Search
Search results
Emma @ The Movies (1786 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
We left off at the end of John Wick 2 with our lead's imminent excommunication. He's been given an hours grace, in a city that's filled with assassins his odds don't look good, but even for John Wick... bad odds are still pretty good.
I've been contemplating the story to this since I watched it. There doesn't feel like much of one. He's attempting to save his life, sure, but that's really the only thing. It feels very much like a set up for the sequel, which depending on what you read is either already planned or not planned at all.
I don't really think we go to see John Wick movies for the plot though, do we? So on that front it delivers spectacularly. The opening was immense, we come in knowing that it's all going to kick off pretty quickly after the last instalment so the anticipation is with you from the off, and it doesn't disappoint. Sheer kick-assery that we've come to expect from the franchise.
As the clock ticks over the hour and John Wick's own time is now running out he dashes through the streets (rather bold for someone with a $14 million bounty on his head) trying to make his way to people who might actually help him. Of course he's spotted by one of the thousands of assassins and villains that seem to litter the streets of New York. He ends up in a handily weaponised building and we see him take on a gang of knife proficient bad guys. The scene in this sequence, with the weapons cupboards, had everyone in the cinema chuckling.
Laughter was a surprising feature of the film, the same chuckling rippled through several scenes and broke up the violence. Some of that violence did also bring out the odd pained "ooh" as we recoiled from the screen in sympathetic pain for the character.
The complexities of the fight scenes are epic, but there was one moment in particular that stuck out as being scripted... yes, yes, I know it's all scripted! We see a very brief pause and the reaction's slow in a moment that was such a departure from everything around it that it was very noticeable to me. (On second viewing, while I still saw it, it wasn't as bad as I had seen it the first time.)
One other fight scene made me pause with a moment of being picky. John and Sofia are fighting every bad guy in Morocco. It was epic, it was fun... but everywhere I looked, "someone's going to fall off that and land on that". The set-up of the scenery was such a giveaway to upcoming action that it took some edge of the action.
The cast is filled to the brim with wonderful actors. Ian McShane, Laurence Fishburne, Lance Reddick and Anjelica Huston were brilliant. I was a little taken aback to see Jerome Flynn appear as Sofia's old boss, Berrada. I winced a little when I noticed that he was playing it with an accent, but I had to take it back because he was rather good with it. There was no one that I thought was "letting the side down", everyone brought their A-game.
There's only one character that did something that disappointed. Zero, played by Mark Dacascos, is a very disciplined man. He's a master with the knife, a master of death, and his action sequences are incredible. He also gets a very funny moment in The Continental before my moment of disappointment. They turn him into a fanboy, and while the contrast has the potential to be amusing it's actually better achieved with characters later in the film. Zero's change felt uncomfortable and out of place.
I shouldn't put all of that in one place, there's one other very short moment in the film that seems out of character/place, and that's at the very end of the film. It felt so odd that I would have ended it a scene earlier. I liked the reveal, but it would have left a bit more intrigue without it.
We can't talk about John Wick without talking about doggos, and these ones were exceptionally good. The two new additions are very talented and look like they get to have a lot of fun. But my heart belongs to Dog though. When he turns up in a taxi... đ˘
Can we all face up to some facts at this point, please? John Wick... super assassin... well, he isn't really is he? He's just really resilient when taking a beating, and very persistent when it comes to shooting things! He'd waste a lot less ammo if he didn't put a minimum of three bullets into every body.
Parabellum was action packed and showed us some very imaginative pieces, but it didn't feel quite as well rounded as either of the other two. I'm still looking forward to what's to come, the pure action is amazing I love to see what they think of next. On the horizon we've got a fourth film, which is listed as Ballerina, and a TV series called The Continental. From this installment I could see some potential routes for the film, but it's the series I'm excited about. I would absolutely love it if each episode was in a different Continental.
What you should do
This movie is an "anyone" kind of thing. Old, young, couples, friends, lone cinema nerds... we were all there. If you love mindless violence and action then you should go and watch this, and look out for the best line of the whole film, "I get it."
If you don't like seeing bad things happen to good books, perhaps don't watch the first ten minutes or so.
Movie thing you wish you could take home
I've been contemplating the story to this since I watched it. There doesn't feel like much of one. He's attempting to save his life, sure, but that's really the only thing. It feels very much like a set up for the sequel, which depending on what you read is either already planned or not planned at all.
I don't really think we go to see John Wick movies for the plot though, do we? So on that front it delivers spectacularly. The opening was immense, we come in knowing that it's all going to kick off pretty quickly after the last instalment so the anticipation is with you from the off, and it doesn't disappoint. Sheer kick-assery that we've come to expect from the franchise.
As the clock ticks over the hour and John Wick's own time is now running out he dashes through the streets (rather bold for someone with a $14 million bounty on his head) trying to make his way to people who might actually help him. Of course he's spotted by one of the thousands of assassins and villains that seem to litter the streets of New York. He ends up in a handily weaponised building and we see him take on a gang of knife proficient bad guys. The scene in this sequence, with the weapons cupboards, had everyone in the cinema chuckling.
Laughter was a surprising feature of the film, the same chuckling rippled through several scenes and broke up the violence. Some of that violence did also bring out the odd pained "ooh" as we recoiled from the screen in sympathetic pain for the character.
The complexities of the fight scenes are epic, but there was one moment in particular that stuck out as being scripted... yes, yes, I know it's all scripted! We see a very brief pause and the reaction's slow in a moment that was such a departure from everything around it that it was very noticeable to me. (On second viewing, while I still saw it, it wasn't as bad as I had seen it the first time.)
One other fight scene made me pause with a moment of being picky. John and Sofia are fighting every bad guy in Morocco. It was epic, it was fun... but everywhere I looked, "someone's going to fall off that and land on that". The set-up of the scenery was such a giveaway to upcoming action that it took some edge of the action.
The cast is filled to the brim with wonderful actors. Ian McShane, Laurence Fishburne, Lance Reddick and Anjelica Huston were brilliant. I was a little taken aback to see Jerome Flynn appear as Sofia's old boss, Berrada. I winced a little when I noticed that he was playing it with an accent, but I had to take it back because he was rather good with it. There was no one that I thought was "letting the side down", everyone brought their A-game.
There's only one character that did something that disappointed. Zero, played by Mark Dacascos, is a very disciplined man. He's a master with the knife, a master of death, and his action sequences are incredible. He also gets a very funny moment in The Continental before my moment of disappointment. They turn him into a fanboy, and while the contrast has the potential to be amusing it's actually better achieved with characters later in the film. Zero's change felt uncomfortable and out of place.
I shouldn't put all of that in one place, there's one other very short moment in the film that seems out of character/place, and that's at the very end of the film. It felt so odd that I would have ended it a scene earlier. I liked the reveal, but it would have left a bit more intrigue without it.
We can't talk about John Wick without talking about doggos, and these ones were exceptionally good. The two new additions are very talented and look like they get to have a lot of fun. But my heart belongs to Dog though. When he turns up in a taxi... đ˘
Can we all face up to some facts at this point, please? John Wick... super assassin... well, he isn't really is he? He's just really resilient when taking a beating, and very persistent when it comes to shooting things! He'd waste a lot less ammo if he didn't put a minimum of three bullets into every body.
Parabellum was action packed and showed us some very imaginative pieces, but it didn't feel quite as well rounded as either of the other two. I'm still looking forward to what's to come, the pure action is amazing I love to see what they think of next. On the horizon we've got a fourth film, which is listed as Ballerina, and a TV series called The Continental. From this installment I could see some potential routes for the film, but it's the series I'm excited about. I would absolutely love it if each episode was in a different Continental.
What you should do
This movie is an "anyone" kind of thing. Old, young, couples, friends, lone cinema nerds... we were all there. If you love mindless violence and action then you should go and watch this, and look out for the best line of the whole film, "I get it."
If you don't like seeing bad things happen to good books, perhaps don't watch the first ten minutes or so.
Movie thing you wish you could take home
Bob Mann (459 KP) rated The Upside (2019) in Movies
Sep 28, 2021
Not the 5* French classic, but a fun and moving movie nonetheless.
So, the movie-going audience for this film will divide into two categories:
Category A: those that have seen the original 2011 French classic âThe Intouchablesâ that this is based on, and;
Category B: those that havenât.
2011 is just before I started âOne Mannâs Moviesâ, but âThe Intouchablesâ would have got 5* from me, no problem.
This movie joins a list of standout European movies â for example, âThe Girl with the Dragon Tattooâ; âLet The Right One Inâ; âSleepless Nightâ; etc. â that have had Hollywood âmakeoversâ that donât match up to the originals. And this is no exception. However, itâs still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (âNot rich enough to buy The Yankees; Rich enough to buy The Metsâ). This is from success in investments and writing about such investments.
Depressed, cranky and with a âDNRâ that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that heâs been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two menâs antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen âThe Intouchablesâ will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you canât help but feel a bit let down by the same re-creation in âThe Upsideâ. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. Itâs not that heâs particularly bad in the role: itâs just that he IS Kevin Hart, and I was constantly thinking âthereâs that comedian playing that roleâ.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces â such as the one about the art work â are punch-the-air funny in their own right. Cranstonâs timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! Heâs an actor! Thatâs what actors do for a living: pretend to be people theyâre not! Itâs also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you canât help but be impressed by the performance.
On the female side of the cast, itâs really nice to see Nicole Kidman in such a quiet and understated role and itâs nicely done; Aja Naomi King does a nice job as Dellâs protective ex-girlfriend Latrice; and thereâs a nice female cameo as well, which I wonât spoil since I wasnât expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows thatâs unusual for a film!
The director is âLimitlessâ and âDivergentâ director Neil Burger, and itâs a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.
Category A: those that have seen the original 2011 French classic âThe Intouchablesâ that this is based on, and;
Category B: those that havenât.
2011 is just before I started âOne Mannâs Moviesâ, but âThe Intouchablesâ would have got 5* from me, no problem.
This movie joins a list of standout European movies â for example, âThe Girl with the Dragon Tattooâ; âLet The Right One Inâ; âSleepless Nightâ; etc. â that have had Hollywood âmakeoversâ that donât match up to the originals. And this is no exception. However, itâs still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (âNot rich enough to buy The Yankees; Rich enough to buy The Metsâ). This is from success in investments and writing about such investments.
Depressed, cranky and with a âDNRâ that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that heâs been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two menâs antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen âThe Intouchablesâ will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you canât help but feel a bit let down by the same re-creation in âThe Upsideâ. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. Itâs not that heâs particularly bad in the role: itâs just that he IS Kevin Hart, and I was constantly thinking âthereâs that comedian playing that roleâ.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces â such as the one about the art work â are punch-the-air funny in their own right. Cranstonâs timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! Heâs an actor! Thatâs what actors do for a living: pretend to be people theyâre not! Itâs also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you canât help but be impressed by the performance.
On the female side of the cast, itâs really nice to see Nicole Kidman in such a quiet and understated role and itâs nicely done; Aja Naomi King does a nice job as Dellâs protective ex-girlfriend Latrice; and thereâs a nice female cameo as well, which I wonât spoil since I wasnât expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows thatâs unusual for a film!
The director is âLimitlessâ and âDivergentâ director Neil Burger, and itâs a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.
5 Minute Movie Guy (379 KP) rated The Fault In Our Stars (2014) in Movies
Jun 26, 2019 (Updated Jun 26, 2019)
Undoubtedly one of the great love stories of our time. (3 more)
Shailene Woodley and Ansel Elgort are a perfect match.
John Green's novel is brilliantly adapted to the silver screen.
This is a movie that will stay with you long after it's over.
On the surface, it's easy to dismiss The Fault in Our Stars as being a sappy teenage love affair, but I can fortunately say that this is one of the great love stories of our time.
Based on John Greenâs popular young adult novel, The Fault in Our Stars is a film that is profoundly beautiful, eloquent and heartfelt. It tells of an extraordinary love between two unforgettable characters who are brought together by similarly ill-fated circumstances. Hazel Grace Lancaster and Augustus Waters are both victims of cancer. Although they do their best to hide it, these two young adults are each afraid of their ominous and unstable futures. Theyâre just trying to live purposeful lives and experience life like normal teenagers, but the looming threat of an untimely death impedes that desire. However, for a film filled with so much uncertainty, I can fortunately say that there is little doubt that The Fault in Our Stars is one of the great love stories of our time.
On the surface, itâs easy to dismiss The Fault in Our Stars as being a sappy teenage love affair. Iâll confess that I went into the theater expecting to be fully surrounded by crying teenage girls, while I would be quietly laughing to myself at their heartache. What I surely didnât anticipate, however, was to be so deeply drawn into the film. Even more surprising is the fact that The Fault in Our Stars has actually turned out to be my favorite movie of the year so far. This is a film that is sincerely heartfelt and unflinchingly genuine. It brings truth to the romantic fantasies we have, and teaches us that we canât let the fear of possible heartache hold us back from the endless potential of love.
Make no mistake about it, The Fault in Our Stars is a tear-jerker. Itâs difficult to watch these lovable characters endure such unjustifiable hardship. Hazel and Augustus are each forced to face a formidable fate that they shouldnât have to. I really felt a strong attachment to both of them, and found them to be remarkably identifiable. This connection makes it all the more unsettling when their situations turn dire. The reason that The Fault in Our Stars manages to be so effective is because of its authenticity and accessibility. The characters are not only admirable, but relatable. Theyâre not simply reduced to being unfortunate young cancer patients that weâre meant to feel sorry for. While of course we can sympathize with their condition, it is their compassion and the content of their characters that make them so compelling.
While the film features its fair share of tragedy, I should make it clear that itâs not heart-wrenchingly malicious in the way it deals with its ensuing sadness. This is not a film that is deliberately trying to make anyone feel bad. It is merely being honest in its depiction of the unfairness that often exists in life. While you very well might cry when watching the film, itâs not entirely depressing and hopeless. In fact, I would argue that The Fault in Our Stars is more pleasant than painful. The sadness it makes you feel ends up all being worthwhile because of the joyous, unforgettable memories the movie creates along the way. This is a film that will stay with you long after seeing it. To answer the question youâre all wondering: no, the movie didnât make me cry. Though my lack of tears is not a particularly good indicator of the emotional quality of the film. I donât really allow myself to cry during movies, but I certainly came close, and it undeniably left me deeply touched and forever grateful that I watched it.
Being that this is a romance, I must warn you that this isnât a movie for everyone. Truth be told, Iâm a sucker for a good romance, but Iâm aware not everyone has the patience for these kind of movies. The Fault in Our Stars is a slow-burning journey that takes its time to relish in the moments. It does this skillfully, maintaining a steady, balanced pace while building up to a powerful climax. Some may find the film to be a little too cutesy, but I think anyone who approaches it with an open-mind will find that itâs legitimately a really great film. My only real criticism of the movie involves the awkward return of a particular character towards the end of the movie. It makes for a rather unwelcome and perplexing intrusion, although it does at least help to set up the filmâs wonderful ending.
John Greenâs story is refreshing, witty, and modern. It is not only insightful in its depiction of love and life, but also offers an amazing attention to detail. It nails the feelings of love, and perfectly captures the life of being a teenager. The characters created by Green truly come to life in this film. Divergent star Shailene Woodley shines as Hazel, a young woman suffering from terminal thyroid cancer. Additionally, Ansel Elgort is incredibly charming as Augustus, a high school basketball star whose career ended short when cancer turned him into an amputee. The two of them are a perfect complementary match. Laura Dern also puts in a commendable performance as Hazelâs mom, a selfless, loving parent and companion. The filmâs soundtrack is sensational. Itâs appropriately fitting and delightful, featuring great work by artists such as Ed Sheeran, Birdy, and Ray LaMontagne. Every aspect of the movie comes together to produce a thoroughly poignant and relevant package.
The Fault in Our Stars is a film that speaks to our generation. It stares boldly into our fears of the eminent death that haunts us all, and makes no attempt to glamorize it. Even though itâs about a pair of teenagers, itâs not afraid to deal with mature content. Itâs actually all the more engrossing and troubling because these two characters are young. Theyâre already facing a pivotal time in their lives and are learning to experience the world on their own accord, and yet their journeys are plagued by the callous complications of cancer. Their age gives the film a stronger emotional impact, emphasizing the preciousness of life and the importance of living it to the fullest. The Fault in Our Stars is a smart and stimulating movie, and just like its star characters, it is wholly worthy of remembrance.
(This review was originally posted at 5mmg.com on 7.12.14.)
On the surface, itâs easy to dismiss The Fault in Our Stars as being a sappy teenage love affair. Iâll confess that I went into the theater expecting to be fully surrounded by crying teenage girls, while I would be quietly laughing to myself at their heartache. What I surely didnât anticipate, however, was to be so deeply drawn into the film. Even more surprising is the fact that The Fault in Our Stars has actually turned out to be my favorite movie of the year so far. This is a film that is sincerely heartfelt and unflinchingly genuine. It brings truth to the romantic fantasies we have, and teaches us that we canât let the fear of possible heartache hold us back from the endless potential of love.
Make no mistake about it, The Fault in Our Stars is a tear-jerker. Itâs difficult to watch these lovable characters endure such unjustifiable hardship. Hazel and Augustus are each forced to face a formidable fate that they shouldnât have to. I really felt a strong attachment to both of them, and found them to be remarkably identifiable. This connection makes it all the more unsettling when their situations turn dire. The reason that The Fault in Our Stars manages to be so effective is because of its authenticity and accessibility. The characters are not only admirable, but relatable. Theyâre not simply reduced to being unfortunate young cancer patients that weâre meant to feel sorry for. While of course we can sympathize with their condition, it is their compassion and the content of their characters that make them so compelling.
While the film features its fair share of tragedy, I should make it clear that itâs not heart-wrenchingly malicious in the way it deals with its ensuing sadness. This is not a film that is deliberately trying to make anyone feel bad. It is merely being honest in its depiction of the unfairness that often exists in life. While you very well might cry when watching the film, itâs not entirely depressing and hopeless. In fact, I would argue that The Fault in Our Stars is more pleasant than painful. The sadness it makes you feel ends up all being worthwhile because of the joyous, unforgettable memories the movie creates along the way. This is a film that will stay with you long after seeing it. To answer the question youâre all wondering: no, the movie didnât make me cry. Though my lack of tears is not a particularly good indicator of the emotional quality of the film. I donât really allow myself to cry during movies, but I certainly came close, and it undeniably left me deeply touched and forever grateful that I watched it.
Being that this is a romance, I must warn you that this isnât a movie for everyone. Truth be told, Iâm a sucker for a good romance, but Iâm aware not everyone has the patience for these kind of movies. The Fault in Our Stars is a slow-burning journey that takes its time to relish in the moments. It does this skillfully, maintaining a steady, balanced pace while building up to a powerful climax. Some may find the film to be a little too cutesy, but I think anyone who approaches it with an open-mind will find that itâs legitimately a really great film. My only real criticism of the movie involves the awkward return of a particular character towards the end of the movie. It makes for a rather unwelcome and perplexing intrusion, although it does at least help to set up the filmâs wonderful ending.
John Greenâs story is refreshing, witty, and modern. It is not only insightful in its depiction of love and life, but also offers an amazing attention to detail. It nails the feelings of love, and perfectly captures the life of being a teenager. The characters created by Green truly come to life in this film. Divergent star Shailene Woodley shines as Hazel, a young woman suffering from terminal thyroid cancer. Additionally, Ansel Elgort is incredibly charming as Augustus, a high school basketball star whose career ended short when cancer turned him into an amputee. The two of them are a perfect complementary match. Laura Dern also puts in a commendable performance as Hazelâs mom, a selfless, loving parent and companion. The filmâs soundtrack is sensational. Itâs appropriately fitting and delightful, featuring great work by artists such as Ed Sheeran, Birdy, and Ray LaMontagne. Every aspect of the movie comes together to produce a thoroughly poignant and relevant package.
The Fault in Our Stars is a film that speaks to our generation. It stares boldly into our fears of the eminent death that haunts us all, and makes no attempt to glamorize it. Even though itâs about a pair of teenagers, itâs not afraid to deal with mature content. Itâs actually all the more engrossing and troubling because these two characters are young. Theyâre already facing a pivotal time in their lives and are learning to experience the world on their own accord, and yet their journeys are plagued by the callous complications of cancer. Their age gives the film a stronger emotional impact, emphasizing the preciousness of life and the importance of living it to the fullest. The Fault in Our Stars is a smart and stimulating movie, and just like its star characters, it is wholly worthy of remembrance.
(This review was originally posted at 5mmg.com on 7.12.14.)
Kiruji (13 KP) rated X-Men: First Class (2011) in Movies
Jul 18, 2018
I'm not an X-Men fan. I know, it's strange, right? I mean, I'm a comic book fan in general. Iron Man's a dude. I dig the Hulk. I love all things Batman (except when Joel Schumacher tweaked the Batman's Batnipples). I geekgasmed all over my trousers in the lead up to THE DARK KNIGHT and actually watching it at an IMAX was like losing my virginity again. But the X-Men? Kinda leave me cold. Even though, on the face of it, it should be pretty awesome. Mutant humans with the ability to do just about anything you can imagine, fighting each other and various other bad things? Why the hell wouldn't I like that? But I could never get into it. The first X-Men movie, way back in 2000, left me feeling indifferent. It was OK, but nothing special. The second one was worse. The third one just plain awful. WOLVERINE: ORIGINS was quite fun, but then, a hard drinking, smoking, swearing brawler with friendly mutton-chops and blades in his hands was always going to be appealing to me.
And so, it was with a feeling of complete indifference that I flashed my Cineworld Unlimited card at a bored usher and got my ticket and a mixed slushie last week. I only went to see it because my buddy wanted to and, well, we'd missed the start of THE HANGOVER PART II.
So, into the darkened room early for a change. Managed to get prime seats. Mainly because the auditorium was pretty much empty. Something I didn't think was the most fortuitous portent to the movie we were about to watch. On the plus side however, as we were watching a comic book movie, we got the comic book trailer reel... First was THE GREEN LANTERN, which excited me a little (mainly because I have a man crush on Ryan Reynolds). Then came CAPTAIN AMERICA, which excited me a little more (mainly because it looks FREAKIN' AWESOME). Then we got RISE OF THE PLANET OF THE APES, which intrigued me (mainly because James Franco was doing a 'learned man' accent). Presumably because Cineworld were already scraping the comic book movie barrel, they then repeated the APES trailer, which killed the mood and left me feeling indifferent again.
But I digress. I think you get that I didn't really give a crap one way or the other about the movie I was about to watch. The opening scenes however, are set in a WWII concentration camp and I found my interest piqued. At first, I couldn't figure out whether it had been newly filmed or if they were recycling one of the flashbacks from one of the earlier movies. Then, Kevin Bacon. Suddenly, I was transfixed by the German pouring forth from his mouth which seemed authentic and I couldn't quite work out if he was lip-synching or not. That's somewhat besides the point though, as the scene itself was very tense and only marginally spoiled by the child actor when it was his turn to scream the longest NOOOOOOO!!! (sorry, NEEEEEEEEIN!!!) since Adolf Vader in Episode 3.
The film very quickly moved on in leaps and bounds, sucking me in and winning me over. Kevin Bacon seemed to enjoy hamming it up as the evil Sebastian Shaw. James McAvoy is an exceptionally talented chap and made for an excellent Charles Xavier - a cocky, beer-swilling, genius ladies man. Similarly, Michael Fassbender did a top notch job in playing Erik Lehnsherr, coming across as a Holocaust-surviving Bond, maybe even slightly cooler. Even Jason Flemyng was pretty good, although I don't think he actually spoke at all, which might have helped his case.
I loved the whole origins story, seeing how Xavier and Lehnsherr were good friends despite their obvious differences and started the School for the Gifted together was pretty cool. The only little blight on the movie (after the whole NEEEEEEEIN!!! incident) was that when it came time for Fassbender to don Magneto's helmet, the prop department had obviously measured his noggin wrong and it was clearly too tight. I say that because, every time he slapped it on his dome, his accent turned from gruff-hero-of-indeterminate-country-of-origin to... Well, to Oirish. The only reason I can think of is that the helmet was squeezing his bonce a bit too snugly. It didn't happen when Kevin Bacon was wearing it.
Helmet business aside, on the whole, I left feeling like I'd just seen a proper comic book movie. Full of fantastical, incredible things dancing around a plot that made sense and characters that I, on the whole, cared about at least a little. There was even a Wolverine cameo in it, which made me chuckle more than it should have. Far from being indifferent towards the X-Men now, I'm looking forward to seeing where the story goes next. I just hope Matthew Vaughn is directing again. He's turned out an X-Men film that is much, much better than mediocre and they'd be idiots to give it to anyone else.
And so, it was with a feeling of complete indifference that I flashed my Cineworld Unlimited card at a bored usher and got my ticket and a mixed slushie last week. I only went to see it because my buddy wanted to and, well, we'd missed the start of THE HANGOVER PART II.
So, into the darkened room early for a change. Managed to get prime seats. Mainly because the auditorium was pretty much empty. Something I didn't think was the most fortuitous portent to the movie we were about to watch. On the plus side however, as we were watching a comic book movie, we got the comic book trailer reel... First was THE GREEN LANTERN, which excited me a little (mainly because I have a man crush on Ryan Reynolds). Then came CAPTAIN AMERICA, which excited me a little more (mainly because it looks FREAKIN' AWESOME). Then we got RISE OF THE PLANET OF THE APES, which intrigued me (mainly because James Franco was doing a 'learned man' accent). Presumably because Cineworld were already scraping the comic book movie barrel, they then repeated the APES trailer, which killed the mood and left me feeling indifferent again.
But I digress. I think you get that I didn't really give a crap one way or the other about the movie I was about to watch. The opening scenes however, are set in a WWII concentration camp and I found my interest piqued. At first, I couldn't figure out whether it had been newly filmed or if they were recycling one of the flashbacks from one of the earlier movies. Then, Kevin Bacon. Suddenly, I was transfixed by the German pouring forth from his mouth which seemed authentic and I couldn't quite work out if he was lip-synching or not. That's somewhat besides the point though, as the scene itself was very tense and only marginally spoiled by the child actor when it was his turn to scream the longest NOOOOOOO!!! (sorry, NEEEEEEEEIN!!!) since Adolf Vader in Episode 3.
The film very quickly moved on in leaps and bounds, sucking me in and winning me over. Kevin Bacon seemed to enjoy hamming it up as the evil Sebastian Shaw. James McAvoy is an exceptionally talented chap and made for an excellent Charles Xavier - a cocky, beer-swilling, genius ladies man. Similarly, Michael Fassbender did a top notch job in playing Erik Lehnsherr, coming across as a Holocaust-surviving Bond, maybe even slightly cooler. Even Jason Flemyng was pretty good, although I don't think he actually spoke at all, which might have helped his case.
I loved the whole origins story, seeing how Xavier and Lehnsherr were good friends despite their obvious differences and started the School for the Gifted together was pretty cool. The only little blight on the movie (after the whole NEEEEEEEIN!!! incident) was that when it came time for Fassbender to don Magneto's helmet, the prop department had obviously measured his noggin wrong and it was clearly too tight. I say that because, every time he slapped it on his dome, his accent turned from gruff-hero-of-indeterminate-country-of-origin to... Well, to Oirish. The only reason I can think of is that the helmet was squeezing his bonce a bit too snugly. It didn't happen when Kevin Bacon was wearing it.
Helmet business aside, on the whole, I left feeling like I'd just seen a proper comic book movie. Full of fantastical, incredible things dancing around a plot that made sense and characters that I, on the whole, cared about at least a little. There was even a Wolverine cameo in it, which made me chuckle more than it should have. Far from being indifferent towards the X-Men now, I'm looking forward to seeing where the story goes next. I just hope Matthew Vaughn is directing again. He's turned out an X-Men film that is much, much better than mediocre and they'd be idiots to give it to anyone else.
Bob Mann (459 KP) rated Spencer (2021) in Movies
Nov 11, 2021
Diana hits rock bottom⌠as does the script.
Discordant strings sound as the royal party arrives at Sandringham for Christmas. âIs she here yetâ intones the Queen. âNo maâamâ her major domo replies. âThen sheâs lateâ. Cut to a soulful choral version of âPerfect Dayâ as Diana Princess of Wales (nĂŠe Spencer) arrives via a dramatic aerial shot. Hugs go to her sons William and Harry before she unhappily stalks through the corridors like a hunted animal.
This is the second movie in a row that Iâve introâd via a positive emotional response to a great trailer. In the last case â for âLast Night in Sohoâ â the movie more than lived up to my high expectations from the trailer. But here â oh dear! It comes to something where the very best thing about the film is the trailer.
For, unfortunately for me, this came across as pretentious, vaguely insulting and with a dreadful script.
Plot Summary:
Itâs Christmas 1991 at the Sandringham estate. Diana (Kristen Stewart) is the black sheep of the royal family, flouting tradition and always late for every formal event. She sees conspiracies at every turn, suspecting the household coordinator Major Gregory (Timothy Spall) of plotting against her. Her only allies that she can talk to are head chef Darren (Sean Harris) and her dresser Maggie (Sally Hawkins).
Mentally unstable, bulimic and self-harming, Diana must survive a tumultuous three days without destroying the Christmas spirit for her two sons and irreparably damaging her relationship with the wider royal family.
Certification:
US: R. UK: 12A.
Talent:
Starring: Kristen Stewart, Timothy Spall, Sally Hawkins, Jack Farthing, Sean Harris.
Directed by: Pablo LarraĂn.
Written by: Steven Knight.
âSpencerâ Review: Positives:
Kristen Stewart does a simply fabulous job of impersonating Diana. Sheâs clearly studied a lot of video of the lady in getting to mimic the way she looks, walks and dances. Although I didnât rate the film, the performance is a cut-above.
Itâs an ironic touch that in all of her driving scenes, Diana never wears a seat-belt.
Negatives:
Oh man, Steven Knightâs dialogue here I found to be simply atrocious. Head-in-the-hands bad. I decided about half way through this monstrosity that âThe Roomâ had had its day as a cult student classic, and that âSpencerâ should take over in that role.
These things evolve organically over time, but I came up with the following basic rules for a student showing:
Every time Kristen Stewart does a âsimpâ look to camera, down a shot;
When Darren utters the line âWhat are you going to do with wirecutters?â the audience yells as one âCUT WIRE!â **;
When Diana intones âBeauty is useless. Beauty is clothingâ** the audience should strip to their underwear;
Every time a member of the hunt shouts âPULL!â you throw a stuffed pheasant in the air. Otherwise you keep the stuffed pheasant next to you, and engage in studious conversation with it as the film progresses;
Whenever Anne Boleyn appears, shout âOFF WITH HER HEADâ;
When a character says to Diana âI love you. And yes, in that wayâ**, the audience must shout âAye ayeâ and every female audience member needs to passionately kiss another female audience member; and finallyâŚ
When Diana says âLeave Me. I want to masturbateâ**, the audience throws dildos at the screen.
** Iâd really like to pretend that I made these lines up. They might be paraphrased a bit, but honestly, thatâs the gist!
Oh yes. Itâs a sure-fire student classic of the future. You read it here first folks! I can see the filmmakers lauding me with praise for turning their movie into a post-release sleeper hit. âWHAT A CULTâ they shout at me. âWHAT A CULTâ!
The rest of the cast do a good enough job with what they have, but have the general vibe of being embarrassed to deliver the dialogue theyâve been given. Sean Harris â a fine actor â inexplicably spouts Shakespeare like Christopher Plummer in âStar Trek VIâ! And one can only assume that Timothy Spall was given direction to act as if he had a whole lemon stuck inside his mouth for the whole movie.
Iâve been a fan of Jonny Greenwoodâs music in other movies like âPhantom Threadâ. Iâve seen Mark Kermode describe this soundtrack as âfantasticâ. But, for me, the intrusive atonal strings and laid-back jazz vibe just didnât work for me at all.
Summary Thoughts on âSpencerâ
As you can probably tell, I hated this one. And the illustrious Mrs Movie Man 100% agrees with me in this assessment. The trailer promised a lot, but the movie delivered very little for me. It just all felt to me like an affront to the memory of Diana. Making a highly fictitious âfable based on a real life tragedyâ just feels wrong. This seems particularly the case when the Queen, Prince Charles and (particularly) William and Harry are alive to watch it. What must they think if and when they get to view this?
I was a big fan of Larrainâs 2017 biopic on Jackie Kennedy â âJackieâ â which really covered the very similar ground, of a lady in the focus of publicity struggling with mental illness. But at least that had the benefit of historical distance.
I seem to be swimming against the critical tide here, since the movie currently has an IMDB rating of 7.4/10. But frankly, for me, I thought the recent series of âThe Crownâ did this so much better.
This is the second movie in a row that Iâve introâd via a positive emotional response to a great trailer. In the last case â for âLast Night in Sohoâ â the movie more than lived up to my high expectations from the trailer. But here â oh dear! It comes to something where the very best thing about the film is the trailer.
For, unfortunately for me, this came across as pretentious, vaguely insulting and with a dreadful script.
Plot Summary:
Itâs Christmas 1991 at the Sandringham estate. Diana (Kristen Stewart) is the black sheep of the royal family, flouting tradition and always late for every formal event. She sees conspiracies at every turn, suspecting the household coordinator Major Gregory (Timothy Spall) of plotting against her. Her only allies that she can talk to are head chef Darren (Sean Harris) and her dresser Maggie (Sally Hawkins).
Mentally unstable, bulimic and self-harming, Diana must survive a tumultuous three days without destroying the Christmas spirit for her two sons and irreparably damaging her relationship with the wider royal family.
Certification:
US: R. UK: 12A.
Talent:
Starring: Kristen Stewart, Timothy Spall, Sally Hawkins, Jack Farthing, Sean Harris.
Directed by: Pablo LarraĂn.
Written by: Steven Knight.
âSpencerâ Review: Positives:
Kristen Stewart does a simply fabulous job of impersonating Diana. Sheâs clearly studied a lot of video of the lady in getting to mimic the way she looks, walks and dances. Although I didnât rate the film, the performance is a cut-above.
Itâs an ironic touch that in all of her driving scenes, Diana never wears a seat-belt.
Negatives:
Oh man, Steven Knightâs dialogue here I found to be simply atrocious. Head-in-the-hands bad. I decided about half way through this monstrosity that âThe Roomâ had had its day as a cult student classic, and that âSpencerâ should take over in that role.
These things evolve organically over time, but I came up with the following basic rules for a student showing:
Every time Kristen Stewart does a âsimpâ look to camera, down a shot;
When Darren utters the line âWhat are you going to do with wirecutters?â the audience yells as one âCUT WIRE!â **;
When Diana intones âBeauty is useless. Beauty is clothingâ** the audience should strip to their underwear;
Every time a member of the hunt shouts âPULL!â you throw a stuffed pheasant in the air. Otherwise you keep the stuffed pheasant next to you, and engage in studious conversation with it as the film progresses;
Whenever Anne Boleyn appears, shout âOFF WITH HER HEADâ;
When a character says to Diana âI love you. And yes, in that wayâ**, the audience must shout âAye ayeâ and every female audience member needs to passionately kiss another female audience member; and finallyâŚ
When Diana says âLeave Me. I want to masturbateâ**, the audience throws dildos at the screen.
** Iâd really like to pretend that I made these lines up. They might be paraphrased a bit, but honestly, thatâs the gist!
Oh yes. Itâs a sure-fire student classic of the future. You read it here first folks! I can see the filmmakers lauding me with praise for turning their movie into a post-release sleeper hit. âWHAT A CULTâ they shout at me. âWHAT A CULTâ!
The rest of the cast do a good enough job with what they have, but have the general vibe of being embarrassed to deliver the dialogue theyâve been given. Sean Harris â a fine actor â inexplicably spouts Shakespeare like Christopher Plummer in âStar Trek VIâ! And one can only assume that Timothy Spall was given direction to act as if he had a whole lemon stuck inside his mouth for the whole movie.
Iâve been a fan of Jonny Greenwoodâs music in other movies like âPhantom Threadâ. Iâve seen Mark Kermode describe this soundtrack as âfantasticâ. But, for me, the intrusive atonal strings and laid-back jazz vibe just didnât work for me at all.
Summary Thoughts on âSpencerâ
As you can probably tell, I hated this one. And the illustrious Mrs Movie Man 100% agrees with me in this assessment. The trailer promised a lot, but the movie delivered very little for me. It just all felt to me like an affront to the memory of Diana. Making a highly fictitious âfable based on a real life tragedyâ just feels wrong. This seems particularly the case when the Queen, Prince Charles and (particularly) William and Harry are alive to watch it. What must they think if and when they get to view this?
I was a big fan of Larrainâs 2017 biopic on Jackie Kennedy â âJackieâ â which really covered the very similar ground, of a lady in the focus of publicity struggling with mental illness. But at least that had the benefit of historical distance.
I seem to be swimming against the critical tide here, since the movie currently has an IMDB rating of 7.4/10. But frankly, for me, I thought the recent series of âThe Crownâ did this so much better.
BankofMarquis (1832 KP) rated Killers of the Flower moon (2023) in Movies
Oct 27, 2023
Best Thing Scorses (and DeNiro) have done in many, many years
The BankofMarquis would highly recommend you see the latest epic (and we do mean EPIC) film from famed Director Martin Scorsese in a movie theater. Not because of the beautiful Cinematography by Rodrigo Prieto, not because of the Epic-ness of the tale told and not because movie theaters could use your business (all of which are reasons to see it in the movie theaters). You need to see KILLERS OF THE FLOWER MOON in a movie theater so that you cannot be distracted by things around you (most, notably your PHONE). One needs to immerse themselves in the experience of this 3 1/2 movie to totally understand and appreciate it.
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) âdonât say much, listen more and let long pauses hang between wordsâ and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it worksâŚif you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920âs and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabitâŚand battle forâŚthis land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiroâs best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal âmethodâ acting that was the hallmark of his early (best) work. You can see that this player still has âgameâ and he gives the role of William âKingâ Hale some dimension. This is good for this character could have, in lesser hands, turned into a âmustache-twirlingâ villain tying the heroine to the railroad tracks but in DeNiroâs capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of âKingâ Hale and the love interest of LilyâŚor is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by ScorseseâŚbut against two solid characters like DeNiroâs âKingâ Hale and Gladstoneâs Molly, there just needed to be a bit more to DiCaprioâs character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leoâs brother) and a myriad of âthat guyâ and âinteresting looking roughnecksâ to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as itâs runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You wonât regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) âdonât say much, listen more and let long pauses hang between wordsâ and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it worksâŚif you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920âs and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabitâŚand battle forâŚthis land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiroâs best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal âmethodâ acting that was the hallmark of his early (best) work. You can see that this player still has âgameâ and he gives the role of William âKingâ Hale some dimension. This is good for this character could have, in lesser hands, turned into a âmustache-twirlingâ villain tying the heroine to the railroad tracks but in DeNiroâs capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of âKingâ Hale and the love interest of LilyâŚor is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by ScorseseâŚbut against two solid characters like DeNiroâs âKingâ Hale and Gladstoneâs Molly, there just needed to be a bit more to DiCaprioâs character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leoâs brother) and a myriad of âthat guyâ and âinteresting looking roughnecksâ to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as itâs runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You wonât regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
Lee (2222 KP) rated It Comes At Night (2017) in Movies
Jul 14, 2017
Tension packed, slow burner
I headed into âIt Comes At Nightâ in a similar way to when I saw âGet Outâ a few months back â having seen a lot of positive four or five star buzz about it on my news feeds, but without actually seeing the trailer. I skimmed a couple of reviews this time, just to get a rough idea of what I was in for, and one of the words which seemed to crop up on a number of them was âunsettlingâ. Well, that sold it for me! Get Out is my favourite movie of the year so far, and I felt that my enjoyment of seeing that had been greatly improved having not seen the trailer, and with no expectations. So, I went into âIt Comes At Nightâ hoping for a similar experience.
The opening scene sets the tone for whatâs to come. A sick old man listens to his daughter Sarah tell him she loves him. Sheâs wearing a protective gas mask, as are her husband and son. Husband Paul and son Travis then take grandpa out of the cabin theyâre in, into the woods where they proceed to wrap him up in a sheet, shoot him in the head, roll him into a ditch and set fire to him. It becomes apparent that weâre in a post apocalyptic world where some kind of plague has taken hold, and Grandpa had unfortunately become infected. Weâre not shown any TV news footage, we donât hear any radio broadcast of any kind and there arenât any zombies or infected people wandering around. Thereâs just this small family, out in the middle of nowhere and with no idea what state the rest of the world is currently in or how bad things are. They keep their cabin boarded up, with only one locked door for entry. They lead a lonely, basic existence, taking no chances with whatever is going on out in the rest of the world.
And then one night theyâre awoken by somebody breaking in downstairs. A man who claims he thought the place was empty. He claims to be only out scavenging for water for his family. His name is Will and he says that heâs left his wife and young son behind some 50 miles away and is only interested in providing for them. Paul and his family donât know whether to believe him and this feeling of uncertainty, paranoia and tension is something which takes hold and continues throughout the entire movie. Not knowing if Will is infected or not, they tie him to a tree overnight to see if infection sets in. When it doesnât, they come to an understanding and agree to go and get Wills family and bring them back to the safety of the cabin. The family seem to integrate well, falling in line with Pauls strict routine of eating, washing and going to the toilet, and all seems to be going well for a while.
Sadly, I think the expectation of an experience similar to âGet Outâ affected my overall enjoyment of the movie. Sure I was tense and on edge for pretty much the whole movie, but I guess I was expecting it all to build up to something much more. It did reach a pretty intense finale of sorts, but then it just seemed to fizzle out until the credits rolled and a sense of overall disappointment set in. I donât think I was the only one either. As I stood to leave the cinema, the guy across the aisle from me, along with a couple of others seated nearby, all kind of looked at each other in disbelief and with a âWTF?!â expression. It was definitely a good movie, which deserves to be seen, but it just didnât leave that much of a lasting impression on me.
The opening scene sets the tone for whatâs to come. A sick old man listens to his daughter Sarah tell him she loves him. Sheâs wearing a protective gas mask, as are her husband and son. Husband Paul and son Travis then take grandpa out of the cabin theyâre in, into the woods where they proceed to wrap him up in a sheet, shoot him in the head, roll him into a ditch and set fire to him. It becomes apparent that weâre in a post apocalyptic world where some kind of plague has taken hold, and Grandpa had unfortunately become infected. Weâre not shown any TV news footage, we donât hear any radio broadcast of any kind and there arenât any zombies or infected people wandering around. Thereâs just this small family, out in the middle of nowhere and with no idea what state the rest of the world is currently in or how bad things are. They keep their cabin boarded up, with only one locked door for entry. They lead a lonely, basic existence, taking no chances with whatever is going on out in the rest of the world.
And then one night theyâre awoken by somebody breaking in downstairs. A man who claims he thought the place was empty. He claims to be only out scavenging for water for his family. His name is Will and he says that heâs left his wife and young son behind some 50 miles away and is only interested in providing for them. Paul and his family donât know whether to believe him and this feeling of uncertainty, paranoia and tension is something which takes hold and continues throughout the entire movie. Not knowing if Will is infected or not, they tie him to a tree overnight to see if infection sets in. When it doesnât, they come to an understanding and agree to go and get Wills family and bring them back to the safety of the cabin. The family seem to integrate well, falling in line with Pauls strict routine of eating, washing and going to the toilet, and all seems to be going well for a while.
Sadly, I think the expectation of an experience similar to âGet Outâ affected my overall enjoyment of the movie. Sure I was tense and on edge for pretty much the whole movie, but I guess I was expecting it all to build up to something much more. It did reach a pretty intense finale of sorts, but then it just seemed to fizzle out until the credits rolled and a sense of overall disappointment set in. I donât think I was the only one either. As I stood to leave the cinema, the guy across the aisle from me, along with a couple of others seated nearby, all kind of looked at each other in disbelief and with a âWTF?!â expression. It was definitely a good movie, which deserves to be seen, but it just didnât leave that much of a lasting impression on me.
Lee (2222 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
May 17, 2019 (Updated May 17, 2019)
More of the same, and that's perfectly ok with me!
The original John Wick movie in 2014 was one hell of a pleasant surprise. Keanu Reeves exploded onto the screen as the retired contract killer, sporting sharp suits and expertly taking out the bad guys who stole his prized car, and killed his dog. Beautifully choreographed, intensely satisfying action - just pure escapism. John Wick 2 landed in 2017 and expanded on some of the mythology introduced in the first movie, delving into the wider world of an assassin community which seemingly outnumbers average citizens! But John Wick broke the rules, losing his cool and killing a member of the High Table on the grounds of the Continental Hotel, a place designated to be safe ground for those in the assassin business. His actions led to him being deemed "excommunicado" by the High Table, with all privileges removed and an open contract of $14 million placed on his head. Wick had just an hour head start granted to him by old friend Winston, before becoming fair game for anyone and everyone. And that is where the second movie left us dangling...
Chapter 3 picks things up pretty much right from where chapter 2 ended. It's around 5:10pm, and a wounded John Wick is making his way through New York with his latest doggy friend alongside him. Excommunicado kicks in at 6pm, and he is clocked by various assassins as he moves through the streets, all preparing themselves for getting their shot at the $14 million. He takes care of the important stuff - making sure his dog is in safe hands and that his wounded shoulder is patched up - and every so often we cut to the administration room, where communications are sent out to all the assassins, paperwork gets stamped and a time check is announced. 20 minutes until excommunicado, 10 minutes, 1 minute, 5 seconds. It's an intense build up and you have no idea what's going to happen at 6pm, but you cannot wait to find out!
When 6pm arrives, it's not quite the all out war you're expecting. Instead, we get a bunch of nicely choreographed fights involving small groups of chancers, all keen to try their hand at taking out the legendary John Wick. We get book-fu, we get horse-fu, and we get a fight in a room full of knives and swords. Which is great, unless you're squeamish about anything involving sharp objects and eyeballs (that would be me then).
As much as I'd love to watch two solid hours of John Wick just kicking ass, there does need to be the odd break here and there, and there's a lengthy period where the brakes are slammed on somewhat. We get bogged down in more mythology, and while John tries to arrange safe passage to Casablanca in order to bargain for his life, an adjudicator arrives in New York to question those who seemingly broke the rules to help John in the last movie and serve suitable punishment on them.
When John hooks up with old friend Sofia (Halle Berry), things move up a gear once more. Sofia can more than hold her own in a fight and it's an impressive, albeit far too brief performance from Halle Berry. But it's her two dogs who manage to steal the show during a fight between John, Sofia and another bunch of goons. Repeatedly leaping out of nowhere and viciously taking guys down with a set of pretty impressive moves of their own. Going for the neck, pulling on arms, but mostly going for the crotch.
The final act resorts to simply providing a relentless onslaught of opponents for John to take out, and that's perfectly fine by me. Pausing for breath after each round (for our benefit as much as his!), before moving to the next. While not quite as impressive as the original movie, this was on the same level as chapter 2 for me. And I certainly haven't tired of seeing John Wick do his thing just yet.
Chapter 3 picks things up pretty much right from where chapter 2 ended. It's around 5:10pm, and a wounded John Wick is making his way through New York with his latest doggy friend alongside him. Excommunicado kicks in at 6pm, and he is clocked by various assassins as he moves through the streets, all preparing themselves for getting their shot at the $14 million. He takes care of the important stuff - making sure his dog is in safe hands and that his wounded shoulder is patched up - and every so often we cut to the administration room, where communications are sent out to all the assassins, paperwork gets stamped and a time check is announced. 20 minutes until excommunicado, 10 minutes, 1 minute, 5 seconds. It's an intense build up and you have no idea what's going to happen at 6pm, but you cannot wait to find out!
When 6pm arrives, it's not quite the all out war you're expecting. Instead, we get a bunch of nicely choreographed fights involving small groups of chancers, all keen to try their hand at taking out the legendary John Wick. We get book-fu, we get horse-fu, and we get a fight in a room full of knives and swords. Which is great, unless you're squeamish about anything involving sharp objects and eyeballs (that would be me then).
As much as I'd love to watch two solid hours of John Wick just kicking ass, there does need to be the odd break here and there, and there's a lengthy period where the brakes are slammed on somewhat. We get bogged down in more mythology, and while John tries to arrange safe passage to Casablanca in order to bargain for his life, an adjudicator arrives in New York to question those who seemingly broke the rules to help John in the last movie and serve suitable punishment on them.
When John hooks up with old friend Sofia (Halle Berry), things move up a gear once more. Sofia can more than hold her own in a fight and it's an impressive, albeit far too brief performance from Halle Berry. But it's her two dogs who manage to steal the show during a fight between John, Sofia and another bunch of goons. Repeatedly leaping out of nowhere and viciously taking guys down with a set of pretty impressive moves of their own. Going for the neck, pulling on arms, but mostly going for the crotch.
The final act resorts to simply providing a relentless onslaught of opponents for John to take out, and that's perfectly fine by me. Pausing for breath after each round (for our benefit as much as his!), before moving to the next. While not quite as impressive as the original movie, this was on the same level as chapter 2 for me. And I certainly haven't tired of seeing John Wick do his thing just yet.
Gareth von Kallenbach (980 KP) rated The Incredibles 2 (2018) in Movies
Jul 8, 2019
Itâs hard to believe that the first Incredibles by Disney Pixar debuted all the way back in 2004, and for those of you counting thatâs over 14 years ago. Featuring the vibrant animation and incredible voice acting that only Disney Pixar can offer, we find ourselves once again sharing a grand adventure with this lovable superhero family. This will be a spoiler free review so feel free to read on and prepare for a journey of epic proportions.
Not much has changed since we last left off with the original Incredibles. Superheroes are still outlawed, seemingly because the damage they cause when fighting crime is far more expensive than the actual crime itself. This is proven in the very first scene of the movie, where our crime fighting family attempts to stop a bank robbery and they end up causing more havoc and mayhem than would have occurred had they not been involved at all. It seems there isnât a place anywhere left in the world for superheroesâŚor is there?
The family is then offered an opportunity to prove how important superheroes are to the world and the impact they can have on the good of humanity. This mission only needs the talents of Elastigirl (Holly Hunter) however, so Elastigirl goes off to fight crime while Mr. Incredible (Craig T. Nelson) stays back at the homestead to take care of the three kids.
As with all Pixar movies, Incredibles 2 is far more than simply a cute movie about a family of crime fighting heroes. It is about how Mr. Incredible must learn to be a hero by taking care of his family instead of fighting crime. It shows how even without a secret identity and super suit that a parent helping their kids with ânew mathâ or reading them a bedtime story can makes them the greatest hero of all. I loved that the underlying message to this movie was that being there for your family is as equally as important as saving the town from the next evil menace.
In a similar reversal of roles, Elastigirl takes on the role of the family provider. While she excels with her superhero duties, she struggles with not always being there for her kids. For Elastigirl itâs about letting go and trusting that her husband and family can learn to manage on their own when she canât be there. We also learn that sometimes being a hero means making sacrifices for the good of the family as a whole.
As youâd expect from any film with Pixar behind it, the animation is beautiful and colorful. I would warn those that might be sensitive to strobe lights to be a bit cautious during a few scenes. There werenât any warnings for those who might be photosensitive, and the scenes donât last long, but I feel itâs still important to note. As already mentioned, the voice acting is also excellent. Sarah Vowell does a great job as Violet and Huck Milner is adorable as the voice of Dash. As you might have already guessed, Samuel L. Jackson does an outstanding job at reprising his role of Frozone. Unfortunately, Frozone isnât in the movie too much but he definitely steals any scene he is in. The story was fun, entertaining and at times downright hilarious. Even though baby Jack-Jack hasnât been a big part of this review, he is a huge part of the movie. Jack-Jackâs emerging powers mean an even greater challenge for everyone and some of the most entertaining scenes revolve around Jack-Jack and his ever-growing list of powers.
Incredibles 2 is a heartwarming film that shows us all that heroes come in different shapes and sizes, and how important it is for everyone to come together as a family in order to succeed at life (and occasionally take down a bad guy). Itâs a worthy successor to the original in every way and will certainly appeal to both young and old alike. So, gather up your own superhero family and run/fly/warp your way to see Incredibles 2 when it releases in theatres on June 15th!
Not much has changed since we last left off with the original Incredibles. Superheroes are still outlawed, seemingly because the damage they cause when fighting crime is far more expensive than the actual crime itself. This is proven in the very first scene of the movie, where our crime fighting family attempts to stop a bank robbery and they end up causing more havoc and mayhem than would have occurred had they not been involved at all. It seems there isnât a place anywhere left in the world for superheroesâŚor is there?
The family is then offered an opportunity to prove how important superheroes are to the world and the impact they can have on the good of humanity. This mission only needs the talents of Elastigirl (Holly Hunter) however, so Elastigirl goes off to fight crime while Mr. Incredible (Craig T. Nelson) stays back at the homestead to take care of the three kids.
As with all Pixar movies, Incredibles 2 is far more than simply a cute movie about a family of crime fighting heroes. It is about how Mr. Incredible must learn to be a hero by taking care of his family instead of fighting crime. It shows how even without a secret identity and super suit that a parent helping their kids with ânew mathâ or reading them a bedtime story can makes them the greatest hero of all. I loved that the underlying message to this movie was that being there for your family is as equally as important as saving the town from the next evil menace.
In a similar reversal of roles, Elastigirl takes on the role of the family provider. While she excels with her superhero duties, she struggles with not always being there for her kids. For Elastigirl itâs about letting go and trusting that her husband and family can learn to manage on their own when she canât be there. We also learn that sometimes being a hero means making sacrifices for the good of the family as a whole.
As youâd expect from any film with Pixar behind it, the animation is beautiful and colorful. I would warn those that might be sensitive to strobe lights to be a bit cautious during a few scenes. There werenât any warnings for those who might be photosensitive, and the scenes donât last long, but I feel itâs still important to note. As already mentioned, the voice acting is also excellent. Sarah Vowell does a great job as Violet and Huck Milner is adorable as the voice of Dash. As you might have already guessed, Samuel L. Jackson does an outstanding job at reprising his role of Frozone. Unfortunately, Frozone isnât in the movie too much but he definitely steals any scene he is in. The story was fun, entertaining and at times downright hilarious. Even though baby Jack-Jack hasnât been a big part of this review, he is a huge part of the movie. Jack-Jackâs emerging powers mean an even greater challenge for everyone and some of the most entertaining scenes revolve around Jack-Jack and his ever-growing list of powers.
Incredibles 2 is a heartwarming film that shows us all that heroes come in different shapes and sizes, and how important it is for everyone to come together as a family in order to succeed at life (and occasionally take down a bad guy). Itâs a worthy successor to the original in every way and will certainly appeal to both young and old alike. So, gather up your own superhero family and run/fly/warp your way to see Incredibles 2 when it releases in theatres on June 15th!
Gareth von Kallenbach (980 KP) rated Muppets Most Wanted (2014) in Movies
Aug 6, 2019
It was nostalgia and curiousity that made the Muppets successful return to the big screen in 2011 such a hit. Parents wanted to introduce their kids to the dysfunctional entertainers of their childhood, and the adults who grew up on the Muppets wanted to see if the crazy bunch could still make them laugh. With the help of celebrity cameos and catchy parodies of popular songs, I remember thoroughly enjoying the Muppetsâ comeback.
Three years in real time means just a few seconds in Muppet-land. Muppets Most Wanted begins where the last movie ended. Riding high on their successful return to stage, the Muppets are approached by a promoter named Dominic Badguy. played by Ricky Gervais, who convinces the Muppets to take their show on a worldwide tour. Despite his misgivings, Kermit agrees and soon the gang is traveling across the Atlantic.
Of course, no surprise Badguy has ulterior motives, which involve switching Kermit with an imprisoned doppelganger named Constantine, the wordâs most dangerous frog. He and Kermit are identical, except for a mole Constantine must hide to trick Kermitâs friends into believing heâs Kermit, because his awkward American accent isnât a dead giveaway at all. With awful accents themselves, Ty Burrell and Tina Fey play a French detective and a Russian prison warden who provide some of the human comic relief.
Riddled with funny moments and entertaining musical numbers, this sequel meets the expectations of most sequels. Even the Muppets know sequels are rarely as good as the original â they even sing about it. The movie has the silly capers and signature acts the Muppets know how to deliver, which will keep the kids entertained. The curiousity factor may not motivate, and nostalgic feelings may have waned a bit, but like its predecessor, the revolving door of celebrity cameos is what will keep the adults interested.
3 out of 5
Review by Barnetty Kushner
Muppets Most Wanted is the eighth big screen Muppets adventure, which carries the warmth and charm that we come to find with the Jim Henson created lovable characters. What sets this film apart from the 2011 reboot âMuppet Movie,â is that the characters are the forefront of the entire story and their human counterparts serve as secondary.
This time they are no longer worried about reuniting or trying to reintroduce themselves, the Muppets are on a world tour with their new Tour Manager, Dominic Badguy (Ricky Gervais). Dominic arranges a European tour for the Muppets with the ulterior motive of trying to replace Kermit with a look-a-like frog named Constantine, a wanted criminal who escapes prison and uses the Muppet tour as a cover to stage a multi-national heist ultimately ending with stealing the crown jewels. While Constantine attempts to play the role of âhead muppet â, poor Kermit gets whisked away to the gulag, a maximum security prison located in Siberia, Russia where he has to contend with the warden, Nadya (Tina Fey). Due to Kermitâs good hearted nature and excellent stage show management skills, the prisoners and Nadya quickly realize that Kermit is not Constantine and forces him to direct the prisonâs annual âGulag Review.â
Even though the storyline is a bit drab, the production numbers are epic-from the âeverybody knows a sequel is never quite as goodâ opener, the Miss Piggy/Celion Dion duet number, to the Siberian prisoners 1980âs Chorus Line show stopping dance sequence. In true Muppets tradition, this movie is peppered with dozens of amusing celebrity cameos along with a spirited stew of wordplay, slapstick comedic jokes. You canât help but feel a sense of nostalgia back the days from your childhood of waking up Saturday mornings and watching âThe Muppet Show.â Kids will enjoy the movie, adults will laugh out loud at all the bad puns, and hopefully in the end they will have succeeded in connecting the new generation to the charm of the Muppets, in a world more that is more familiar with CGI and 3-D animation.
Three years in real time means just a few seconds in Muppet-land. Muppets Most Wanted begins where the last movie ended. Riding high on their successful return to stage, the Muppets are approached by a promoter named Dominic Badguy. played by Ricky Gervais, who convinces the Muppets to take their show on a worldwide tour. Despite his misgivings, Kermit agrees and soon the gang is traveling across the Atlantic.
Of course, no surprise Badguy has ulterior motives, which involve switching Kermit with an imprisoned doppelganger named Constantine, the wordâs most dangerous frog. He and Kermit are identical, except for a mole Constantine must hide to trick Kermitâs friends into believing heâs Kermit, because his awkward American accent isnât a dead giveaway at all. With awful accents themselves, Ty Burrell and Tina Fey play a French detective and a Russian prison warden who provide some of the human comic relief.
Riddled with funny moments and entertaining musical numbers, this sequel meets the expectations of most sequels. Even the Muppets know sequels are rarely as good as the original â they even sing about it. The movie has the silly capers and signature acts the Muppets know how to deliver, which will keep the kids entertained. The curiousity factor may not motivate, and nostalgic feelings may have waned a bit, but like its predecessor, the revolving door of celebrity cameos is what will keep the adults interested.
3 out of 5
Review by Barnetty Kushner
Muppets Most Wanted is the eighth big screen Muppets adventure, which carries the warmth and charm that we come to find with the Jim Henson created lovable characters. What sets this film apart from the 2011 reboot âMuppet Movie,â is that the characters are the forefront of the entire story and their human counterparts serve as secondary.
This time they are no longer worried about reuniting or trying to reintroduce themselves, the Muppets are on a world tour with their new Tour Manager, Dominic Badguy (Ricky Gervais). Dominic arranges a European tour for the Muppets with the ulterior motive of trying to replace Kermit with a look-a-like frog named Constantine, a wanted criminal who escapes prison and uses the Muppet tour as a cover to stage a multi-national heist ultimately ending with stealing the crown jewels. While Constantine attempts to play the role of âhead muppet â, poor Kermit gets whisked away to the gulag, a maximum security prison located in Siberia, Russia where he has to contend with the warden, Nadya (Tina Fey). Due to Kermitâs good hearted nature and excellent stage show management skills, the prisoners and Nadya quickly realize that Kermit is not Constantine and forces him to direct the prisonâs annual âGulag Review.â
Even though the storyline is a bit drab, the production numbers are epic-from the âeverybody knows a sequel is never quite as goodâ opener, the Miss Piggy/Celion Dion duet number, to the Siberian prisoners 1980âs Chorus Line show stopping dance sequence. In true Muppets tradition, this movie is peppered with dozens of amusing celebrity cameos along with a spirited stew of wordplay, slapstick comedic jokes. You canât help but feel a sense of nostalgia back the days from your childhood of waking up Saturday mornings and watching âThe Muppet Show.â Kids will enjoy the movie, adults will laugh out loud at all the bad puns, and hopefully in the end they will have succeeded in connecting the new generation to the charm of the Muppets, in a world more that is more familiar with CGI and 3-D animation.