Guardians of the Galaxy (sometime in 2014).Captain America: Winter Soldier (post-Avengers, pre-Ultron).
Thor: Dark World (post-Avengers, pre-Ultron).Iron Man 3 (takes place six months after The Avengers).Thor (takes place six months before Avengers).The Incredible Hulk (time unspecified, pre-Avengers).Iron Man 2 (takes place after Iron Man).Captain America: The First Avenger (takes place during WWII).If there's a hall of fame for horrible film facial hair, however, the chin-sock beard adorning the mug of John Travolta's gruesomely accented Serbian soldier may earn it a place. That's more than can be said for The Love Punch (Entertainment One, 12), a flaccid romantic caper with Emma Thompson and Pierce Brosnan marking time against admittedly pretty Riviera backdrops, or the retrograde post-Balkan war thriller Killing Season (Lions Gate, 15). That's about all there is to commend in this lumbering, tin-eared tale of a thieving charmer (Colin Farrell) escaping his demonic guardian (Russell Crowe) to find love with a consumptive noblewoman, but its awfulness is of the hell-for-leather variety that could beckon cult status. Photograph: Allstar Picture LibraryĬonfidence isn't exactly the issue in Akiva Goldsman's daft supernatural romance A New York Winter's Tale (Warner, 12), which maintains its insane fabulism – flying horses, century-long amnesia, Will Smith as Lucifer in diamond earrings – with a commendably straight face. The boy wonder borrows from Highsmith, Hitchcock and Fassbinder with preternaturally unerring confidence.Ĭhris Evans as Captain America. The Cannes laurels for the upcoming Mommy notwithstanding, Tom at the Farm (Network, 15) is comfortably his most satisfying and sensually stimulating film to date, a crafty, creepy neo-noir in which a young gay hipster (Dolan) visits the bereaved rural family of his late lover, only to encounter a surging undertow of menacing prejudice. Not all the 25-year-old's films quite hit the nerve they aim to, but their presentation is never less than exquisite. With five features in six years, prodigious Québécois actor-writer-director Xavier Dolan hasn't established himself as an enfant terrible so much as a fabulous son. This might be Marvel's most solid franchise. It does its duty with as much burly efficiency as Chris Evans's time-trotting Captain himself, as he fends off the eponymous frosty assassin with a committed perma-grimace. The film is a romantic quest narrative of full-bodied, old-fashioned intelligence.Ĭaptain America: The Winter Soldier (Buena Vista, 12), meanwhile, strives for its own kind of robust classicism: of all the Marvel comic-based screen adventures that have flooded the screen in recent years, it's the one most hale and hearty in its heroism, and least inclined toward hip, post-modern snark you suspect Robert Redford wouldn't have agreed to a villainous supporting role otherwise.
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She's played here with doughty presence and a dry twinkle of irony by the ever-interesting Mia Wasikowska, with Adam Driver (the lanky lothario of Girls) on hand as the National Geographic photographer who becomes her peevishly tolerated love interest. Shot with a besotted camera that gives sand the shimmer of silk, the landscape is at once an antagonist and an object of celebration in this lean, literate biopic of Robyn Davidson, the headstrong young explorer who in 1977 set out to cross the 1,700-mile west Australian desert on foot.
T he wonder of the desolate outback is on view in two very different shades this week: pallid and parched in David Michôd's The Rover, and fleshily vibrant in John Curran's marvellous Tracks (Entertainment One UK, 12), a film that got far less than its due in UK cinemas this spring.
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