of media consumption that herald even more relevance within the context of today’s cultural and societal posture. However, as Videodrome progresses and happenings lose practical clarity, the film too squanders precision and veracity by introducing extra narrative elements that preach to us rather than alongside us. Never mind, I think I’ve got an episode of Gogglebox to catch up on.

Videodrome - James Woods

Images credit: IMP Awards, Collider

Images copyright (©): Universal Pictures

Preview: The 2014 Cinematic Landscape

Who invited January over?

Yep, the most miserable month of year has reared its ugly head again. However for film fans (and let’s be honest, who isn’t?) the arrival of the dreaded January means two things: One, it’s awards season, so watch out for the heavy hitters making their way around cinemas, and two, it’s time to look forward to another calendar year choc-a-bloc with films ready to burst loose and onto our screens.

I guess we should start looking then…

(All release dates are subject to change, so don’t be booking your holidays around them. Because I know people do that. What? Just me?)

 

January

The Wolf of Wall Street – Director: Martin Scorsese, Starring: Leonardo DiCaprio

That’s right, having spent the best part of a decade working together, Scorsese and DiCaprio are remaining true to form and battering out another collaboration. This time Leonardo DiCaprio is Jordan Belfort, a New York stockbroker who got rich overnight in the late 1980s. The Wolf of Wall Street is based on a true story and by all accounts, it’s a pretty hectic tale. Jonah Hill and Matthew McConaughey are part of this brash comedy that apparently didn’t go down too well with a few elderly Academy members, as reports suggest Scorsese and the cast were severely heckled after a screening. Sounds like a lot of fun then! Out January 17th in the UK.

Inside Llewyn Davis – Directors: Joel and Ethan Coen, Starring: Oscar Isaac

From the outrageous to the harmonious, Joel and Ethan Coen have rustled up another helping of their highly sought-after Kool-Aid. Set around the wintry Greenwich Village folk scene in 1961, the film depicts a week in the life of Llewyn Davis, an aspiring musician out of luck. This has earned rave reviews on the festival circuit, and could springboard Oscar Isaac into Hollywood stardom. The Coen Brothers are often meticulous in their film-making – details matter as much as one-liners – and with T-Bone Burnett orchestrating the music production, Inside Llewyn Davis may well cause one or two Academy Award-shaped upsets come March. Out January 24th in the UK.

 

February

Dallas Buyers Club – Director: Jean-Marc Vallée, Starring: Matthew McConaughey

It’s only February and here we are looking at Matthew McConaughey’s second film on the list (and it won’t be his last)! The true renaissance man of cinema has knocked role after role out of the park in recent years, be it as a gritty lawyer in The Lincoln Lawyer, an eccentric stripper in Magic Mike or a pact-making fugitive in Mud, and this is shaping up to be another home run. After being diagnosed with AIDS, hustler Ron Woodroof sees life in a new light, shining brightly on giving back to those in need. Dallas Buyers Club has an air of Milk about it, which can only be a good thing. Also watch out for a supporting performance from Jared Leto that is generating quite a helping of Oscar buzz. Not bad for a singer. Out February 7th in the UK.

The Monuments Men – Director: George Clooney, Starring: George Clooney, Matt Damon

Argo meets Inglorious Basterds. Now that doesn’t sound half-bad, does it? Only, replace stranded United States embassy staff with some art masterpieces, and Diane Kruger with Cate Blanchett, and you’ve got yourself George Clooney’s next directorial venture. It’s quite a change from running for president in The Ides of March, although some political elements look set to remain. Clooney and company are going to have to do exceedingly well to usurp Quentin Tarantino’s take on World War II, however with a cast including Bill Murray anything’s possible. Out February 21st in the UK.

 

March

The Grand Budapest Hotel – Director Wes Anderson, Starring: Just about everyone

Wes Anderson and that distinctive directorial style returns with a story about a heralded concierge, a young lobby boy and a stolen painting set in a hotel between World Wars. Anderson must have a phone book brimming with Hollywood stars, each of whom is in his debt. Or maybe he just makes interesting films (yep, probably this one). Bill Murray – hooray again – is joined by Saoirse Ronan, Jude Law, Ralph Fiennes, Tilda Swinton, Edward Norton, Jeff Goldblum and a whole host of other people you’d want to have round for dinner. There’s no doubt this’ll have laughs, but without the naive innocence on show in Moonrise Kingdom, will those laughs be enough to win over audiences? Maybe Anderson has another trick up his sleeve. Or in his hair. Out March 7th in the UK.

The Zero Theorem – Director: Terry Gilliam, Starring: Christophe Waltz

The man behind Monty Python has turned his head to existential science-fiction in this odd-sounding fantasy-drama. About a computer hacker’s search to uncover why and how human beings exist (he should check out The Meaning of Life, by the way), The Zero Theorem even tends towards comedy by the sounds of it. The hacker’s bosses, succinctly named the ‘Management’, strive to distract him by sending a lusty love interest to his place of work. This ‘Management’ lot obviously don’t understand the first rule of um, management – getting results. Surely Christophe Waltz (who plays our lead) won’t deliver results with his attention diverted elsewhere?! This could throw up anything really. Out March 14th in the UK.

 

April

The Double – Director: Richard Ayoade, Starring: Mia Wasikowska, Jesse Eisenberg

After his coming-of-age debut Submarine was well received by audiences and critics alike, the stone-faced Richard Ayoade has decided for his second film, to direct Jesse Eisenberg… twice. This peculiar outing about a man stalked by his doppelgänger won over viewers when it premièred at the Toronto International Film Festival, and then carried much momentum onto The Culture Show with Mark Kermode during its life at the BFI London Film Festival. Mia Wasikowska is included in the Jennifer Lawrence and Elizabeth Olsen future of cinema party, and if that’s not enough to clinch your attention, Eisenberg versus Eisenberg in a wit-off is something you have to see in 2014. Out April 4th in the UK.

Transcendence – Director: Wally Pfister, Starring: Johnny Depp

He’s the reason most Christopher Nolan films look as wholesome as they do, but now someone else has to do the same for Wally Pfister (good luck Jess Hall!). Transcendence is his first venture into the directorial chair, and therefore could go either way. Given the extraordinary standards set by his previous work though, don’t expect anything to be left to chance. This story of death, life, and uncompromising power has morality at its heart and a string of Nolan’s acting repertoire to provide the beat. Johnny Depp meets Morgan Freeman, Rebecca Hall and Cillian Murphy in what is quite simply a exceptional line-up. Out April 25 in the UK.

 

May

Frank – Director: Lenny Abrahamson, Starring: Domhnall Gleeson, Michael Fassbender

Frank hasn’t been released anywhere yet, therefore we don’t know an awful lot about it. Abrahamson’s last film, What Richard Did, garnered positive reviews from critics, but doesn’t seem to share many similar characteristics with his upcoming piece. About a young musician looking for a break and finding solace in a mysterious, enigmatic band leader who invites him to join, Frank is described as a comedy, a drama and a mystery on IMDb (which is fitting really, because its content certainly is unknown for the most part). Domhnall Gleeson charmed 2013 and Michael Fassbender has developed a reputation greater than most, so we’re in good hands here. It’s also nice to see Scoot McNairy involved, who excelled in Gareth Edwards much talked about debut Monsters. Out May 9th in the UK.

Godzilla – Director: Gareth Edwards, Starring Aaron Taylor-Johnson, Elizabeth Olsen

Speaking of Gareth Edwards, his triumphant 2010 debut has landed him at the helm of the most anticipated blockbuster of the coming summer. Roland Emmerich butchered more than just the Japanese monster in his take on Godzilla fifteen years ago, he also tarnished the immediate legacy of the giant mutant lizard. It looks like Edwards is delving back into the franchise’s original backbone – the trials and tribulations of human nature and greed – which is a good idea in an era where blockbusters have to be intelligent, or its bust. Aaron Taylor-Johnson is a solid lead and Elizabeth Olsen has done a whole lot of right so far in her young career. It must be wary of high expectations, however those expectations are only lofty on the back of Edwards’ previous successes. Out May 16th in the UK.

 

June

22 Jump Street – Directors: Phil Lord and Chris Miller, Starring: Channing Tatum, Jonah Hill

After the surprising critical and commercial success of the first film, it’s time for Jump Street: The College Years. Undercover cops Channing Tatum and Jonah Hill are set to return and after their prior personal triumphs, the pair find themselves surrounded by fraternities and hipster clubs in college. Joint directors Phil Lord and Chris Miller have two highly marketable films out in 2014 – the first being The Lego Movie – but both have difficult obstacles to overcome. For 22 Jump Street it’s all about bettering the predecessor, and that will be a big ask. Out June 6th in the UK.

A Million Ways to Die in the West – Director: Seth MacFarlane, Starring: Seth MacFarlane, Charlize Theron

Ted worked out well for Seth MacFarlane, so why not turn his head towards the west? After losing the love of his life to cowardliness, a man finds bravery in the form a gunslinger’s wife, only now the gunslinger wants his wife back. This one sounds like referential humour in abundance. Expect many a cowboy gag and acoustic twang. MacFarlane does blunt comedy very well in animated form, and his cross-over into live action was a successful one. Only time will tell if he can strike an even better balance second time around. Out June 6th in the UK.

 

July

Dawn of the Planet of the Apes – Director: Matt Reeves, Starring: Gary Oldman

Cloverfield director Matt Reeves tries his hand at an Apes sequel, and will do well to live up to standards set by the first. There’s no James Franco (he’s too busy doing weird indie stuff), nor does Freida Pinto return. However, Gary Oldman has been lined up to take the reins and there can be absolutely quarrels with that appointment. Set eight years after Rise of the Planet of the Apes, human survivors of the virus unleashed at the end of the first film bond together in a movement against Caesar’s growing forces. The Picasso of motion-capture acting, Andy Serkis, is back as Caesar in an outing that pertains to being far more action-packed than the first. Out July 17th in the UK.

Jupiter Ascending – Directors: Andy and Lana Wachowski, Starring: Mila Kunis, Channing Tatum

In what appears to be 2014’s Cloud Atlas (and hopefully not 2014’s After Earth) Jupiter Ascending will be strung together by mythology, scintillating visual landscapes and probably some croaky language not-of-this-earth. The human species has fallen mightily, and exists near foot of the evolutionary pyramid, where Mila Kunis cleans toilets for a living. Her unfulfilled existence is about to change however, as she is targeted for assassination by the threatened Queen of the Universe in an attempt to ensure her own longevity. You’ve got to hand it to the Wachowski’s: they’re not afraid to dream and do big. In the same vein as their previous films, this’ll likely split opinion. Out July 25th in the UK.

 

August

Guardians of the Galaxy – Director: James Gunn, Starring: Lee Pace, Vin Diesel, Bradley Cooper, Zoe Saldana

The Avengers’ cousin, this will be Marvel Cinematic Universe’s second offering of the year after Captain America: The Winter Solider, and the first in its own particular superhero story strand. A group of misfits including a warrior, a tree-human hybrid and a squirrel are recruited by a stranded pilot in space as he attempts to fend off a number of cosmic threats and ensure the galaxy’s survival. Guardians received an electric reception

Guardians received an electric reception at the 2013 San Diego Comic Con and there’s a large degree of buzz surrounding the film. With very little exposure in the run up to its release – unlike The Avengers which was preceded by feature-length films for each character – it may not make as big an impact as expected. Out August 1st in the UK.

Hercules: The Thracian Wars – Director: Brett Ratner, Starring: Dwayne Johnson

Much like the battle of White House destruction supremacy that played out in 2013, this year will have its own inter-Herculean duel as two re-imaginings of the Greek demigod come to fruition. The second and more anticipated of the two will be directed by Brett Ratner and will star the franchise re-energiser himself, Dwayne “The Rock” Johnson, alongside film veterans John Hurt and Ian McShane. Can The Rock layeth the Smacketh-down on both a monstrous warlord and a February release of the same name? Out August 8th in the UK.

 

September

Posh – Director: Lone Scherfig, Starring: Sam Claflin, Natalie Dormer

At the time of writing, September is looking pretty starved in the film front. It’s sandwiched amongst that awkward post-summer blockbuster, pre-awards season gap, when many people are heading back to work, school or uni. However Danish director Lone Scherfig has this upper-class thriller lined up to hopefully quench our end-of-holiday blues. Sam Claflin and Game of Thrones’ Natalie Dormer will star as new members of the Riot Club at Oxford University. With very little known about Posh, let’s place it somewhere between National Lampoon’s Animal House and Pathology for now. Out September 19th in the UK.

 

October

Gone Girl – Director: David Fincher, Starring: Rosamund Pike, Ben Affleck

David Fincher has accumulated quite the portfolio of films throughout his career, along with a fair few fans too, so it’ll be interesting to see how this seemingly more straight-forward narrative will go down. Based on a novel of the same name, Gone Girl sees conundrums take precedence as a woman disappears on the day of her wedding anniversary. Fincher doesn’t often disappoint his supporters, and the mystery-thriller element here should be enough for him to juggle with and embroider his own spin. Heck, he’s got Batman as his lead for goodness sake. Out October 3rd in the UK.

 

November

Interstellar – Director: Christopher Nolan, Starring: Anne Hathaway, Matthew McConaughey

In his first film since neatly wrapping up the trials and tribulations of Batman for a while (oh… right) Chris Nolan is taking to space for his next voyage. Hey look, Matthew McConaughey is back again! And this time Double-M is joined by Nolan archivees Anne Hathaway and Michael Caine, plus Jessica Chastain, in a sci-fi tale about discovering the bounds of life and surpassing the un-surpass-able. Ahem. Expect wormholes aplenty and probably even some dimension-hopping, time-travelly stuff too. Nolan hasn’t made a bad film in, well, ever, so Interstellar will open with very high expectations. Will it be stellar? Out November 7th in the UK.

The Hunger Games: Mockingjay – Part 1 – Director: Francis Lawrence, Starring: Jennifer Lawrence

It’s becoming a late-November outing to be thankful for, but with two excellent predecessors, the less-well-regarded Mockingjay (Part 1, to ruffle even more feathers) has hype, expectations and box office records to live up to. Jennifer Lawrence will reclaim the bow for a third time as she helms the rebellion against President Snow and his viscous Capitol. Francis Lawrence infused Catching Fire with more politically current themes, and created an altogether bleaker but better film than first time around – and first time around was pretty damn good. Going by the material in the third book, Francis Lawrence has an even bigger task on his hands here. Part 1 is out November 21st in the UK, with Part 2 to follow a year later.

 

December

Dumb and Dumber To – Directors: Bobby and Peter Farrelly, Starring: Jim Carey, Jeff Daniels

Anchorman 2 by association, and we’re not off to a great start with the title. Much like the return of the Burgundy-brigade after nine years in December 2013, the dimwits are set to return in December 2014 after twenty years doing absolutely nothing. Not really, both Carey and Daniels are far bigger stars these days, raising the question: will it be harder for audiences to acclimatise to their characters’ now Hollywood stupidity? Fortunately, the Farrelly brothers are once again fronting up the sequel which does actually sound quite funny: the duo are on the hunt for a new kidney, so now is probably a good time to find that long-lost child. Out December 19th in the UK.

The Hobbit: There and Back Again – Director: Peter Jackson, Starring: Martin Freeman, Ian McKellen

And finally, we once again end the year at the end of the Hobbity adventure. Peter Jackson’s extended extension of J. R. R Tolkien’s ‘The Hobbit’ has improved with age, but will probably never please the hardcore Tolkienati. We’ve been there twice and it’s time to go back again as the world finds out the fate of Bilbo, Gandalf and their company of dwarfs, in their joust with Smaug. The amount of book pages remaining is wearing thin, so it’ll be interesting to see how Jackson expands this final instalment across almost three hours (which he’ll surely do). The Hobbit films haven’t really been a patch on The Lord of the Rings trilogy, but I’ll certainly miss Jackson’s endeavours into Middle Earth when the franchise finally nestles up. Out December 19th in the UK.

 

 

Some more potential hit or misses:

Jack Ryan: Shadow Recruit (Kenneth Branagh): This year’s Jack Reacher, only Tom Cruise is younger and cooler. Out January.

Non-Stop (Jaume Collet-Serra): Taken on a Plane. Out February.

Nymphomaniac (Lars von Trier): Wherever von Trier goes controversy follows, and this has controversy smothered all over it. Along with a lot of other… stuff. Part I out February, Part II out March.

The Amazing Spiderman 2 (Marc Webb): Three and Four are already confirmed, and although the first regeneration was a success, counting chickens is a dangerous game. Out April.

Chef (Jon Favreau): Favreau’s Iron Man set a yet-to-be-reached bar for the franchise, and he’s back with RDJ in this tasty comedy. Out May.

The Fault in our Stars (Josh Boone): It’s probably time for a summer weep-fest. Out June.

Transformers 4 (Michael Bay): Let’s not even kid ourselves. Unfortunately, out July.

Sin City: A Dame to Kill For (Frank Miller and Robert Rodriguez): The next chapter in this graphic novel-driven saga. Out August.

Search Party (Scott Armstrong): Matthew Abbadon from LOST is in it. Out September.

The Maze Runner (Wes Ball): Brimming with youthful potential, will this be the next Hunger Games? Out October.

Horrible Bosses 2 (Sean Anders): The first was pretty average, but Christophe Waltz has been snapped up for this one. Out November.

Exodus (Ridley Scott): Scott’s movie-making binge continues with this account of Moses, played by Christian Bale. Out December.

 

What are you looking forward to seeing in 2014? Comment below!