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Daniel Boyd (1066 KP) rated Synchronic (2019) in Movies
Mar 2, 2021
Direction (1 more)
Script
Under The Influence
Getting to review Synchronic was great, because it is a movie that is right up my alley and yet it totally passed me by upon release. I still don’t know how I wasn’t aware of this sci-fi thriller with horror elements since that description encapsulates almost everything that I am into. I recently got to see it for the first time and really I’m glad that I did. I also went into this movie pretty blind having only seen a short trailer and I would suggest doing the same in order to receive the optimal experience here.
Anthony Mackie and Jamie Dornan star as a pair of first responder paramedics based in Louisiana and both of them do a great job in carrying the film. Without giving too many plot details away, there are points in the movie where both have to show fairly intense levels of grief and I feel that both do this very well in how they choose to portray that respectively. Jamie Dornan’s accent does slip a few times, but he is charismatic enough that he can get away with it.
The movie is directed by Justin Benson and Aaron Moorhead and this is actually the first project that I’ve seen from either of them. The direction throughout the film is brilliant and has a real cohesion with the cinematography and the script, – this is probably because the script was written by Justin Benson and shot by Aaron Moorhead.
The script is an interesting one and the distinctiveness of it means that the film probably couldn’t have been directed by anyone else other than the person who wrote it. The dialogue throughout the movie is well written and I really believed the history and friendship in Mackie’s and Dornan’s relationship. There is also some humour interjected in the dialogue and surprisingly it lands and helps to alleviate some of the perpetual dread that is intertwined in the movie’s plot.
Read the rest of my review at: https://www.bigglasgowcomicpage.com/2021/02/13/review-synchronic/
Anthony Mackie and Jamie Dornan star as a pair of first responder paramedics based in Louisiana and both of them do a great job in carrying the film. Without giving too many plot details away, there are points in the movie where both have to show fairly intense levels of grief and I feel that both do this very well in how they choose to portray that respectively. Jamie Dornan’s accent does slip a few times, but he is charismatic enough that he can get away with it.
The movie is directed by Justin Benson and Aaron Moorhead and this is actually the first project that I’ve seen from either of them. The direction throughout the film is brilliant and has a real cohesion with the cinematography and the script, – this is probably because the script was written by Justin Benson and shot by Aaron Moorhead.
The script is an interesting one and the distinctiveness of it means that the film probably couldn’t have been directed by anyone else other than the person who wrote it. The dialogue throughout the movie is well written and I really believed the history and friendship in Mackie’s and Dornan’s relationship. There is also some humour interjected in the dialogue and surprisingly it lands and helps to alleviate some of the perpetual dread that is intertwined in the movie’s plot.
Read the rest of my review at: https://www.bigglasgowcomicpage.com/2021/02/13/review-synchronic/
Scott Tostik (389 KP) rated Getting Doug with High in Podcasts
Aug 20, 2019
Cool celebrity guests (2 more)
Very educational
They're smoking weed man!!! Its awesome
Best show EVER!!!!!!
I was cruising through the amazballs app Tubi Tv when I came across this little gem... Mind you, I do smoke a shit ton of weed myself... And it is legal now in my whole country, so fuck it... Lol.
Doug Benson is someone I've seen on talk shows and heard on podcasts a few times, but I never knew much about him.
This little piece of click bait lured me in with the chance of seeing one of my favorite writer/directors Kevin Smith getting blazed up with Doug and Brian Poshien... Or however you spell it... And it didn't let me down.
He and his guests get just obliterated off some of the sweetest strains of bud made available by whatever weed store they happen to propagate. And they always tell you what the pot is like. Effects... Length of buzz... That sort of pertenate information stoners like myself want to know.
Plus its a chance to see Jeff Ross, Natasha Leggerio and Anthony Jeselnyk HIGH AS GIRAFFE BALLS.
Overall its 45 minutes that is filled with talking, coughing and laughter... Very reminiscent of nights spent in my mom's kitchen with my friends, sitting around the table smoking our heads off and laughing til the sun came up.
Ah the memor... Wait.... What????
Doug Benson is someone I've seen on talk shows and heard on podcasts a few times, but I never knew much about him.
This little piece of click bait lured me in with the chance of seeing one of my favorite writer/directors Kevin Smith getting blazed up with Doug and Brian Poshien... Or however you spell it... And it didn't let me down.
He and his guests get just obliterated off some of the sweetest strains of bud made available by whatever weed store they happen to propagate. And they always tell you what the pot is like. Effects... Length of buzz... That sort of pertenate information stoners like myself want to know.
Plus its a chance to see Jeff Ross, Natasha Leggerio and Anthony Jeselnyk HIGH AS GIRAFFE BALLS.
Overall its 45 minutes that is filled with talking, coughing and laughter... Very reminiscent of nights spent in my mom's kitchen with my friends, sitting around the table smoking our heads off and laughing til the sun came up.
Ah the memor... Wait.... What????
Chris Sawin (602 KP) rated Black Widow (2021) in Movies
Oct 6, 2021
Florence Pugh (2 more)
The free-fall sequence at the end.
Taskmaster before the mask comes off.
It's way too long. (3 more)
The Taskmaster changes are weak.
It's as if the characters are fighting over who gets to be the comedic relief.
Familiar storyline.
Espionage Exhaustion
Black Widow is a film explaining what Natasha Romanoff (Scarlett Johansson) was up to in-between Captain America: Civil War and Avengers: Infinity War. The film was originally set to be released in May of 2020, but was pushed back and had three different release dates thanks to COVID-19. Unfortunately, most completed films that sit on the shelf and are in limbo for over a year rarely live up to the anticipation. Black Widow is worthwhile for a few key action sequences and notable characters that steal the spotlight, but is otherwise a mostly forgettable superhero film.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.