This superhero adventure is a Thor-oughly fun-filled threequel
The Hulk.
The film is crammed with witty one-liners, funky production design and flashes of CGI-heavy action, though it does lose some of its verve in the slam-bang climax.
Besides the mandatory
Stan Lee cameo (this time, he’s the barber responsible for Thor’s new trim), expect a couple of tiny walk-on roles for Matt
Damon and Sam Neill.
And prepare to be wowed by Jeff Goldblum, who steals the show as the zany ‘grandmaster’ and appears in what is surely the funniest end-cred- its scene of any Marvel movie to date. Do wait for it.
Alabour of love that has taken nearly seven years to finish, Loving Vincent raises the bar, and then some, for animation filmmakers.
Using scores of artists who painstakingly hand-painted (in oils) every frame of their picture, co-directors Dorota Kobiela and Hugh Welchman piece together the final years of the 19th-century Dutch post-Impressionist painter Vincent van Gogh. The film investigates the causes behind van Gogh’s suicide in 1890, through a series of interviews with acquaintances and models for his portraits. Adopting a fictionalised detective story approach, it brings to life the artist’s work.
Expect to be enveloped in a sensory bath of vibrant colours as the unconventional biopic interpolates brightly hued animation over live-action footage of actors. From the ensemble cast, Douglas Booth as the young man tasked with delivering the last letter Vincent wrote to his brother and Robert Gulaczy as the titular protagonist, are standouts. Delineating van Gogh’s complex relationships and lifelong yearning for personal and artistic acceptance (only one of his over 900 paintings sold during his lifetime), Loving Vincent is a one-of-a-kind triumph.