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Leviathan (1989)
6.9
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Hired by Martin (Meg Foster), the head of a major corporation, a crew including geologist Steven...
The Age of Adaline (2015)
6.6
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Adaline Bowman (Blake Lively) has miraculously remained a youthful 29 years of age for nearly eight...
The Identical (2014)
4.0
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During the Great Depression, identical twins are separated at birth. One, Drexel Hemsley (Blake...
Gareth von Kallenbach (965 KP) rated Alien: Blackout in Video Games
Jun 19, 2019
FoxNext and D3 Go have presented Alien fans a new game for mobile devices entitled Alien: Blackout. When it was first announced; many fans thought it was the Alien Shooter that had been announced earlier in 2018 but that is to come at a later date according to FoxNext.
The game has players play as Amanda Ripley; Daughter of the main character of the “Alien” film series and star of the Alien: Isolation game. Although it is described as not being a sequel to Alien: Isolation, Amanda does briefly mention events from the game as her prior experience with the title creature.
Hidden in an Air Vent; Amanda must direct members of a docked shuttle through seven levels as they attempt to locate items and accomplish tasks needed to escape.
There is of course an Alien on the loose and using Motion Trackers, video cameras, and luck, players have to protect Amanda and the shuttle crew as the movie around the map.
The Alien can come after Amanda who can protect herself by closing a vent. The issue is in doing so she cannot look at the map and cameras, and as such The Alien can vanish anywhere including one of the other tunnels that lead to her. Having to watch two or three tunnels as well as a map can be difficult as players have to rely on sound and luck to assume when the Alien is creeping down a tunnel towards them.
Players also have to make hard choices like allowing the Alien to attack and kill a character so another one can move along toward a goal. Being able to open and close doors also allows Amanda to help fence in the creature but it does not always appear on the cameras and as such players have to guess where it is. Amanda can tell characters to hide or hurry up, but there is also the matter of a ticking clock which requires objectives to be completed before a timer runs out.
The game does offer some fun and challenge but is short as with only seven levels, you can complete the game in under an hour once you get the basics down. The game allows players to pick up from the chapter they last completed and does offer some fun cut scenes to enjoy.
The biggest issue is while affordable at $4.99 fans may want more out of the game as aside from the short play time; this style of game may not be the best use of the Alien franchise. It would make a great segment of a larger game but after guiding Amanda through Alien: Isolation; having her hide in vents and direct others seems to be a step down.
While Alien: Blackout is not the game that fans had hoped for; it does offer some decent entertainment and hopefully will tide players over until the next game in the series is released.
http://sknr.net/2019/01/31/alien-blackout/
The game has players play as Amanda Ripley; Daughter of the main character of the “Alien” film series and star of the Alien: Isolation game. Although it is described as not being a sequel to Alien: Isolation, Amanda does briefly mention events from the game as her prior experience with the title creature.
Hidden in an Air Vent; Amanda must direct members of a docked shuttle through seven levels as they attempt to locate items and accomplish tasks needed to escape.
There is of course an Alien on the loose and using Motion Trackers, video cameras, and luck, players have to protect Amanda and the shuttle crew as the movie around the map.
The Alien can come after Amanda who can protect herself by closing a vent. The issue is in doing so she cannot look at the map and cameras, and as such The Alien can vanish anywhere including one of the other tunnels that lead to her. Having to watch two or three tunnels as well as a map can be difficult as players have to rely on sound and luck to assume when the Alien is creeping down a tunnel towards them.
Players also have to make hard choices like allowing the Alien to attack and kill a character so another one can move along toward a goal. Being able to open and close doors also allows Amanda to help fence in the creature but it does not always appear on the cameras and as such players have to guess where it is. Amanda can tell characters to hide or hurry up, but there is also the matter of a ticking clock which requires objectives to be completed before a timer runs out.
The game does offer some fun and challenge but is short as with only seven levels, you can complete the game in under an hour once you get the basics down. The game allows players to pick up from the chapter they last completed and does offer some fun cut scenes to enjoy.
The biggest issue is while affordable at $4.99 fans may want more out of the game as aside from the short play time; this style of game may not be the best use of the Alien franchise. It would make a great segment of a larger game but after guiding Amanda through Alien: Isolation; having her hide in vents and direct others seems to be a step down.
While Alien: Blackout is not the game that fans had hoped for; it does offer some decent entertainment and hopefully will tide players over until the next game in the series is released.
http://sknr.net/2019/01/31/alien-blackout/
When Ziggy Played the Marquee: David Bowie's Last Performance as Ziggy Stardust
Book
When Ziggy played The Marquee Club in Soho, London, in October 1973, most of those invited to the...
Table 19 (2017)
6.5
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Table 19 is a 2017 American comedy film directed by Jeffrey Blitz, and co-written by Blitz, Jay...
Emma @ The Movies (1786 KP) rated Tone-Deaf (2019) in Movies
Feb 11, 2021
As a proud owner of yet another subscription service, the first thing I did was scroll through every movie to create a watchlist. Killer Instinct popped up, and seeing Robert Patrick... *presses play*.
Olive's life has taken an unexpected turn and she decides that a trip out of the city is just what she needs. Peace and tranquillity awaits in the odd home she finds online, but the even odder owner and goings on aren't entirely what she'd hoped for.
I seem to be picking films recently that remind me of other films, and Killer Instinct (also known as Tone Deaf) reminds me heavily of The Intruder from 2019 starring Dennis Quaid... with the slight difference that The Intruder was kind of watchable.
For a film under 90 minutes it feels significantly longer with nothing much happening. The whole idea that Harvey (Robert Patrick) is hatching this plan is poorly set up and once underway I didn't fully understand what the motivation was behind his character. As well as Intruder vibes, I was getting heavy Home Alone vibes too... you'll see.
There felt like two distinct sides to the cast, "serious" and "comedy". But the serious weren't, and neither were the comedy. The way everything was laced together felt like a sloppy attempt to merge Happy Death Day with a serious thriller.
As a lead character, Olive (Amanda Crew), doesn't feel massively likeable, and there seemed like there wasn't really any way to bring that to life as she was. Unengaging characters are also something that's happening more to me in recent film choices, and here, as with others, I found myself getting pulled out of the events of the film because of it.
I had hoped that Robert Patrick would offer some respite, but Harvey is equally... blah. There's no real explanation about why he is the way he is and it's introduced in such a strange way that his motivations are almost entirely obscured by it.
Killer Instinct tries very hard to be relevant and be a commentary on generational divides, but it's done by breaking the fourth wall and talking to the camera in a way that wasn't at all palatable. Each time it happened I frowned and instantly felt disengaged from the film. Combine that with the oddly comedic mother storyline and you get a film with a constant identity crisis.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/02/killer-instinct-movie-review.html
Olive's life has taken an unexpected turn and she decides that a trip out of the city is just what she needs. Peace and tranquillity awaits in the odd home she finds online, but the even odder owner and goings on aren't entirely what she'd hoped for.
I seem to be picking films recently that remind me of other films, and Killer Instinct (also known as Tone Deaf) reminds me heavily of The Intruder from 2019 starring Dennis Quaid... with the slight difference that The Intruder was kind of watchable.
For a film under 90 minutes it feels significantly longer with nothing much happening. The whole idea that Harvey (Robert Patrick) is hatching this plan is poorly set up and once underway I didn't fully understand what the motivation was behind his character. As well as Intruder vibes, I was getting heavy Home Alone vibes too... you'll see.
There felt like two distinct sides to the cast, "serious" and "comedy". But the serious weren't, and neither were the comedy. The way everything was laced together felt like a sloppy attempt to merge Happy Death Day with a serious thriller.
As a lead character, Olive (Amanda Crew), doesn't feel massively likeable, and there seemed like there wasn't really any way to bring that to life as she was. Unengaging characters are also something that's happening more to me in recent film choices, and here, as with others, I found myself getting pulled out of the events of the film because of it.
I had hoped that Robert Patrick would offer some respite, but Harvey is equally... blah. There's no real explanation about why he is the way he is and it's introduced in such a strange way that his motivations are almost entirely obscured by it.
Killer Instinct tries very hard to be relevant and be a commentary on generational divides, but it's done by breaking the fourth wall and talking to the camera in a way that wasn't at all palatable. Each time it happened I frowned and instantly felt disengaged from the film. Combine that with the oddly comedic mother storyline and you get a film with a constant identity crisis.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/02/killer-instinct-movie-review.html
Chris Sawin (602 KP) rated A Nightmare on Elm Street (1984) in Movies
Jun 20, 2019 (Updated Jun 23, 2019)
Nancy Thompson (Heather Langenkamp) and her friends have more on their plate to worry about than typical high school drama. A child murderer named Fred Krueger (Robert Englund) was killed by the parents residing on Elm Street after they took matters into their own hands when the justice system failed to get the redemption the parents so desperately seeked. That was thought to be the end of it and everyone tried to move on with their lives. That is until Nancy, her boyfriend Glen (Johnny Depp), her best friend Tina (Amanda Wyss), and Tina's boyfriend Rod (Jsu Garcia) begin having nightmares about the same man. A man wearing a red and green striped sweater, brown fedora, and a four finger-bladed leather glove. Could Fred Krueger really be exacting his revenge from beyond the grave and in the dreams of his victims?
Wes Craven is probably best known for the Scream franchise since it's the most successful set of films he's ever been a part of, at least as far as the box office is concerned, but there was another film that he created that spawned seven sequels and a remake. A film that is looked at as a horror classic and is considered to be the first commercially successful release from New Line Cinema. That film is A Nightmare on Elm Street.
A Nightmare on Elm Street is looked at by some (including myself) as the best film in the franchise. While most of the sequels feature a Freddy that is more interested in cracking a joke than being an intimidating serial killer, the original film is where he seems to shine brightest. He seems to always be lurking in the shadows making it nearly impossible to get a clear look at his face. Remember when films left a bit of a mystery to things rather than being entirely realistic and showing every little detail when it came to gore? Well, this is a good example.
The deaths of Tina and Glen could arguably be reason alone to watch the film. Tina's death is so original and so well done. One of the reasons it still holds up today is because it was done with practical effects. The same can be said about Glen's death. The only thing more impressive than his death is the fact that it's Johnny Depp's debut. Both deaths are two of the most memorable in horror film history.
Despite A Nightmare on Elm Street being one of the most influential horror films of our time, it still has that cheesiness associated with most horror films that come out of the eighties. Bad acting (Heather Langenkamp especially. The "Screw your pass!" scene is a good example, but is hilarious in its own right) and dated special effects being the best examples. While the practical effects are a good thing and are much preferred over CGI, some of them haven't aged well over the past 26 years. The scene of Freddy chasing Tina is probably the best example of this. His arms stretching inhuman lengths to scratch the walls and Tina ripping off his face just didn't hold up as well as other effects in the film.
A Nightmare on Elm Street is a beloved horror classic that gave birth to one of the most iconic serial killers in the genre. The original film features some of the most creative deaths and practical effects (seeing Freddy in the wall above Nancy's bed in the beginning of the film is one of the best scenes) to come out of any horror film held in such high regard. The film's charm will go over a lot of people's heads who look into it for the first time after seeing the remake which will probably result in the film getting more flack than it deserves. But nevertheless, it's hard to deny the impact Freddy and Wes Craven have had on this genre thanks to this film.
Special Features: The two-disc Infinifilm is packed with extras including:
Feature commentary including a variety of topics: the financial problems the film had with writer/director Wes Craven, producer Bob Shaye, actor John Saxon, and cinematographer Jacques Haitkin sharing their thoughts, Heather Langenkamp and Wes Craven talk about how great it was to work with Johnny Depp, Amanda Wyss goes into detail about not knowing much about the horror genre before taking her role as Tina, a discussion of how Robert Englund got the role of Fred Krueger and Englund shares his thoughts on the Fred Krueger character. Everything from the problems the film had to Freddy's popularity to the film's reputation and more are discussed by the cast and crew.
Original commentary includes Heather Langenkamp, John Saxon, Wes Craven, and Jacques Haitkin.
Beyond the Movie Features include The House That Freddy Built: The Legacy of New Line Horror and Night Terrors: The Origins of Wes Craven's Nightmares.
All Access Pass Features include three alternate endings, Never Sleep Again: The making of A Nightmare on Elm Street, a trivia challenge and the theatrical trailer.
There's also Infinifilm bonus features that can be accessed while the film is playing and the original screenplay can be viewed as a DVD-ROM feature.
The film is remastered and restored from the original film negative and is presented in both Dolby Digital 5.1-EX surround sound and DTS-ES 6.1 Surround Sound.
Wes Craven is probably best known for the Scream franchise since it's the most successful set of films he's ever been a part of, at least as far as the box office is concerned, but there was another film that he created that spawned seven sequels and a remake. A film that is looked at as a horror classic and is considered to be the first commercially successful release from New Line Cinema. That film is A Nightmare on Elm Street.
A Nightmare on Elm Street is looked at by some (including myself) as the best film in the franchise. While most of the sequels feature a Freddy that is more interested in cracking a joke than being an intimidating serial killer, the original film is where he seems to shine brightest. He seems to always be lurking in the shadows making it nearly impossible to get a clear look at his face. Remember when films left a bit of a mystery to things rather than being entirely realistic and showing every little detail when it came to gore? Well, this is a good example.
The deaths of Tina and Glen could arguably be reason alone to watch the film. Tina's death is so original and so well done. One of the reasons it still holds up today is because it was done with practical effects. The same can be said about Glen's death. The only thing more impressive than his death is the fact that it's Johnny Depp's debut. Both deaths are two of the most memorable in horror film history.
Despite A Nightmare on Elm Street being one of the most influential horror films of our time, it still has that cheesiness associated with most horror films that come out of the eighties. Bad acting (Heather Langenkamp especially. The "Screw your pass!" scene is a good example, but is hilarious in its own right) and dated special effects being the best examples. While the practical effects are a good thing and are much preferred over CGI, some of them haven't aged well over the past 26 years. The scene of Freddy chasing Tina is probably the best example of this. His arms stretching inhuman lengths to scratch the walls and Tina ripping off his face just didn't hold up as well as other effects in the film.
A Nightmare on Elm Street is a beloved horror classic that gave birth to one of the most iconic serial killers in the genre. The original film features some of the most creative deaths and practical effects (seeing Freddy in the wall above Nancy's bed in the beginning of the film is one of the best scenes) to come out of any horror film held in such high regard. The film's charm will go over a lot of people's heads who look into it for the first time after seeing the remake which will probably result in the film getting more flack than it deserves. But nevertheless, it's hard to deny the impact Freddy and Wes Craven have had on this genre thanks to this film.
Special Features: The two-disc Infinifilm is packed with extras including:
Feature commentary including a variety of topics: the financial problems the film had with writer/director Wes Craven, producer Bob Shaye, actor John Saxon, and cinematographer Jacques Haitkin sharing their thoughts, Heather Langenkamp and Wes Craven talk about how great it was to work with Johnny Depp, Amanda Wyss goes into detail about not knowing much about the horror genre before taking her role as Tina, a discussion of how Robert Englund got the role of Fred Krueger and Englund shares his thoughts on the Fred Krueger character. Everything from the problems the film had to Freddy's popularity to the film's reputation and more are discussed by the cast and crew.
Original commentary includes Heather Langenkamp, John Saxon, Wes Craven, and Jacques Haitkin.
Beyond the Movie Features include The House That Freddy Built: The Legacy of New Line Horror and Night Terrors: The Origins of Wes Craven's Nightmares.
All Access Pass Features include three alternate endings, Never Sleep Again: The making of A Nightmare on Elm Street, a trivia challenge and the theatrical trailer.
There's also Infinifilm bonus features that can be accessed while the film is playing and the original screenplay can be viewed as a DVD-ROM feature.
The film is remastered and restored from the original film negative and is presented in both Dolby Digital 5.1-EX surround sound and DTS-ES 6.1 Surround Sound.
Bob Mann (459 KP) rated Suicide Squad (2016) in Movies
Sep 29, 2021
The length of time it’s taken me to catch this one at the cinema belies my lukewarm interest in the material: I’m not a ‘fan boy’ for either Marvel or DC properties. As it turns out, writer/director David “Fury” Ayer’s Suicide Squad is just plain frustrating in cinematic terms.
The story concerns the efforts of Amanda Waller (Viola Davis) to assemble – for reasons that make almost zero sense! – the ‘worse of the worst’ out of US prisons to form a fighting force to combat the perceived threat of an “anti-Superman” villain that *might* appear in the future.
SUICIDE SQUAD
Viola Davis wondering Why? Just Why?
Among these super-villains are Deadshot (Will Smith) and Harley Quinn (Margot Robbie). Harley is the girlfriend of The Joker (Jared Leto) and they would be a great match on Match.com since both are several sandwiches short of a picnic.
Waller assembles her motley crew. Unfortunately, another of the super-villains is June Moon aka “The Enchantress” (Cara Delevingne, her of the scary eyebrows) – an ancient God-like being that has possessed June and who has her/its own agenda that threatens the whole world.
So why is this movie so frustrating? Because for all its inane silliness the film does have its fair share of scenes that stick in the mind. I’ve seen comment that Jared Leto’s much-vaunted Joker is peripheral: a cameo only on screen for a few minutes. But I didn’t find that… or at least his scenes were sufficiently memorable to seem much more substantial. The madness portrayed here is truly quite disturbing and threatening. Many of Leto’s scenes – such as the one with The Joker lying on the floor surrounded by weapons – are artfully done.
Margot Robbie’s Quinn although extremely sexualized – which will not be to the liking of some, but appeal to many male viewers – adds enormous charisma to her role. Will Smith also does his best with the material he has to inject some emotional heft into the father/daughter sub-plot.
Unfortunately this is all done against a fractured and frankly nonsensical story with inconsistencies and loose ends too numerous to list. (Oh, OK, I’ll do a few):
A super-being dispatches armies and nukes from hundred of miles away, yet can’t swat a couple of inconvenient humans at 10 paces?
A large early part of the film is filled with backstories (which I don’t necessarily object to for context) but here they are done in an extremely patchy manner: a number of the characters are sketched out so lightly that they might as well be wearing the red Star Trek shirts!
Waller’s motivations (and certainly her sociopathic actions at some points in the plot) are nebulous and don’t bear scrutiny. Why exactly does she thing a ‘bloke who can shoot well’ can do diddly-squat against a super-being spewing gravity defying electrical displays on the other side of the city?
Is this really a ‘Dirty Dozen’? Many of the super-villains seem to be not so bad after all… you know… with consciences and everything…. (I’m sure you could find ten times worse down behind Southampton docks on a Friday night).
And while some of the cinematography (Roman Vasyanov, “Fury”) and lighting is memorable, there are some cinema basics (like dark subtitles on a dark background) that seem just plain careless.
With a huge BvS quotient of 0.7 this should really have been much better. To put it another way, you could have made ten of last week’s 4-Fad film “The Shallows” for the cost of this (and stuck a better ending on it with the change).
Memorable visuals, but not a memorable film.
The story concerns the efforts of Amanda Waller (Viola Davis) to assemble – for reasons that make almost zero sense! – the ‘worse of the worst’ out of US prisons to form a fighting force to combat the perceived threat of an “anti-Superman” villain that *might* appear in the future.
SUICIDE SQUAD
Viola Davis wondering Why? Just Why?
Among these super-villains are Deadshot (Will Smith) and Harley Quinn (Margot Robbie). Harley is the girlfriend of The Joker (Jared Leto) and they would be a great match on Match.com since both are several sandwiches short of a picnic.
Waller assembles her motley crew. Unfortunately, another of the super-villains is June Moon aka “The Enchantress” (Cara Delevingne, her of the scary eyebrows) – an ancient God-like being that has possessed June and who has her/its own agenda that threatens the whole world.
So why is this movie so frustrating? Because for all its inane silliness the film does have its fair share of scenes that stick in the mind. I’ve seen comment that Jared Leto’s much-vaunted Joker is peripheral: a cameo only on screen for a few minutes. But I didn’t find that… or at least his scenes were sufficiently memorable to seem much more substantial. The madness portrayed here is truly quite disturbing and threatening. Many of Leto’s scenes – such as the one with The Joker lying on the floor surrounded by weapons – are artfully done.
Margot Robbie’s Quinn although extremely sexualized – which will not be to the liking of some, but appeal to many male viewers – adds enormous charisma to her role. Will Smith also does his best with the material he has to inject some emotional heft into the father/daughter sub-plot.
Unfortunately this is all done against a fractured and frankly nonsensical story with inconsistencies and loose ends too numerous to list. (Oh, OK, I’ll do a few):
A super-being dispatches armies and nukes from hundred of miles away, yet can’t swat a couple of inconvenient humans at 10 paces?
A large early part of the film is filled with backstories (which I don’t necessarily object to for context) but here they are done in an extremely patchy manner: a number of the characters are sketched out so lightly that they might as well be wearing the red Star Trek shirts!
Waller’s motivations (and certainly her sociopathic actions at some points in the plot) are nebulous and don’t bear scrutiny. Why exactly does she thing a ‘bloke who can shoot well’ can do diddly-squat against a super-being spewing gravity defying electrical displays on the other side of the city?
Is this really a ‘Dirty Dozen’? Many of the super-villains seem to be not so bad after all… you know… with consciences and everything…. (I’m sure you could find ten times worse down behind Southampton docks on a Friday night).
And while some of the cinematography (Roman Vasyanov, “Fury”) and lighting is memorable, there are some cinema basics (like dark subtitles on a dark background) that seem just plain careless.
With a huge BvS quotient of 0.7 this should really have been much better. To put it another way, you could have made ten of last week’s 4-Fad film “The Shallows” for the cost of this (and stuck a better ending on it with the change).
Memorable visuals, but not a memorable film.