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Joe Goodhart (27 KP) rated Hawkeye, Volume 4: Rio Bravo in Books
Nov 30, 2020
So, this afternoon, I took it upon myself to nom-nom-nom on this nugget, instead of leaving it for my "pre-sleep time read". Let's just say that I have no regrets for this decision.
All four volumes of the Matt Fraction HAWKEYE run were a re-read for me. This volume, and the previous volume, Vol. 3: "L.A. Woman", were compiled slightly out of order. The issues in the Vol. 3 were all part of Kate Bishop's story, as she and Lucky went out to L.A. The issues in this final volume, while out of order, help continue the story, concluding with Kate's return for the series finale (not a spoiler, if you read Volume 3, which if you didn't, I am very disappointed in you. Tch!).
The volume, as a whole, flows like a well-crafted indie action-adventure flick. There is plenty of white-knuckle tense scenes, as well as some genuine "kick ya in the feels" moments. Heck, there's even a small amount of chuckles, too! All in all, a perfect ending to a perfect series!
In addition to Katie-Kate's return, it also brings back David Aja, whose art on the series' run, was nothing short of brilliant! Aja brought a pulp feel to the art, a style that suited Fraction's portrayal of Clint Barton.
All in all, the entire run is worth your time, not just this fourth, and final, volume of the series! In an era where Marvel thinks constantly rebooting series, as well as offering way too many meaningless crossover events, is how you put out quality material, it warms my nerdy comic lovin' heart to still return to good stuff like Matt Fraction's HAWKEYE run! Thank you, Matt, and thank you to all the excellent art choices you assembled for this run!
All four volumes of the Matt Fraction HAWKEYE run were a re-read for me. This volume, and the previous volume, Vol. 3: "L.A. Woman", were compiled slightly out of order. The issues in the Vol. 3 were all part of Kate Bishop's story, as she and Lucky went out to L.A. The issues in this final volume, while out of order, help continue the story, concluding with Kate's return for the series finale (not a spoiler, if you read Volume 3, which if you didn't, I am very disappointed in you. Tch!).
The volume, as a whole, flows like a well-crafted indie action-adventure flick. There is plenty of white-knuckle tense scenes, as well as some genuine "kick ya in the feels" moments. Heck, there's even a small amount of chuckles, too! All in all, a perfect ending to a perfect series!
In addition to Katie-Kate's return, it also brings back David Aja, whose art on the series' run, was nothing short of brilliant! Aja brought a pulp feel to the art, a style that suited Fraction's portrayal of Clint Barton.
All in all, the entire run is worth your time, not just this fourth, and final, volume of the series! In an era where Marvel thinks constantly rebooting series, as well as offering way too many meaningless crossover events, is how you put out quality material, it warms my nerdy comic lovin' heart to still return to good stuff like Matt Fraction's HAWKEYE run! Thank you, Matt, and thank you to all the excellent art choices you assembled for this run!
Purple Phoenix Games (2266 KP) rated Horrified: Universal Monsters Strategy Board Game in Tabletop Games
Aug 6, 2021
I was a child a long time ago. Okay, not THAT long ago, but I remember being frightened of a great many thing on TV: Michael Jackson’s “Thriller” music video, the TV show “V,” and so many others. I still to this day have not watched an entire old school Universal Studios Monster movie. However, I used to live in California for part of my childhood and my family had season passes to Universal Studios and we would go quite a lot, so I have always been familiar with the monsters. So when I saw a game was being crafted featuring these lovable, but in a nostalgic way, creatures I knew I just had to have it.
Horrified is a pickup and deliver, action points, cooperative game with dice and miniatures utilizing a variable setup. In it players take on the role of a hero in a monster movie – but not just A monster movie, but SEVERAL monsters will be haunting the town! It is the heroes’ goal to defeat the monsters before the Terror Marker reaches maximum or the heroes run out of time and the monsters take over the town.
To setup, place the board on the table and draw 12 Item tokens from the bag. Place these Items on the board in the specified location printed on the Item. Depending on how many players (for this review I will be using the Solo rules in the rule book) place the Terror Marker appropriately on the board – the photo above was taken before I realized that it starts on three in the Solo game. Choose the monsters to be faced and place their mats near the board. The rulebook states where the monster minis will start the game. Place the Frenzy token on the lowest Frenzy-numbered monster. Shuffle the Monster and Perk decks of cards separately and deal each player one Perk card. Each player chooses or is randomly dealt a character badge and places the standee in the appropriate location on the board. The game may now begin!
Players will be taking turns traveling the town, picking up Items, attempting to defeat the monsters per their defeat instructions on their mats, delivering villagers that randomly appear to their safe locations, and keeping the Terror Marker in the acceptable range. Each character has a certain number of actions that can be taken on their turns, but any Perk cards used are spent as a bonus action on the hero’s turn. The hero actions are: Move (one space along the lit pathways, even with a villager in tow), Guide (a villager one space away from the hero), Pick Up (Items from locations), Share (Items from player to player – not needed in a Solo game), Special Action (if the character being played has one on their badge), Advance (complete a task on the Monster mat to move one step closer to defeat), and Defeat (once all the tasks are complete and the player has enough Items to defeat the Monster at the same location). Once a hero has used up all their Action Points per their badge, it will be the Monster phase.
Monster phases begin with a draw from the Monster deck. Upon the card will be a number printed on the top which instructs players as to how many Items to draw and place from the bag. Next, players will read the text on the card and complete any instructions. Finally, the Monsters will strike. At the bottom of the card will be printed several icons pertaining to Monsters individually and also the Monster who happens to currently be Frenzied. These icons instruct players to move certain Monsters and if they share a space with a hero or villager, to roll the attack dice. One hit from a Monster defeats either a villager or hero (unless the hero discards any Item to block the attack). If a hero or villager is defeated, the Terror Marker moves up a space toward ultimate doom. Play then is passed to the players again. The game continues in this fashion until one of the game end conditions is met and the heroe(s) win or the Monsters succeed in their hostile haunted takeover.
Components. I’d like to start with the art. I love it. The art has a very 1930s Hollywood style and is simply beautiful. The colors are vibrant, where color is used, and the board is stunning. All of the cardboard components are top notch quality, and the Monster minis are fab. Obviously it would be great for all the heroes and villagers to have minis as well, but there is text printed on those standees that just can’t translate to a miniature. All in all, the components here are wonderful and high quality.
The gameplay is also wonderful and high quality. The solo game from which these photos are taken I randomly drew the Mayor character and decided to hit the town with Dracula, The Creature from the Black Lagoon, and The Invisible Man. That’s a Standard game in the rules. The Mayor is great because she is able to take five actions on her turn (plus Perks), but she has no special abilities. That is both a blessing and a curse and wonderfully balanced. I would say I finished the game needing just one or two more Monster cards to draw before all three baddies were defeated. But, that’s the difficulty of having three Monsters showing. With just two Monsters I would have won handily, but maybe would not have enjoyed it as much and written it off as too easy. Luckily I always learn games on normal standard difficulty first.
Traipsing around town picking up Items and ushering villagers to their safe spaces sounds relaxing, but when the Monsters are on your trail and ready to Strike it adds a layer of anxiety that is just delicious. I admit I probably spent too much time trying to save every villager and that’s partly why I failed at this one game. Also I miscalculated how many extra Items to have on hand when attempting to Advance the Monster tasks. Couple those with my strategy to concentrate on defeating one Monster at a time and, well, that’s a losing strategy it seems.
The gameplay is so much fun, and the components are so wonderful to play with, it’s really no surprise I enjoy this game as much as I do. I have purposely left out some rules for readers to enjoy discovering themselves, but this is a tight game with pressure from different fronts to complete objectives. It’s the kind of game where even with a loss you find yourself wanting to try again right away. And that’s a sing of an excellent game. Purple Phoenix Games gives this very high ratings, even as a solo experience. If you need more horror-style adventure games in your collection, please check out Horrified. It’s not really that scary to play, but you will certainly be haunted by your choices you make throughout the game.
Horrified is a pickup and deliver, action points, cooperative game with dice and miniatures utilizing a variable setup. In it players take on the role of a hero in a monster movie – but not just A monster movie, but SEVERAL monsters will be haunting the town! It is the heroes’ goal to defeat the monsters before the Terror Marker reaches maximum or the heroes run out of time and the monsters take over the town.
To setup, place the board on the table and draw 12 Item tokens from the bag. Place these Items on the board in the specified location printed on the Item. Depending on how many players (for this review I will be using the Solo rules in the rule book) place the Terror Marker appropriately on the board – the photo above was taken before I realized that it starts on three in the Solo game. Choose the monsters to be faced and place their mats near the board. The rulebook states where the monster minis will start the game. Place the Frenzy token on the lowest Frenzy-numbered monster. Shuffle the Monster and Perk decks of cards separately and deal each player one Perk card. Each player chooses or is randomly dealt a character badge and places the standee in the appropriate location on the board. The game may now begin!
Players will be taking turns traveling the town, picking up Items, attempting to defeat the monsters per their defeat instructions on their mats, delivering villagers that randomly appear to their safe locations, and keeping the Terror Marker in the acceptable range. Each character has a certain number of actions that can be taken on their turns, but any Perk cards used are spent as a bonus action on the hero’s turn. The hero actions are: Move (one space along the lit pathways, even with a villager in tow), Guide (a villager one space away from the hero), Pick Up (Items from locations), Share (Items from player to player – not needed in a Solo game), Special Action (if the character being played has one on their badge), Advance (complete a task on the Monster mat to move one step closer to defeat), and Defeat (once all the tasks are complete and the player has enough Items to defeat the Monster at the same location). Once a hero has used up all their Action Points per their badge, it will be the Monster phase.
Monster phases begin with a draw from the Monster deck. Upon the card will be a number printed on the top which instructs players as to how many Items to draw and place from the bag. Next, players will read the text on the card and complete any instructions. Finally, the Monsters will strike. At the bottom of the card will be printed several icons pertaining to Monsters individually and also the Monster who happens to currently be Frenzied. These icons instruct players to move certain Monsters and if they share a space with a hero or villager, to roll the attack dice. One hit from a Monster defeats either a villager or hero (unless the hero discards any Item to block the attack). If a hero or villager is defeated, the Terror Marker moves up a space toward ultimate doom. Play then is passed to the players again. The game continues in this fashion until one of the game end conditions is met and the heroe(s) win or the Monsters succeed in their hostile haunted takeover.
Components. I’d like to start with the art. I love it. The art has a very 1930s Hollywood style and is simply beautiful. The colors are vibrant, where color is used, and the board is stunning. All of the cardboard components are top notch quality, and the Monster minis are fab. Obviously it would be great for all the heroes and villagers to have minis as well, but there is text printed on those standees that just can’t translate to a miniature. All in all, the components here are wonderful and high quality.
The gameplay is also wonderful and high quality. The solo game from which these photos are taken I randomly drew the Mayor character and decided to hit the town with Dracula, The Creature from the Black Lagoon, and The Invisible Man. That’s a Standard game in the rules. The Mayor is great because she is able to take five actions on her turn (plus Perks), but she has no special abilities. That is both a blessing and a curse and wonderfully balanced. I would say I finished the game needing just one or two more Monster cards to draw before all three baddies were defeated. But, that’s the difficulty of having three Monsters showing. With just two Monsters I would have won handily, but maybe would not have enjoyed it as much and written it off as too easy. Luckily I always learn games on normal standard difficulty first.
Traipsing around town picking up Items and ushering villagers to their safe spaces sounds relaxing, but when the Monsters are on your trail and ready to Strike it adds a layer of anxiety that is just delicious. I admit I probably spent too much time trying to save every villager and that’s partly why I failed at this one game. Also I miscalculated how many extra Items to have on hand when attempting to Advance the Monster tasks. Couple those with my strategy to concentrate on defeating one Monster at a time and, well, that’s a losing strategy it seems.
The gameplay is so much fun, and the components are so wonderful to play with, it’s really no surprise I enjoy this game as much as I do. I have purposely left out some rules for readers to enjoy discovering themselves, but this is a tight game with pressure from different fronts to complete objectives. It’s the kind of game where even with a loss you find yourself wanting to try again right away. And that’s a sing of an excellent game. Purple Phoenix Games gives this very high ratings, even as a solo experience. If you need more horror-style adventure games in your collection, please check out Horrified. It’s not really that scary to play, but you will certainly be haunted by your choices you make throughout the game.
Gareth von Kallenbach (980 KP) rated Fast & Furious (2009) in Movies
Aug 14, 2019
igh adrenaline films have always been a signature of the summer movie season and with a bevy of blockbusters lines up for the summer months, Universal has the opening salvo with the very impressive “Fast and Furious”.
Although the fourth film in the series, the film is in many ways is the first true sequel to the 2001 original as it reunites Vin Diesel and Paul Walker.
The film opens with a spectacular high speed heist where Dominic Toretto (Vin Diesel), and his crew attempt to steal petroleum tankers. The amazing pacing and driving and stunt sequences is easily the best opening sequences in the series and had the audience at my press screening on the edge of their seats.
With the heat on Dominic, he decides to split up the group so they do not get busted when the authorities catch up to him. Unfortunately this means slipping away from his longtime love Letty (Michelle Rodriguez).
At the same time, F.B.I. agent Brian O’Conner (Paul Walker), is under the gun from his superiors to bring down a drug trafficker who has eluded all efforts to indentify much less capture but is known for his reputation for ruthlessness. With lead after lead coming up empty for his task force, O’Conner pursues a name that may just shed some light on the true identify of his target.
When events unfold that force Dominic to return to Los Angeles on a mission of revenge, his path crosses O’Conner and the two men renew the rivalry that has existed between them which hits the high gear when both men find themselves in an illegal street race.
The winner of the race gets to join the driving team of the drug trafficker that O’Conner is seeking, and with Dominic having his own motivations, the intense race through the packed streets is easily one of the most intense racing sequences ever captured.
In time the two men find themselves working with one another to bring down a common foe, but old issues still remaining between the duty driven O’Conner and the outlaw Dominick, especially regarding Dominick’s sister Mia (Jordana Brewster), who had a relationship with O’Conner before he revealed himself to be an undercover agent in the first film.
What follows is a pedal to the metal adventure that sets a breakneck pace and lets up only enough from the audience to briefly catch their breath.
Walker and Diesel make a dynamic team and unlike the previous films in the series, “Fast and Furious” has a plot that does not drag and holds the attention of the audience and serves as little more than filler between action sequences.
Director Justin Lin (Who helmed the last film in the series Tokyo Drift), balances the two leads with the awesome array of racing machines in the film without ever losing fact that this is a character driven story.
With a great cast and amazing driving sequences the film was a very pleasant surprise and has me looking forward to the next chapter in the series. Not only is this a strong comeback for Walker and Diesel but is easily the best film in the series and should delight the fans.
Although the fourth film in the series, the film is in many ways is the first true sequel to the 2001 original as it reunites Vin Diesel and Paul Walker.
The film opens with a spectacular high speed heist where Dominic Toretto (Vin Diesel), and his crew attempt to steal petroleum tankers. The amazing pacing and driving and stunt sequences is easily the best opening sequences in the series and had the audience at my press screening on the edge of their seats.
With the heat on Dominic, he decides to split up the group so they do not get busted when the authorities catch up to him. Unfortunately this means slipping away from his longtime love Letty (Michelle Rodriguez).
At the same time, F.B.I. agent Brian O’Conner (Paul Walker), is under the gun from his superiors to bring down a drug trafficker who has eluded all efforts to indentify much less capture but is known for his reputation for ruthlessness. With lead after lead coming up empty for his task force, O’Conner pursues a name that may just shed some light on the true identify of his target.
When events unfold that force Dominic to return to Los Angeles on a mission of revenge, his path crosses O’Conner and the two men renew the rivalry that has existed between them which hits the high gear when both men find themselves in an illegal street race.
The winner of the race gets to join the driving team of the drug trafficker that O’Conner is seeking, and with Dominic having his own motivations, the intense race through the packed streets is easily one of the most intense racing sequences ever captured.
In time the two men find themselves working with one another to bring down a common foe, but old issues still remaining between the duty driven O’Conner and the outlaw Dominick, especially regarding Dominick’s sister Mia (Jordana Brewster), who had a relationship with O’Conner before he revealed himself to be an undercover agent in the first film.
What follows is a pedal to the metal adventure that sets a breakneck pace and lets up only enough from the audience to briefly catch their breath.
Walker and Diesel make a dynamic team and unlike the previous films in the series, “Fast and Furious” has a plot that does not drag and holds the attention of the audience and serves as little more than filler between action sequences.
Director Justin Lin (Who helmed the last film in the series Tokyo Drift), balances the two leads with the awesome array of racing machines in the film without ever losing fact that this is a character driven story.
With a great cast and amazing driving sequences the film was a very pleasant surprise and has me looking forward to the next chapter in the series. Not only is this a strong comeback for Walker and Diesel but is easily the best film in the series and should delight the fans.
Taryn K (444 KP) rated Otherworldly Izakaya Nobu Volume 1 (manga) in Books
Apr 14, 2022
The characters are well-developed. (3 more)
The art is very nice, with the characters and scenery not being 'too cartoony', but still consistent and appealing.
Each chapter (at least in this volume) is a self-contained story, but very much part of the whole.
There are several notes right under the panels for translating food terms on the page the food is on, as well as a page of food vocabulary at the back in German and Japanese, which is very helpful.
Sitting down with a nice cold mug of Whatsontapp in another world
_Otherworldly Izakaya Nobu, volume 1_ is a quiet slice of life isekai manga about a Japanese eatery (Izakaya) run by a chef named Nobu and his staff member, Shinobu. Through supernatural means that aren't explained until a much later volume, the eatery somehow has a back door in modern Japan, but the front door is in a medieval Germanic country known as Eiteriach, in a world with two moons.
The eatery just 'suddenly appeared' in town and soldiers and locals, and eventually members of the nobility visit in the six chapters of the book, and Chef Nobu and Shinobu-chan are always up for creating something delicious for whomever is visiting at the time. Most issues that come up are taken care of in the chapter they're brought up, and while there are issues that could be explored, like the commander's refusal to eat fried squid tentacles which we end up finding out why in a later volume, they aren't cliffhanger material. The book is written in such a way that if there hadn't been a volume 2-9, it still feels like a complete collection of stories, yet each volume builds on the previous one.
That said, the art is very anime, by which I mean that it is somewhat realistic, but still very cute and a bit exaggerated. The characters are well thought out and slowly introduced one or two at a time, other than the first chapter where we not only meet the chef and Shinobu, but two members of the military, Nikolaus and Hans and eat oden. The second chapter, we meet Commander Bertholdt and eat kara-age chicken. Chapter three, it's Tax Collecter, Gehrnot with spaghetti Napolitan. Chapter four is Viscount Johan Gustav and his niece, Hildegard, enjoying Ankake Yudofu. In chapter five, merchants Ignatz and Kamil discover sashimi and Kaisendon. The sixth and final chapter for this volume brings us back around to Nikolaus and Hans experiencing Tonjiro for the first time.
This manga is all about food and community. So everyone who comes in eventually fits back into the story, interacting with various people in the community, with food very much a part of the interactions. So descriptions of the food and how amazing it is and how different it is from anything in Eiteriach and how well it goes with the draft beer they call "Whatsontapp" make up a good deal of the book. Somehow Chef Nobu always understands what they want, even though the words they use for what they want are German, For example, Commander Bertholdt asks for a huhn dish that goes well with whatsontapp. The chef knows he wants chicken and fries him up kara-age chicken, which is what he calls it. There is mention of schweinefleisch (pork), and mustard/karashi/senf... the translation notes underneath and in the back are very helpful.
It's not a manga to read if you want action, adventure, and excitement, but for a delicious little series to settle down with in between times, it is delightful. I recommend it highly.
The eatery just 'suddenly appeared' in town and soldiers and locals, and eventually members of the nobility visit in the six chapters of the book, and Chef Nobu and Shinobu-chan are always up for creating something delicious for whomever is visiting at the time. Most issues that come up are taken care of in the chapter they're brought up, and while there are issues that could be explored, like the commander's refusal to eat fried squid tentacles which we end up finding out why in a later volume, they aren't cliffhanger material. The book is written in such a way that if there hadn't been a volume 2-9, it still feels like a complete collection of stories, yet each volume builds on the previous one.
That said, the art is very anime, by which I mean that it is somewhat realistic, but still very cute and a bit exaggerated. The characters are well thought out and slowly introduced one or two at a time, other than the first chapter where we not only meet the chef and Shinobu, but two members of the military, Nikolaus and Hans and eat oden. The second chapter, we meet Commander Bertholdt and eat kara-age chicken. Chapter three, it's Tax Collecter, Gehrnot with spaghetti Napolitan. Chapter four is Viscount Johan Gustav and his niece, Hildegard, enjoying Ankake Yudofu. In chapter five, merchants Ignatz and Kamil discover sashimi and Kaisendon. The sixth and final chapter for this volume brings us back around to Nikolaus and Hans experiencing Tonjiro for the first time.
This manga is all about food and community. So everyone who comes in eventually fits back into the story, interacting with various people in the community, with food very much a part of the interactions. So descriptions of the food and how amazing it is and how different it is from anything in Eiteriach and how well it goes with the draft beer they call "Whatsontapp" make up a good deal of the book. Somehow Chef Nobu always understands what they want, even though the words they use for what they want are German, For example, Commander Bertholdt asks for a huhn dish that goes well with whatsontapp. The chef knows he wants chicken and fries him up kara-age chicken, which is what he calls it. There is mention of schweinefleisch (pork), and mustard/karashi/senf... the translation notes underneath and in the back are very helpful.
It's not a manga to read if you want action, adventure, and excitement, but for a delicious little series to settle down with in between times, it is delightful. I recommend it highly.
Movie Metropolis (309 KP) rated Dumbo (2019) in Movies
Jun 10, 2019
Tim Burton and the flying elephant
If you had told me 15 years ago that Tim Burton would be directing a live-action adaptation of Disney’s classic, Dumbo I would’ve been overwhelmed with excitement. The director, famed for his unique sense of gothic style and visual flair has directed some of the best films ever made.
Edward Scissorhands, Sleepy Hollow and Beetlejuice are just a few classics on a resume populated by cracking movies. However, over the last decade Burton has become a director that has focused on style over substance. Charlie & the Chocolate Factory was a pale imitation of the original and his live-action remake of Alice in Wonderland was successful but hollow.
Therefore, we arrive in 2019 with a slight sense of apprehension. Dumbo is a classic Disney cartoon and there’s a risk of a little too much Burton for the little elephant’s good. But is that fear unfounded?
Struggling circus owner Max Medici (Danny DeVito) enlists a former star (Colin Farrell) and his two children to care for Dumbo, a baby elephant born with oversized ears. When the family discovers that the animal can fly, it soon becomes the main attraction – bringing in huge audiences and revitalising the run-down circus. The elephant’s magical ability also draws the attention of V.A. Vandevere (Michael Keaton), an entrepreneur who wants to showcase Dumbo in his latest, larger-than-life entertainment venture.
Updating Dumbo for the modern age was always going to be a difficult task. At just over an hour long and with some shall we say, less than PC story elements, the original needed some serious padding and editing to turn it into a fully-fledged feature film and while there are moments of brilliance here, Dumbo suffers from a disjointed and overthought script, flat characters and you guessed it, too much Burton.
We’ll start with the good. Dumbo is a beautiful film, filled to the brim with striking imagery that harks back to some of Burton’s previous work. The cinematography is absolutely astounding with stunning sunsets and vivid colours populating the screen at all points during the 112-minute running time. The opening in particular, a hark back to the original in which a train crosses a map of the US is inspired and nicely filmed.
For the most part though, Dumbo pushes the limits of visual effects to the point where everything feels far too artificial. The baby elephant himself is on the whole very good, and as adorable as you would expect, but there are moments dotted throughout the film that suffer from the limitations of CGI. A scene in which Dumbo gets a bath is terrifying. In fact, there are multiple sequences towards the finale in which the CGI is so poor that it looks like something out of a second generation video game.
Dumbo is a beautiful film, filled to the brim with striking imagery that harks back to some of Burton’s previous work
Elsewhere, the cast is by far the film’s weakest element. Colin Farrell is a disappointingly forgettable and miscast lead. Arriving home after losing his arm in the war, Farrell’s Holt is completely flat, not helped by some poor acting from the usually dependable star. Michael Keaton doesn’t get to do much apart from smile menacingly and Danny DeVito hams it up to 11 as struggling circus-owner Max Medici; oh dear.
There are some positives cast-wise however: Nico Parker as Milly Farrier, Holt’s curious science-minded daughter, is very good, even if the script beats you around the head with the fact that she’s an intelligent girl who wants more out of her life, but this is brought right back down to earth by Eva Green’s horrific French accent.
Then there’s Burton himself. While the shots of Dumbo circling the circus tent in the air are breath-taking, and scenes of the pachyderm covered in clown make-up as he’s abused for profit are as heart-breaking as they are in the original, they’re ruined by unusual story-telling choices. As the film steamrolls to its climax set in a theme-park that’s a third Scooby Doo, a third Willy Wonka’s Chocolate Factory and a third Jurassic Park, Burton piles on his usual tropes far too thick – it just doesn’t fit with the tale of the magical flying elephant.
Some of the more touching elements are handled well however. Dumbo’s separation from his mother is devastating and he feels like a real personality throughout the entire film, but for a film titled Dumbo, it needs more Dumbo!
Overall, Dumbo is a perfectly enjoyable adventure ride that’s spoilt by Burton’s once trademark filming style and a roster of flat and forgettable characters. With the boundaries of CGI being pushed to the max here, some of the film feels a little unfinished and as such, this live-action adaptation is a touch disappointing. One can only wonder what this film would have been like with a different director at the helm.
https://moviemetropolis.net/2019/03/30/dumbo-review-tim-burton-and-the-flying-elephant/
Edward Scissorhands, Sleepy Hollow and Beetlejuice are just a few classics on a resume populated by cracking movies. However, over the last decade Burton has become a director that has focused on style over substance. Charlie & the Chocolate Factory was a pale imitation of the original and his live-action remake of Alice in Wonderland was successful but hollow.
Therefore, we arrive in 2019 with a slight sense of apprehension. Dumbo is a classic Disney cartoon and there’s a risk of a little too much Burton for the little elephant’s good. But is that fear unfounded?
Struggling circus owner Max Medici (Danny DeVito) enlists a former star (Colin Farrell) and his two children to care for Dumbo, a baby elephant born with oversized ears. When the family discovers that the animal can fly, it soon becomes the main attraction – bringing in huge audiences and revitalising the run-down circus. The elephant’s magical ability also draws the attention of V.A. Vandevere (Michael Keaton), an entrepreneur who wants to showcase Dumbo in his latest, larger-than-life entertainment venture.
Updating Dumbo for the modern age was always going to be a difficult task. At just over an hour long and with some shall we say, less than PC story elements, the original needed some serious padding and editing to turn it into a fully-fledged feature film and while there are moments of brilliance here, Dumbo suffers from a disjointed and overthought script, flat characters and you guessed it, too much Burton.
We’ll start with the good. Dumbo is a beautiful film, filled to the brim with striking imagery that harks back to some of Burton’s previous work. The cinematography is absolutely astounding with stunning sunsets and vivid colours populating the screen at all points during the 112-minute running time. The opening in particular, a hark back to the original in which a train crosses a map of the US is inspired and nicely filmed.
For the most part though, Dumbo pushes the limits of visual effects to the point where everything feels far too artificial. The baby elephant himself is on the whole very good, and as adorable as you would expect, but there are moments dotted throughout the film that suffer from the limitations of CGI. A scene in which Dumbo gets a bath is terrifying. In fact, there are multiple sequences towards the finale in which the CGI is so poor that it looks like something out of a second generation video game.
Dumbo is a beautiful film, filled to the brim with striking imagery that harks back to some of Burton’s previous work
Elsewhere, the cast is by far the film’s weakest element. Colin Farrell is a disappointingly forgettable and miscast lead. Arriving home after losing his arm in the war, Farrell’s Holt is completely flat, not helped by some poor acting from the usually dependable star. Michael Keaton doesn’t get to do much apart from smile menacingly and Danny DeVito hams it up to 11 as struggling circus-owner Max Medici; oh dear.
There are some positives cast-wise however: Nico Parker as Milly Farrier, Holt’s curious science-minded daughter, is very good, even if the script beats you around the head with the fact that she’s an intelligent girl who wants more out of her life, but this is brought right back down to earth by Eva Green’s horrific French accent.
Then there’s Burton himself. While the shots of Dumbo circling the circus tent in the air are breath-taking, and scenes of the pachyderm covered in clown make-up as he’s abused for profit are as heart-breaking as they are in the original, they’re ruined by unusual story-telling choices. As the film steamrolls to its climax set in a theme-park that’s a third Scooby Doo, a third Willy Wonka’s Chocolate Factory and a third Jurassic Park, Burton piles on his usual tropes far too thick – it just doesn’t fit with the tale of the magical flying elephant.
Some of the more touching elements are handled well however. Dumbo’s separation from his mother is devastating and he feels like a real personality throughout the entire film, but for a film titled Dumbo, it needs more Dumbo!
Overall, Dumbo is a perfectly enjoyable adventure ride that’s spoilt by Burton’s once trademark filming style and a roster of flat and forgettable characters. With the boundaries of CGI being pushed to the max here, some of the film feels a little unfinished and as such, this live-action adaptation is a touch disappointing. One can only wonder what this film would have been like with a different director at the helm.
https://moviemetropolis.net/2019/03/30/dumbo-review-tim-burton-and-the-flying-elephant/
Movie Metropolis (309 KP) rated Terminator Genisys (2015) in Movies
Jun 11, 2019
Not a complete disaster
Sequels and reboots are making up the bulk of 2015’s cinematic offerings. With films added to franchises like Jurassic Park, Star Wars and James Bond, it was always going to be tough for others to make much of a dent.
It’s been six years since Christian Bale took over lead billing from Arnold Schwarzenegger in the Terminator series in the critically panned Terminator Salvation. But director Alan Taylor (Thor: the Dark World), a newcomer to the sci-fi adventure series, resurrects the franchise with Terminator Genisys. But is it worth a watch?
Acting as a reboot and a sequel, the film follows the story of a young Kyle Reece (Jai Courtney), sent back in time by John Connor (Jason Clarke) to protect his mother Sarah, played by Game of Thrones’ Emilia Clarke. His aim is to stop the war before it even begins.
The duo are joined on their travels by the naturally charismatic Arnold Schwarzenegger who is one of the only highlights in a film full of soulless set-pieces, meaningless dialogue and a sickening sense of nostalgia.
Genisys constantly reminds you of the brilliance radiating from James Cameron’s first two films. Herein lies the problem, this sequel has none of the soul or charm of its predecessors with the homages coming across as insulting attempts to cash in on the series.
Even the iconic “I’ll be back” phrase is shoehorned into an awkward position where it doesn’t really make much sense.
And there we move onto the second issue. It makes hardly any sense at all. With continuity errors abound, Genisys relies on your knowledge of Terminator and Judgement Day being in tip-top shape, and after more than two decades it’s safe to say the majority of people will need a refresher course first.
The set pieces are, on the whole, glorious and despite being slightly overlong at 126 minutes, Genisys is a well-paced film without a boring moment to its name. It’s just a shame the plot doesn’t make more of an impact.
It feels like the characters are stuck in a video game, with a climactic action piece signalling the next level, moving on up until the obligatory big-boss fight that makes a further sequel seem incredibly likely.
Emilia Clarke is well-worth noting however. Despite being more used to being in the company of dragons rather than robots, she plays her character well and steps into Linda Hamilton’s shoes with ease. The casting is spot on here with Clarke having more than a whiff of Hamilton in her appearance.
The rest of the cast, bar Schwarzenegger fail to make an impression with Jai Courtney’s character proving particularly dull.
Overall, Terminator Genisys isn’t a complete disaster but comes close to being a write off. The action pieces are thrilling but a lack of soul, comprehension and individuality ensures it’ll end up being forgotten once 2015 is over.
With a sequel almost definitely on the cards, all fans of the franchise can hope for is a film worthy of James Cameron’s brilliant original – and this is not it.
https://moviemetropolis.net/2015/07/05/not-a-complete-disaster-terminator-genisys-review/
It’s been six years since Christian Bale took over lead billing from Arnold Schwarzenegger in the Terminator series in the critically panned Terminator Salvation. But director Alan Taylor (Thor: the Dark World), a newcomer to the sci-fi adventure series, resurrects the franchise with Terminator Genisys. But is it worth a watch?
Acting as a reboot and a sequel, the film follows the story of a young Kyle Reece (Jai Courtney), sent back in time by John Connor (Jason Clarke) to protect his mother Sarah, played by Game of Thrones’ Emilia Clarke. His aim is to stop the war before it even begins.
The duo are joined on their travels by the naturally charismatic Arnold Schwarzenegger who is one of the only highlights in a film full of soulless set-pieces, meaningless dialogue and a sickening sense of nostalgia.
Genisys constantly reminds you of the brilliance radiating from James Cameron’s first two films. Herein lies the problem, this sequel has none of the soul or charm of its predecessors with the homages coming across as insulting attempts to cash in on the series.
Even the iconic “I’ll be back” phrase is shoehorned into an awkward position where it doesn’t really make much sense.
And there we move onto the second issue. It makes hardly any sense at all. With continuity errors abound, Genisys relies on your knowledge of Terminator and Judgement Day being in tip-top shape, and after more than two decades it’s safe to say the majority of people will need a refresher course first.
The set pieces are, on the whole, glorious and despite being slightly overlong at 126 minutes, Genisys is a well-paced film without a boring moment to its name. It’s just a shame the plot doesn’t make more of an impact.
It feels like the characters are stuck in a video game, with a climactic action piece signalling the next level, moving on up until the obligatory big-boss fight that makes a further sequel seem incredibly likely.
Emilia Clarke is well-worth noting however. Despite being more used to being in the company of dragons rather than robots, she plays her character well and steps into Linda Hamilton’s shoes with ease. The casting is spot on here with Clarke having more than a whiff of Hamilton in her appearance.
The rest of the cast, bar Schwarzenegger fail to make an impression with Jai Courtney’s character proving particularly dull.
Overall, Terminator Genisys isn’t a complete disaster but comes close to being a write off. The action pieces are thrilling but a lack of soul, comprehension and individuality ensures it’ll end up being forgotten once 2015 is over.
With a sequel almost definitely on the cards, all fans of the franchise can hope for is a film worthy of James Cameron’s brilliant original – and this is not it.
https://moviemetropolis.net/2015/07/05/not-a-complete-disaster-terminator-genisys-review/
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Gareth von Kallenbach (980 KP) rated 2012 (2009) in Movies
Aug 8, 2019
Disaster films and Hollywood have enjoyed a long and successful partnership over the years as box office gold has been found in fictional disasters. Irwin Allen had a string of hits such as “The Towering Inferno” and “The Poseidon Adventure” which in turn lead to the films such as “Dante’s Peak”, “Volcano”, “Deep Impact”, and “Armageddon” who kept the tried and true formula of relatable, regular people forced to cope with extraordinary situations where they must battle against all odds to survive.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
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**#1 Top Free App in over 100 countries** Real Racing 3 is the award-winning franchise that sets a...
BankofMarquis (1832 KP) rated Paddington 2 (2017) in Movies
Feb 3, 2019
Wonderful, whimsical film for kids and adults alike
As I was perusing various "Top Films of 2018" lists, one surprising film kept showing up on these lists, so I thought I'd better check it out.
And I'm glad I did for PADDINGTON 2 is a charming family film that entranced me from beginning to end with wonderful performances and a charm and whimsy that hooked me from start to finish.
A follow-up to the moderate 2014 hit (based on the beloved children's books series) about a Peruvian bear that heads to 19th Century London seeking adventure - and finds a family - PADDINGTON 2 follows said Bear as he is caught up in a robbery and is mistakenly jailed for the crime. Can Paddington make friends with the burly inmates in the prison? Can the Brown family help find the true perpetrator of the crime and help spring Paddington? Can faith and love triumph in a time of skepticism and darkness?
It's a family film, what do you think?
The joy in this film is in the telling - and Paul King (returning as Director/Writer) does a wonderful job telling a joyous, family-friendly story without diving into sacrine-ness (is that a word? It is now) and schmaltz. He tells the story with a sly wink in his eye and dives deep into whimsical detail of late 19th century London - a London racing full throttle into the steam age. There is a light cyber-punk sensibility to the proceedings and this works wonderfully well.
As you would expect, King does a nice job getting the actors to click into the sensibilities and style of this film. Ben Wishaw is back as the voice of Paddington - and he is perfectly cast. Wishaw has a naivete and sense of wonder to his voice that serves the Paddington character well. Jim Broadbent, Hugh Bonneville, Sally Hawkins and Julie Walters all reprise their roles - in winning fashion. But it is the newcomers that shine. Brendan Gleeson shows off some comic chops as main prison bad guy "Knuckles" McGinty who forms an unlikely friendship/partnership with Paddington and, especially Hugh Grant as vain, egotistical actor Phoenix Buchanan. I won't spoil the antics of Grant's character but I have a feeling that Mr. Grant had as much fun bringing this character to screen as I did watching him.
Two final things - the finale really works for me as King sets up each character's "special skill" at the beginning of the film that they will need to bring to bear (no pun intended) during the action at the end. To often, character's and character threads are set up at the beginning of a film only to be abandoned by the end, so it is satisfying to me when King sets up items at the beginning of this film and then PAYS THEM OFF at the end.
And, finally, STAY THROUGH THE CREDITS. There is a scene in the credits that is as good as anything that is in the film. I won't spoil the fun for you, but want you to know about this so you won't miss it.
A wonderful, whimsical, time at the movies. If you have kids (5,6,7 years old), this is a MUST SEE. For the rest of you, if you're looking for fun escape from the world, this film will do it.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
And I'm glad I did for PADDINGTON 2 is a charming family film that entranced me from beginning to end with wonderful performances and a charm and whimsy that hooked me from start to finish.
A follow-up to the moderate 2014 hit (based on the beloved children's books series) about a Peruvian bear that heads to 19th Century London seeking adventure - and finds a family - PADDINGTON 2 follows said Bear as he is caught up in a robbery and is mistakenly jailed for the crime. Can Paddington make friends with the burly inmates in the prison? Can the Brown family help find the true perpetrator of the crime and help spring Paddington? Can faith and love triumph in a time of skepticism and darkness?
It's a family film, what do you think?
The joy in this film is in the telling - and Paul King (returning as Director/Writer) does a wonderful job telling a joyous, family-friendly story without diving into sacrine-ness (is that a word? It is now) and schmaltz. He tells the story with a sly wink in his eye and dives deep into whimsical detail of late 19th century London - a London racing full throttle into the steam age. There is a light cyber-punk sensibility to the proceedings and this works wonderfully well.
As you would expect, King does a nice job getting the actors to click into the sensibilities and style of this film. Ben Wishaw is back as the voice of Paddington - and he is perfectly cast. Wishaw has a naivete and sense of wonder to his voice that serves the Paddington character well. Jim Broadbent, Hugh Bonneville, Sally Hawkins and Julie Walters all reprise their roles - in winning fashion. But it is the newcomers that shine. Brendan Gleeson shows off some comic chops as main prison bad guy "Knuckles" McGinty who forms an unlikely friendship/partnership with Paddington and, especially Hugh Grant as vain, egotistical actor Phoenix Buchanan. I won't spoil the antics of Grant's character but I have a feeling that Mr. Grant had as much fun bringing this character to screen as I did watching him.
Two final things - the finale really works for me as King sets up each character's "special skill" at the beginning of the film that they will need to bring to bear (no pun intended) during the action at the end. To often, character's and character threads are set up at the beginning of a film only to be abandoned by the end, so it is satisfying to me when King sets up items at the beginning of this film and then PAYS THEM OFF at the end.
And, finally, STAY THROUGH THE CREDITS. There is a scene in the credits that is as good as anything that is in the film. I won't spoil the fun for you, but want you to know about this so you won't miss it.
A wonderful, whimsical, time at the movies. If you have kids (5,6,7 years old), this is a MUST SEE. For the rest of you, if you're looking for fun escape from the world, this film will do it.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)