Robin Hood - 8/10

The story of Robin Hood is one of the most familiar of English legends, and has been brought to film more than any other historical figure, bar perhaps Jesus. The part has been played by multiple actors, including a fox, and has explored almost every aspect of the famous outlaw's derring-do's. So how does a director bring a new dimension to the well-trodden story? The answer - the now established guaranteed success of an origins story. 

Before he gathered his merry men, before he became an outlaw, and before he robbed his first penny from the rich to give to the generic poor, Ridley Scott's version joins Robin Longstride on his way back from crusading with Richard Lionheart. Robin, a common soldier, is disciplined for his "honest and naive" nature, and soon finds his way back to England and into favour on the Loxley estate in Nottingham. From here, the story moves toward the impending French invasion and Robin's role in the battle, as well as his newfound relationship with Marion, played with familiar fiestyness by Cate Blanchett. 

Despite the fear of obvious comparisons with Gladiator (same director, same leading man with the same unintelligible growl), fortunately this is not Gladiator in the woods! What emerges is an uncharacteristically lightearted Scott movie, which fizzes with energy and heart throughout. While there are moments of Maximus-inspired, highly quotable philosophising ("Rise and rise again, until lambs become lions"), the tone is light and the inclusion of a brilliantly cast band of merry men provide easy comic relief, while never descending to farce.

It is suprising however, that this is the work of the master innovator Ridley Scott. To say the plot is formulaic is perhaps unfair, but coming from the man who gave us Alien, Blade Runner, and who redefined this kind of epic character piece with Gladiator, it feels remarkably familiar. Scott's magic hands when it comes to the cinematography are still apparent - England has never looked so rich and glorious - as is his ability to choreograph some of the most spectacular battle sequences around. What this film lacks is the creative flair and touch of genius we have become so used to from one of the most significant filmmakers working today.

This minor gripe aside, Robin Hood is still by far the most effective and gripping telling of the story, miles ahead of the turgid Prince of Thieves and even more entertaining than the Disney fox. Crowe is impressive and entirely believable as a common outlaw who stood against a king. The traditional antagonists of King John and the Sheriff of Nottingham have dissapointingly minor, and in places overly comical roles, making way for Mark Strong to once again take up central bad guy duties, a part of the market he seems to be cornering quiet confidently at present. Writer Brian Helgeland, who is enjoying a return to favour after 10 years of decidedly average screenplays, manages to keep the story flowing even through a fairly static mid-section. 

A consistently entertaining, lovingly shot piece of summer fare which will stand out as one of the hits of the year. While not scaling the heights of some of his previous offerings, an average Ridly Scott film is still leagues ahead of most other's best.  

Iron Man 2

Rating: 7/10

The first Iron Man sits easily alongside the Dark Knight and X-Men 2 as one of the freshest and most enjoyable comic book movie adaptations to date. Heralding the revival of the brilliant Robert Downey Jr, as well as a superb supporting cast, and some inspired action sequences, Iron Man became an instant hit, leaving the sequel with the unenviable challenge of equalling or bettering its performance.

Just to add pressure, Iron Man 2 is the film which really begins the Marvel master plan of a franchise of superhero movies building to the Avengers film scheduled for 2012. With the Thor and Captain America films already underway, Iron Man 2 begins the process of SHIELD assembling the Avengers unit, with Nick Fury (Samuel L Jackson, signing an unprecedented 9 film deal with Marvel) taking an active role in developments, having been introduced in a teaser at the end of the first Iron Man film. This is perhaps the best context within which to view Iron Man 2 – as the beginning of a bigger story. The prospect of at least nine films of inter-connected superhero stories, culminating in a grand superhero mash-up, is certainly tantalising to even the most reluctant geek.

Inevitably, this means that there needs to be a certain amount of scene setting, and some nods and winks to the coming franchise (of which there are plenty here). It also means that Iron Man 2 does lack the pace and flair of its predecessor. Having said this, the opening twenty minutes is a complete pleasure, with some superb performances – in particular, the film’s second come-back kid Mickey Rourke as Russian protagonist Ivan Vanko – and a beautifully worked car crash sequence on the Monacco circuit.

It is, however, the middle section where the script loses it’s pace. Despite the best of work from the cast, there is simply too much talking. This wouldn’t be too bad, other than much of it feels insignificant. While the tone of the film is light and fun, this means that when trying to deal with some of the darker issues such as Stark’s drinking, sickness and isolation, they lack the emotional tug required to keep the momentum. Even the usually brilliant Sam Rockwell, here as Stark’s main business rival who is attempting to build his own army of iron men, begins to get quite irritating.

Once these issues are dealt with, and characters inevitably get back on track, the last stage sizzling with action packed sequences. Don Cheadle takes over the role of Col. James Rhodes from Terrence Howard (who backed out due to “creative differences” – isn’t it always!), and adds more metal to the mix with the introduction of War Machine, essentially doubling the firepower and explosions to full entertaining effect. The only gripe being that the final battle seems to be over before it really begins, a flaw common in numberous Marvel finales.

While not equalling the success and flair of the previous outing, Iron Man 2 does a solid job of setting the stage for a world we are going to become very familiar with over the next few years. It is perhaps inevitably weighed down by it’s responsibility to a franchise and the expectation to give significance to proceedings. Nevertheless, Iron Man 2 manages to avoid the dud-sequel curse and just about manages to keep the attention, largely due to the charisma of an outstanding cast.