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Emma @ The Movies (1786 KP) rated Lost At Christmas (2020) in Movies
Nov 23, 2020
'Tis the season for Christmas cliche and Lost At Christmas certainly fits the bill... but stay tuned for a "pleasant" surprise?
When life changes very suddenly for two strangers they need to make their way back to their normal lives, but it's Christmas, and the simple journey home becomes something of an epic adventure across the Scottish Highlands.
I have realised that many years ago I found myself in a very similar situation to the one in this film, though thankfully I wasn't the one travelling anywhere. I have never really considered how difficult it might be to do this sort of journey... I'm fairly certain that I wouldn't do what this duo do... but you never know! So quite how believable this scenario is I can't say, but it does allow for the expected drama.
There's a great Doctor Who contingent in the cast and I loved Sylvester McCoy and Frazer Hines as Ernie and Frank. They're a fantastic little double act and McCoy definitely helped areas of the film that struggled. Jen, played by Natalie Clark, was quite a likeable character and I enjoyed the performance, but it was difficult to get anything more out of it once she was paired with our leading man. Rob, played by Kenny Boyle, was the chalk to Jen's cheese, he's gruff and mean but doesn't really have the redeemable qualities these characters have in reserve that make you root for them at the end of the film, coupled with the bland performance I found myself hoping that another stray singleton was going to appear and sweep Jen off her feet.
In my notes I tried to do some maths... maths in a film review?! I know! It baffled me too. There felt like discrepancies in Rob's timeline with his girlfriend when you compare their initial interaction and his reveal to Jen later on. It may just be me overthinking it, but when it came up my reaction was confusion, these things are easily foiled by vagueness but... *shrug*.
There's some beautiful scenery involved throughout the film but when you mix it with the obligatory Christmas film shenanigans you're not getting to enjoy a lot of it. Even its use in the opening titles wasn't great. The main backdrop of the pub is fun, though there are some issues with the use of space. Some shots make it seem expansive and some claustrophobic, and there's one shot in particular that made me audibly groan. Nearly everyone is in it, adults talking, teens (about four foot away from the rest of the cast) kissing... no... no kissing teens are putting themselves in that position, especially not these two. There would have been plenty of opportunity to have them in the back of this shot had the camera had a different angle.
The thing I think we should acknowledge about this film though is that it has some balls. Whenever I discuss romcoms and Christmas movies there are always a handful of scenarios that make me say "wouldn't it be great if these films did [insert realistic scenario here]?" Lost At Christmas went for it! Yeah... so it turns out... I want the cliche! Real-life sucks and actually, I'd rather bitch about things being unrealistic than see something that is much more likely to happen. Well done for doing it, but to quote my notes... "F*** THIS FILM!"
Lost At Christmas has so much potential in it. Let's take a look at my scale... You have bad Christmas films, very few fall into this category because they usually drop down so far that they get pushed back up the scale to "so bad they're good". Right next to "so bad they're good" is a general level for Hallmark-esque schmaltz (NOTE: this isn't to say that Hallmark movies won't break out into other areas, this is just a general descriptor for films that are pretty consistent in their watchability and themes... AKA: quality Sunday holiday fodder.) Then of course we have the Christmas classic level, that holds things like Home Alone, Klaus, Love Actually and Die Hard. Lost At Christmas is somewhere in the snowdrift between bad and schmaltz. With a bit more glitz and a few changes I could easily see this film being a hop, skip and a jump over the other side of Hallmark schmaltz as something you don't just watch because it started on the TV and you can't change the channel because you're holding down wrapping paper with one hand and have a spiral of sellotape in the other.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/11/lost-at-christmas-movie-review.html
When life changes very suddenly for two strangers they need to make their way back to their normal lives, but it's Christmas, and the simple journey home becomes something of an epic adventure across the Scottish Highlands.
I have realised that many years ago I found myself in a very similar situation to the one in this film, though thankfully I wasn't the one travelling anywhere. I have never really considered how difficult it might be to do this sort of journey... I'm fairly certain that I wouldn't do what this duo do... but you never know! So quite how believable this scenario is I can't say, but it does allow for the expected drama.
There's a great Doctor Who contingent in the cast and I loved Sylvester McCoy and Frazer Hines as Ernie and Frank. They're a fantastic little double act and McCoy definitely helped areas of the film that struggled. Jen, played by Natalie Clark, was quite a likeable character and I enjoyed the performance, but it was difficult to get anything more out of it once she was paired with our leading man. Rob, played by Kenny Boyle, was the chalk to Jen's cheese, he's gruff and mean but doesn't really have the redeemable qualities these characters have in reserve that make you root for them at the end of the film, coupled with the bland performance I found myself hoping that another stray singleton was going to appear and sweep Jen off her feet.
In my notes I tried to do some maths... maths in a film review?! I know! It baffled me too. There felt like discrepancies in Rob's timeline with his girlfriend when you compare their initial interaction and his reveal to Jen later on. It may just be me overthinking it, but when it came up my reaction was confusion, these things are easily foiled by vagueness but... *shrug*.
There's some beautiful scenery involved throughout the film but when you mix it with the obligatory Christmas film shenanigans you're not getting to enjoy a lot of it. Even its use in the opening titles wasn't great. The main backdrop of the pub is fun, though there are some issues with the use of space. Some shots make it seem expansive and some claustrophobic, and there's one shot in particular that made me audibly groan. Nearly everyone is in it, adults talking, teens (about four foot away from the rest of the cast) kissing... no... no kissing teens are putting themselves in that position, especially not these two. There would have been plenty of opportunity to have them in the back of this shot had the camera had a different angle.
The thing I think we should acknowledge about this film though is that it has some balls. Whenever I discuss romcoms and Christmas movies there are always a handful of scenarios that make me say "wouldn't it be great if these films did [insert realistic scenario here]?" Lost At Christmas went for it! Yeah... so it turns out... I want the cliche! Real-life sucks and actually, I'd rather bitch about things being unrealistic than see something that is much more likely to happen. Well done for doing it, but to quote my notes... "F*** THIS FILM!"
Lost At Christmas has so much potential in it. Let's take a look at my scale... You have bad Christmas films, very few fall into this category because they usually drop down so far that they get pushed back up the scale to "so bad they're good". Right next to "so bad they're good" is a general level for Hallmark-esque schmaltz (NOTE: this isn't to say that Hallmark movies won't break out into other areas, this is just a general descriptor for films that are pretty consistent in their watchability and themes... AKA: quality Sunday holiday fodder.) Then of course we have the Christmas classic level, that holds things like Home Alone, Klaus, Love Actually and Die Hard. Lost At Christmas is somewhere in the snowdrift between bad and schmaltz. With a bit more glitz and a few changes I could easily see this film being a hop, skip and a jump over the other side of Hallmark schmaltz as something you don't just watch because it started on the TV and you can't change the channel because you're holding down wrapping paper with one hand and have a spiral of sellotape in the other.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/11/lost-at-christmas-movie-review.html
Gareth von Kallenbach (980 KP) rated Moonfall (2022) in Movies
Feb 3, 2022
The late ’90s and early 2000s was filled with epic, over-the-top disaster movies focusing on all methods of world-ending cataclysmic events. Alien invasions as seen in Independence Day, set on destroying all humans and snatching our planet’s remaining resources, global warming resulting in floods and freezing temperatures, even threats of asteroids crashing into the earth. While many of these movies were ridiculous and epic at times, they all focused on a singular threat facing humankind and a group of ordinary (yet somehow extraordinary) people to save the planet and ourselves. Moonfall attempts to take another stab at the formula that made these movies famous (even infamous) resulting in some mixed and head-scratching results.
Moonfall, directed by Roland Emmerich, stars Halle Berry and Patrick Wilson as a pair of NASA astronauts that are attacked by a strange mechanical swarm while performing a routine satellite repair mission from the space shuttle Endeavor in the mid-1990s. The attack resulted in the death of one of the crew members and severely damaged the shuttle. Brian Harper (Wilson) and Jo Fowler (Berry) successfully return the shuttle to earth only to see Harper take the fall for the death of his crewman and the fall guy for a coverup to prevent the citizens of earth from truly understanding what they encountered.
Fast forward to current day and a “crazy” conspiracy theorist K.C Houseman, believing the moon to be a megastructure built by aliens, discovers that the moon’s orbit is rapidly eroding. He attempts to reach out to NASA and after several unsuccessful attempts releases his findings via social media. The top minds at NASA confirm what has been identified and estimate that they have only three weeks to execute a plan to prevent the moon from crashing into the earth destroying everything and everyone. The race for the survival of the planet is quickly on which will focus on not only the NASA “team”, but each of their family members.
Let me get this out of the way first, I personally loved many of Roland Emmerich’s wildly outlandish films. I thought Independence Day was fantastic, and even though many found The Day After Tomorrow a bit to preachy and ridiculous, I still found it entertaining for what it was. So, I was excited going into Moonfall. I was ready for a fun movie that I felt would be a mindless, fun adventure which was something I had really missed in many of the movies that had come out over the past year or two. Unfortunately, my aspirations (and even the low bar I had set my expectations for) would be quickly dashed.
Moonfall is a movie that struggles throughout to find an identity. I found myself instantly comparing several of Emmerich’s films during its roughly two-hour run time. At times its reminiscent of Independence Day, with its alien destruction of earth storyline, and then quickly jumps to a disaster film about the moon crashing into the earth. It’s as though Emmerich took pages of several of his previous films and cobbled them together into some sort of Frankenstein’s monster. There are so many plots and subplots going on that you never truly know what the main threat is. It touches on everything from the birth of humanity to the overly aggressive military, to the dumbing down of NASA all at the same time. With the exception of our heroes (and of course their entire families, because why not), everyone else is just resigned to the fact that nothing can be done. Riots of course breakout, the military is quick to decide to nuke the moon is somehow going to save the planet, and no level of crazy plan is off the table.
I’m happy to forgive an outrageous plot if the actors are able to pull it off with some semblance of believability. I know none of the actions have any real-world chance of success, and I can forgive plot holes for the sake of entertainment. Unfortunately, the acting is where Moonfall really lets the audience down. Each character is portrayed in a completely over-the-top fashion, it reminded me of watching a movie that is intentionally attempting to spoof another movie. The emotions are not believable, and the lines being delivered are literally derived from popular lines of other movies. Bonus points if you can identify which movie they are from as the film progresses. The saddest part is, this movie is trying to take itself seriously, it’s not intentionally being campy, for the sake of being campy. I think the character portrayals could have been forgiven if that was the case, but it’s clearly not. It’s actually a distraction when the story of a film is already struggling to deliver.
The movie effects go from truly spectacular, to overly CGI-infused. Ironically the space shots, which you think would be the hardest to pull off are some of its best, yet the vehicle driving scenes through the snow-covered townscape are some of the worst. It’s almost as though they spent so much of their budget on the space scenes that they had no money for the earth shots, which would be fine if they didn’t literally look so bad. It’s jarring going from one area to another and makes for a very inconsistent experience the entire time.
I believe one of the biggest tragedies of the film however is the absolutely blatant product placement. Yes, I understand that product placement has sadly been a staple in the film industry since the dawn of time. Yes, I understand that when someone is using a MacBook on-screen or riding a Peloton, it’s there for a reason. Moonfall however takes this to a Hallmark movie level. If you watch a Hallmark movie sponsored by Folgers for example, there will be clear shots of the Folgers coffee on the counter, with the cast explaining how much they love Folgers’s coffee, Moonfall utilizes this very trope. Kaspersky Anti-Virus is plastered on everything, even the Space Shuttle is protected with Kaspersky Anti-virus (which some might argue has other implications, but I won’t go there), and while avoiding looters driving through the snow-packed roads, do we really need the character to explain the need for the off-road settings on their Lexus? Talking about it is one thing, but do we really need to see the dial up-close and personal? It quickly takes you from the scene to a Lexus Christmas commercial and back again.
Sadly, Moonfall is a very disappointing film. If it were released in 1998 maybe it would be a super hit and I’d feel differently about it, but the industry has moved on since then. I had gone in knowing the film wouldn’t be realistic, but I was hoping it would at least be a nice escape from what is going on in the world today. As I have stated before, I’m a huge fan of Emmerich’s films, and while Moonfall may not be his absolute worst, it is one that will quickly be forgotten. I don’t even know if it’s one I’d revisit if it premiered on HBO or Showtime. As excited as I was, I just wouldn’t be able to recommend it.
Moonfall, directed by Roland Emmerich, stars Halle Berry and Patrick Wilson as a pair of NASA astronauts that are attacked by a strange mechanical swarm while performing a routine satellite repair mission from the space shuttle Endeavor in the mid-1990s. The attack resulted in the death of one of the crew members and severely damaged the shuttle. Brian Harper (Wilson) and Jo Fowler (Berry) successfully return the shuttle to earth only to see Harper take the fall for the death of his crewman and the fall guy for a coverup to prevent the citizens of earth from truly understanding what they encountered.
Fast forward to current day and a “crazy” conspiracy theorist K.C Houseman, believing the moon to be a megastructure built by aliens, discovers that the moon’s orbit is rapidly eroding. He attempts to reach out to NASA and after several unsuccessful attempts releases his findings via social media. The top minds at NASA confirm what has been identified and estimate that they have only three weeks to execute a plan to prevent the moon from crashing into the earth destroying everything and everyone. The race for the survival of the planet is quickly on which will focus on not only the NASA “team”, but each of their family members.
Let me get this out of the way first, I personally loved many of Roland Emmerich’s wildly outlandish films. I thought Independence Day was fantastic, and even though many found The Day After Tomorrow a bit to preachy and ridiculous, I still found it entertaining for what it was. So, I was excited going into Moonfall. I was ready for a fun movie that I felt would be a mindless, fun adventure which was something I had really missed in many of the movies that had come out over the past year or two. Unfortunately, my aspirations (and even the low bar I had set my expectations for) would be quickly dashed.
Moonfall is a movie that struggles throughout to find an identity. I found myself instantly comparing several of Emmerich’s films during its roughly two-hour run time. At times its reminiscent of Independence Day, with its alien destruction of earth storyline, and then quickly jumps to a disaster film about the moon crashing into the earth. It’s as though Emmerich took pages of several of his previous films and cobbled them together into some sort of Frankenstein’s monster. There are so many plots and subplots going on that you never truly know what the main threat is. It touches on everything from the birth of humanity to the overly aggressive military, to the dumbing down of NASA all at the same time. With the exception of our heroes (and of course their entire families, because why not), everyone else is just resigned to the fact that nothing can be done. Riots of course breakout, the military is quick to decide to nuke the moon is somehow going to save the planet, and no level of crazy plan is off the table.
I’m happy to forgive an outrageous plot if the actors are able to pull it off with some semblance of believability. I know none of the actions have any real-world chance of success, and I can forgive plot holes for the sake of entertainment. Unfortunately, the acting is where Moonfall really lets the audience down. Each character is portrayed in a completely over-the-top fashion, it reminded me of watching a movie that is intentionally attempting to spoof another movie. The emotions are not believable, and the lines being delivered are literally derived from popular lines of other movies. Bonus points if you can identify which movie they are from as the film progresses. The saddest part is, this movie is trying to take itself seriously, it’s not intentionally being campy, for the sake of being campy. I think the character portrayals could have been forgiven if that was the case, but it’s clearly not. It’s actually a distraction when the story of a film is already struggling to deliver.
The movie effects go from truly spectacular, to overly CGI-infused. Ironically the space shots, which you think would be the hardest to pull off are some of its best, yet the vehicle driving scenes through the snow-covered townscape are some of the worst. It’s almost as though they spent so much of their budget on the space scenes that they had no money for the earth shots, which would be fine if they didn’t literally look so bad. It’s jarring going from one area to another and makes for a very inconsistent experience the entire time.
I believe one of the biggest tragedies of the film however is the absolutely blatant product placement. Yes, I understand that product placement has sadly been a staple in the film industry since the dawn of time. Yes, I understand that when someone is using a MacBook on-screen or riding a Peloton, it’s there for a reason. Moonfall however takes this to a Hallmark movie level. If you watch a Hallmark movie sponsored by Folgers for example, there will be clear shots of the Folgers coffee on the counter, with the cast explaining how much they love Folgers’s coffee, Moonfall utilizes this very trope. Kaspersky Anti-Virus is plastered on everything, even the Space Shuttle is protected with Kaspersky Anti-virus (which some might argue has other implications, but I won’t go there), and while avoiding looters driving through the snow-packed roads, do we really need the character to explain the need for the off-road settings on their Lexus? Talking about it is one thing, but do we really need to see the dial up-close and personal? It quickly takes you from the scene to a Lexus Christmas commercial and back again.
Sadly, Moonfall is a very disappointing film. If it were released in 1998 maybe it would be a super hit and I’d feel differently about it, but the industry has moved on since then. I had gone in knowing the film wouldn’t be realistic, but I was hoping it would at least be a nice escape from what is going on in the world today. As I have stated before, I’m a huge fan of Emmerich’s films, and while Moonfall may not be his absolute worst, it is one that will quickly be forgotten. I don’t even know if it’s one I’d revisit if it premiered on HBO or Showtime. As excited as I was, I just wouldn’t be able to recommend it.
Gareth von Kallenbach (980 KP) rated Bumblebee (2018) in Movies
Jul 2, 2019
Like most kids growing up in the 80’s the Transformers always held a special place in my heart. I didn’t have a huge collection because the die-cast/plastic vehicles that transformed into robots could get a little expensive. Thankfully the morning cartoons and comic books filled in the spaces where I lacked the toys. When I heard there would be a live action movie based on the characters that had been such a integral part of my childhood, I couldn’t help but feel excited. I had seen some of the previews of the original Transformers movie by Michael Bay, the characters looked different than I imagined, but how bad could it be. The movie started, and heart break ensued, the first one was ok, the second was worse, and so on and so forth to a point where I still have not brought myself to watch the last installment of the Michael Bay franchise. Fast Forward to the first glimpse I had of Bumblebee, a prequel/reboot of the Transformers franchise, and that feeling of trepidation lingered. The first glimmer of hope was when the previews began to show images of the Transformers that I remembered, now referred to as G1 (Generation One), these transformers were recognizable. Still, the stories have always been lacking, so while I held out a glimmer of hope, I was sure to guard my heart closely…after all, we’ve been down this road before.
Bumblebee begins on Cybertron, where the Autobots and Decepticons are battling for control of what is left of the planet. The visuals are stunning, and as I stated before, here our all our favorites from the G1 universe in their recognizable forms. Once I saw Wheeljack, a personal favorite of mine, I felt I was in for something special. The Autobots are losing control to the evil Decepticons and are forced to evacuate Cybertron to regroup. Bumblebee is sent to Earth, a planet where Optimus Prime feels that the Autobots can rendezvous, but also tasked to protect the planet from any encroachment of the Decepticons.
Bumblebee unfortunately crash lands in the middle of a military training exercise and is quickly engaged by the armed forces there. While Bumblebee alone is a match for the Humvees and small arms fire, the battle is quickly joined by a Decepticon who has followed Bumblebee to Earth. He is completely out matched and outgunned it is not long before Bumblebee is defeated and barely escapes with his life. It is here that he is “saved” by Charlie Watson (Hailee Steinfeld) who finds the battered and broken beetle in a junkyard on her birthday, and a deep bond between the two is formed.
Bumblebee does not disappoint in its amazing visuals. The robots are as big as ever, yet now retain a more familiar look. The story still has explosions, and epic one-on-one robot battles that fans of the Michael Bay franchise can enjoy, but it’s the deep and meaningful story where Bumblebee truly shines. Written by Christina Hodson (Shut In/Unforgetable) and Directed by Travis Knight (Kudo and the Two Strings/Paranorman) we are finally given a story with a plot that fans of the series can get behind and enjoy. It’s not to say that the story is perfect, there are still the occasional lines that fall into groan-worthy territory, but to say that Bumblebee surpasses the previous live action movies is an understatement.
You don’t have to be a fan (or have any familiarity at all) with the Transformer toys, cartoon, or live action movies to enjoy it. However, for those who have been fortunate (or unfortunate) to experience them all will appreciate the subtle nods to previous films. The audience clapped and cheered when Stan Bush’s well-known Transformer song The Touch exploded on screen. Sure, it’s a spoiler, but for those who are still reluctant to see it based on previous films, maybe it’s exactly what’s needed. The film is littered with such nods and die-hard Transformer fans are in for a real treat.
The acting in the film is top-notch, not only by Hailee Steinfeld and Jorge Lendeborg Jr who are the main human characters, but by the supporting characters as well. John Cena brings his witty one-liners and Peter Cullen once again reprises his role of the now infamous Optimus Prime. For a movie that seems more at home as a summer blockbuster, it carries with it a tremendous amount of heart. Even Bumblebee who rarely utters a word throughout the entire film, brings out emotion in his facial expressions, or movements.
I’ll admit that going into Bumblebee I had my reservations and for those who have been burned by previous iterations of the series it’s a completely understandable concern. I’ll say it here though, Bumblebee is a terrific Transformers movie, easily on-par with the animated film, which to date had been the only Transformer movie worth talking about. Fans of the franchise will not be disappointed, and probably like myself, will be naming the numerous Transformers on the screen, by how they look…not by what they are called. In the famous words of Optimus Prime…Autobots Roll-out, and go see Bumblebee, coming to theaters on December 21st.
Bumblebee begins on Cybertron, where the Autobots and Decepticons are battling for control of what is left of the planet. The visuals are stunning, and as I stated before, here our all our favorites from the G1 universe in their recognizable forms. Once I saw Wheeljack, a personal favorite of mine, I felt I was in for something special. The Autobots are losing control to the evil Decepticons and are forced to evacuate Cybertron to regroup. Bumblebee is sent to Earth, a planet where Optimus Prime feels that the Autobots can rendezvous, but also tasked to protect the planet from any encroachment of the Decepticons.
Bumblebee unfortunately crash lands in the middle of a military training exercise and is quickly engaged by the armed forces there. While Bumblebee alone is a match for the Humvees and small arms fire, the battle is quickly joined by a Decepticon who has followed Bumblebee to Earth. He is completely out matched and outgunned it is not long before Bumblebee is defeated and barely escapes with his life. It is here that he is “saved” by Charlie Watson (Hailee Steinfeld) who finds the battered and broken beetle in a junkyard on her birthday, and a deep bond between the two is formed.
Bumblebee does not disappoint in its amazing visuals. The robots are as big as ever, yet now retain a more familiar look. The story still has explosions, and epic one-on-one robot battles that fans of the Michael Bay franchise can enjoy, but it’s the deep and meaningful story where Bumblebee truly shines. Written by Christina Hodson (Shut In/Unforgetable) and Directed by Travis Knight (Kudo and the Two Strings/Paranorman) we are finally given a story with a plot that fans of the series can get behind and enjoy. It’s not to say that the story is perfect, there are still the occasional lines that fall into groan-worthy territory, but to say that Bumblebee surpasses the previous live action movies is an understatement.
You don’t have to be a fan (or have any familiarity at all) with the Transformer toys, cartoon, or live action movies to enjoy it. However, for those who have been fortunate (or unfortunate) to experience them all will appreciate the subtle nods to previous films. The audience clapped and cheered when Stan Bush’s well-known Transformer song The Touch exploded on screen. Sure, it’s a spoiler, but for those who are still reluctant to see it based on previous films, maybe it’s exactly what’s needed. The film is littered with such nods and die-hard Transformer fans are in for a real treat.
The acting in the film is top-notch, not only by Hailee Steinfeld and Jorge Lendeborg Jr who are the main human characters, but by the supporting characters as well. John Cena brings his witty one-liners and Peter Cullen once again reprises his role of the now infamous Optimus Prime. For a movie that seems more at home as a summer blockbuster, it carries with it a tremendous amount of heart. Even Bumblebee who rarely utters a word throughout the entire film, brings out emotion in his facial expressions, or movements.
I’ll admit that going into Bumblebee I had my reservations and for those who have been burned by previous iterations of the series it’s a completely understandable concern. I’ll say it here though, Bumblebee is a terrific Transformers movie, easily on-par with the animated film, which to date had been the only Transformer movie worth talking about. Fans of the franchise will not be disappointed, and probably like myself, will be naming the numerous Transformers on the screen, by how they look…not by what they are called. In the famous words of Optimus Prime…Autobots Roll-out, and go see Bumblebee, coming to theaters on December 21st.
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
Neon's Nerd Nexus (360 KP) rated The Happytime Murders (2017) in Movies
May 14, 2019
Man or muppet?
#thehappytimemurders is a dull, tasteless, uninspiring flat hot mess.
Eeeeessssshhh possibly a contender for one of this years worst movies #happytimemurders is an extremely bad case of "if you've seen the trailer you've seen the film". What could of been done in a 15 minute skit is drawn out here to nearly 2hours of #boring, repetitive creatively lacking garbage. Seriously the film has a plot so basic, predictable & overdone I couldn't believe the nerve of it, & whats worse is that its using the puppet thing to try & mask its self as being different & unique. #Creativity is pushed way aside here in favour of bland dialog, repetative overused #jokes, shock value, scenes that go on far to long & acting that feels as lifeless as the puppets themselves. I really feel minimal effort was put into this film as they thought they could make money on the mere concept of it alone. Once you've heard a puppet swear, seen one have #sex, do #drugs or be #murdered thats it the #novelty instantly wears off so showing us all that multiple times every 5 minutes just becomes exhausting. Not much happens either, im being serious I couldnt name one scene that made me laugh or excited me in any way & after 30minutes I was more interested in planing my meal for tomorrow in my head. Please dont waste your #money on this I dont want them thinking we want a sequel id rather have another actual #Muppet #movie instead of this tripe. Dumb, bland, irritating, messy, lifeless, unfunny & also a huge waste of #Elizabethbanks talent. It gets a 2 & thats only because at least some of the puppet design was impressive. Abysmal on every level. #odeon #odeonlimitless #muppets #melissamccarthy #comedy #silly #funny #mondaymotivation #jimhenson #muppetshow #monsters #filmbuff #filmcritic #filmreview #film #review
Eeeeessssshhh possibly a contender for one of this years worst movies #happytimemurders is an extremely bad case of "if you've seen the trailer you've seen the film". What could of been done in a 15 minute skit is drawn out here to nearly 2hours of #boring, repetitive creatively lacking garbage. Seriously the film has a plot so basic, predictable & overdone I couldn't believe the nerve of it, & whats worse is that its using the puppet thing to try & mask its self as being different & unique. #Creativity is pushed way aside here in favour of bland dialog, repetative overused #jokes, shock value, scenes that go on far to long & acting that feels as lifeless as the puppets themselves. I really feel minimal effort was put into this film as they thought they could make money on the mere concept of it alone. Once you've heard a puppet swear, seen one have #sex, do #drugs or be #murdered thats it the #novelty instantly wears off so showing us all that multiple times every 5 minutes just becomes exhausting. Not much happens either, im being serious I couldnt name one scene that made me laugh or excited me in any way & after 30minutes I was more interested in planing my meal for tomorrow in my head. Please dont waste your #money on this I dont want them thinking we want a sequel id rather have another actual #Muppet #movie instead of this tripe. Dumb, bland, irritating, messy, lifeless, unfunny & also a huge waste of #Elizabethbanks talent. It gets a 2 & thats only because at least some of the puppet design was impressive. Abysmal on every level. #odeon #odeonlimitless #muppets #melissamccarthy #comedy #silly #funny #mondaymotivation #jimhenson #muppetshow #monsters #filmbuff #filmcritic #filmreview #film #review
MasterSolace (19 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 9, 2019
The Actual Phoenix Force (5 more)
Didn't guess Chastain's part
Action was good
Had a piece of DEEP Lore
GENOSHA
Ambiguous Ending
Some Retreading (3 more)
Simon Kinberg can't direct
Wonky Camera Angles
Did I say retreading?
The End is Here(Spoilers)
Contains spoilers, click to show
Dark Phoenix. A another attempt at getting it right... and... it was close. No, it was NOT perfect. Not even close. But I got enjoyment out of it.
I did NOT guess Jessica Chastain's character. I was guessing Deathbird or a physical manifestation of the Phoenix Force for Jean to talk to. But I never would've guessed Vuk, of the D'Bari. Not only left field, but ACTUALLY connected to the lore. Go look up the D'Bari, you will see what I mean.
Performances weren't bad. Sansa... I mean Sophie Turner is what I always picture Jean Grey to be, and she did well. Still impressed by McAvoy and Fassbender pulling off the younger versions.
Simon Kinberg... first time directing, right? Am I wrong? I knew he wrote... hell, he did Last Stand. But first time directing? Right? You CAN tell.
There is a slight retread of X-Men: Last Stand. But most of that is in the first act...... but I think it may be a good thing as well. It's almost like it gave Simon Kinberg a second chance to get it right. And it IS a HUGE improvement over Last Stand.
Dark Phoenix is the Last FOX X-Men movie... and sadly, it shows. Like their hearts weren't 100% in it. And they went ahead and filmed an ambiguous ending anyway. I say... BRAVO. Makes us wonder... What If?
But... now we can focus on what is next? Disney... it's your turn. Don't screq it up.
I did NOT guess Jessica Chastain's character. I was guessing Deathbird or a physical manifestation of the Phoenix Force for Jean to talk to. But I never would've guessed Vuk, of the D'Bari. Not only left field, but ACTUALLY connected to the lore. Go look up the D'Bari, you will see what I mean.
Performances weren't bad. Sansa... I mean Sophie Turner is what I always picture Jean Grey to be, and she did well. Still impressed by McAvoy and Fassbender pulling off the younger versions.
Simon Kinberg... first time directing, right? Am I wrong? I knew he wrote... hell, he did Last Stand. But first time directing? Right? You CAN tell.
There is a slight retread of X-Men: Last Stand. But most of that is in the first act...... but I think it may be a good thing as well. It's almost like it gave Simon Kinberg a second chance to get it right. And it IS a HUGE improvement over Last Stand.
Dark Phoenix is the Last FOX X-Men movie... and sadly, it shows. Like their hearts weren't 100% in it. And they went ahead and filmed an ambiguous ending anyway. I say... BRAVO. Makes us wonder... What If?
But... now we can focus on what is next? Disney... it's your turn. Don't screq it up.
Phillip McSween (751 KP) rated Smashed (2012) in Movies
Feb 9, 2018
Awesome
After a horrible lie goes wrong for Kate Hannah (Mary Elizabeth Winstead), she finally decides she needs to do something about her alcoholism which is causing her life to spin out of control. Throughout this Movie-a-Day experience, I have already watched a number of classics (see previous reviews). I randomly sprinkled in some films I had never heard of, Smashed being one of them. This is one hidden gem of a film that I'm so thankful it found its way on to my list.
The messages in the film aren't preached, but still manage to resonate strongly due to a powerful delivery. Kate's character shows us that it doesn't matter how you start (or the cards you're dealt in life), rather it's about how you decide--and only YOU get to decide--to finish. Kate wants to change but she has no support system as her husband is just as bad as her. In spite of the incredible adversity she's battling, she decides to go for it anyway, refusing to make excuses.
What makes this so important is the fact that Kate is a complete wreck and you recognize it almost instantly. Her life is a downwards tailspin, kind of like watching a car crash in slow motion. Her story is layered seamlessly into the film and you slowly start to understand that she never really had much of a chance to be anything other than what she became. Winstead captures the role in phenomenal fashion, aided by yet another strong performance from Octavia Spencer as Jenny. Through the two of them, we experience a powerful meaning that says doing the hard thing will always come with a sacrifice.
Recommended. I give Smashed an 86.
The messages in the film aren't preached, but still manage to resonate strongly due to a powerful delivery. Kate's character shows us that it doesn't matter how you start (or the cards you're dealt in life), rather it's about how you decide--and only YOU get to decide--to finish. Kate wants to change but she has no support system as her husband is just as bad as her. In spite of the incredible adversity she's battling, she decides to go for it anyway, refusing to make excuses.
What makes this so important is the fact that Kate is a complete wreck and you recognize it almost instantly. Her life is a downwards tailspin, kind of like watching a car crash in slow motion. Her story is layered seamlessly into the film and you slowly start to understand that she never really had much of a chance to be anything other than what she became. Winstead captures the role in phenomenal fashion, aided by yet another strong performance from Octavia Spencer as Jenny. Through the two of them, we experience a powerful meaning that says doing the hard thing will always come with a sacrifice.
Recommended. I give Smashed an 86.
Mayhawke (97 KP) rated The Strange Disappearance of a Bollywood Star in Books
Feb 13, 2018
Kahn is establishing himself as a solid and reliable voice in cosy crime
Vaseem Khan is still a relatively new voice in cozy crime fiction, but I have been with him since the start, and on current showing I shall be with him long into the future.
One of the great pleasures for crime fiction readers of the last decade has been the influx of new voices as - in the search for something new and different - the British market has been opened up to translations from abroad (Camilleri, Akunin, Vargas) and English-language fiction set in different cultural environments (No.1 Ladies Detective Agency, Aurelio Zen, Dr. Siri Paboun). Khan has proven himself a skillful and delightful contributor to the latter category, lifting the vibrant sounds, colours, smells and characters of India (good and bad) from the page as he weaves remarkably clever and entertaining stories of brutal thefts, murder and abduction for the protagonist, Inspector Chopra (Retd) & and his mystical and cheeky four-legged sidekick, Ganesha, to unravel.
His latest book sees a young and arrogant Bollywood star abducted on the eve of his most important film shoot to date. As the biggest and most expensive film in Bollywood history grinds to a halt money, reputations and lives are on the line and Chopra is employed to quietly find and return the prodigal starlet to his duties. It quickly becomes apparent, though, that the boy has not just had a Bieberesque tantrum, and that the funding for, and personalities behind the movie may be a lot murkier and more complex than they seem.
Already on his third book in two years he promises to be as prolific as he is enjoyable.
One of the great pleasures for crime fiction readers of the last decade has been the influx of new voices as - in the search for something new and different - the British market has been opened up to translations from abroad (Camilleri, Akunin, Vargas) and English-language fiction set in different cultural environments (No.1 Ladies Detective Agency, Aurelio Zen, Dr. Siri Paboun). Khan has proven himself a skillful and delightful contributor to the latter category, lifting the vibrant sounds, colours, smells and characters of India (good and bad) from the page as he weaves remarkably clever and entertaining stories of brutal thefts, murder and abduction for the protagonist, Inspector Chopra (Retd) & and his mystical and cheeky four-legged sidekick, Ganesha, to unravel.
His latest book sees a young and arrogant Bollywood star abducted on the eve of his most important film shoot to date. As the biggest and most expensive film in Bollywood history grinds to a halt money, reputations and lives are on the line and Chopra is employed to quietly find and return the prodigal starlet to his duties. It quickly becomes apparent, though, that the boy has not just had a Bieberesque tantrum, and that the funding for, and personalities behind the movie may be a lot murkier and more complex than they seem.
Already on his third book in two years he promises to be as prolific as he is enjoyable.
Jeremy King (346 KP) rated Mad Shelia (2016) in Movies
Jul 2, 2019
You have to watch 1000 bad films to understand what make a film great
Where to start. I love watching films that are out of left field. So when I heard about this i had to look for it, i found it on youtube in 2 parts, it was to be to 60min tv movies but it works better as 1 1h film.
What is China known for? Yes that is it knock offs. Mad Max: Fury Road was nominated for Best Picture so lets rip it off. So i have seen that in the past but this was so low budget. We are talking looking for change in tbe couch low budget.
Some of the vehicles look like they used cardboard on them as props.
CG effects that were not needed that you can point out and would look better if left out.
In seens with motorcycles they were going so slow that the front tired would wobble to try to stay balanced.
The best acting came from the goofy sidekick.
Shelia was trying to look like a male in the beginning, you would half to be deaf and blind not to figure out she was a female.
They are in a wasteland and everyone is clean.
Acting skills or the lack of.
And many more problems.
If you ever think about watching this movie
DONT DO IT!! I WATCHED IT FOR YOU
You will get more enjoyment out of the trailer. If i had seen this in the theater i would have walked out. My friend and i could say after watching this was. WTF and we will never talk about this again. But after tradhing it i can say it had 1 or 2 good songs on the sound track
What is China known for? Yes that is it knock offs. Mad Max: Fury Road was nominated for Best Picture so lets rip it off. So i have seen that in the past but this was so low budget. We are talking looking for change in tbe couch low budget.
Some of the vehicles look like they used cardboard on them as props.
CG effects that were not needed that you can point out and would look better if left out.
In seens with motorcycles they were going so slow that the front tired would wobble to try to stay balanced.
The best acting came from the goofy sidekick.
Shelia was trying to look like a male in the beginning, you would half to be deaf and blind not to figure out she was a female.
They are in a wasteland and everyone is clean.
Acting skills or the lack of.
And many more problems.
If you ever think about watching this movie
DONT DO IT!! I WATCHED IT FOR YOU
You will get more enjoyment out of the trailer. If i had seen this in the theater i would have walked out. My friend and i could say after watching this was. WTF and we will never talk about this again. But after tradhing it i can say it had 1 or 2 good songs on the sound track
Andy K (10823 KP) rated Overlord (2018) in Movies
Dec 1, 2019
Saving Private Ryan meets Resident Evil!
Had heard mixed reviews on this, but saw it for 4 bucks for Black Friday so I figured I couldn't lose!
Basically, to prevent the Allied forces being massacred on D-Day, US troops are ordered to detonate a Nazi communication tower. A small band of brothers actually makes it to the ground and finds a small French town equipped with a cute French girl and her brother. When a Nazi commander comes calling for more than an interrogation, the surviving troops must decide whether t reveal themselves to save her.
I actually really got into this movie and thought the action mixed with horror was pretty cool. Some of the fight/shootout sequences were cleverly done along with some of the secrets and experiments the Nazis are hiding deep within their stronghold. There are tough decisions and ultimate sacrifices to be made and the film threads the needle between genres successfully. I could see how if you were thinking this was going to be a full out horror film you would be disappointed; however, I had kind of heard a little about it ahead of time so my expectations were redirected.
The SFX held well throughout and didn't stick out as being bad or taking you out of the action. When some of the more extreme elements are revealed, I went along with it like I was watching my son play one of his weird FPS games. A lot of the film did feel like I was watching Call of Duty or something like that. Boy do I wish I could have those yeas of my life watching my son play that crap back!
Colossally entertaining!
Basically, to prevent the Allied forces being massacred on D-Day, US troops are ordered to detonate a Nazi communication tower. A small band of brothers actually makes it to the ground and finds a small French town equipped with a cute French girl and her brother. When a Nazi commander comes calling for more than an interrogation, the surviving troops must decide whether t reveal themselves to save her.
I actually really got into this movie and thought the action mixed with horror was pretty cool. Some of the fight/shootout sequences were cleverly done along with some of the secrets and experiments the Nazis are hiding deep within their stronghold. There are tough decisions and ultimate sacrifices to be made and the film threads the needle between genres successfully. I could see how if you were thinking this was going to be a full out horror film you would be disappointed; however, I had kind of heard a little about it ahead of time so my expectations were redirected.
The SFX held well throughout and didn't stick out as being bad or taking you out of the action. When some of the more extreme elements are revealed, I went along with it like I was watching my son play one of his weird FPS games. A lot of the film did feel like I was watching Call of Duty or something like that. Boy do I wish I could have those yeas of my life watching my son play that crap back!
Colossally entertaining!