Search
Discovering Statistics Using IBM SPSS Statistics
Book
Lecturers/instructors - request a free digital inspection copy here With a little help from his...
Summer Heat: A Steamy Romance Collection
Caitlyn Lynch, Christina Rose Andrews, Ariel Bishop, Líadáin Douglas, Annika Steele, Gwen Marshall, Abbigail Clark, Livvy Ward, T.D. Crawls, Ava Bari, Avery J. Heath, Tally Bane, Sera Taíno, Moxie Rivers, Siobhan Kearney, Cynthia Miller and Tricia Ramey
8.0
Rate It
Book
A collection of 17 steamy short stories (5,000 - 10,000 words) by new and established romance...
Anthology Contemporary Romance
Gareth von Kallenbach (971 KP) rated Star Trek (2009) in Movies
Aug 14, 2019
With declining attendance at conventions and a dwindling audience for recent films and the last Star Trek series, Enterprise, Paramount was desperate to find a way to breathe new life into their franchise. So they pinned their hopes on director J.J. Abrams. Even with a string of hit movies and television series under his belt, some believed that Abrams was facing an uphill battle in trying to resuscitate Star Trek, with its legions of rabid fans obsessively protective of the series’ 40-plus years of established history.
While many fans were thrilled with the choice of Abrams, some of the casting choices of its beloved characters were met with doubt and skepticism. Thankfully, the man behind such motion picture hits as “Cloverfield”, “Mission Impossible 3”, and television series LOST, Alias and Fringe, was more than up to the task and has crafted a visually spectacular action film that combines the best of Trek with groundbreaking effects and creative vitality.
Using a script by Robert Orci and Alex Kurtzman, the new film focuses on the early days of the crew, and how young James. T. Kirk (Chris Pine) went from being a joy-riding, bar-fighting hothead into captain of the Enterprise. Kirk is challenged by Captain Christopher Pike (Bruce Greenwood) to live up to the legacy of his father and make something of his life in Starfleet. Despite his cocky attitude, the young man is able to thrive at the academy despite his arrogant behavior and his womanizing ways.
At the same time, a threat has arisen in the form of a Romulan named Nero (Eric Bana), who seeks to cause massive death and destruction in his quest for vengeance. With danger looming, Kirk and his fellow classmates are pressed into action, and thanks to some skillful work from his friend Leonard Mc Coy (Karl Urban), Kirk finds himself onboard the new Federation flagship Enterprise.
En route to their destination, Kirk realizes they are heading into a trap and warns Captain Pike of his concerns. Naturally this does not sit well with some of the seasoned officers, especially Spock (Zachary Quinto), who sees the emotional Kirk as an unwanted reminder of his human half, which he tries to hide at all costs.
Eventually the Enterprise is confronted by Nero and in an impressive sequence of events Kirk and Sulu (John Cho), lead an orbital skydive mission to thwart Nero’s plot. Spock finds himself commanding the ship and he and Kirk, two polar opposites, disagree over a course of action. Citing insurbordination and dereliction, Spock expels Kirk from the ship onto a frigid and dangerous planet. What follows is an amazing and thrilling adventure that culminates in an impressive finale, that proves that Trek has got plenty of life left in it.
While I loved the film, I found that I had to detach myself from my love of classic Trek to fully enjoy it. The film covers changes in established cannon by setting events in an alternate timeline. Despite the different eras of the previous series and films, there was always a certain continuity to the ships, planets, and characters that always seemed to fit, which I found myself missing in this new incarnation.
In Abram’s version, the Enterprise engine room is awash in catwalks, pipes, and valves that seemed out of place on a ship set in the 23rd century. I also found myself asking why such strategically valuable planets such as Earth and Vulcan would not have massive defense fleets in orbit, and would task only a handful of ships for their defense. There was a suggestion, that the ships of the fleet were amassed elsewhere on another matter of importance, but that does not explain what would leave the planets relatively unguarded. Defense codes aside, I found it hard to believe that automated defenses would be all that was left behind, and that reinforcements were not available.
I also had an issue with what Nero was supposedly doing for 25 years and how he kept such a low profile while he plotted his revenge. The final issue I had was with product placement as I found it hard to believe that Nokia and its familiar ringtone and Budweiser would be around as Trek lore is based on the planet narrowly surviving a nuclear war in the past that nearly destroyed everything. While this may seem like minor criticism, from the perspective of a long time Star Trek fan, it contradicts much of what had been established.
Thankfully, Abrams and crew take the series in a new direction without totally losing sight of where it came from. There are many nods to the series and Abrams clearly respects the original material enough to let fans know that their beloved Trek is still there in the original timeline, with its history intact. By cleverly establishing a different timeline, Abrams has creative freedom to go in any direction he desires.
The cast is strong, with Chris Pine’s Kirk as cocky and entertaining as his predecessor. I loved Anton Yelchin as Chekov and his struggles with the English language, Simon Pegg’s quick quips as Scotty, and the sassy attitude Zoe Saldana’s injects into her Uhura. The amazing visuals and designs of the film are breathtaking and it was clear that the Industrial Light & Magic (ILM) crew pushed themselves to bring everything they had to the film. In the end, Star Trek is a remarkable film that, despite some issues, has a solid new lease on life. Abrams boldly, and triumphantly, goes where fans, old and new, will gladly follow.
While many fans were thrilled with the choice of Abrams, some of the casting choices of its beloved characters were met with doubt and skepticism. Thankfully, the man behind such motion picture hits as “Cloverfield”, “Mission Impossible 3”, and television series LOST, Alias and Fringe, was more than up to the task and has crafted a visually spectacular action film that combines the best of Trek with groundbreaking effects and creative vitality.
Using a script by Robert Orci and Alex Kurtzman, the new film focuses on the early days of the crew, and how young James. T. Kirk (Chris Pine) went from being a joy-riding, bar-fighting hothead into captain of the Enterprise. Kirk is challenged by Captain Christopher Pike (Bruce Greenwood) to live up to the legacy of his father and make something of his life in Starfleet. Despite his cocky attitude, the young man is able to thrive at the academy despite his arrogant behavior and his womanizing ways.
At the same time, a threat has arisen in the form of a Romulan named Nero (Eric Bana), who seeks to cause massive death and destruction in his quest for vengeance. With danger looming, Kirk and his fellow classmates are pressed into action, and thanks to some skillful work from his friend Leonard Mc Coy (Karl Urban), Kirk finds himself onboard the new Federation flagship Enterprise.
En route to their destination, Kirk realizes they are heading into a trap and warns Captain Pike of his concerns. Naturally this does not sit well with some of the seasoned officers, especially Spock (Zachary Quinto), who sees the emotional Kirk as an unwanted reminder of his human half, which he tries to hide at all costs.
Eventually the Enterprise is confronted by Nero and in an impressive sequence of events Kirk and Sulu (John Cho), lead an orbital skydive mission to thwart Nero’s plot. Spock finds himself commanding the ship and he and Kirk, two polar opposites, disagree over a course of action. Citing insurbordination and dereliction, Spock expels Kirk from the ship onto a frigid and dangerous planet. What follows is an amazing and thrilling adventure that culminates in an impressive finale, that proves that Trek has got plenty of life left in it.
While I loved the film, I found that I had to detach myself from my love of classic Trek to fully enjoy it. The film covers changes in established cannon by setting events in an alternate timeline. Despite the different eras of the previous series and films, there was always a certain continuity to the ships, planets, and characters that always seemed to fit, which I found myself missing in this new incarnation.
In Abram’s version, the Enterprise engine room is awash in catwalks, pipes, and valves that seemed out of place on a ship set in the 23rd century. I also found myself asking why such strategically valuable planets such as Earth and Vulcan would not have massive defense fleets in orbit, and would task only a handful of ships for their defense. There was a suggestion, that the ships of the fleet were amassed elsewhere on another matter of importance, but that does not explain what would leave the planets relatively unguarded. Defense codes aside, I found it hard to believe that automated defenses would be all that was left behind, and that reinforcements were not available.
I also had an issue with what Nero was supposedly doing for 25 years and how he kept such a low profile while he plotted his revenge. The final issue I had was with product placement as I found it hard to believe that Nokia and its familiar ringtone and Budweiser would be around as Trek lore is based on the planet narrowly surviving a nuclear war in the past that nearly destroyed everything. While this may seem like minor criticism, from the perspective of a long time Star Trek fan, it contradicts much of what had been established.
Thankfully, Abrams and crew take the series in a new direction without totally losing sight of where it came from. There are many nods to the series and Abrams clearly respects the original material enough to let fans know that their beloved Trek is still there in the original timeline, with its history intact. By cleverly establishing a different timeline, Abrams has creative freedom to go in any direction he desires.
The cast is strong, with Chris Pine’s Kirk as cocky and entertaining as his predecessor. I loved Anton Yelchin as Chekov and his struggles with the English language, Simon Pegg’s quick quips as Scotty, and the sassy attitude Zoe Saldana’s injects into her Uhura. The amazing visuals and designs of the film are breathtaking and it was clear that the Industrial Light & Magic (ILM) crew pushed themselves to bring everything they had to the film. In the end, Star Trek is a remarkable film that, despite some issues, has a solid new lease on life. Abrams boldly, and triumphantly, goes where fans, old and new, will gladly follow.
Heather Cranmer (2721 KP) rated The Little Teashop on Main in Books
May 6, 2019
An Emotional Read
I'd been wanting to read The Little Teashop on Main by Jodi Thomas for awhile. When the opportunity presented itself, I jumped at the chance. I must say this book really packs a punch when it comes to emotions!
The plot for The Little Teashop on Main was done brilliantly! Jodi Thomas has written a beautiful story that really sucks you in and makes you feel every single written word. Zoe, Shannon, and Emily meet for a tea party whenever they can starting from when they were little. As the story progresses, the reader gets to watch each of the girls grow into strong women. The reader gets to grow up with all of the girls through all of the ups and downs of life. Each chapter in the book is focused on a certain character so the reader gets to gain that character's perspective on things. While there are similar story lines to The Little Teashop on Main, Jodi Thomas does such an excellent job of making this one feel unique. I felt like I was instantly transported to the small town of Laurel Springs whenever I was reading The Little Teashop on Main. While there weren't any major plot twists, I felt as if this was the type of book that doesn't need to rely on plot twists to keep it interesting. The emotional pull is all it needs. I loved how there were no cliffhangers and all of my questions were answered by the end of the book.
The characters in The Little Teashop on Main were so well written and such a delight to read about! I loved every one of them. Usually I have a favorite, but I would hate to be forced to choose just one favorite. I loved Zoe's zest for life. Her larger than life presence was such a joy to read about. I would have loved to have a friendship like Zoe's and Jack's. Shannon had such a great work ethic that was admirable. Just how focused she was was an inspiration. I kept on wanting things between her and Jack to work out. I don't think I've ever wanted to a couple to be together more than Jack and Shannon. Shannon was such a planner and so focused. Sometimes I wanted to just grab her by the shoulders until she realized how great she'd be with Jack! I just wanted to hug Emily. She had struggled with depression for so long. I could relate to her the most. Emily was such a sweet girl that blossomed into a sweet woman. I was always cheering Emily on when I would read about her. I loved how much Jack cared about all three girls and how much he loved them all. He was such a loyal friend. I'm glad I got to read and get to know Fuller. What a sweet boy/man he turned out to be! Alex and Mack were also great characters and great parents. The love for their daughters was so obvious. The way the townspeople of Laurel Springs came together was so heartwarming to read about.
I will admit that the first 45 percent or so of The Little Teashop on Main was a little slow. I did wonder if I had made a mistake with this book. However, I'm glad I persevered. The pacing quickly picked up after that, and I could not put this novel down. I hungered for more, yet I would become sad because I realized that this story would be over soon. When I did finish The Little Teashop on Main, I was disappointed only because I wished it didn't have to end!
Trigger warnings for The Little Teashop on Main include depression, suicide attempts, cancer, a car accident (wounds aren't described too graphically), and sex (although not graphic).
All in all, The Little Teashop on Main is such a heartwarming read. This book makes you feel as if you are one of the characters. It is written so beautifully, and I can't gush enough about how great it is! I would definitely recommend The Little Teashop on Main by Jodi Thomas to those aged 16+. This book gets a 4.5 out of 5 stars from me.
--
(Thanks to HQN for providing me with a paperback of The Little Teashop on Main by Jodi Thomas in exchange for an honest and unbiased review.)
The plot for The Little Teashop on Main was done brilliantly! Jodi Thomas has written a beautiful story that really sucks you in and makes you feel every single written word. Zoe, Shannon, and Emily meet for a tea party whenever they can starting from when they were little. As the story progresses, the reader gets to watch each of the girls grow into strong women. The reader gets to grow up with all of the girls through all of the ups and downs of life. Each chapter in the book is focused on a certain character so the reader gets to gain that character's perspective on things. While there are similar story lines to The Little Teashop on Main, Jodi Thomas does such an excellent job of making this one feel unique. I felt like I was instantly transported to the small town of Laurel Springs whenever I was reading The Little Teashop on Main. While there weren't any major plot twists, I felt as if this was the type of book that doesn't need to rely on plot twists to keep it interesting. The emotional pull is all it needs. I loved how there were no cliffhangers and all of my questions were answered by the end of the book.
The characters in The Little Teashop on Main were so well written and such a delight to read about! I loved every one of them. Usually I have a favorite, but I would hate to be forced to choose just one favorite. I loved Zoe's zest for life. Her larger than life presence was such a joy to read about. I would have loved to have a friendship like Zoe's and Jack's. Shannon had such a great work ethic that was admirable. Just how focused she was was an inspiration. I kept on wanting things between her and Jack to work out. I don't think I've ever wanted to a couple to be together more than Jack and Shannon. Shannon was such a planner and so focused. Sometimes I wanted to just grab her by the shoulders until she realized how great she'd be with Jack! I just wanted to hug Emily. She had struggled with depression for so long. I could relate to her the most. Emily was such a sweet girl that blossomed into a sweet woman. I was always cheering Emily on when I would read about her. I loved how much Jack cared about all three girls and how much he loved them all. He was such a loyal friend. I'm glad I got to read and get to know Fuller. What a sweet boy/man he turned out to be! Alex and Mack were also great characters and great parents. The love for their daughters was so obvious. The way the townspeople of Laurel Springs came together was so heartwarming to read about.
I will admit that the first 45 percent or so of The Little Teashop on Main was a little slow. I did wonder if I had made a mistake with this book. However, I'm glad I persevered. The pacing quickly picked up after that, and I could not put this novel down. I hungered for more, yet I would become sad because I realized that this story would be over soon. When I did finish The Little Teashop on Main, I was disappointed only because I wished it didn't have to end!
Trigger warnings for The Little Teashop on Main include depression, suicide attempts, cancer, a car accident (wounds aren't described too graphically), and sex (although not graphic).
All in all, The Little Teashop on Main is such a heartwarming read. This book makes you feel as if you are one of the characters. It is written so beautifully, and I can't gush enough about how great it is! I would definitely recommend The Little Teashop on Main by Jodi Thomas to those aged 16+. This book gets a 4.5 out of 5 stars from me.
--
(Thanks to HQN for providing me with a paperback of The Little Teashop on Main by Jodi Thomas in exchange for an honest and unbiased review.)
Gareth von Kallenbach (971 KP) rated Us (2019) in Movies
Jul 2, 2019
We’ve all heard that somewhere out in the world there is a true Doppelganger for each and every one of us. An almost exact copy which may not behave the same but would otherwise be indistinguishable from the other. In a common instance a Doppelganger might be a set of identical twins who share the same DNA, or in pop culture references we might look to the definition of a Doppelganger in Dungeons and Dragons, defined as a monstrous humanoid able to change the shape and read the minds of their intended target to mimic them completely. Somewhere in the middle is where Jordan Peele’s latest masterpiece takes us.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
Gareth von Kallenbach (971 KP) rated Doctor Sleep (2019) in Movies
Nov 7, 2019
Some nightmares you wake up from, wipe the sweat from your brow, and go back to wonderful slumber as though it never occurred. Others follow you in both your sleep and waking hours. For Dan Torrance (Ewan McGregor) the nightmare that began at the Overlook Hotel in Stephen King’s best-selling novel (and movie directed by Stanley Kubrick) The Shining continue to follow him through his childhood years. With the help of a friendly spirit (Carl Lumbly) Dan learns how to contain the malevolent spirits that followed him from his nightmarish experience, but at almost the cost of his sanity. Falling back on his fathers’ previous crutch, Dan drinks and fights his demons away every night, consumed by a different type of spirit to manage the pain and fear that he has been running from.
Dan is about to hit rock bottom when he encounters a man who has certainly suffered with his own demons in the past, who offers him a place to stay, a job, and an escape from the alcohol that held him in his own personal hell for several years. After eight years of sobriety he strikes up a psychic pen-pal friendship with a young girl named Abra Stone (Kyliegh Curran), who shares his powers. His wish to push his “shining” deep down inside him, and not let it come out is interrupted when Abra witnesses a murder of a young boy. Using her gift, she uncovers a group of beings so evil, that their desire for immortality requires them to snuff out the lives of those who share the same special gift as Dan and Abra. Dan and Abra must join forces, and let their lights shine, if they are to defeat this evil and save themselves and others like them in the process.
Doctor Sleep is the long-awaited sequel to The Shining released (on film at least) back in 1980. While the original film was lauded by most and reviled by some in the way that Stanley Kubrick brought the story to life, it serves as the backdrop to this sequel. Blending reshoots of the original film (using the current actors) as flash backs, it provides the necessary background to those who may have never had the opportunity to see the original, and visual reminders to those who have. While artistically the film doesn’t hold a shine to the original, it tells a far more consumable story, with less focus on the imagery and symbolism in each shot then Stanly Kubrick’s masterpiece.
The bond between Ewan McGregor and upcoming star Kyliegh Curran is not only believable but magical. The chemistry that the two share both in separate scenes and together show the tight bond they certainly must have felt on set. The movie is blessed with an entire cast of supporting characters, that bring the believability and professionalism to the big screen. Rebecca Ferguson, as our duos’ primary adversary Rose the Hat, provides an outstanding performance. Surrounded by her fellow shine-pires, Grandpa Flick (Carel Struycken), Snakebite Andi (Emily Alyn Lind) and Crow Daddy (Zahn McClarnon) to name just a few, the group reminds me of The Lost Boys in their cunning and hunger.
Doctor Sleep is not a scary movie, at least not when it’s put beside The Shining. While it has scary moments, this is a movie about putting aside your fear and challenging evil, regardless of the cost. Dan must put the past behind him and dig deep within himself to find his purpose and with this purpose will come a lot of loss, but acceptance at the same time. The movie begins a little slow and picks up midway through. While the battle against many of the shine-pires may feel a little hollow at first, it’s nothing to what will compare with the ultimate climax between good and evil.
Fans of the Stanley Kubrick film will see lots of familiar locations and costumes throughout the two-and-a-half-hour show. Even the re-created scenes share the same visual imagery and spectacle, just as if it was simply a re-master. I actually liked that they reshot the pivotal scenes and characters, while no one can perfectly mimic the master of Jack Nicholson, I felt that Henry Thomas did an amazing job in his portrayal of the young Jack Torrance. Alex Essoe portrayed an outstanding Wendy Torrance, a role that was masterfully played by Shelley Duvall back in the day.
With the magnitude of Stephen King movies (and series) being released in the recent years, it could easily feel as if we have all been teleported back to the 80’s. There have been some homeruns in recent years (and some foul balls), but Doctor Sleep easily ranks up there as one of the better of the Stephen King movies to be released in recent memory. While the movie is much more action-oriented and doesn’t deliver on the sheer terror of the original, it suits the story, and does a commendable way of bringing closure to some of Stephen King’s more notable characters. Both fans and non-fans of the original will find a lot to like, and for those looking for more story (and less artistry) will be extremely pleased with the way director Mike Flanagan (The Haunting of Hill House series / Hush) brings this rendition to the screen. So, let your light shine and go see Doctor Sleep.
Dan is about to hit rock bottom when he encounters a man who has certainly suffered with his own demons in the past, who offers him a place to stay, a job, and an escape from the alcohol that held him in his own personal hell for several years. After eight years of sobriety he strikes up a psychic pen-pal friendship with a young girl named Abra Stone (Kyliegh Curran), who shares his powers. His wish to push his “shining” deep down inside him, and not let it come out is interrupted when Abra witnesses a murder of a young boy. Using her gift, she uncovers a group of beings so evil, that their desire for immortality requires them to snuff out the lives of those who share the same special gift as Dan and Abra. Dan and Abra must join forces, and let their lights shine, if they are to defeat this evil and save themselves and others like them in the process.
Doctor Sleep is the long-awaited sequel to The Shining released (on film at least) back in 1980. While the original film was lauded by most and reviled by some in the way that Stanley Kubrick brought the story to life, it serves as the backdrop to this sequel. Blending reshoots of the original film (using the current actors) as flash backs, it provides the necessary background to those who may have never had the opportunity to see the original, and visual reminders to those who have. While artistically the film doesn’t hold a shine to the original, it tells a far more consumable story, with less focus on the imagery and symbolism in each shot then Stanly Kubrick’s masterpiece.
The bond between Ewan McGregor and upcoming star Kyliegh Curran is not only believable but magical. The chemistry that the two share both in separate scenes and together show the tight bond they certainly must have felt on set. The movie is blessed with an entire cast of supporting characters, that bring the believability and professionalism to the big screen. Rebecca Ferguson, as our duos’ primary adversary Rose the Hat, provides an outstanding performance. Surrounded by her fellow shine-pires, Grandpa Flick (Carel Struycken), Snakebite Andi (Emily Alyn Lind) and Crow Daddy (Zahn McClarnon) to name just a few, the group reminds me of The Lost Boys in their cunning and hunger.
Doctor Sleep is not a scary movie, at least not when it’s put beside The Shining. While it has scary moments, this is a movie about putting aside your fear and challenging evil, regardless of the cost. Dan must put the past behind him and dig deep within himself to find his purpose and with this purpose will come a lot of loss, but acceptance at the same time. The movie begins a little slow and picks up midway through. While the battle against many of the shine-pires may feel a little hollow at first, it’s nothing to what will compare with the ultimate climax between good and evil.
Fans of the Stanley Kubrick film will see lots of familiar locations and costumes throughout the two-and-a-half-hour show. Even the re-created scenes share the same visual imagery and spectacle, just as if it was simply a re-master. I actually liked that they reshot the pivotal scenes and characters, while no one can perfectly mimic the master of Jack Nicholson, I felt that Henry Thomas did an amazing job in his portrayal of the young Jack Torrance. Alex Essoe portrayed an outstanding Wendy Torrance, a role that was masterfully played by Shelley Duvall back in the day.
With the magnitude of Stephen King movies (and series) being released in the recent years, it could easily feel as if we have all been teleported back to the 80’s. There have been some homeruns in recent years (and some foul balls), but Doctor Sleep easily ranks up there as one of the better of the Stephen King movies to be released in recent memory. While the movie is much more action-oriented and doesn’t deliver on the sheer terror of the original, it suits the story, and does a commendable way of bringing closure to some of Stephen King’s more notable characters. Both fans and non-fans of the original will find a lot to like, and for those looking for more story (and less artistry) will be extremely pleased with the way director Mike Flanagan (The Haunting of Hill House series / Hush) brings this rendition to the screen. So, let your light shine and go see Doctor Sleep.
Kris Karcher (10 KP) rated Jumanji: Welcome to the Jungle (2017) in Movies
Jan 5, 2018
Better then it looks.
Contains spoilers, click to show
It’s been years since I’ve seen the original 1995 Jumanji, but from what I can remember as a 5-10 year old (not sure when I got around to owning the VHS) I enjoyed it. Robin Williams was on fire in the 90’s and turned in another comparable performance in this fun action adventure film. This new incarnation of the Jumanji tale changes direction a bit. For one it swaps the outdated board game that contains an entire jungle world inside it, for a more cultural relevant video game console that contains an entire jungle world inside it. I’m actually surprised they didn't use an iPad. 2017’s Jumanji also adds in a body swapping element. The teens that enter the game suddenly become adult video game characters. Complete with skills and weakness of varying degrees of usefulness.
Semantics aside, Jumanji: Welcome to the Jungle is also a serviceable blockbuster flick. It’s a fun film that moves at a decent pace and avoids a lot of the typical dull spots most popcorn flicks fall victim to. The adult cast is a fun mixture of comedic talent and have some great chemistry together. The teenage cast less so but they have a more limited role in the film. I enjoyed watching the adult cast attempt to convey the teenagers “inside” them. Dwayne Johnson does this particularly well, playing a timid nerdy teenager trapped in the body of a jacked, smoldering, elite fighting machine. The film purposefully miscast each role. Kevin Hart play’s the avatar of a 6ft football star, Jack black stands in for a Mean Chick-esc selfie obsessed teenage girl, and the bad ass Karen Gillan plays the avatar of an insecure self-conscious teenage girl. The dichotomy of the characters real-life personalities always being at odds with their avatars new physical and mental attributes provides much of the comedy. Not all of it lands, but enough does and they don’t overdo it.
Once we enter the world of Jumanji the characters attempt to figure out how the “game” works. This leads to some humorous video game style exposition. I found this method of exposition to be unique and interesting. Incorporating NPC’s (Non-playable characters) whose sole purpose is to help players figure out what is going on and how to play the game was a fun and meta way to advance the story. It sort of reminds me of some of the things I enjoyed about 2012’s Wreck-It Ralph.
Then the gang runs into the other player in the game and another star of the film, Nick Jonas. Jonas plays Jefferson "Seaplane" McDonough who is the avatar of Zack a teenage boy sucked into the game in 1997 (Jonas uses 1997 lingo frequently. Radical.) and has lived in the jungle for what he claims to be “a few months”. This leads to the biggest missed opportunity of the film. Time apparently moves differently in Jumanji. A few months in Jumanji translates to 20 years in real life. When Zack is told he has been missing 20 years this should have been a major B plot. They do try and add some weight to the situation by showing how deeply affected Zack is by this news, but I feel they could have explored this dynamic a bit further. Especially when it comes to the ending. Which is a bit anticlimactic. Once they all end up working together to escape Jumanji they all are all transported back to their respective timelines and it would appear as though no time has passed. So it sort of ditches the whole being stuck in the game for 20 years angle and instead chooses to allow Zack to live a full and complete life starting from 1997. Also, the main cast seems to be unaffected timeline wise. All of this film took place while they were down in the basement serving their detentions. It would have made for a much more interesting ending if they return to their bodies and find out that in the real world they were gone for a longer period of time. Even just a week or so would have added an interesting dynamic to the pretty flat and standard ending. They do end up meeting up with grown-up Zack (Played by Colin Hanks) and there is a nice little payoff to the quasi-romance Nick Jonas and Jack Black had throughout the film. (Yes you read that correctly.) Alex named his daughter after Bethany who saved his life in the jungle.
The four teenagers all learn valuable life lessons inside the jungle. Fridge leans to appreciate his friend Spencer. Spencer learns to man up and take risks. Bethany learns to care about something other than herself and her popularity, and Martha learns to come out of her shell a bit and open up. While I often find these types of stories to be heavy-handed and snooze-worthy Jumanji manages to keep the gushy feel good stuff to a minimum. It’s there, and it’s obvious but it’s not in your face enough to bring down the movie.
Ultimately I will go ahead and recommend Jumanji: Welcome to the Jungle if your into Action comedy that doesn't ever take itself too seriously. I repeat this is not a serious movie. But it is a mildly funny, family-friendly romp that I fully expect anyone who paid for a ticket to at least get their monies worth. Provided they came in with the right expectations.
Semantics aside, Jumanji: Welcome to the Jungle is also a serviceable blockbuster flick. It’s a fun film that moves at a decent pace and avoids a lot of the typical dull spots most popcorn flicks fall victim to. The adult cast is a fun mixture of comedic talent and have some great chemistry together. The teenage cast less so but they have a more limited role in the film. I enjoyed watching the adult cast attempt to convey the teenagers “inside” them. Dwayne Johnson does this particularly well, playing a timid nerdy teenager trapped in the body of a jacked, smoldering, elite fighting machine. The film purposefully miscast each role. Kevin Hart play’s the avatar of a 6ft football star, Jack black stands in for a Mean Chick-esc selfie obsessed teenage girl, and the bad ass Karen Gillan plays the avatar of an insecure self-conscious teenage girl. The dichotomy of the characters real-life personalities always being at odds with their avatars new physical and mental attributes provides much of the comedy. Not all of it lands, but enough does and they don’t overdo it.
Once we enter the world of Jumanji the characters attempt to figure out how the “game” works. This leads to some humorous video game style exposition. I found this method of exposition to be unique and interesting. Incorporating NPC’s (Non-playable characters) whose sole purpose is to help players figure out what is going on and how to play the game was a fun and meta way to advance the story. It sort of reminds me of some of the things I enjoyed about 2012’s Wreck-It Ralph.
Then the gang runs into the other player in the game and another star of the film, Nick Jonas. Jonas plays Jefferson "Seaplane" McDonough who is the avatar of Zack a teenage boy sucked into the game in 1997 (Jonas uses 1997 lingo frequently. Radical.) and has lived in the jungle for what he claims to be “a few months”. This leads to the biggest missed opportunity of the film. Time apparently moves differently in Jumanji. A few months in Jumanji translates to 20 years in real life. When Zack is told he has been missing 20 years this should have been a major B plot. They do try and add some weight to the situation by showing how deeply affected Zack is by this news, but I feel they could have explored this dynamic a bit further. Especially when it comes to the ending. Which is a bit anticlimactic. Once they all end up working together to escape Jumanji they all are all transported back to their respective timelines and it would appear as though no time has passed. So it sort of ditches the whole being stuck in the game for 20 years angle and instead chooses to allow Zack to live a full and complete life starting from 1997. Also, the main cast seems to be unaffected timeline wise. All of this film took place while they were down in the basement serving their detentions. It would have made for a much more interesting ending if they return to their bodies and find out that in the real world they were gone for a longer period of time. Even just a week or so would have added an interesting dynamic to the pretty flat and standard ending. They do end up meeting up with grown-up Zack (Played by Colin Hanks) and there is a nice little payoff to the quasi-romance Nick Jonas and Jack Black had throughout the film. (Yes you read that correctly.) Alex named his daughter after Bethany who saved his life in the jungle.
The four teenagers all learn valuable life lessons inside the jungle. Fridge leans to appreciate his friend Spencer. Spencer learns to man up and take risks. Bethany learns to care about something other than herself and her popularity, and Martha learns to come out of her shell a bit and open up. While I often find these types of stories to be heavy-handed and snooze-worthy Jumanji manages to keep the gushy feel good stuff to a minimum. It’s there, and it’s obvious but it’s not in your face enough to bring down the movie.
Ultimately I will go ahead and recommend Jumanji: Welcome to the Jungle if your into Action comedy that doesn't ever take itself too seriously. I repeat this is not a serious movie. But it is a mildly funny, family-friendly romp that I fully expect anyone who paid for a ticket to at least get their monies worth. Provided they came in with the right expectations.
Bob Mann (459 KP) rated The Farewell (2019) in Movies
Sep 28, 2021
Simply brilliant. Go see it!
The Long Goodbye.
With “Downton Abbey” and now “The Farewell”, the excesses of the summer blockbusters are fading away. (Though I’m sure Rambo might have something to say about that!)
The Plot.
Billi (Awkwafina) is a young Chinese New Yorker struggling to make her way in the world. She has a place of her own to distance herself from her parents – Haiyan (“Arrival“‘s Tzi Ma) and Lu Jian (Diana Lin) – but is struggling to fund it. But despite a typically spiky teenage relationship with her parents, family is important to her.
There’s a big shock then when her beloved “Nai Nai” (Shuzhen Zhao) is diagnosed back in China with terminal cancer. The slight complication is that no-one has told her. Her younger sister (Hong Lu) has taken the decision to keep the news from her. This is in line with the Chinese saying “When people get Cancer they die”. (Based on the rationale that it is not necessarily the disease that kills you, but the fear that destroys your useful life).
The whole extended family sign up – reluctantly – to the decision. They stage a final get together back in China around the pretence of a trumped-up wedding. This is between the comically reluctant grandson Hao Hao (Han Chen) and his new Japanese girlfriend Aiko (Aoi Mizuhara).
Faced with seeing Nai Nai face-to-face, and being forced to “celebrate” together, can the family – and the emotionally attached Billi in particular – hold it together and keep the secret?
A laff a minute then?
You might naturally assume that given the subject matter that this was going to be SERIOUSLY heavy going. And in many ways you would be right. Most of us over 50 will have lost an elderly relative. And, unless it was a sudden event, you have probably been through the mental pain of having to drive away from a nursing home certain that that will be the final time you will see your loved one alive. If you are therefore not affected by this film, you are not human.
So I was frankly bracing myself.
However, the film is so beautifully put together, and the comedy – albeit some of it very dark – so brilliantly inserted that the film is an UTTER DELIGHT from start to end. There are truly insightful scenes that get under the skin of the well-developed social approach in China to family. (Like the illustrious Mrs Movie-Man, they love big family dinners around a round-table!) Although there is always the teen – Bau (Jinhang Liu) in this case – with his face permanently in his phone!
There are also scenes familiar to anyone who’s visited China. The gaggle of “helpful” taxi drivers outside the airport made me laugh out loud.
Also (unintentionally) funny are the multiple company logos at the start of the film. This is reminiscent of the classic “Family Guy” scene (I think “The Simpsons” also did a similar spoof).
Cinematic.
For such a ‘small’ film, the scale is sometimes truly cinematic. Director and writer, Lulu Wang, achieves some gloriously memorable movie moments. A stony-faced, determined march of the key players towards the camera – which could be subtitled “The Magnificent Eight” – is slo-mo’d for about 30 seconds and is utterly mesmeric.
And a scene at a cemetery is a comic masterpiece of Chinese tradition. Bau of course still has his face in his phone throughout!
This is only Lulu Wang‘s second feature, but it makes me now want to check out her first film (“Posthumous”).
Not afraid to offend either country.
What I found particularly interesting is that the film is truly multi-cultural. It’s not an American film with some local content crudely inserted to cater for the Far East markets. The film is an almost equal blend of American language and Mandarin language with subtitles.
Lulu Wang is also not afraid to upset officials in either country. Which is better: US or China? The question keeps getting posed to Billi and discussed among the family. And – as you might expect – there are positives and negatives on each side. The film doesn’t really take sides. It’s a really balanced position to take.
A quirky soundtrack.
The music is by Alex Weston, and its one of the stars of the film. It’s truly quirky with everything as diverse as a vocalised version of Beethoven’s Sonata No. 8 “Pathetique”; a karaoke version of “Killing Me Softly”; and a hugely entertaining Chinese version of Niilson’s “Without You” over the end titles.
A brilliant ensemble cast.
It’s a great ensemble cast (SAG awards, are you listening?), and everyone pulls their weight. Even the minor members of the cast are superb: Aoi Mizuhara in particular displays acute awkwardness brilliantly!
But leading the charge is Awkwafina. She was in the disappointing “Ocean’s 8” but much more memorable in “Crazy Rich Asians” as Rachel’s wacky Singapore friend. Here it’s a bravado performance that is genuinely moving. She IS the slightly sulky but emotionally crushed teen.
Sub-titles? I don’t do sub-titles.
Get a grip! Yes, this is a film that has sub-titles. But it uses them when required (unless you happen to be fluent in Mandarin that is!). There is also a large percentage of the film that is in English. It’s all eminently watchable, even for “sub-title-phobes”.
This is a feelgood film about a tough subject. The ending of the film pulls off the trick of being both devastating and uplifting at the same time.
So get yourself to the cinema and see this film! Without question, it gets my “highly recommended” tag. It’s also firmly placed itself very high up in my “Films of the Year” list.
And it’s all “based on a true lie”!
With “Downton Abbey” and now “The Farewell”, the excesses of the summer blockbusters are fading away. (Though I’m sure Rambo might have something to say about that!)
The Plot.
Billi (Awkwafina) is a young Chinese New Yorker struggling to make her way in the world. She has a place of her own to distance herself from her parents – Haiyan (“Arrival“‘s Tzi Ma) and Lu Jian (Diana Lin) – but is struggling to fund it. But despite a typically spiky teenage relationship with her parents, family is important to her.
There’s a big shock then when her beloved “Nai Nai” (Shuzhen Zhao) is diagnosed back in China with terminal cancer. The slight complication is that no-one has told her. Her younger sister (Hong Lu) has taken the decision to keep the news from her. This is in line with the Chinese saying “When people get Cancer they die”. (Based on the rationale that it is not necessarily the disease that kills you, but the fear that destroys your useful life).
The whole extended family sign up – reluctantly – to the decision. They stage a final get together back in China around the pretence of a trumped-up wedding. This is between the comically reluctant grandson Hao Hao (Han Chen) and his new Japanese girlfriend Aiko (Aoi Mizuhara).
Faced with seeing Nai Nai face-to-face, and being forced to “celebrate” together, can the family – and the emotionally attached Billi in particular – hold it together and keep the secret?
A laff a minute then?
You might naturally assume that given the subject matter that this was going to be SERIOUSLY heavy going. And in many ways you would be right. Most of us over 50 will have lost an elderly relative. And, unless it was a sudden event, you have probably been through the mental pain of having to drive away from a nursing home certain that that will be the final time you will see your loved one alive. If you are therefore not affected by this film, you are not human.
So I was frankly bracing myself.
However, the film is so beautifully put together, and the comedy – albeit some of it very dark – so brilliantly inserted that the film is an UTTER DELIGHT from start to end. There are truly insightful scenes that get under the skin of the well-developed social approach in China to family. (Like the illustrious Mrs Movie-Man, they love big family dinners around a round-table!) Although there is always the teen – Bau (Jinhang Liu) in this case – with his face permanently in his phone!
There are also scenes familiar to anyone who’s visited China. The gaggle of “helpful” taxi drivers outside the airport made me laugh out loud.
Also (unintentionally) funny are the multiple company logos at the start of the film. This is reminiscent of the classic “Family Guy” scene (I think “The Simpsons” also did a similar spoof).
Cinematic.
For such a ‘small’ film, the scale is sometimes truly cinematic. Director and writer, Lulu Wang, achieves some gloriously memorable movie moments. A stony-faced, determined march of the key players towards the camera – which could be subtitled “The Magnificent Eight” – is slo-mo’d for about 30 seconds and is utterly mesmeric.
And a scene at a cemetery is a comic masterpiece of Chinese tradition. Bau of course still has his face in his phone throughout!
This is only Lulu Wang‘s second feature, but it makes me now want to check out her first film (“Posthumous”).
Not afraid to offend either country.
What I found particularly interesting is that the film is truly multi-cultural. It’s not an American film with some local content crudely inserted to cater for the Far East markets. The film is an almost equal blend of American language and Mandarin language with subtitles.
Lulu Wang is also not afraid to upset officials in either country. Which is better: US or China? The question keeps getting posed to Billi and discussed among the family. And – as you might expect – there are positives and negatives on each side. The film doesn’t really take sides. It’s a really balanced position to take.
A quirky soundtrack.
The music is by Alex Weston, and its one of the stars of the film. It’s truly quirky with everything as diverse as a vocalised version of Beethoven’s Sonata No. 8 “Pathetique”; a karaoke version of “Killing Me Softly”; and a hugely entertaining Chinese version of Niilson’s “Without You” over the end titles.
A brilliant ensemble cast.
It’s a great ensemble cast (SAG awards, are you listening?), and everyone pulls their weight. Even the minor members of the cast are superb: Aoi Mizuhara in particular displays acute awkwardness brilliantly!
But leading the charge is Awkwafina. She was in the disappointing “Ocean’s 8” but much more memorable in “Crazy Rich Asians” as Rachel’s wacky Singapore friend. Here it’s a bravado performance that is genuinely moving. She IS the slightly sulky but emotionally crushed teen.
Sub-titles? I don’t do sub-titles.
Get a grip! Yes, this is a film that has sub-titles. But it uses them when required (unless you happen to be fluent in Mandarin that is!). There is also a large percentage of the film that is in English. It’s all eminently watchable, even for “sub-title-phobes”.
This is a feelgood film about a tough subject. The ending of the film pulls off the trick of being both devastating and uplifting at the same time.
So get yourself to the cinema and see this film! Without question, it gets my “highly recommended” tag. It’s also firmly placed itself very high up in my “Films of the Year” list.
And it’s all “based on a true lie”!
Bob Mann (459 KP) rated Bad Boys for Life (2020) in Movies
Mar 9, 2020
Welcome to Miami - again!
Will Smith seems to have been having a lacklustre period in his career. His genie from "Aladdin" got a rather lukewarm reception. And his last movie - "Gemini Man" - billed as a big summer blockbuster - failed to impress. True it wasn't a commercial disaster (raking in at the time of writing about 150% of budget), but it's still a film on a plane for me that, even if I'm bored, I'll say "nah" to.
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
