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Movie Metropolis (309 KP) rated Power Rangers (2017) in Movies
Jun 10, 2019
Anyone fancy a doughnut?
If I had a pound for every time someone said they wanted a live-action Power Rangers reboot, I’d have exactly… nothing. The popular television series isn’t the first franchise that comes to mind when imagining films that’ll draw in the crowds, especially considering its era was very much the 90s.
Nevertheless, production company Lionsgate has taken the chance and given the plucky superheroes their first film in 20 years. But does this classic brand have what it takes to excite 21st Century audiences?
Five ordinary teenagers must band together to become something extraordinary when they learn that their small town of Angel Grove – and the world – is on the verge of being obliterated by the villainous Rita Repulsa (Elizabeth Banks). Chosen by destiny, the new heroes quickly discover they are the only ones who can save the planet. But to do so, they will have to overcome the issues blighting their real lives and before it’s too late, band together as the Power Rangers.
Director Dean Israelite in his second feature film crafts a gritty, modern-day reimagining of the series that manages to lose nearly all the campy fun in the process. It’s such a shame that a film as progressive as Power Rangers gets bogged down in poor pacing, expositional dialogue, messy action sequences and hilariously obvious product placement for Krispy Kreme doughnuts.
“How is it progressive” I hear you say. Well, this is the first film to feature an autistic superhero and a female protagonist who appears to be questioning her sexuality and for that Power Rangers should be given huge applause.
There is also an impressive cast. Bryan Cranston playing wise former Ranger Zordon is one of the most bizarre casting choices in recent memory. He’s certainly very good, though why he would choose a project of this nature is beyond me. The new Rangers are all fine with RJ Cyler probably coming across best as the autistic Billy Cranston.
Unfortunately, Elizabeth Banks is the only person who seems to grasp the camp, cheesy nature of the original television series. Her completely over-the-top performance is one of the best parts of the film, but it feels at odds with the darker tone that’s been set.
Pacing is also not a strong point. At 124 minutes, you’d be forgiven for thinking there’s time to pop in an origins story, a nice training montage and a climactic battle. It’s there in some form, but our heroes don’t “suit up” until the final 20 minutes which then becomes a mess of brash CGI as the film-makers try to tie up all the loose ends.
Overall, Power Rangers isn’t the royal mess it could have been. It’s stylish, progressive and well-acted with a decent storyline that desperately tries to bring this 90s pop-culture phenomena very much into the 21st Century.
Unfortunately, Lionsgate haven’t realised that retro is all the rage and in updating Power Rangers for a modern audience, they’ve lost what made the series and its films so endearing in the first place. It’s definitely better than 2015’s Fantastic Four, but Guardians of the Galaxy it isn’t.
Anyone fancy a doughnut?
https://moviemetropolis.net/2017/04/08/anyone-for-doughnuts-power-rangers-review/
Nevertheless, production company Lionsgate has taken the chance and given the plucky superheroes their first film in 20 years. But does this classic brand have what it takes to excite 21st Century audiences?
Five ordinary teenagers must band together to become something extraordinary when they learn that their small town of Angel Grove – and the world – is on the verge of being obliterated by the villainous Rita Repulsa (Elizabeth Banks). Chosen by destiny, the new heroes quickly discover they are the only ones who can save the planet. But to do so, they will have to overcome the issues blighting their real lives and before it’s too late, band together as the Power Rangers.
Director Dean Israelite in his second feature film crafts a gritty, modern-day reimagining of the series that manages to lose nearly all the campy fun in the process. It’s such a shame that a film as progressive as Power Rangers gets bogged down in poor pacing, expositional dialogue, messy action sequences and hilariously obvious product placement for Krispy Kreme doughnuts.
“How is it progressive” I hear you say. Well, this is the first film to feature an autistic superhero and a female protagonist who appears to be questioning her sexuality and for that Power Rangers should be given huge applause.
There is also an impressive cast. Bryan Cranston playing wise former Ranger Zordon is one of the most bizarre casting choices in recent memory. He’s certainly very good, though why he would choose a project of this nature is beyond me. The new Rangers are all fine with RJ Cyler probably coming across best as the autistic Billy Cranston.
Unfortunately, Elizabeth Banks is the only person who seems to grasp the camp, cheesy nature of the original television series. Her completely over-the-top performance is one of the best parts of the film, but it feels at odds with the darker tone that’s been set.
Pacing is also not a strong point. At 124 minutes, you’d be forgiven for thinking there’s time to pop in an origins story, a nice training montage and a climactic battle. It’s there in some form, but our heroes don’t “suit up” until the final 20 minutes which then becomes a mess of brash CGI as the film-makers try to tie up all the loose ends.
Overall, Power Rangers isn’t the royal mess it could have been. It’s stylish, progressive and well-acted with a decent storyline that desperately tries to bring this 90s pop-culture phenomena very much into the 21st Century.
Unfortunately, Lionsgate haven’t realised that retro is all the rage and in updating Power Rangers for a modern audience, they’ve lost what made the series and its films so endearing in the first place. It’s definitely better than 2015’s Fantastic Four, but Guardians of the Galaxy it isn’t.
Anyone fancy a doughnut?
https://moviemetropolis.net/2017/04/08/anyone-for-doughnuts-power-rangers-review/
Movie Metropolis (309 KP) rated Geostorm (2017) in Movies
Jun 10, 2019
The 90's are back
I’ve got to start by telling you I wasn’t holding out much hope for Geostorm and that’s for quite a few reasons. Firstly, Gerard Butler’s career has been on a bit of a slide recently.
Last year was particularly rough for the Scotsman, with London Has Fallen and Gods of Egypt receiving less than 2 stars here at Movie Metropolis. Secondly, Geostorm has had one of the most turbulent productions of any blockbuster in recent memory.
It actually completed main shooting in 2014 but after a negative audience reaction, it’s release date was pushed back numerous times and costly reshoots were drafted in to sort out the presumed mess. Now, in Autumn 2017 it’s arrived. But what’s it like?
After an unprecedented series of natural disasters, the world’s leaders banded together to create an intricate net of satellites to control the global climate and keep people safe. But now, something is wrong: the system built to protect the planet is attacking it, and it becomes a race against the clock to uncover the real threat before a worldwide geostorm wipes out everything and everyone along with it.
Sounding like something straight from the SyFy channel, Geostorm’s premise is utterly ridiculous but disaster movies have never been particularly well-known for their deep, meaningful and accurate storylines. In fact, some of the very best films in the genre, Deep Impact, Armageddon, Volcano wrestled with significant plot holes – audiences don’t care about that when they can watch the planet getting destroyed.
Morbid, right? Most definitely, but the same applies here. The special effects are so darn good, as a tidal wave obliterates Dubai, and the action interspersed at the right intervals, that the lack of cohesive plot and at times hideous and expositional dialogue really doesn’t matter.
The cinematography by director Dean Devlin (in his first feature film) is really rather good. It’s not ground-breaking but considering 95% of the movie is CGI, he works with green screen well and the script’s twists and turns make it a damn sight more interesting than the majority of 2017’s blockbusters.
“Geostorm channels those brilliantly camp disaster movies from the 80s and 90s beautifully.”
Gerard Butler is actually very decent, but there is a lot more talent on offer here than you would first expect. Ed Harris is always dependable and Andy Garcia plays a President similar to Morgan Freeman’s turn in 1998s Deep Impact. It’s cheesier than a Dairylea triangle, but that’s exactly how disaster films are meant to be.
Geostorm channels those brilliantly camp disaster movies from the 80s and 90s beautifully. Dante’s Peak, Earthquake and Volcano can all be felt here. It takes itself a lot less seriously than 2015’s San Andreas, and has a decent sense of humour to boot.
The scenes on-board the International Space Station are a little dull and to be fair, for a film titled Geostorm, there could be a little more ‘storming’ going on, but it’s a fun, throwaway film that requires nothing but your mind to switch off.
Overall, despite a ridiculously turbulent birth, Geostorm is an honest film. Sure, it’s premise is plagued by plot inconsistencies and the characters aren’t fleshed out enough for us to care about their fates, but it’s a rollercoaster ride of special effects and disaster, which I’m not ashamed to say, I really enjoyed.
https://moviemetropolis.net/2017/10/21/geostorm-review/
Last year was particularly rough for the Scotsman, with London Has Fallen and Gods of Egypt receiving less than 2 stars here at Movie Metropolis. Secondly, Geostorm has had one of the most turbulent productions of any blockbuster in recent memory.
It actually completed main shooting in 2014 but after a negative audience reaction, it’s release date was pushed back numerous times and costly reshoots were drafted in to sort out the presumed mess. Now, in Autumn 2017 it’s arrived. But what’s it like?
After an unprecedented series of natural disasters, the world’s leaders banded together to create an intricate net of satellites to control the global climate and keep people safe. But now, something is wrong: the system built to protect the planet is attacking it, and it becomes a race against the clock to uncover the real threat before a worldwide geostorm wipes out everything and everyone along with it.
Sounding like something straight from the SyFy channel, Geostorm’s premise is utterly ridiculous but disaster movies have never been particularly well-known for their deep, meaningful and accurate storylines. In fact, some of the very best films in the genre, Deep Impact, Armageddon, Volcano wrestled with significant plot holes – audiences don’t care about that when they can watch the planet getting destroyed.
Morbid, right? Most definitely, but the same applies here. The special effects are so darn good, as a tidal wave obliterates Dubai, and the action interspersed at the right intervals, that the lack of cohesive plot and at times hideous and expositional dialogue really doesn’t matter.
The cinematography by director Dean Devlin (in his first feature film) is really rather good. It’s not ground-breaking but considering 95% of the movie is CGI, he works with green screen well and the script’s twists and turns make it a damn sight more interesting than the majority of 2017’s blockbusters.
“Geostorm channels those brilliantly camp disaster movies from the 80s and 90s beautifully.”
Gerard Butler is actually very decent, but there is a lot more talent on offer here than you would first expect. Ed Harris is always dependable and Andy Garcia plays a President similar to Morgan Freeman’s turn in 1998s Deep Impact. It’s cheesier than a Dairylea triangle, but that’s exactly how disaster films are meant to be.
Geostorm channels those brilliantly camp disaster movies from the 80s and 90s beautifully. Dante’s Peak, Earthquake and Volcano can all be felt here. It takes itself a lot less seriously than 2015’s San Andreas, and has a decent sense of humour to boot.
The scenes on-board the International Space Station are a little dull and to be fair, for a film titled Geostorm, there could be a little more ‘storming’ going on, but it’s a fun, throwaway film that requires nothing but your mind to switch off.
Overall, despite a ridiculously turbulent birth, Geostorm is an honest film. Sure, it’s premise is plagued by plot inconsistencies and the characters aren’t fleshed out enough for us to care about their fates, but it’s a rollercoaster ride of special effects and disaster, which I’m not ashamed to say, I really enjoyed.
https://moviemetropolis.net/2017/10/21/geostorm-review/
Sassy Brit (97 KP) rated Anatomy of a Scandal in Books
Jun 5, 2019
Anatomy of a Scandal is based around three central characters. First there’s James, the suave, charismatic family man and politician who is also good friends with the Prime Minister. He’s wealthy and over-privileged. Then we meet Kate, the young, ruthlessly ambitious prosecutor, who’s determined to see James get the guilty verdict he deserves. She’s also good at her job and made her name prosecuting the very worst sexual assault cases. Finally we meet Sophie, James’ wife who has been dating James since college and knows him better than anyone else. All have a vital part to play in this psychological, legal drama, which starts with a shocking scandal being revealed, which is then dissected in court.
James is accused of rape one of his assistants, but did he do it? While his wife Sophie is seemingly supportive on the outside, on the inside her mind is going crazy thinking about his alleged crimes and what he could in fact be capable of. Just how long can she remain loyal as the story unfolds?
We travel from the court case, back in time to Oxford in the 90s and into the current murky goings on within the privileged political world, where money, corruption and power rule the day.
This is an extremely well written and cleverly plotted, insightful story, which I can easily see adapted into a BBC drama, very much like Louise Doughty’s Apple Tree Yard.
Sarah Vaughan has mastered a treat for us with Anatomy of a Scandal, a sharp, engrossing and poignant political drama, which highlights some shocking hard-hitting facts with sensitivity and realism. Terrific!
James is accused of rape one of his assistants, but did he do it? While his wife Sophie is seemingly supportive on the outside, on the inside her mind is going crazy thinking about his alleged crimes and what he could in fact be capable of. Just how long can she remain loyal as the story unfolds?
We travel from the court case, back in time to Oxford in the 90s and into the current murky goings on within the privileged political world, where money, corruption and power rule the day.
This is an extremely well written and cleverly plotted, insightful story, which I can easily see adapted into a BBC drama, very much like Louise Doughty’s Apple Tree Yard.
Sarah Vaughan has mastered a treat for us with Anatomy of a Scandal, a sharp, engrossing and poignant political drama, which highlights some shocking hard-hitting facts with sensitivity and realism. Terrific!
Otway93 (580 KP) rated the PlayStation 3 version of Resident Evil 5 in Video Games
Oct 21, 2019
Couch Co-op (3 more)
Graphics
Choice of Weaponry
DLC
Story (2 more)
Fewer Puzzles
Less Scary
Outrageously fun, but not without flaws.
Contains spoilers, click to show
This game is one of my favourite games of all time, though after a recent replay, it still is!
This game does not add a wealth of background to the Resident Evil lore, but it is fun.
Being the first game in the Resident Evil's 13 years to allow multiplayer was an excellent choice, and is thoroughly enjoyable, and occasionally hilarious, even for beginner gamers I have discovered!
As some may know, you can purchase unlimited ammo for it's vast array of weapons, which makes a second, third or even fourth playthrough absolutely hilarious, especially with unlimited RPGs to take out single zombies.
DLC is also a huge plus on this game, so I thoroughly recommend paying that small amount extra, as it provides an introduction to the game, and an explanation to one key part of the game.
But now the bad. SPOILERS AHEAD.
The game itself is the least scary of all the games apart from maybe the Wii Umbrella and Darkside Chronicles, taking away most of the tension, and getting rid of the puzzles that caused such stress anxiety in the 90s and early 2000s.
But the story is the most disappointing thing, mainly the ending, or to put it simply, killing off Albert Wesker, one of the games main antagonists since day one, turning him into a superpowered killing machine? Go for it, turning him into another random blob of gunk? Not so inspired, and a poor end for such a key character.
This game does not add a wealth of background to the Resident Evil lore, but it is fun.
Being the first game in the Resident Evil's 13 years to allow multiplayer was an excellent choice, and is thoroughly enjoyable, and occasionally hilarious, even for beginner gamers I have discovered!
As some may know, you can purchase unlimited ammo for it's vast array of weapons, which makes a second, third or even fourth playthrough absolutely hilarious, especially with unlimited RPGs to take out single zombies.
DLC is also a huge plus on this game, so I thoroughly recommend paying that small amount extra, as it provides an introduction to the game, and an explanation to one key part of the game.
But now the bad. SPOILERS AHEAD.
The game itself is the least scary of all the games apart from maybe the Wii Umbrella and Darkside Chronicles, taking away most of the tension, and getting rid of the puzzles that caused such stress anxiety in the 90s and early 2000s.
But the story is the most disappointing thing, mainly the ending, or to put it simply, killing off Albert Wesker, one of the games main antagonists since day one, turning him into a superpowered killing machine? Go for it, turning him into another random blob of gunk? Not so inspired, and a poor end for such a key character.
Ross (3284 KP) rated Dispel Illusion in Books
Jan 3, 2020
A consistent end to the trilogy
The D&D time-travel series comes to and end with this third book. Here the action is split between a timeline in the 90s following the first two books, with a future narrative of Nick's adult life in the 2000s and 2010s, and finishing up with a retelling of the events of the first book, from "future Nick's" PoV.
I still have issues with the science, multiverse and time-travel execution here as with the first books, but appreciate the way the story was woven together. Some of Lawrence's fantasy books have the different timeline feature and once again he expertly weaves them together so the overall story emerges at a good pace.
At one point, I thought the book was going to go down the Bill & Ted route as a cop-out ("in the future we will come back to this point and leave this key here and voila here it is") but this was actually quite well handled and wasn't the cop-out I feared.
The book benefits from a more stretched timeline as we see significant events from Nick's adult life, rather than dwelling on his teenage years solely. Likewise there is more of a focus on the D&D, which was somewhat lacking in book 2, and with key learnings from that featuring in the real world storyline.
Overall, I think I enjoyed this series, but I have my hang-ups about time-travel and multiverse theories in general. A good bit of escapism, if a little heavy on the pretend science at times.
I still have issues with the science, multiverse and time-travel execution here as with the first books, but appreciate the way the story was woven together. Some of Lawrence's fantasy books have the different timeline feature and once again he expertly weaves them together so the overall story emerges at a good pace.
At one point, I thought the book was going to go down the Bill & Ted route as a cop-out ("in the future we will come back to this point and leave this key here and voila here it is") but this was actually quite well handled and wasn't the cop-out I feared.
The book benefits from a more stretched timeline as we see significant events from Nick's adult life, rather than dwelling on his teenage years solely. Likewise there is more of a focus on the D&D, which was somewhat lacking in book 2, and with key learnings from that featuring in the real world storyline.
Overall, I think I enjoyed this series, but I have my hang-ups about time-travel and multiverse theories in general. A good bit of escapism, if a little heavy on the pretend science at times.
The Age of Bowie: How David Bowie Made a World of Difference
Book
THE SUNDAY TIMES BESTSELLER 'A handsome six footer with a warm and engaging personality, Davie Jones...
Jean Ritchie's Kentucky Mother Goose: Songs and Stories from My Childhood
Jean Ritchie and Susan Brumfield
Book
Jean Ritchie's Kentucky Mother Goose is a collection of songs, rhymes and stories recalled by Jean...
Amanda Palmer recommended Let Love In by Nick Cave & The Bad Seeds in Music (curated)
Ross (3284 KP) rated The Harrowing of Doom in Books
Jan 7, 2021
Good book, but no real insight to Doom
As I am currently wading my way through the early 90s Infinity Gauntlet/War saga and all the crossover issues of comics, I was intrigued at the sometime villain, complex character that is Victor Von Doom. This book seemed to be the perfect chance to put some meat on the bones of this intriguing powerful character.
The book starts on Walpurgis night, as Doom looks towards the coming midsummer and his annual battle with Mephisto's forces of Hell as he tries to reclaim his mother's soul. Beaten once more, Doom hits on a plan to take the fight to Hell on his own terms.
Meanwhile, Doom's mother's previously defeated foe, a prince, seeks to take back control of the country, using terror attacks while Doom is distracted with his Hellish fight.
The story has some good characters, in the few people trusted with helping Doom to accomplish his plan (his mother's former ally and now recluse, a priest with heretical powers and his security chief) which help to tell the story. However, throughout the book we are treated to the same sense of mystery of the insides of Doom's mind that we see in the comics.
The book is good, an interesting one where an over-powered character is undone by refusing to delegate or being too egotistical, and it is something of a page-turner. But as a Doom-focused book, it left me wanting more.
I received an advance eARC of this book from the publishers and NetGalley in exchange for an honest review.
The book starts on Walpurgis night, as Doom looks towards the coming midsummer and his annual battle with Mephisto's forces of Hell as he tries to reclaim his mother's soul. Beaten once more, Doom hits on a plan to take the fight to Hell on his own terms.
Meanwhile, Doom's mother's previously defeated foe, a prince, seeks to take back control of the country, using terror attacks while Doom is distracted with his Hellish fight.
The story has some good characters, in the few people trusted with helping Doom to accomplish his plan (his mother's former ally and now recluse, a priest with heretical powers and his security chief) which help to tell the story. However, throughout the book we are treated to the same sense of mystery of the insides of Doom's mind that we see in the comics.
The book is good, an interesting one where an over-powered character is undone by refusing to delegate or being too egotistical, and it is something of a page-turner. But as a Doom-focused book, it left me wanting more.
I received an advance eARC of this book from the publishers and NetGalley in exchange for an honest review.