This is my fifth Top 5 for Heavy and my seventh Countdown. With the release of new season of Game of Thrones last year I went all out with a Top 10 Countdown where each piece averaged over 500 words and was published separately counting down to the telecast of the first episode. It was a lot of work that I was happy to do but can’t maintain as a side gig with all the other work I do. A Top 5 of Tom Hank’s best films followed which was a lot shorter and I decided doing something akin to that format was sustainable. It also appeared to be really popular. When it came time to do another Top 5 on Stranger Things Season 2 I found there was too much to choose from and decided to do a Top 10 instead. Top 5s have continued though with Thor: Ragnarok, Star Trek: DiscoveryBlade Runner 2049 and now A Top 5 of the Best Things about the Rocky film series which you can find here

In the summer of 1993 heading out of primary school into high school I got out from my local video store what was at that time all five Rocky films and I fell in love. Even as a child I knew number one was the best and it has stayed with my throughout the years. The great regret of my life possibly is that I did not pursue boxing as a sport in my youth. Rocky is not really about boxing though, as the great film critic Roger Ebert once wrote “It’s about heroism and realizing your potential, about taking your best shot and sticking by your girl. It sounds not only cliche but corny-and yet it’s not, not a bit, because it really does work on those levels. It involves us emotionally, it makes us commit ourselves.” The sequels continued the story with diminishing returns until Rocky Balboa salvaged some dignity and went out on a good note. Then came Creed by Ryan Coogler which was even better. Now there is Creed II and I hope it’s good but also that this closes the door on this franchise. We shall see.

It’s been a while since I’ve published with Heavy magazine due to other commitments and time constraints but it is always a pleasure and I hope you enjoy. Feel free to comment on the site of what would be your picks. I look forward to doing a few more in the near future.

Heavy is an independent magazine and website that is all about the music and specifically heavy music and supporting the Australian music scene in general. Fortunately for me they do cover film as well and I have been fortunate to have a few things published there.

-Lloyd Marken



I’ve been fortunate enough to get the opportunity to have another Top 5 countdown published at Heavy Magazine. Be warned there will be spoilers in it and it is purely intended as a retrospective about what is great about the film now that it has been out for a few weeks. Look forward to hearing what you think and whether you agree or disagree. The post can be found here

Heavy is an independent magazine and website that is all about the music and specifically heavy music and supporting the Australian music scene in general. Fortunately for me they do cover film as well and I have been fortunate to have a few things published there.

-Lloyd Marken


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Taika Waititi did the impossible and got us excited about a Thor Movie. How he did it is pretty simple, he got us excited about Taika Waititi movies and just happened to be directing a Thor movie as well. The trailer promised a rocking soundtrack, gaudy colours that evoked memories of Flash Gordon and a comic tone that would lampoon previous entries. The film delivers on all the marketing in that regard, Thor: Ragnarok has laughs and spectacle as promised but it is missing one key ingredient that previous Waititi films has possessed and where the similarly styled Guardians of the Galaxy films have also shared and that is one of emotion.

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There are massive stakes in this film for Thor regarding his family, his homelands and his friends. You won’t see him shed a tear which is fair enough, maybe that’s not true to his character (by the way what is his character? a smart arse Prince who has matured? after five films I’m honestly not sure) but while throughout he continually references having to get back to Asgard to save his people we honestly don’t feel his connection to them. We don’t really know who they are. It feels almost like two films are running at once, Thor on another planet trying to get back and playing out a fun movie with characters for the most part unrelated to Asgard. Idris Elba as Heimdall on the other hand is engaged in helping the Asgardians and what is happening back home. The film never makes an attempt even a heavy handed one to draw that connection. Adding to that is a cut away to a joke at various times when the impact of a moment could be felt instead. In Hunt For The Wilderpeople we felt loss more keenly there of loved ones and the displacement of home. These themes are present in Thor: Ragnarok but are not nearly as well covered. In that film too things were not glossed over either, if a man had been homeless all his life he could learn to love again but not necessarily be a responsible guardian.


So what does the movie get right? First off the opening scene sets the tone with a big battle, some unexpected humour and the use of Led Zeppelin’s Immigrant Song which featured in the teaser trailer. Brushing over some plot elements not shown in marketing  Thor finds himself on a planet named Sakaar trying to get back to Asgard. He is imprisoned and forced to fight in gladiatorial contests. It might have been great to leave somebody he fights as a surprise but we all know what kind of world we’re living in. Keeping that secret would have been impossible and just dumb given how much of an impact it could play in marketing but in a different world that is definitely how you would ideally play it. Speaking of The Hulk, having not reverted back to Banner for some time he is a newly developed character capable of doing good but behaving at times like a sulky toddler. One scene with him and Thor is one of the stronger character beats for both. Other characters include Jeff Goldblum being Jeff Goldblum (that’s not a bad thing), Tessa Thompson as former warrior Valkyrie now a mercenary and Cate Blanchett as new big bad Hela. Blanchett is having the time of her life strutting around confidently as a demi-God with serious betrayal issues and looking damn fine in her skin tight costume. She’s the most powerful character in the film surrounded by men trying to take her down a peg or too constantly. Subtext abounds not least of which when she delights in bossing around macho Karl Urban. Related imageThe pain of Valkyrie and Hela are not undermined by immediately following with a joke and I wish we could have seen some of that given to Thor’s trials and resolving of his relationship with Loki. Still if it is laughs you want this film has them and Waititi himself plays rock monster Korg who gets some of the best laughs. Having this special brand of New Zealand humour present on such a massively global blockbuster must be a real thrill for Kiwis and as an Aussie I certainly enjoyed it.

Maybe I’m getting old but like a lot of blockbusters of late I didn’t care for the ramped up CGI-athon third act finale. The spectacle didn’t engage in the same way say the ending of The Avengers did. Some critics believe the meta-humour and need for a laugh undermines the drama of the Guardians of the Galaxy films but I cried during the sequel as well as laughed. I regret to inform you in Thor: Ragnarok I just laughed. Yet its good to see Marvel taking chances and this is an enjoyably light diversion in this ongoing cinematic universe.

-Lloyd Marken


P.S. There was a Museum Exhibition in my hometown a little while back which I hope to do a post of soon. For now here’s a sneak peak of some items you may recognise from the film Thor: Ragnarok.


Creed is a lot better than most audience members would expect it to be. Combining new talent in actor Michael B. Jordan and director Ryan Coogler with the venerable Italian Stallion himself Sylvester Stallone to produce a film that honours the original Rocky and yet pulses with a story for today’s world.

We first meet Adonis “Donnie” Johnson as a youth serving time in juvenile hall. The offspring of an affair Apollo Creed had shortly before his death in Rocky IV, his mother has also passed on and Mary Anne Creed (Phylicia Rashad), Apollo’s widow, having tracked him down takes him into her home. Adonis as an adult comes from two worlds and does not feel like he belongs in either. He’s made use of the opportunities Mary Anne afforded him to work a white collar job but on his weekends he heads down to Mexico, boxing in underground matches, eager to throw punches at the world. At night he watches Apollo’s old fights and shadow boxes not Apollo’s opponents but the father he never knew.

Shut out from his father’s old contacts he goes to Philadelphia to seek out the man who knew his father as a boxer best – Rocky Balboa. Balboa as a boy was told by his father that he didn’t have much of brain so he better learn how to use his body. Here Balboa sizes up Adonis pretty quick and says you sound like you went to school, you don’t have to fight. Yet fighters fight and even though he has to continually prove it Donnie is a fighter.

He goes to Mighty Mick’s Boxing Gym and trains while pestering Balboa any chance he gets for coaching tips. In the meantime he meets a girl, Bianca, in the apartment beneath his and they tentatively start a relationship. Played by Tessa Thompson, Bianca has got dreams of her own in the music business and deteriorating hearing that puts a clock on her time to achieve something the way an athlete’s body does on a boxer’s dreams. There are echoes of the original Rocky series throughout, two young lovers relax on a couch and long term fans will remember Rocky and Adrian sitting there while Donnie is now the energetic youth around Rocky the way Rocky once was around Mick. Yet Creed is telling its own story to tell with Donnie and tells it well.

The original Rocky was about believing in one’s self enough to take a shot at life. Creed is focussed on a character with a great deal more confidence but still intimidated by the shadow of his father and a world that he wants to enter. By moving Adonis to Philadelphia from his native LA, the film plays up his sense of discovery with the city, love, boxing and himself. Moving at a leisurely pace, equal time is given to the sweet love story and to Adonis learning his profession. Bianca and Donnie’s first date is really about them discussing their hopes for the future and whether the other person will support them or not, appropriate since this film series has at its heart always been about chasing dreams through adversity.

There are 3 matches that Adonis takes part in throughout the film, each shot differently and each displaying the growth of the character. The first shows a young man isolated with no support arrogant in relying on his anger to give him the edge. The second is a stand out sequence filmed in one take over multiple rounds with make-up applied in quick turns to the crowd or corners. This is where Adonis finds out if he can be a true professional boxer able to take hard hits and dish them out. Beyond the virtuoso filmmaking on display, Jordan has trained hard and sells himself as a professional athlete in this sequence. Like a boxer in a real ring, there is nowhere for him to hide any weaknesses. The third and final match is shot more conventionally like a HBO telecast as the young Creed takes on a world champion to prove worthy of his father’s legacy.

Ryan Coogler co-wrote and directed this film as a love letter to his father who was a huge fan of the Rocky series. The film is sprinkled with lots of references to the past that his father should enjoy, including a very poignant return to the steps of the Philadelphia Art Museum, but Coogler is writing a new story to inspire today’s generation. A young kid who never saw Rocky could watch this film, relate to it and enjoy it without the trappings of nostalgia. Coogler’s own father was going through health issues when he wrote it and this inspired the subplot of Rocky Balboa getting sick with cancer. This sub-plot again gets a lot of emotion out of long term fans but does not require familiarity. The reason is that Sylvester Stallone turns in his best performance since Copland. Now the same age Burgess Meredith was in the original Rocky, it’s interesting to note that after all that plastic surgery Stallone looks like a character actor in this film. As a performer he’s gained himself enormous dignity by admitting Rocky and him finally got old. There’s a small scene where he visits Adrian and Paulie’s graves and talks about ageing in a warm casual manner. In his scenes with Jordan every now and again he smiles recognising himself in Adonis at a different time like a father with a son. Sure he shows the physical deterioration of the cancer but the small choices in his performance make him worthy of an Oscar win let alone nomination. Look carefully at Stallone’s face when Rocky is told his prognosis. Or how he plays the very next scene in the gym. If you think Stallone plays it too obvious you haven’t been paying attention.

Rocky Balboa allowed the character to retire with grace and dignity. Despite Coogler’s stunning debut Fruitvale Station, Creed sounded like something that could turn out to be a huge mistake. Instead it is something remarkably special, it gives us a delayed sequel to a beloved series that not only adds in quality to those films but can stand apart on its own. This is one of the best films of the year.

-Lloyd Marken