Tag: Michael Fassbender



Whilst ostensibly, X-Men: Apocalypse deals with the emergence of the world’s first mutant, Apocalypse in the 80s, and the X-Men’s attempts to defeat his extinction level plan, it is actually the conclusion of the time-hopping trilogy that began with the Matthew Vaughn-helmed X-Men: First Class. With the re-introduction of beloved X-Men characters like Scott Summers/Cyclops (Tye Sheriden), Phoenix/Jean Grey (Sophie Turner), Nightcrawler/Kurt Wagner (Kodi Smit-McPhee) and Storm/Ororo Munroe (Alexandra Shipp), the movie sets the stage for the X-Men’s new adventures.




Directed by Lenny Abrahamson
Written by Jon Ronson & Peter Straughan
Starring  Domhnall Gleeson, Maggie Gyllenhaal, Scott McNairy and Michael Fassbender. 

What is music? A business? Yes, certainly but what about art? Of course, but sometimes music is life and there’s nothing more. For Jon (Gleeson), music is the ticket out of his mundanity as he dreams of becoming a professional pop songwriter.

Then rather serendipitously Jon ends up playing keyboards in the experimental outfit Soronprfbs, fronted by the enigmatic Frank (Fassbender) who wears a papier-mâché head 24/7. Despite his seemingly best intentions, Jon attempts to use the Soronprfbs – and especially Frank – to further his own agenda to be a successful musician.

Along the way, manager Don (Scott McNairy) and band colleague Clara (Gyllenhaal) try to dissuade Jon from setting Frank down the road to public acceptance but Jon is undaunted, with predictably disastrous consequences.

Taking inspiration from real life quirky musical geniuses like Captain Beefheart, Daniel Johnston and most of all, Chris Sievey’s Frank Sidebottom persona, Frank is a superbly dark comic take on contemporary pop culture’s need to flatten any unique idiosyncrasy into compliant uniformity.

For everyone who believes that pop music needs to remain strange and magical, this one’s for you.


Directed by Bryan Singer. Starring Hugh Jackman, Jennifer Lawrence, James McAvoy, Michael Fassbender, Patrick Stewart, Ian McKellen and many more. 

Well, for once, the hype was justified. X-Men: Days of Future Past is no doubt one of the biggest comic book movie adaptations ever, not only for its epic scope but also for its large cast of characters. Essentially a sequel to X-Men: First Class with the younger (1973) versions of Professor X, Magneto, Mystique and the Beast joined by the original X-Men movie characters i.e. Wolverine, Kitty Pryde, Iceman, Storm, Colossus and older versions of Professor X and Magneto.

Despite the potential challenges that such a large cast provides and rather distasteful previous outing for the original X-Men movie characters (i.e. X-Men: The Last Stand), director Singer not only averts disaster but delivers a widescreen heartfelt superhero film that erases the atrocity that was X-Men: The Last Stand and quite like the Star Trek reboots, wipes the slate clean so that the X-franchise can begin anew. No mean feat.

One gets the sense that Singer wanted to make things right after abandoning these characters for Superman Returns and allowing X-Men: The Last Stand to tarnish the reputation of our merry band of mutants. There are action sequences of awe and humor that need to be seen more than once (Quicksilver anyone?) but there are also intimate character moments where hearts are touched and tough decisions are made in the name of the greater good. Seen together with X-Men: First Class, there is a powerful emotional resonance amongst the characters that shines through.

The acting is of the highest order and that is to expected when you consider the calibre of the talent involved. Kudos to the 15,000 involved in this stellar production and one can now only wait with bated breath for the final installment in this particular trilogy – X-Men: Apocalypse. Don’t miss this.

X-Men: Days of Future Past is showing in the cinemas now.


Man’s inhumanity to his fellow man. Does this sad fact of life really need to be shoved down our throats by movie entertainment? Yes, as many times as possible so that hatred, bigotry and prejudice will be marked and branded as atrocities and crimes against humanity and not justified in the name of religion, economics or self-preservation.

Director Steve McQueen has, with two feature films viz Hunger and Shame, demonstrated a razor sharp ability for telling the unflinchingly unblemished truth about the unsavory aspects of life. Now with this adaptation of Solomon Northup’s 1853 autobiography – Twelve Years a Slave – McQueen turns his keen eye on a dark chapter in American history – slavery.

The plot is straight-forward enough. Solomon Northup (Chiwetel Ejiofor) was a free negro plying his trade as a carpenter and violinist in Saratoga, New York in the mid-1800s. He was kidnapped and sold into slavery at New Orleans. He remained a slave for 12 years before finally re-gaining his freedom. Throughout those 12 years, he had to confront and endure physical and mental abuse – not to mention the despair of losing his family and his own identity, and in the latter case, for the sake of survival.

The story itself may be simple but the making of the film is anything but. Everything – from the cinematography to the acting performances, from the art direction to the costume design – demonstrates an attention to detail. McQueen is renowned for the realism of his films and 12 Years a Slave is no different. The locations – four historic antebellum plantations – come alive on screen and one is able to experience what it was like to live in those times.

The excellent cast flesh out these historical characters with conviction. Apart from Ejiofor’s sympathetic portrayal of Northup, special mention must be made of Michael Fassbender’s sadistic Edwin Epps, Lupita Nyong’o’s tragic Patsey, Paul Dano’s petty John Tibeats and Benedict Cumberbatch’s benevolent William Ford.

Not an easy or comfortable ride the moment Northup discovers his horrible plight – McQueen takes aim at the American South and Christianity and lays bare the monstrous attitudes that gives rise to the worst kind of behavior – that one segment of mankind is superior to the rest – demonstrated in Epps’ response to Northup’s accusation of sin – “A man does what he wants to his property” – even as he lashes the slave girl Patsey to an inch of her life.

Definitely a serious contender for best film of the year. Do not miss it!