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Peter G. (247 KP) rated Dark City (1998) in Movies
Jul 3, 2019
Truly dark and depressing but intelligently conceived sci-fi movies that will be forever compared to the Matrix.
It doesn't have half of the budget its rival had which is probably the reason it didn't do half as well.
One of Alex Proyas best alongside The Crow and I Robot. Unmissable and a classic
It doesn't have half of the budget its rival had which is probably the reason it didn't do half as well.
One of Alex Proyas best alongside The Crow and I Robot. Unmissable and a classic
Movie Metropolis (309 KP) rated Gods Of Egypt (2016) in Movies
Jun 10, 2019
God Awful
Those of you who keep up to date with the goings on in the film world may be thinking Gods of Egypt was released way back in February; and you’d be right for thinking that.
The film, directed by Alex Proyas (I, Robot, Knowing) performed so poorly in America at the start of the year that its UK release was scrapped, until now. But is the resulting film as bad as its figures would suggest? Or are we looking at a future cult classic?
Good god no. From shocking dialogue to laughable special effects; Gods of Egypt is a dreadful dirge of a movie with practically no saving graces. It’s just that bad.
The survival of mankind hangs in the balance when Set (Gerard Butler), the merciless god of darkness, usurps Egypt’s throne and plunges the empire into chaos. Hoping to save the world and rescue his true love, a defiant mortal named Bek (Brenton Thwaites) forms an alliance with the powerful god Horus (Nikolaj Coster-Waldau) to stop Set before he destroys everything.
Thankfully, the plot itself isn’t too bad and has a vaguely interesting premise. The problem is how it is executed. Alex Proyas takes our protagonists on a rollercoaster ride of bland set pieces, populated by cardboard enemies and special effects that manage to look expensive and awful at the same time.
Gold, blood red, sparkling granite and deep, rich blacks all combine for a nauseating colour palate, only worsened by the cinematography. No shot is lingered on for any great amount of time – it’s like Alex Proyas was too terrified of allowing his audience to see the mess up close, shifting from frame to frame every few seconds.
Elsewhere, the acting is fairly inconsistent. Gerard Butler yet again channels his character from 300, while newcomer Brenton Thwaites looks po-faced as he spouts complete and utter drivel, a departure from his promising turn in 2013’s The Giver. The painful attempts at comedy fall flat on every single occasion and ensure no cast member leaves with their dignity intact.
2016 has thrown up some pretty bad films. London Has Fallen, Through the Looking Glass and Zoolander 2 spring immediately to mind, but this manages to outdo them by a country mile.
Overall, Gods of Egypt leaves you with more questions than it answers. Why is the Egyptian god of darkness Scottish? Why is it over two hours long? What on earth was Summit Entertainment thinking pouring $140million into this thing?
There is some good news at the end of this rather murky rainbow however. Your question as to whether you should go and see it may well be the only question that can be answered.
https://moviemetropolis.net/2016/06/18/god-awful-gods-of-egypt-review/
The film, directed by Alex Proyas (I, Robot, Knowing) performed so poorly in America at the start of the year that its UK release was scrapped, until now. But is the resulting film as bad as its figures would suggest? Or are we looking at a future cult classic?
Good god no. From shocking dialogue to laughable special effects; Gods of Egypt is a dreadful dirge of a movie with practically no saving graces. It’s just that bad.
The survival of mankind hangs in the balance when Set (Gerard Butler), the merciless god of darkness, usurps Egypt’s throne and plunges the empire into chaos. Hoping to save the world and rescue his true love, a defiant mortal named Bek (Brenton Thwaites) forms an alliance with the powerful god Horus (Nikolaj Coster-Waldau) to stop Set before he destroys everything.
Thankfully, the plot itself isn’t too bad and has a vaguely interesting premise. The problem is how it is executed. Alex Proyas takes our protagonists on a rollercoaster ride of bland set pieces, populated by cardboard enemies and special effects that manage to look expensive and awful at the same time.
Gold, blood red, sparkling granite and deep, rich blacks all combine for a nauseating colour palate, only worsened by the cinematography. No shot is lingered on for any great amount of time – it’s like Alex Proyas was too terrified of allowing his audience to see the mess up close, shifting from frame to frame every few seconds.
Elsewhere, the acting is fairly inconsistent. Gerard Butler yet again channels his character from 300, while newcomer Brenton Thwaites looks po-faced as he spouts complete and utter drivel, a departure from his promising turn in 2013’s The Giver. The painful attempts at comedy fall flat on every single occasion and ensure no cast member leaves with their dignity intact.
2016 has thrown up some pretty bad films. London Has Fallen, Through the Looking Glass and Zoolander 2 spring immediately to mind, but this manages to outdo them by a country mile.
Overall, Gods of Egypt leaves you with more questions than it answers. Why is the Egyptian god of darkness Scottish? Why is it over two hours long? What on earth was Summit Entertainment thinking pouring $140million into this thing?
There is some good news at the end of this rather murky rainbow however. Your question as to whether you should go and see it may well be the only question that can be answered.
https://moviemetropolis.net/2016/06/18/god-awful-gods-of-egypt-review/
JT (287 KP) rated Knowing (2009) in Movies
Mar 10, 2020
Contains spoilers, click to show
Nicholas Cage is one of those hit and miss actors. One minute he’s acting out of his skin and the other he’s bumbling his way through another disappointment with a quietly spoken drawl.
Knowing is a film of two halves. The first half is a well thought out disaster thriller, the second is quite simply a shambles and totally ruined it. Why you ask? SPOILER ALERT: Aliens, the ending was all linked back to beings from another planet. Why they felt the need to go down this route is beyond me? But I lost any respect for director Alex Proyas .
It’s a real shame as there were some spectacular disaster sequences that ramped up the tension. Cage was accomplished in his role and was edgy enough to win the audience over. However, that all fell away in the later stages as his acting became desperate, as he tried to clutch at emotional straws.
The film’s ending has a very ‘The Day the Earth Stood Still’ feel about it. I felt like snapping the DVD in half and mailing in personally to screen writers Ryne Douglas Pearson and Juliet Snowden. I would only recommend this for the special effects and not at all for the weak script or storyline.
Knowing is a film of two halves. The first half is a well thought out disaster thriller, the second is quite simply a shambles and totally ruined it. Why you ask? SPOILER ALERT: Aliens, the ending was all linked back to beings from another planet. Why they felt the need to go down this route is beyond me? But I lost any respect for director Alex Proyas .
It’s a real shame as there were some spectacular disaster sequences that ramped up the tension. Cage was accomplished in his role and was edgy enough to win the audience over. However, that all fell away in the later stages as his acting became desperate, as he tried to clutch at emotional straws.
The film’s ending has a very ‘The Day the Earth Stood Still’ feel about it. I felt like snapping the DVD in half and mailing in personally to screen writers Ryne Douglas Pearson and Juliet Snowden. I would only recommend this for the special effects and not at all for the weak script or storyline.
Gareth von Kallenbach (965 KP) rated Knowing (2009) in Movies
Aug 14, 2019
John Koestler (Nicolas Cage) is a man who lives in a world of facts. As a professor at M.I.T. he is more concerned about things that can be proven through hard science than with things that cannot be proven. With the recent loss of his wife leaving him a single father, John is not willing to accept the notion of a grand plan or the notion of heaven easily.
John’s son Caleb (Chandler Cantebury), morns the loss of his mother and looks to pick up his life with his father unaware of the dramatic turn that fate has in store for them both in the new film “Knowing” by Director Alex Proyas.
When a 50 year old time capsule is unearthed at Caleb’s school he and his fellow classmates eagerly await the envelopes contained within as each student is eager to see what the students from the past have placed in the envelopes as their predictions of the future. Caleb’s envelope contains not a picture but a series of numbers which he quickly dismisses.
One evening at home, John accidently notices the series of numbers and notices the date of 9/11/01 is included followed by a number. Intrigued, John looks up the 9/11 terror attacks online and is surprised that the numbers on the paper that follow the date are the exact death count from the attack. An all night study of the paper indicates to John that the exact date and death count of tragedies from the last fifty years are contained on the paper with some other numbers John cannot account for. What John does know is that there are three dates left on the paper, all of which are in the near future.
Further complicating matters is that the paper contains the data for the accident the killed John’s wife which leads him to believe that he can alter the outcome of the tragedies that are yet to happen and that he has been chosen to save those destined for a tragic death.
When mysterious individuals start to appear near Caleb, John finds himself in a race against time to get to the bottom of the mystery. His efforts lead him to Diana Wayland (Rose Byrne), the daughter of the girl who wrote the numbers on the sheet. While at first reluctant to become involved Diana and her daughter join John and Caleb in a frantic race against time with the very fate of the world hanging in the balance.
“Knowing” is a very compelling drama that mixes action and suspense with expert pacing to produce a first rate and entertaining thriller. Proyas keeps the film moving at a brisk pace but is not afraid to let the film slow down to allow the tension to build. The FX in the film are first rate and while spectacular are not the main attraction to this character driven drama. Though a bit monotone and restrained for my taste, Cage does solid work as the Skeptical John who realizes that there are forces in the universe that cannot be explained and who comes across as a likeable everyman in an extraordinary situation.
The strong script and direction is well balanced by the supporting cast. The ending of the film might be a bit to Hollywood for some, and for me, did detract slightly from the first ¾ of the film.
That being said, “Knowing” was a very enjoyable film and reminded me of the type of films that M. Night Shyamalan used to make, and probably wishes he had done.
John’s son Caleb (Chandler Cantebury), morns the loss of his mother and looks to pick up his life with his father unaware of the dramatic turn that fate has in store for them both in the new film “Knowing” by Director Alex Proyas.
When a 50 year old time capsule is unearthed at Caleb’s school he and his fellow classmates eagerly await the envelopes contained within as each student is eager to see what the students from the past have placed in the envelopes as their predictions of the future. Caleb’s envelope contains not a picture but a series of numbers which he quickly dismisses.
One evening at home, John accidently notices the series of numbers and notices the date of 9/11/01 is included followed by a number. Intrigued, John looks up the 9/11 terror attacks online and is surprised that the numbers on the paper that follow the date are the exact death count from the attack. An all night study of the paper indicates to John that the exact date and death count of tragedies from the last fifty years are contained on the paper with some other numbers John cannot account for. What John does know is that there are three dates left on the paper, all of which are in the near future.
Further complicating matters is that the paper contains the data for the accident the killed John’s wife which leads him to believe that he can alter the outcome of the tragedies that are yet to happen and that he has been chosen to save those destined for a tragic death.
When mysterious individuals start to appear near Caleb, John finds himself in a race against time to get to the bottom of the mystery. His efforts lead him to Diana Wayland (Rose Byrne), the daughter of the girl who wrote the numbers on the sheet. While at first reluctant to become involved Diana and her daughter join John and Caleb in a frantic race against time with the very fate of the world hanging in the balance.
“Knowing” is a very compelling drama that mixes action and suspense with expert pacing to produce a first rate and entertaining thriller. Proyas keeps the film moving at a brisk pace but is not afraid to let the film slow down to allow the tension to build. The FX in the film are first rate and while spectacular are not the main attraction to this character driven drama. Though a bit monotone and restrained for my taste, Cage does solid work as the Skeptical John who realizes that there are forces in the universe that cannot be explained and who comes across as a likeable everyman in an extraordinary situation.
The strong script and direction is well balanced by the supporting cast. The ending of the film might be a bit to Hollywood for some, and for me, did detract slightly from the first ¾ of the film.
That being said, “Knowing” was a very enjoyable film and reminded me of the type of films that M. Night Shyamalan used to make, and probably wishes he had done.
Gareth von Kallenbach (965 KP) rated I, Robot (2004) in Movies
Aug 14, 2019
Tales of a dark and foreboding future where technology has run amuck have been cautioning viewers ever since Orwell made the phrase “Big Brother” a household expression. Other films such as ?”, “Westworld”, “Blade Runner” and “The Terminator” often show a dark and dangerous future where dependence upon technology created to serve mankind has lead to its eventual downfall.
In the film “I Robot” Director Alex Proyas who’s past work includes “The Crow” and “Dark City” tells the tale of a near future where robots have become commonplace and are entrusted to do all manner of tasks ranging from package delivery to waiting table and caring for households. The robots are assured to be safe as they are governed by a set of behavioral restrictors that require them to obey all human commands save for those to harm another human, as robots are not allowed to harm or by inaction allow to be harmed any human.
The film stars Will Smith as Del Spooner, a Chicago Homicide detective who does not trust robots and is highly suspicious of them. The fact that in 2035 there has yet to be one documented case worldwide of a robot ever being involved in a crime is of little concern to Del as he sees the potential for danger in technology that is so widely spread.
Del is in many ways a technophobe as aside from his modern car, he has a retro lifestyle including an old fashioned alarm clock, vintage 2004 shoes, and a fondness for music from the 1970’s. An incident in Del’s past has kept him off the force for a while and has only furthered his distaste for robotics and their growing place in society.
No sooner is Del back at work than an apparent suicide at U.S. Robotics by a friend sets the film into motion. What to all seems to be an open and shut case of suicide only causes Del to become more suspicious. Del soon discovers a new model robot locked in the office of the victim, who flees from crime scene and refuses to obey the orders to halt given to him.
The fact that the robot ignores command given by a human thus violating his central laws of programming is put off as a simple malfunction by Billionaire Lawrence Robertson (Bruce Greenwood), who does not want Del’s suspicions to disrupt his business plans on the eve of the largest rollout of new robots in history. It is explained that the new NX-5 model is about to be released to the public and soon there will be one robot for every 5 humans in the world and with so much invested in this, Robertson places a gag order on Del and the entire police force to forget about the renegade robot and not say a word to anyone.
Naturally Del does not follow this command and he suspects that there is a larger and much more serious threat posed to the public even though everyone around his says that he is paranoid and desperate to find or create any evidence to support his theory that robots are not as safe as everyone believes they are.
What follows is an action packed game of cat and mouse as Del and a U.S. Robotics scientist named Susan (Bridget Moynahan), start to uncover a deeper mystery, once in which the very world they have taken for granted is about to change.
The film is a visual marvel that shows you a fairly realistic view of the future as aside from the robots and futuristic highways, the world of 2035 does not look that much different than today.
Proyas knows that Smith is his star and he does a great job allowing him to carry the picture without allowing the visual effects to dominate the film, though they are spectacular. The futuristic highways and a great chase sequence were highlights of the film and had a surprising amount of tension and drama mixed into what was a solid action sequence.
Smith plays Spooner, as a man with demons yet never ceases to become a sensitive character despite his hard edge. He is a man that is determined to follow his instincts and do what is best for the people he is sworn to protect.
The film does only play lip service to the series of novels by Asimov, but it does tell a very good cautionary tale of human’s interaction and dependence upon technology without becoming preachy or losing site of the message that society must ensure to have a balance between humanity and technology in order to thrive.
If I had to find fault, it would be that many of the supporting roles were fairly bland, as Moynahan was not given much to do aside from play a Damsel in distress and the always solid James Cromwell and Bruce Greenwood were not used nearly enough. That being said “I Robot” delivers everything you want in a summer film and more.
In the film “I Robot” Director Alex Proyas who’s past work includes “The Crow” and “Dark City” tells the tale of a near future where robots have become commonplace and are entrusted to do all manner of tasks ranging from package delivery to waiting table and caring for households. The robots are assured to be safe as they are governed by a set of behavioral restrictors that require them to obey all human commands save for those to harm another human, as robots are not allowed to harm or by inaction allow to be harmed any human.
The film stars Will Smith as Del Spooner, a Chicago Homicide detective who does not trust robots and is highly suspicious of them. The fact that in 2035 there has yet to be one documented case worldwide of a robot ever being involved in a crime is of little concern to Del as he sees the potential for danger in technology that is so widely spread.
Del is in many ways a technophobe as aside from his modern car, he has a retro lifestyle including an old fashioned alarm clock, vintage 2004 shoes, and a fondness for music from the 1970’s. An incident in Del’s past has kept him off the force for a while and has only furthered his distaste for robotics and their growing place in society.
No sooner is Del back at work than an apparent suicide at U.S. Robotics by a friend sets the film into motion. What to all seems to be an open and shut case of suicide only causes Del to become more suspicious. Del soon discovers a new model robot locked in the office of the victim, who flees from crime scene and refuses to obey the orders to halt given to him.
The fact that the robot ignores command given by a human thus violating his central laws of programming is put off as a simple malfunction by Billionaire Lawrence Robertson (Bruce Greenwood), who does not want Del’s suspicions to disrupt his business plans on the eve of the largest rollout of new robots in history. It is explained that the new NX-5 model is about to be released to the public and soon there will be one robot for every 5 humans in the world and with so much invested in this, Robertson places a gag order on Del and the entire police force to forget about the renegade robot and not say a word to anyone.
Naturally Del does not follow this command and he suspects that there is a larger and much more serious threat posed to the public even though everyone around his says that he is paranoid and desperate to find or create any evidence to support his theory that robots are not as safe as everyone believes they are.
What follows is an action packed game of cat and mouse as Del and a U.S. Robotics scientist named Susan (Bridget Moynahan), start to uncover a deeper mystery, once in which the very world they have taken for granted is about to change.
The film is a visual marvel that shows you a fairly realistic view of the future as aside from the robots and futuristic highways, the world of 2035 does not look that much different than today.
Proyas knows that Smith is his star and he does a great job allowing him to carry the picture without allowing the visual effects to dominate the film, though they are spectacular. The futuristic highways and a great chase sequence were highlights of the film and had a surprising amount of tension and drama mixed into what was a solid action sequence.
Smith plays Spooner, as a man with demons yet never ceases to become a sensitive character despite his hard edge. He is a man that is determined to follow his instincts and do what is best for the people he is sworn to protect.
The film does only play lip service to the series of novels by Asimov, but it does tell a very good cautionary tale of human’s interaction and dependence upon technology without becoming preachy or losing site of the message that society must ensure to have a balance between humanity and technology in order to thrive.
If I had to find fault, it would be that many of the supporting roles were fairly bland, as Moynahan was not given much to do aside from play a Damsel in distress and the always solid James Cromwell and Bruce Greenwood were not used nearly enough. That being said “I Robot” delivers everything you want in a summer film and more.