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LeftSideCut (3778 KP) rated Alita: Battle Angel (2019) in Movies
May 26, 2020 (Updated Jun 18, 2020)
Alita: Battle Angel is great. Is there a good helping of sci-fi dumbfuckery to be found? Of course. But the positives far outweigh any negatives in this instance.
Based on a Manga series and subsequent Anime from the early nineties, Alita brings the signature Japanese comic style to life in style, as a whole heap of (mostly) decent digital effects collides with real-life.
The world of A:BA is really well realised, with the film taking place in the 26th Century, a future that sees man and cyborg live side by side. The plot takes place in The Iron City on the ground, eclipsed by the floating city of Zalem above. It's a striking aesthetic that reminded me of something from a Final Fantasy game. The main narrative follows Dr. Ido (Christoph Waltz) who finds the remains of a deactivated cyborg in a trash heap. He gives the cyborg a new body and a new life, and gives her the name Alita. She has no memory of who she was before, but as she begins to explore the world, her memories slowly return. Alita (Rosa Salazar) is a stupidly likable protagonist. She's a fiery, lethal weapon who has a child like innocence. The motion capture combined with Salazar's performance work really well. In fact, the whole cast is great. Christoph Waltz, Mahershala Ali, Jennifer Connelly, Jackie Earl-Hailey - it's a stellar line up. The only cast member I couldn't get on with was Hugo (Keean Johnson) who mainly serves as Alita's love interest. I didn't particularly like his character and as a result didn't fully buy their romance side plot.
The main issue I had was the pacing. The plot is trying to pack so much into 2 hours, that it moved forward at breakneck speed at times. Some plot points become a bit lost in the whole thing, and a few of the characters seemed inconsequential as a result.
It does go a bit CGI overload at times but that's to be expected by the very nature of what A:BA is. The effects on some of the other cyborg characters are ropey as well, but honestly, these are small gripes against a film that I found myself really enjoying.
I sincerely hope a sequel gets green lit as I for one want more of this world to be explored.
Based on a Manga series and subsequent Anime from the early nineties, Alita brings the signature Japanese comic style to life in style, as a whole heap of (mostly) decent digital effects collides with real-life.
The world of A:BA is really well realised, with the film taking place in the 26th Century, a future that sees man and cyborg live side by side. The plot takes place in The Iron City on the ground, eclipsed by the floating city of Zalem above. It's a striking aesthetic that reminded me of something from a Final Fantasy game. The main narrative follows Dr. Ido (Christoph Waltz) who finds the remains of a deactivated cyborg in a trash heap. He gives the cyborg a new body and a new life, and gives her the name Alita. She has no memory of who she was before, but as she begins to explore the world, her memories slowly return. Alita (Rosa Salazar) is a stupidly likable protagonist. She's a fiery, lethal weapon who has a child like innocence. The motion capture combined with Salazar's performance work really well. In fact, the whole cast is great. Christoph Waltz, Mahershala Ali, Jennifer Connelly, Jackie Earl-Hailey - it's a stellar line up. The only cast member I couldn't get on with was Hugo (Keean Johnson) who mainly serves as Alita's love interest. I didn't particularly like his character and as a result didn't fully buy their romance side plot.
The main issue I had was the pacing. The plot is trying to pack so much into 2 hours, that it moved forward at breakneck speed at times. Some plot points become a bit lost in the whole thing, and a few of the characters seemed inconsequential as a result.
It does go a bit CGI overload at times but that's to be expected by the very nature of what A:BA is. The effects on some of the other cyborg characters are ropey as well, but honestly, these are small gripes against a film that I found myself really enjoying.
I sincerely hope a sequel gets green lit as I for one want more of this world to be explored.
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Fred (860 KP) rated Spider-Man: Into the Spider-Verse (2018) in Movies
Mar 15, 2019
Spider-Ham (3 more)
Fantastic design
Good music
Good voice acting
The choppy animation is headache inducing (2 more)
Story is bland
Some of the characters are wasted
Good. Not great.
Here we go again. Another over-rated superhero movie. Yes, it's good, but it's not great. Basically, what we got here is Miles Morales' origin story. I do love the characters & they are all acted well. I love the new Doc Oc & all of the Spider-people. The design of the characters & settings are a sight to see. The main problem is the movement of them. Every other frame is cut out, so the characters have a jerky movement to them. Supposedly, this is meant to encapsulate a comic book. Since a comic book does not move, this is a stupid reason given for lack-luster animation. There are quite a few anime out there today that use CGI-drawn animation. It looks choppy, cheap & crappy. And that's what we got here. Instead of smooth, graceful, Spider-Man like movement, we got what looks like low bitrate video. I truly feel this is why the movie, although it did well, did not do stupendous numbers at the box office compared to other recent animated movies.
Anyway, tossing that aside & taking account the design of the movie, I also found that the story was lackluster. I didn't find it too interesting or original. It just didn't grab me. I felt myself many times saying to myself that nothing special was going on. When they introduced the others from the Spider-Verse, I felt that some of them were a waste of space. Spider-Man Noir, played by Nicholas Cage, was funny but didn't do anything special. The Japanese girl with the robot, was utterly useless. If she wasn't in the film, it would be no different, except maybe to sell some toys. Now, I will say, I loved Spider-Ham, but I've been a fan of his since the 80s & still have all the original comic books. So, I am biased towards him. I would love to see him get his own movie, but I doubt he will.
Anyway, here's my bottom line. The movie was good. The style was great. Music was great. Characters were great. Story was meh. Animation was bad. After I watched the movie, I said, well that was pretty much a waste of time, but I'm not mad I watched. I just probably would never watch it again.
Anyway, tossing that aside & taking account the design of the movie, I also found that the story was lackluster. I didn't find it too interesting or original. It just didn't grab me. I felt myself many times saying to myself that nothing special was going on. When they introduced the others from the Spider-Verse, I felt that some of them were a waste of space. Spider-Man Noir, played by Nicholas Cage, was funny but didn't do anything special. The Japanese girl with the robot, was utterly useless. If she wasn't in the film, it would be no different, except maybe to sell some toys. Now, I will say, I loved Spider-Ham, but I've been a fan of his since the 80s & still have all the original comic books. So, I am biased towards him. I would love to see him get his own movie, but I doubt he will.
Anyway, here's my bottom line. The movie was good. The style was great. Music was great. Characters were great. Story was meh. Animation was bad. After I watched the movie, I said, well that was pretty much a waste of time, but I'm not mad I watched. I just probably would never watch it again.
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Scott Tostik (389 KP) rated You're Next (2013) in Movies
Oct 11, 2017
One fucked up family gathering... Hey, who invited the sheep??
Contains spoilers, click to show
When I sing the praises of a movie in it's entirety, people who read my reviews know I think it's amazing.
First things first, let me get the blowing the writer put of the way... Simon Barrett is a God amongst horror writers. He brings you to the edge, makes you think you know what's going on and then drives a stake through you beliefs like Van Helsing...
Your typical home invasion movie turns into a sinister and diabolical insurance scam that deflates the typical nature of this formerly typical plotline... I know, I'm saying typical alot...fuckin bite me.
Adam Wingard is an absolutely kick-ass director who I personally have watched grow in the genre, and who I have come to trust when it comes to picking a film out... Regardless of what people say, had Death Note not been a successful anime series before he took the helm of the movie, it would've been glorified as a work or horror/fantasy art.
Take your (that word again) typical upper class family, stick them in a deserted home for a family get together. Add another horror director, Ti West, and Wingard and Barrett's favorite actors... Joe Swanberg, A.J. Bowen and Amy Seimetz... Dash in some Australian hottie, Sharni Vinson. And add one of the most amazing Scream Queens to ever grace the screen, Barbara Crampton. And chuck in some relative nobodies for fodder and you have the ingredients for a wild ride.
You're Next appeals to me because home invasions happen. It has a reality to it that can be matched by 2008's The Strangers and a more recent addition, Hush.
This movie delivers on all fronts.
The Killers are a band of ex Marines who are contracted but an unlikely source to carry out the deaths of rich mom and dad.
The children in the family are the height of dysfunctional, thus proving money can't buy you sanity.
And the twist in this movie proves that secrets can be hidden well in a script if the proper distractions are in place.
One thing I'd like to add before I end this is the masks work by the Killers are straight creepy. Whoever thought to put them in those is genius. And they made for some great marketing posters and internet spots.
Simple flat white masks that have not scared me to death since I was a child and seen the iconic Michael Myers for the first time.
Barrett and Wingard make movies that are more reality based and that scare the bejesus out of you.
Check out A Horrible Way to Die if you don't believe me. It will not disappoint.
First things first, let me get the blowing the writer put of the way... Simon Barrett is a God amongst horror writers. He brings you to the edge, makes you think you know what's going on and then drives a stake through you beliefs like Van Helsing...
Your typical home invasion movie turns into a sinister and diabolical insurance scam that deflates the typical nature of this formerly typical plotline... I know, I'm saying typical alot...fuckin bite me.
Adam Wingard is an absolutely kick-ass director who I personally have watched grow in the genre, and who I have come to trust when it comes to picking a film out... Regardless of what people say, had Death Note not been a successful anime series before he took the helm of the movie, it would've been glorified as a work or horror/fantasy art.
Take your (that word again) typical upper class family, stick them in a deserted home for a family get together. Add another horror director, Ti West, and Wingard and Barrett's favorite actors... Joe Swanberg, A.J. Bowen and Amy Seimetz... Dash in some Australian hottie, Sharni Vinson. And add one of the most amazing Scream Queens to ever grace the screen, Barbara Crampton. And chuck in some relative nobodies for fodder and you have the ingredients for a wild ride.
You're Next appeals to me because home invasions happen. It has a reality to it that can be matched by 2008's The Strangers and a more recent addition, Hush.
This movie delivers on all fronts.
The Killers are a band of ex Marines who are contracted but an unlikely source to carry out the deaths of rich mom and dad.
The children in the family are the height of dysfunctional, thus proving money can't buy you sanity.
And the twist in this movie proves that secrets can be hidden well in a script if the proper distractions are in place.
One thing I'd like to add before I end this is the masks work by the Killers are straight creepy. Whoever thought to put them in those is genius. And they made for some great marketing posters and internet spots.
Simple flat white masks that have not scared me to death since I was a child and seen the iconic Michael Myers for the first time.
Barrett and Wingard make movies that are more reality based and that scare the bejesus out of you.
Check out A Horrible Way to Die if you don't believe me. It will not disappoint.
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Kirk Bage (1775 KP) rated Alita: Battle Angel (2019) in Movies
Jan 22, 2021
Robert Rodriguez is not a good director. He isn’t an especially good writer or producer either. This is the guy responsible for four Spy Kids films, that start below average and downgrade exponentially into excruciatingly awful. What he is pretty good at is ideas, and seeing the potential of something visually arresting and exciting. That is what led to the success of Sin City, arguably his best effort to date, because he saw how the comic book creations of Frank Miller could become live action and he made it happen.
Alita: Battle Angel is a similar deal. This time Yukito Kishiro’s early 90s manga creation is the inspiration. With James Cameron as producer, and the considerable talents of Christoph Waltz, Jennifer Connelly and Mahershala Ali onboard, it would have been pretty hard for even Rodriguez to mess this up entirely. Although at times he does seem to try, mostly by doing too much and making certain sections too busy and too confusingly cross-genre, like he is frantically trying to colour within the lines whilst using every felt-tip in the pack. A habit that means every now and again something great happens, but you may have missed it in all the background noise.
Compare this film, that just falls short of qualifying for my Bad Movie Triple Bill list, to Spielberg’s superior yet similarly busy Ready Player One. Both involve high concept future realities that are very tech and AI driven. Both make extensive use of CGI and vivid colour palettes. Both are frenetic and demand an audience pays attention in order to fully appreciate the storyline. The difference is that one zig-zags back and forth in tone and momentum, and one is razor sharp in moving us from one idea to the next on a perfect learning curve towards a satisfying climax and conclusion. Guess which one is which? This is why Spielberg is Spielberg and Rodriguez is… a hack.
That said, Alita as a character and concept is charming, and you do therefore find yourself at least wanting to discover her story. The action scenes are also quite electric, and the visuals are often breath-taking. But the whole is less than the sum of the parts here, and we are left with something that can only really exist in the same box as dozens of admirable sci-fi B-movies aimed at teenagers, such as The Maze Runner, Mortal Engines and The City of Ember. It also continues to prove the point alongside Ghost in the Shell and Speed Racer that Anime / Manga into live action is a very tricky business.
There is definitely an audience out there for this movie, and I dare say at some point I will be tempted to give it another watch. What is definitely worth watching however, is how James Cameron uses this as a stepping stone to perfecting virtual humans on the big screen. I am sure everyone involved learned a lot in that respect, so all is far from lost.
Alita: Battle Angel is a similar deal. This time Yukito Kishiro’s early 90s manga creation is the inspiration. With James Cameron as producer, and the considerable talents of Christoph Waltz, Jennifer Connelly and Mahershala Ali onboard, it would have been pretty hard for even Rodriguez to mess this up entirely. Although at times he does seem to try, mostly by doing too much and making certain sections too busy and too confusingly cross-genre, like he is frantically trying to colour within the lines whilst using every felt-tip in the pack. A habit that means every now and again something great happens, but you may have missed it in all the background noise.
Compare this film, that just falls short of qualifying for my Bad Movie Triple Bill list, to Spielberg’s superior yet similarly busy Ready Player One. Both involve high concept future realities that are very tech and AI driven. Both make extensive use of CGI and vivid colour palettes. Both are frenetic and demand an audience pays attention in order to fully appreciate the storyline. The difference is that one zig-zags back and forth in tone and momentum, and one is razor sharp in moving us from one idea to the next on a perfect learning curve towards a satisfying climax and conclusion. Guess which one is which? This is why Spielberg is Spielberg and Rodriguez is… a hack.
That said, Alita as a character and concept is charming, and you do therefore find yourself at least wanting to discover her story. The action scenes are also quite electric, and the visuals are often breath-taking. But the whole is less than the sum of the parts here, and we are left with something that can only really exist in the same box as dozens of admirable sci-fi B-movies aimed at teenagers, such as The Maze Runner, Mortal Engines and The City of Ember. It also continues to prove the point alongside Ghost in the Shell and Speed Racer that Anime / Manga into live action is a very tricky business.
There is definitely an audience out there for this movie, and I dare say at some point I will be tempted to give it another watch. What is definitely worth watching however, is how James Cameron uses this as a stepping stone to perfecting virtual humans on the big screen. I am sure everyone involved learned a lot in that respect, so all is far from lost.