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PLOT YOUR RISE TO POLITICAL DOMINATION! Frustrated by the pathetic dummies ruling the country?...
A Few Hares to Chase: The Economic Life and Times of Bill Phillips
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The Phillips Curve is world famous amongst economists. The man who invented it was an inventor, an...
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A Shot Story: From Juvie to Ph.D.
Book
The botched robbery didn't do it. Neither did the three gunshots. It wasn't until he was...
Vienna: A Cultural and Literary History
Book
From border garrison of the Roman Empire to magnificent Baroque seat of the Habsburgs, Vienna's...
Matt Geiger (15 KP) rated Cars (2006) in Movies
Jun 27, 2020
There really is no such thing as a perfect film. Ergo, there really is no such thing as a perfect film studio. After 11 years of winning the world over, Pixar was due for a slip-up at some point. Enter this lowbrow, highly unremarkable passion project from Pixar creative giant John Lasseter. CARS is admittedly a highly nostalgic film, not just in the sense that it pays tribute to the quaint, remote, and practically undiscovered sections of the world we wish had more notoriety in the face of progress, but its swelling commercialism reflects an entire generation of young boys who had nothing better to do than play with their matchbox cars and Hot Wheels all day long. Just think: this trilogy has made more moolah from their merchandise than a franchise that has the word “toy” in its frickin’ title. As a narrative, in the same vein as the franchise’s final installment, there really is nothing abhorrently wrong with CARS. It adds onto its aura of nostalgia by remaining consistently harmless and humorous thanks to its well-chosen cast, with Paul Newman standing out in his cinematic swan song, one of the most underrated vocal performances in animation history. Though CARS often feels like the first Pixar film targeting a specific target audience, Newman’s gruff, yet somber voice resonates with older viewers, the thought of what could’ve been and now is always on his mind. Then again, how ironic it is that a film that very much centralizes the concept of missed opportunities is itself a missed opportunity. CARS is a predictable, if not enjoyable, family-friendly romp that doesn’t have the unforeseeable on its mind. While it is quite literally the most inhuman of Pixar films, it at least is not quite as inhuman on a metaphorical and emotional level. And hey, stock car racing is not as accessible as other sports, but this film manages to make it look more entertaining, especially for younger viewers. What more do you really need?
LeftSideCut (3776 KP) rated AVP - Alien Vs. Predator (2004) in Movies
Jul 24, 2020
A missed opportunity
More than anything, AVP just pisses me off, usually when thinking about what could have been.
Why on earth is it PG-13, and why oh why was this historic meeting of two of cinemas most iconic aliens entrusted to Paul WS Anderson!?
I mean, in all honesty, both series had run out of gas at this point, so by the time AVP finally rolled around (14 years after the conflict had been teased at the end of Predator 2), it was never going to be much more than a gimmick, a shameless cash grab to get people in the cinema, hence the family friendly blockbuster nature of the film.
In terms of a big blockbuster, it's not terrible. There are some relatively entertaining moments here and there. The first clash between the titular monsters about 30 minutes in is undeniably surrounded by a sense of child like glee.
In terms of cast, it was a great touch to have Lance Henrikson involved, and Sanaa Lathan is a likeable enough badass-female lead, but everyone else is typical forgettable mercenary cannon fodder.
The effects work is pretty decent for the most part as well.
I can't help but feel that AVP is indeed a missed opportunity. The lack of tension, scares, or viscera just doesn't cut it when it comes to these franchises (although the piss poor sequel proved that more violence doesn't always improve a films quality), but I would have gladly accepted just one of the above mentioned features, but it lacks all of it.
There's a brief flashback which shows a handful of Predators fighting waves upon waves of xenomorphs, and whilst it's a great visual, it serves to remind you that there could have been a much better film produced.
I know that I sound like a miserable bastard and that's a fair enough assumption, and for what it's worth, AVP is watchable - easy Hollywood trash to digest, which is the exact opposite of what I feel an Alien film should be.
Why on earth is it PG-13, and why oh why was this historic meeting of two of cinemas most iconic aliens entrusted to Paul WS Anderson!?
I mean, in all honesty, both series had run out of gas at this point, so by the time AVP finally rolled around (14 years after the conflict had been teased at the end of Predator 2), it was never going to be much more than a gimmick, a shameless cash grab to get people in the cinema, hence the family friendly blockbuster nature of the film.
In terms of a big blockbuster, it's not terrible. There are some relatively entertaining moments here and there. The first clash between the titular monsters about 30 minutes in is undeniably surrounded by a sense of child like glee.
In terms of cast, it was a great touch to have Lance Henrikson involved, and Sanaa Lathan is a likeable enough badass-female lead, but everyone else is typical forgettable mercenary cannon fodder.
The effects work is pretty decent for the most part as well.
I can't help but feel that AVP is indeed a missed opportunity. The lack of tension, scares, or viscera just doesn't cut it when it comes to these franchises (although the piss poor sequel proved that more violence doesn't always improve a films quality), but I would have gladly accepted just one of the above mentioned features, but it lacks all of it.
There's a brief flashback which shows a handful of Predators fighting waves upon waves of xenomorphs, and whilst it's a great visual, it serves to remind you that there could have been a much better film produced.
I know that I sound like a miserable bastard and that's a fair enough assumption, and for what it's worth, AVP is watchable - easy Hollywood trash to digest, which is the exact opposite of what I feel an Alien film should be.
Sourdough Suppers: A Year in the Life of a Wild Yeast Culture
Book
An exquisite collection of moreish meals created around handmade breads and simple seasonal...
The Wine Journal
Book
The perfect gift--for yourself or the wine lovers in your life. Wine consumption is on the rise...
ClareR (5890 KP) rated Unsettled Ground in Books
Feb 21, 2021
I make no secret of the fact that I’m a huge Claire Fuller fan, and Unsettled Ground gave me no reason at all to think otherwise - it’s a beautiful book.
The characters Jeanie and Julius are vulnerable people who just need someone to guide them when their mother dies, even though they are fiercely independent. This is a family that has always lived on the edge of their community - both their actual geographical location and socially. They live hand to mouth, and when Doris their mother dies, the twins have to go without food at times, when it transpires that Doris has left them with no money and debts. The cost of her funeral is the least of their problems (and they overcome that problem reasonably easily anyway).
There is a feeling that the twins are trapped by circumstance and by each other. Jeanie has never recovered from a childhood illness and is illiterate, and Julius is not only expected to look after her, but is trapped in their local area because he has severe travel sickness linked to their fathers terrible death. Their one comfort is their joint love of folk music (I wish I could have actually listened to these songs - I shall have to google them, and I hope they really exist!).
Claire Fullers use of language makes the everyday seem more lifelike in her books. I read most, if not all, of this with my heart in my mouth. How could I not? Jeanie and Julius are people who are shunned by society, taken advantage of and treated terribly. I feel I can’t leave this quite like this though: there are the good people, the ones that help.
I don’t want to spoil the story, so I’ll stop here, but what I will say is that this is another gorgeously written novel by Claire Fuller, and you should most definitely read it!
Many thanks to the publisher for providing me with an e-copy of this book through NetGalley to read and review.
The characters Jeanie and Julius are vulnerable people who just need someone to guide them when their mother dies, even though they are fiercely independent. This is a family that has always lived on the edge of their community - both their actual geographical location and socially. They live hand to mouth, and when Doris their mother dies, the twins have to go without food at times, when it transpires that Doris has left them with no money and debts. The cost of her funeral is the least of their problems (and they overcome that problem reasonably easily anyway).
There is a feeling that the twins are trapped by circumstance and by each other. Jeanie has never recovered from a childhood illness and is illiterate, and Julius is not only expected to look after her, but is trapped in their local area because he has severe travel sickness linked to their fathers terrible death. Their one comfort is their joint love of folk music (I wish I could have actually listened to these songs - I shall have to google them, and I hope they really exist!).
Claire Fullers use of language makes the everyday seem more lifelike in her books. I read most, if not all, of this with my heart in my mouth. How could I not? Jeanie and Julius are people who are shunned by society, taken advantage of and treated terribly. I feel I can’t leave this quite like this though: there are the good people, the ones that help.
I don’t want to spoil the story, so I’ll stop here, but what I will say is that this is another gorgeously written novel by Claire Fuller, and you should most definitely read it!
Many thanks to the publisher for providing me with an e-copy of this book through NetGalley to read and review.