Avengers Assemble with a smile wide enough to put the Cheshire cat to shame: so, does Age of Ultron meet the standard? Everyone seemed bowled over when Joss Whedon’s first foray into the Marvel Cinematic Universe hit screens three years ago, but upon re-watch it felt (at least to some) that the gags well all loved the first time fell a little flat and the spell was somewhat broken: maybe people were shocked that a superhero film could have any margin of wit beyond endless self-referential satire? Regardless, the majority still left the cinema afterwith a smile wide enough to put the Cheshire cat to shame: so, doesmeet the standard?





First, the plot: after several successful missions to bring the remnants of Hydra to justice, less-than-satisfied Iron Man Tony Stark (Robert Downey Jr.) asks Bruce Banner (Mark Ruffalo) to help him kick-start an artificial intelligence programme, Ultron, to take over from the Avengers and ensure world peace. It all goes up in smoke and the Ultron programme has taken on a life of its own (voiced with honeyed evilness by James Spader) and it’s up to the Avengers to save the world again.









Avengers feels empty here, and everything that’s great about Age of Ultron is what was missing in its predecessor. The bright, pristine colours of the 2012 film are gone, replaced with a total visual mess. The unimaginative cinematography rarely pauses to take in the scenery and spends a lot of time thrust up against the actors’ faces, which becomes such an issue that there are some moments where we get the Transformers problem (read: a lot of stuff happens very loudly and incomprehensibly). There is a fine line between delirious and dizzying, and Age of Ultron crosses it way too often. Strangely, everything that worked so well in the firstfeels empty here, and everything that’s great aboutis what was missing in its predecessor. The bright, pristine colours of the 2012 film are gone, replaced with a total visual mess. The unimaginative cinematography rarely pauses to take in the scenery and spends a lot of time thrust up against the actors’ faces, which becomes such an issue that there are some moments where we get theproblem (read: a lot of stuff happens very loudly and incomprehensibly). There is a fine line between delirious and dizzying, andcrosses it way too often.





Transformers comparison (thankfully) falls away is that not only can you follow the story and the characters, you enjoy spending time with them. The gags feel a lot less forced and will definitely stand up to a second viewing, and the script is much more streamlined, giving every character has their time to shine. Standout moments are gifted to Jeremy Renner as Hawkeye and Elizabeth Olsen as newcomer Scarlet Witch, and James Spader's Ultron is gleefully nasty, a dark side reflection of his creator. But where thecomparison (thankfully) falls away is that not only can you follow the story and the characters, youspending time with them. The gags feel a lot less forced and will definitely stand up to a second viewing, and the script is much more streamlined, giving every character has their time to shine. Standout moments are gifted to Jeremy Renner as Hawkeye and Elizabeth Olsen as newcomer Scarlet Witch, and James Spader's Ultron is gleefully nasty, a dark side reflection of his creator.





Iron Man 3 right now) then don’t fret, as the script ties up the small character strands (such as Tony Stark’s fear of the wormhole) rather neatly. I only wish that the musical flair of the solo pieces transitioned so smoothly. Brian Tyler – whose scores for Iron Man 3 and Thor: The Dark World I bought the moment I left the cinema after each respective film – has been hired to work the decks here, and has failed spectacularly: despite assistance from Danny Elfman, the music is dull and uninspired, saved only in the moments when tAlan Silvestri’s superior work from Avengers Assemble is hastily spliced in. For those not fortunate enough to have caught up with the standalone pieces (and if you’re one of those, check outright now) then don’t fret, as the script ties up the small character strands (such as Tony Stark’s fear of the wormhole) rather neatly. I only wish that the musical flair of the solo pieces transitioned so smoothly. Brian Tyler – whose scores forandI bought the moment I left the cinema after each respective film – has been hired to work the decks here, and has failed spectacularly: despite assistance from Danny Elfman, the music is dull and uninspired, saved only in the moments when tAlan Silvestri’s superior work fromis hastily spliced in.









Age of Ultron has (and there are many), it’s still an entertaining, funny, light-footed action romp that doesn’t feel the need to stoop to the lowest common denominator. However, nit-picking the faults in the music or complaining about the jumbled visuals feels like taking pebbles from a beach in the face of such a gigantic film firing on all cylinders. This is a film made by someone who really enjoys the source material and wants the audience to have fun too. Whatever faultshas (and there are many), it’s still an entertaining, funny, light-footed action romp that doesn’t feel the need to stoop to the lowest common denominator.





Avengers movie, and when it works, it really works. There are enough of those ‘wow’ moments; those iconic shots when the group stand together in the face of unimaginable odds, and the music swells and Tony Stark drops a clever quip, to keep you engaged and grinning. That’s what you want in anmovie, and when it works, itworks.

★

★

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½

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