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Movie Metropolis (309 KP) rated The Commuter (2018) in Movies
Jun 10, 2019
Liam Neeson's special set of skills return
The Movie Metropolis Alternative Oscars have received over 650 votes so far and it’s proving to be the closest run awards ever. Make sure you cast your vote for the best films and performances from 2017 before March 6th.
Liam Neeson is this generation’s formidable action hero. From protecting his family in Taken and protecting his family in Run All Night, to protecting his family in Taken 2, and you know, protecting his family in Taken 3, Neeson is a family man if ever I’ve seen one.
Teaming up with director Jaume Collet-Serra for the fourth time, the rather excellent Non-Stop being their best work together, Neeson takes the action and moves it on-board, you guessed it, a commuter train. But does The Commuter work? Or are we starting to get derailed by these constant action roles?
Insurance salesman Michael (Neeson) is on his daily commute home, which quickly becomes anything but routine. After being contacted by a mysterious stranger (Vera Farmiga), Michael is forced to uncover the identity of a hidden passenger on the train before the last stop. As he works against the clock to solve the puzzle, he realizes a deadly plan is unfolding, and he is unwittingly caught up in a criminal conspiracy that carries life and death stakes for everyone on the train.
The premise is a borderline carbon copy of what we saw in Non-Stop, but with Neeson battling a series of bad guys on a train instead of in the air, and while it is at times, ridiculous, it’s directed with the usual Collet-Serra sense of style that would make even a dog food commercial look intriguing.
Where last year’s Murder on the Orient Express opted for opulence and fairly static camerawork, here The Commuter utilises every part of the train to its advantage. From underneath the carriages, to through the windows and even cleverly framed through a ticket stub, Collet-Serra’s direction is unique, if a little over-stylised at times.
Casting wise, Neeson is the perfect choice to play the world-weary protagonist with a very special set of skills, after all, it’s a role he has been playing for many years now. Some might say typecast, I prefer to think of it as knowing what he wants. Elsewhere, Vera Farmiga is a disappointingly underused presence and it would have been nice to see her a little more throughout the fairly taut 105-minute running time. It’s also nice to see Sam Neill back on the big screen and he remains dependable company.
It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG
The action is choreographed well considering the limitations of the set and while it’s clear that the carriages have been manipulated during some of the fight scenes, it’s still impressive to think of all the camera equipment being squeezed into a fairly small space. There’s always been something oddly satisfying at seeing 65-year-old Neeson taking down a group of ruffians half his age and that shows no sign of dissipating any time soon.
Unfortunately, it appears that the limitations of the set also manifested themselves in limits to the script. There are numerous scenes of Neeson pacing up and down the carriages with very little dialogue and while this worked reasonably well in Non-Stop, the result is less successful here, probably due to a less engaging supporting cast.
And while the cinematography is very clever indeed, the low budget, less than $20million in fact, means some of the CGI and special effects leave a lot to be desired, especially towards the film’s climax. It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG.
Overall, The Commuter is another thrilling slice of popcorn entertainment from Jaume Collet-Serra and Liam Neeson. At 65-years-old, you’d think everyone’s favourite Irish actor would want to be settling down into cosier rom-com territory and who could blame him? I’m just thankful he’s not. The Commuter may be utterly preposterous and completely unoriginal, but you’ll have a blast watching it.
https://moviemetropolis.net/2018/01/20/the-commuter-review-liam-neesons-special-set-of-skills-return/
Liam Neeson is this generation’s formidable action hero. From protecting his family in Taken and protecting his family in Run All Night, to protecting his family in Taken 2, and you know, protecting his family in Taken 3, Neeson is a family man if ever I’ve seen one.
Teaming up with director Jaume Collet-Serra for the fourth time, the rather excellent Non-Stop being their best work together, Neeson takes the action and moves it on-board, you guessed it, a commuter train. But does The Commuter work? Or are we starting to get derailed by these constant action roles?
Insurance salesman Michael (Neeson) is on his daily commute home, which quickly becomes anything but routine. After being contacted by a mysterious stranger (Vera Farmiga), Michael is forced to uncover the identity of a hidden passenger on the train before the last stop. As he works against the clock to solve the puzzle, he realizes a deadly plan is unfolding, and he is unwittingly caught up in a criminal conspiracy that carries life and death stakes for everyone on the train.
The premise is a borderline carbon copy of what we saw in Non-Stop, but with Neeson battling a series of bad guys on a train instead of in the air, and while it is at times, ridiculous, it’s directed with the usual Collet-Serra sense of style that would make even a dog food commercial look intriguing.
Where last year’s Murder on the Orient Express opted for opulence and fairly static camerawork, here The Commuter utilises every part of the train to its advantage. From underneath the carriages, to through the windows and even cleverly framed through a ticket stub, Collet-Serra’s direction is unique, if a little over-stylised at times.
Casting wise, Neeson is the perfect choice to play the world-weary protagonist with a very special set of skills, after all, it’s a role he has been playing for many years now. Some might say typecast, I prefer to think of it as knowing what he wants. Elsewhere, Vera Farmiga is a disappointingly underused presence and it would have been nice to see her a little more throughout the fairly taut 105-minute running time. It’s also nice to see Sam Neill back on the big screen and he remains dependable company.
It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG
The action is choreographed well considering the limitations of the set and while it’s clear that the carriages have been manipulated during some of the fight scenes, it’s still impressive to think of all the camera equipment being squeezed into a fairly small space. There’s always been something oddly satisfying at seeing 65-year-old Neeson taking down a group of ruffians half his age and that shows no sign of dissipating any time soon.
Unfortunately, it appears that the limitations of the set also manifested themselves in limits to the script. There are numerous scenes of Neeson pacing up and down the carriages with very little dialogue and while this worked reasonably well in Non-Stop, the result is less successful here, probably due to a less engaging supporting cast.
And while the cinematography is very clever indeed, the low budget, less than $20million in fact, means some of the CGI and special effects leave a lot to be desired, especially towards the film’s climax. It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG.
Overall, The Commuter is another thrilling slice of popcorn entertainment from Jaume Collet-Serra and Liam Neeson. At 65-years-old, you’d think everyone’s favourite Irish actor would want to be settling down into cosier rom-com territory and who could blame him? I’m just thankful he’s not. The Commuter may be utterly preposterous and completely unoriginal, but you’ll have a blast watching it.
https://moviemetropolis.net/2018/01/20/the-commuter-review-liam-neesons-special-set-of-skills-return/
Movie Metropolis (309 KP) rated The Hunger Games (2012) in Movies
Jun 10, 2019
Director Gary Ross had his work cut out trying to create a film which brought to life the startling realism of Suzanne Collins’ successful trilogy of novels and here we have the first, The Hunger Games.
This film has come at a time where movie fans have been released from the clawing hooks of the Harry Potter franchise and the finale of the Twilight Saga is now on the horizon. Some would say, it’s the perfect time to begin a new franchise and for the most part, they’re right. Move over witches and vampires, there’s a new, more mature kid ready to take your crowns.
I for one went into The Hunger Games trilogy blindfolded. I have not read the books so this review is purely based on the film I saw before me and I must say; I was mightily impressed.
The film is set some way in the future and the world is a much different place; in a place called Panem (a post-apocalyptic North America) is where we find 12 Districts full of variety with different races living alongside each other, just as we have today. However, there is a more sinister side to things as we learn that once a year; The Hunger Games tournament takes place.
For those of you not familiar with the event itself, here’s a brief description. Each year, one boy and one girl aged between 12 and 18 from each district fights to the death until there is one winner, showered with riches for the remainder of their lives.
Jennifer Lawrence of X-Men First Class fame stars as Katniss Everdeen, a plucky young girl brought up in the coal mining community of District 12. After her young sister is picked to represent District 12, she decides the only thing to do is nominate herself and save her from certain death. Her male counterpart is Peeta Mellark played by a mature looking Josh Hutcherson of Journey to the Centre of the Earth fame.
Once the pair have been selected, they are taken to Capitol, a city brimming with the wealthy, a stark contrast to the coal mining community our District 12 heroes come from. Woody Harrelson stars as a previous winner of the games and the District 12 mentor, he takes it upon himself to train the ‘tributes’ and prepare them for the task ahead.
Once in battle, all chaos ensues and this is where the film begins to partially unravel. The actors and actresses all do excellent jobs, in particular Lawrence plays Katniss exceptionally well, her soft side comes through but you never forget her harsher, hunter like persona. Unfortunately, the action is held back by the ridiculous 12A certification the film has been lumbered with. It has become the case, as with The Woman in Black earlier this year that films based on best-selling and well known books or with teen stars have to be given this frankly dire classification. The violence is toned down to such a level that it becomes unrealistic and from what I have read, The Hunger Games is a much more brutal and unforgiving experience as a novel.
Other negatives include some shoddy CGI and too much hand based camera work, the battles at the beginning of the games are messy and not enjoyable to sit through. It’s a disappointing lapse in a film which is actually very good indeed.
Thankfully, the lengthy running time allows the final third to pick up nicely to leave you with a lasting impression.
The Hunger Games had the unenviable task of being on the receiving end of comparisons to Harry Potter and the Twilight franchises, and to an extent it has done its source material proud. Does it live up to the much-loved world of Hogwarts? Probably not. Does it live up to the lust and romance of the Twilight Saga? Most definitely. It sits, right smack in the middle and that’s not a bad place to be.
Gary Ross has produced a fine blockbuster with excellent performances from the cast and some fabulous design choices. Yes, it’s a little too long, there are some shoddy special effects and the character development lacks depth, but for fans of the series and newcomers alike, it moves the game on and is an enjoyable experience.
https://moviemetropolis.net/2012/04/05/the-hunger-games-2012-review/
This film has come at a time where movie fans have been released from the clawing hooks of the Harry Potter franchise and the finale of the Twilight Saga is now on the horizon. Some would say, it’s the perfect time to begin a new franchise and for the most part, they’re right. Move over witches and vampires, there’s a new, more mature kid ready to take your crowns.
I for one went into The Hunger Games trilogy blindfolded. I have not read the books so this review is purely based on the film I saw before me and I must say; I was mightily impressed.
The film is set some way in the future and the world is a much different place; in a place called Panem (a post-apocalyptic North America) is where we find 12 Districts full of variety with different races living alongside each other, just as we have today. However, there is a more sinister side to things as we learn that once a year; The Hunger Games tournament takes place.
For those of you not familiar with the event itself, here’s a brief description. Each year, one boy and one girl aged between 12 and 18 from each district fights to the death until there is one winner, showered with riches for the remainder of their lives.
Jennifer Lawrence of X-Men First Class fame stars as Katniss Everdeen, a plucky young girl brought up in the coal mining community of District 12. After her young sister is picked to represent District 12, she decides the only thing to do is nominate herself and save her from certain death. Her male counterpart is Peeta Mellark played by a mature looking Josh Hutcherson of Journey to the Centre of the Earth fame.
Once the pair have been selected, they are taken to Capitol, a city brimming with the wealthy, a stark contrast to the coal mining community our District 12 heroes come from. Woody Harrelson stars as a previous winner of the games and the District 12 mentor, he takes it upon himself to train the ‘tributes’ and prepare them for the task ahead.
Once in battle, all chaos ensues and this is where the film begins to partially unravel. The actors and actresses all do excellent jobs, in particular Lawrence plays Katniss exceptionally well, her soft side comes through but you never forget her harsher, hunter like persona. Unfortunately, the action is held back by the ridiculous 12A certification the film has been lumbered with. It has become the case, as with The Woman in Black earlier this year that films based on best-selling and well known books or with teen stars have to be given this frankly dire classification. The violence is toned down to such a level that it becomes unrealistic and from what I have read, The Hunger Games is a much more brutal and unforgiving experience as a novel.
Other negatives include some shoddy CGI and too much hand based camera work, the battles at the beginning of the games are messy and not enjoyable to sit through. It’s a disappointing lapse in a film which is actually very good indeed.
Thankfully, the lengthy running time allows the final third to pick up nicely to leave you with a lasting impression.
The Hunger Games had the unenviable task of being on the receiving end of comparisons to Harry Potter and the Twilight franchises, and to an extent it has done its source material proud. Does it live up to the much-loved world of Hogwarts? Probably not. Does it live up to the lust and romance of the Twilight Saga? Most definitely. It sits, right smack in the middle and that’s not a bad place to be.
Gary Ross has produced a fine blockbuster with excellent performances from the cast and some fabulous design choices. Yes, it’s a little too long, there are some shoddy special effects and the character development lacks depth, but for fans of the series and newcomers alike, it moves the game on and is an enjoyable experience.
https://moviemetropolis.net/2012/04/05/the-hunger-games-2012-review/
Movie Metropolis (309 KP) rated Transformers: Dark of the Moon (2011) in Movies
Jun 11, 2019
Michael Bay had a lot to prove with the third instalment of his big bot franchise. The scathing reviews of Revenge of the Fallen from nearly every critic who went to see it proved that even giant robots aren’t safe from the picky eyes of the global audience. Now, I may get lambasted for this but I preferred number 2 to number 1, so let’s see if number 3 can impress.
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Chris Sawin (602 KP) rated Electric Dragon 80.000 V (2000) in Movies
Jun 18, 2019
Dragon Eye Morrison (Tadanobu Asano, Hogun in the Thor films)) didn’t have a normal childhood. As a young boy, he climbed an electrical tower despite his friends warning him he’d be electrocuted. After the inevitable occurred, Dragon Eye seems to go through electroshock therapy whenever he gets into trouble. These shocking developments usually happen in fights and become more frequent when he gets older. As a result, he’s now charged with 80,000 volts of electricity at all times. He has developed his own version of the therapy that involves bolting himself to a table. The only way he can deal with being charged with this much electricity is by playing his electric guitar. Aside from his unusual self-treatment, Dragon Eye is a lizard expert who has an impressive reptile collection. When one of his lizards goes missing and Thunderbolt Buddha (Mastoshi Nagase, Paterson, The Hidden Blade) steps into the picture, that’s when things get even more bizarre.
Electric Dragon 80,000 V is a beyond weird cinematic experience. It clocks in at a little under 55-minutes, so calling it a full-length movie may be a bit of an overstatement. Written and directed by Gakuryū Ishii (credited as Sogo Ishi, he has also directed Labyrinth of Dreams and Angel Dust), the Japanese film is visually similar to Tetsuo, the Iron Man but is more like an extended music video that collided with the visuals of a live-action anime or manga. Ishii used the leftover funds from Gojoe: Spirit War Chronicle to make Electric Dragon 80,000 V while recruiting Asano and Nagase who were the two main leads in Gojoe.
Having nothing else in common with Gojoe, Electric Dragon 80,000 V is absolutely its own beast. The film’s biggest strength is its cinematography. With Norimichi Kasamatsu (Korean filmmaker Lee Song-il’s 2013 remake of Unforgiven) as the film’s cinematographer, being entirely in black and white allows the visuals of the film to bleed off the screen. Some of the most unique shots are when Dragon Eye is playing guitar as the drastic lighting and creative perspective are just what you’d expect from someone taking all of their frustrations out on a guitar; incredibly angry and in your face. There’s a scene in the second half of the film where Thunderbolt Buddha has gotten Dragon Eye’s full attention and Dragon Eye is moving through rooms without moving himself. He appears to be floating from room to room and it allows you to realize how he’s feeling at that particular point in the film as if it’s all a bad dream.
The music may be what makes or breaks the film for the viewer as it tends to walk a thin line between catchy rock music to nothing but loud, distorted noise with screaming. The film is noisy in every sense of the word. Whenever Dragon Eye starts playing his guitar, it often just sounds like noise. It fits the tone of the film perfectly since it complements the concept of channeling 80,000 volts of electricity through a guitar. That would probably sound more like amplified noise than polished music. If you’re not a fan of loud, heavy music then it may affect your judgment of the film.
Electric Dragon 80,000 V is an unusual gray scale experiment, but it’s certainly innovative and unlike anything else you’ve ever seen. It’s not a remake and it’s not an adaptation. It’s an original film that stands on its own, but its radical plunge into such severe weirdness could be a turnoff for some viewers as its manga inspired influences flow excessively through every frame surrounding every sequence with boisterous and heavy guitar riffs; think like a shorter and black and white version of Scott Pilgrim vs. the World that somehow fused with the FLCL anime. This was discovered while digging through Tadanobu Asano’s filmography and if you’re fan of his stuff, then Electric Dragon 80,000 V comes highly recommended.
Electric Dragon 80,000 V isn’t available to stream anywhere, was never released on Blu-ray (this would be amazing in high definition), and the DVD is out of print. A high quality version of the DVD cover had to be pulled from eBay of all places since Google can’t seem to find one otherwise that isn’t tiny in size. The DVD is available on Amazon from third party sellers for $39.99 plus $3.99 shipping in new condition and $29.98 with free shipping in used condition. A pre-owned DVD is running $69.99 to $79.99 on eBay with free shipping. It does look like someone uploaded a 90-minute version of the film on YouTube with English subs and that looks to be the best way to see the film at the moment.
Electric Dragon 80,000 V is a beyond weird cinematic experience. It clocks in at a little under 55-minutes, so calling it a full-length movie may be a bit of an overstatement. Written and directed by Gakuryū Ishii (credited as Sogo Ishi, he has also directed Labyrinth of Dreams and Angel Dust), the Japanese film is visually similar to Tetsuo, the Iron Man but is more like an extended music video that collided with the visuals of a live-action anime or manga. Ishii used the leftover funds from Gojoe: Spirit War Chronicle to make Electric Dragon 80,000 V while recruiting Asano and Nagase who were the two main leads in Gojoe.
Having nothing else in common with Gojoe, Electric Dragon 80,000 V is absolutely its own beast. The film’s biggest strength is its cinematography. With Norimichi Kasamatsu (Korean filmmaker Lee Song-il’s 2013 remake of Unforgiven) as the film’s cinematographer, being entirely in black and white allows the visuals of the film to bleed off the screen. Some of the most unique shots are when Dragon Eye is playing guitar as the drastic lighting and creative perspective are just what you’d expect from someone taking all of their frustrations out on a guitar; incredibly angry and in your face. There’s a scene in the second half of the film where Thunderbolt Buddha has gotten Dragon Eye’s full attention and Dragon Eye is moving through rooms without moving himself. He appears to be floating from room to room and it allows you to realize how he’s feeling at that particular point in the film as if it’s all a bad dream.
The music may be what makes or breaks the film for the viewer as it tends to walk a thin line between catchy rock music to nothing but loud, distorted noise with screaming. The film is noisy in every sense of the word. Whenever Dragon Eye starts playing his guitar, it often just sounds like noise. It fits the tone of the film perfectly since it complements the concept of channeling 80,000 volts of electricity through a guitar. That would probably sound more like amplified noise than polished music. If you’re not a fan of loud, heavy music then it may affect your judgment of the film.
Electric Dragon 80,000 V is an unusual gray scale experiment, but it’s certainly innovative and unlike anything else you’ve ever seen. It’s not a remake and it’s not an adaptation. It’s an original film that stands on its own, but its radical plunge into such severe weirdness could be a turnoff for some viewers as its manga inspired influences flow excessively through every frame surrounding every sequence with boisterous and heavy guitar riffs; think like a shorter and black and white version of Scott Pilgrim vs. the World that somehow fused with the FLCL anime. This was discovered while digging through Tadanobu Asano’s filmography and if you’re fan of his stuff, then Electric Dragon 80,000 V comes highly recommended.
Electric Dragon 80,000 V isn’t available to stream anywhere, was never released on Blu-ray (this would be amazing in high definition), and the DVD is out of print. A high quality version of the DVD cover had to be pulled from eBay of all places since Google can’t seem to find one otherwise that isn’t tiny in size. The DVD is available on Amazon from third party sellers for $39.99 plus $3.99 shipping in new condition and $29.98 with free shipping in used condition. A pre-owned DVD is running $69.99 to $79.99 on eBay with free shipping. It does look like someone uploaded a 90-minute version of the film on YouTube with English subs and that looks to be the best way to see the film at the moment.
Darren (1599 KP) rated Amadeus (1984) in Movies
Jun 20, 2019
Story: Amadeus starts as an elderly Antonio Salieri (Abraham) admitting that he killed Mozart, leading to him getting taken to the insane asylum. Salieri recounts his story of his small town beginnings dreaming of being a composer and after a moment of fate he ends up in a position where he can learn music leading to him job as head conductor to the king of Austria. Mozart (Hulce) is the world renowned composer that has taken the notice of all around him with Salieri dreaming of one day being as good as Mozart.
We see how Mozart constantly ends up out shinning Salieri with his music leading to the rivalry between the two, with Salieri serious look on life and Mozart’s flamboyant style of just getting through each moment. Salieri moves into the position of being the connection to the Emperor to get his unique work out there but he is really just building him up for failure trying to break him down with criticize of his work.
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Amadeus gives us a brilliant look at one of the greatest musical minds in the history of man. We know the basic idea of what happened to him but now we get to see it through the eyes of one of his closest friends even if he is filled with envy for him. What starts as envy is filled with respect and seeing how a talented person can get used by all the people close to him which will drive him into his bad ways. Overall this really is a brilliant drama that is told in a way we can just enjoy.
Actor Review
F Murray Abraham: Antonio Salieri admits that he killed Mozart, but now he is confessing to how he believes he was responsible for the death from inside an insane asylum. We watch how he got his dreams of working with music and constantly found himself lacking the complete flair and natural ability of Mozart leading to jealous and planning to bring him down slowly. F Murray gives us a brilliant and well deserved Oscar winning performance in this role.seleir
Tom Hulce: Wolfgang Amadeus Mozart is the flamboyant and brilliant composer who lives life on the edge spending every penny he ever received for his work, he pushes the boundaries to what is accepted even if his work is loved. He gains inspiration from his personal stories which will gain him enemies from his own confident in the government. Tom gives a performance that could easily have won him an Oscar too.morzart
Elizabeth Berridge: Constanze Mozart is the wife of Wolfgang, she supports him in all the work he does but just wants him to actually get paid for the work so they can look after the family, even after she lives him she feels guilty. Elizabeth does a good job in this role.
Roy Dotrice: Leopold Mozart is the overbearing father who pushed Amadeus into this career path making him the puppet when he was younger as he was leading him to become the biggest name in music of his time. After his death we learn about the control he had over Amadeus. Roy is good in this supporting role.
Support Cast: Amadeus has a well performed supporting cast that each hold their own in the characters they are playing.
Director Review: Milos Forman – Milos gives us one of the best biographical films of all time.
Biographical: Amadeus shows the troubles of the great man and how it was his eventual downfall.
Music: Amadeus uses all the music of the great man and how it would have look on stage for the fans witnessing it all.
Settings: Amadeus recreates all the settings that would have been used during the time the film is set.
Suggestion: Amadeus is one that could have been watched by anyone to learn about a part of history. (Watch)
Best Part: The performances are brilliant.
Worst Part: If you are not a fan of classical music you will struggle.
Believability: Yes
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: Won 8 Oscars including Best Picture, Best Actor, Director and Writing also nominated for a further 3.
Box Office: $51 Million
Budget: $18 Million
Runtime: 2 Hours 40 Minutes
Tagline: Everything you’ve heard is true.
Trivia: When the movie won Best Picture at The 57th Annual Academy Awards (1985), Sir Laurence Olivier was presenting the award. He went up to the podium, opened the envelope and said “Amadeus.” The problem was he forgot to read the nominees first.
Overall: Brilliant drama about one of the greatest musicians of all time
https://moviesreview101.com/2016/01/06/amadeus-1984/
We see how Mozart constantly ends up out shinning Salieri with his music leading to the rivalry between the two, with Salieri serious look on life and Mozart’s flamboyant style of just getting through each moment. Salieri moves into the position of being the connection to the Emperor to get his unique work out there but he is really just building him up for failure trying to break him down with criticize of his work.
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Amadeus gives us a brilliant look at one of the greatest musical minds in the history of man. We know the basic idea of what happened to him but now we get to see it through the eyes of one of his closest friends even if he is filled with envy for him. What starts as envy is filled with respect and seeing how a talented person can get used by all the people close to him which will drive him into his bad ways. Overall this really is a brilliant drama that is told in a way we can just enjoy.
Actor Review
F Murray Abraham: Antonio Salieri admits that he killed Mozart, but now he is confessing to how he believes he was responsible for the death from inside an insane asylum. We watch how he got his dreams of working with music and constantly found himself lacking the complete flair and natural ability of Mozart leading to jealous and planning to bring him down slowly. F Murray gives us a brilliant and well deserved Oscar winning performance in this role.seleir
Tom Hulce: Wolfgang Amadeus Mozart is the flamboyant and brilliant composer who lives life on the edge spending every penny he ever received for his work, he pushes the boundaries to what is accepted even if his work is loved. He gains inspiration from his personal stories which will gain him enemies from his own confident in the government. Tom gives a performance that could easily have won him an Oscar too.morzart
Elizabeth Berridge: Constanze Mozart is the wife of Wolfgang, she supports him in all the work he does but just wants him to actually get paid for the work so they can look after the family, even after she lives him she feels guilty. Elizabeth does a good job in this role.
Roy Dotrice: Leopold Mozart is the overbearing father who pushed Amadeus into this career path making him the puppet when he was younger as he was leading him to become the biggest name in music of his time. After his death we learn about the control he had over Amadeus. Roy is good in this supporting role.
Support Cast: Amadeus has a well performed supporting cast that each hold their own in the characters they are playing.
Director Review: Milos Forman – Milos gives us one of the best biographical films of all time.
Biographical: Amadeus shows the troubles of the great man and how it was his eventual downfall.
Music: Amadeus uses all the music of the great man and how it would have look on stage for the fans witnessing it all.
Settings: Amadeus recreates all the settings that would have been used during the time the film is set.
Suggestion: Amadeus is one that could have been watched by anyone to learn about a part of history. (Watch)
Best Part: The performances are brilliant.
Worst Part: If you are not a fan of classical music you will struggle.
Believability: Yes
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: Won 8 Oscars including Best Picture, Best Actor, Director and Writing also nominated for a further 3.
Box Office: $51 Million
Budget: $18 Million
Runtime: 2 Hours 40 Minutes
Tagline: Everything you’ve heard is true.
Trivia: When the movie won Best Picture at The 57th Annual Academy Awards (1985), Sir Laurence Olivier was presenting the award. He went up to the podium, opened the envelope and said “Amadeus.” The problem was he forgot to read the nominees first.
Overall: Brilliant drama about one of the greatest musicians of all time
https://moviesreview101.com/2016/01/06/amadeus-1984/
Chris Sawin (602 KP) rated Carriers (2009) in Movies
Jun 20, 2019
Brian and Danny grew up as two brothers who were relatively close to one another. They cherish the memories they have of Turtle Beach, a beach their family vacationed to every summer. The abandoned motel in Turtle Beach may be their best bet of surviving the highly contagious disease that now plagues the entire country and possibly the world. Not much is known about the virus other than the victims coughing up blood and bleeding from the ears as their condition worsens. Brian actually came up with a few rules that will hopefully get him, his girlfriend Bobby, his brother Danny, and Danny's friend Kate through this disease ridden world to Turtle Beach clean. The rules include avoiding the infected at all costs, disinfecting anything they've touched in the past 24 hours, and that the infected are already dead as there is no cure. You may survive if you stick to the rules, but actually abiding by them is an entirely different story.
Right off the bat, people are probably going to compare Carriers to Zombieland because of the rules. Carriers was released a full month before Zombieland, but Paramount Vantage folded upon its initial release causing its wide release to be an extremely limited one at the last minute (I think it wound up playing at only two theaters in the country). Expectations rise unintentionally in situations such as this. "This is that horror film that was practically shelved earlier this year and is finally being released." The result is a horror film that is well worth watching, but may not be entirely what you're expecting.
Carriers is more about establishing an atmosphere than anything else. Everything is abandoned and rightfully so as most people were picked off handfuls at a time by this pandemic. The entire film is more like the first half hour of 28 Days Later where Jim wakes up in an abandoned hospital and realizes how empty the streets of London are. There aren't masses of the infected running around lusting for brains or wanting to tear humans apart in Carriers. The story follows these four friends as they journey across the country to this supposed sanctuary where they hope to tough it out until this disease runs its course. Carriers is more of a slow burn as things turn from bad to worse very slowly and snowball as the film goes on.
Chris Pine is really the drawing factor of the film. His role as Brian is kind of like a more intense version of his role as Kirk in Star Trek from earlier this year. Brian comes off as an inconsiderate prick the first half of the film and seems to only do things that benefit himself. The second half is where his character gets interesting though. The speech he gives Danny about their parents and telling Danny that he only told him what he wanted to hear is the turning point for Brian. Chris Pine shines as things begin to roll downhill for Brian as his emotions take center stage and his true demeanor is revealed.
Everything else in the film pretty much feels like routine manuevers when it comes to films revolving around viral outbreaks as some main characters contract the disease, they resort to drastic measures to survive, and begin to question their humanity along the way. The most disappointing part of the film is the ending as things just seem to kind of stop without much of a resolution. It seems like films like this either end this way or have a really depressing ending and that's its biggest flaw. Movie buffs who have seen films concerning pandemics already have a rough idea of how the film is going to end and it's about time to mix that up a bit. There's got to be a decent way to end the film that offers something a bit different that could wrap everything up until that point, but also leave enough room open for a sequel if need be.
Carriers may be a bit slow at first and doesn't really offer anything you probably haven't seen before in a film like this, but is still worth seeing for Chris Pine's performance. It's kind of a more serious take on Zombieland without actual zombies running or stumbling around with an atmosphere similar to the one established in Danny Boyle's 28 Days Later. If you're a fan of films involving a virus that has wiped out most of the human population, then this is still worth a watch.
Right off the bat, people are probably going to compare Carriers to Zombieland because of the rules. Carriers was released a full month before Zombieland, but Paramount Vantage folded upon its initial release causing its wide release to be an extremely limited one at the last minute (I think it wound up playing at only two theaters in the country). Expectations rise unintentionally in situations such as this. "This is that horror film that was practically shelved earlier this year and is finally being released." The result is a horror film that is well worth watching, but may not be entirely what you're expecting.
Carriers is more about establishing an atmosphere than anything else. Everything is abandoned and rightfully so as most people were picked off handfuls at a time by this pandemic. The entire film is more like the first half hour of 28 Days Later where Jim wakes up in an abandoned hospital and realizes how empty the streets of London are. There aren't masses of the infected running around lusting for brains or wanting to tear humans apart in Carriers. The story follows these four friends as they journey across the country to this supposed sanctuary where they hope to tough it out until this disease runs its course. Carriers is more of a slow burn as things turn from bad to worse very slowly and snowball as the film goes on.
Chris Pine is really the drawing factor of the film. His role as Brian is kind of like a more intense version of his role as Kirk in Star Trek from earlier this year. Brian comes off as an inconsiderate prick the first half of the film and seems to only do things that benefit himself. The second half is where his character gets interesting though. The speech he gives Danny about their parents and telling Danny that he only told him what he wanted to hear is the turning point for Brian. Chris Pine shines as things begin to roll downhill for Brian as his emotions take center stage and his true demeanor is revealed.
Everything else in the film pretty much feels like routine manuevers when it comes to films revolving around viral outbreaks as some main characters contract the disease, they resort to drastic measures to survive, and begin to question their humanity along the way. The most disappointing part of the film is the ending as things just seem to kind of stop without much of a resolution. It seems like films like this either end this way or have a really depressing ending and that's its biggest flaw. Movie buffs who have seen films concerning pandemics already have a rough idea of how the film is going to end and it's about time to mix that up a bit. There's got to be a decent way to end the film that offers something a bit different that could wrap everything up until that point, but also leave enough room open for a sequel if need be.
Carriers may be a bit slow at first and doesn't really offer anything you probably haven't seen before in a film like this, but is still worth seeing for Chris Pine's performance. It's kind of a more serious take on Zombieland without actual zombies running or stumbling around with an atmosphere similar to the one established in Danny Boyle's 28 Days Later. If you're a fan of films involving a virus that has wiped out most of the human population, then this is still worth a watch.
Gareth von Kallenbach (980 KP) rated Friday the 13th (2009) in Movies
Aug 14, 2019
In the 1980’s the so- called slasher film genre was in full swing. When Michael Myers and the “Halloween” franchise became the highest grossing independent film in cinema history, the studios scrambled to get in on the booming genre and unleashed a flood of psycho killers on the viewing public, for the better part of a decade and a half.
Along with the aforementioned Michael Myers, and the later Freddy Krueger from the “Nightmare on Elm Street” series, Jason Voorhees of the “Friday The 13Th” series has become a cultural landmark. He has appeared in over ten movies (eleven if you count “Freddy Vs. Jason”) and unleashed havoc on countless oversexed and loaded teens, as well as those unfortunate enough to cross his path.
While the series, to many fans, become stale and largely self mocking with the Jason-in-space themed “Jason X”, the character rebounded nicely with “Freddy Vs. Jason” and had many fans clamoring for a second match up between the two iconic bad guys.
Eventually the powers-that-be decided to go the remake route, which had proven successful with “Halloween” and “My Bloody Valentine”, and have crafted a new “Friday the 13th” which they hope will re-energize the series.
The film opens with a modern re-telling of what was part of the finale of the original film, and hits the ground running with an impressive opening sequence that has Jason menacing a group of teens camping in the woods. The intense first twenty minutes of the film had the audience at the test screening gasping and cheering as the events set the stage for the body of the film, which revolves around another group of young adults taking a trip into the woods for a scenic getaway.
As the group stops for supplies, they encounter a young man who is looking for his sister who vanished in the area six weeks earlier. Despite little luck in his search, and the insistence by the local police that his sister is not anywhere in the area, he remains undaunted and continues his search.
At the same time, the group of young adults embarks on a frenzy of sex, drinking, drugs, and carefree living in the woods unaware that they are about to gain the attention of Camp Crystal Lake’s most infamous former camper.
As the film unfolds, Jason soon unleashes his customary brutality on the group as well as any townies that come across him, and the film deftly mixes some humor with classic horror mayhem. In the time honored formula, a group of survivors soon finds themselves under siege by Jason and must find a way to survive Jason’s wrath.
While the film lacks much in the way of plot and is loaded with a cast of largely unknowns, the film is a refreshing update to the series, knowing what the fans have come to expect and providing plenty of gore and scares. Since the cast exists to be little more than fodder for Jason, there is little effort devoted to fleshing them out as characters other than to provide excuses for most of the ladies in the film to shed their clothes, and a few of the male cast to establish themselves as comic relief, or the jerk who is destined for something special.
Director Marcus Nispel who has a solid pedigree with the recent “The Texas Chainsaw Massacre”, viral videos of Resident Evil 5, as well as the pending “Alice.” He clearly knows his subject matter and working with Producer Michael Bay and a script from Damian Shannon and Mark Swift (the duo behind “Freddy vs. Jason”), produced a solid by the numbers horror film.
Fans of the series will note clever references to the past films such as Jason’s original mask and will find themselves yelling at the screen over the constant stupidity of the victims as well as the inventive way Jason dispatches his victims. I found myself enjoying the updated Jason because while the movie is faithful to the character, it revitalized him to show a more cunning predator who is not above using traps, bait, and plotting to achieve his means. There was a plot thread in the film that did not really get developed as much as I had hoped, but in the end, the film delivered the goods and sets the stage well for future outings of the machete-wielding Jason.
Along with the aforementioned Michael Myers, and the later Freddy Krueger from the “Nightmare on Elm Street” series, Jason Voorhees of the “Friday The 13Th” series has become a cultural landmark. He has appeared in over ten movies (eleven if you count “Freddy Vs. Jason”) and unleashed havoc on countless oversexed and loaded teens, as well as those unfortunate enough to cross his path.
While the series, to many fans, become stale and largely self mocking with the Jason-in-space themed “Jason X”, the character rebounded nicely with “Freddy Vs. Jason” and had many fans clamoring for a second match up between the two iconic bad guys.
Eventually the powers-that-be decided to go the remake route, which had proven successful with “Halloween” and “My Bloody Valentine”, and have crafted a new “Friday the 13th” which they hope will re-energize the series.
The film opens with a modern re-telling of what was part of the finale of the original film, and hits the ground running with an impressive opening sequence that has Jason menacing a group of teens camping in the woods. The intense first twenty minutes of the film had the audience at the test screening gasping and cheering as the events set the stage for the body of the film, which revolves around another group of young adults taking a trip into the woods for a scenic getaway.
As the group stops for supplies, they encounter a young man who is looking for his sister who vanished in the area six weeks earlier. Despite little luck in his search, and the insistence by the local police that his sister is not anywhere in the area, he remains undaunted and continues his search.
At the same time, the group of young adults embarks on a frenzy of sex, drinking, drugs, and carefree living in the woods unaware that they are about to gain the attention of Camp Crystal Lake’s most infamous former camper.
As the film unfolds, Jason soon unleashes his customary brutality on the group as well as any townies that come across him, and the film deftly mixes some humor with classic horror mayhem. In the time honored formula, a group of survivors soon finds themselves under siege by Jason and must find a way to survive Jason’s wrath.
While the film lacks much in the way of plot and is loaded with a cast of largely unknowns, the film is a refreshing update to the series, knowing what the fans have come to expect and providing plenty of gore and scares. Since the cast exists to be little more than fodder for Jason, there is little effort devoted to fleshing them out as characters other than to provide excuses for most of the ladies in the film to shed their clothes, and a few of the male cast to establish themselves as comic relief, or the jerk who is destined for something special.
Director Marcus Nispel who has a solid pedigree with the recent “The Texas Chainsaw Massacre”, viral videos of Resident Evil 5, as well as the pending “Alice.” He clearly knows his subject matter and working with Producer Michael Bay and a script from Damian Shannon and Mark Swift (the duo behind “Freddy vs. Jason”), produced a solid by the numbers horror film.
Fans of the series will note clever references to the past films such as Jason’s original mask and will find themselves yelling at the screen over the constant stupidity of the victims as well as the inventive way Jason dispatches his victims. I found myself enjoying the updated Jason because while the movie is faithful to the character, it revitalized him to show a more cunning predator who is not above using traps, bait, and plotting to achieve his means. There was a plot thread in the film that did not really get developed as much as I had hoped, but in the end, the film delivered the goods and sets the stage well for future outings of the machete-wielding Jason.
Chris Sawin (602 KP) rated Black Swan (2010) in Movies
Jun 21, 2019 (Updated Jun 23, 2019)
Darren Aronofsky has been circling movie news sites pretty frequently as of late. He recently signed on to direct the stand-alone sequel to Wolverine (appropriately titled The Wolverine). He also developed a rather large and devoted fanbase over the course of directing fantastically surreal films such as Pi, Requiem for a Dream, and The Wrestler, but his psychological thriller Black Swan has also been gaining quite a bit of steam leading up to its December 3rd release. Despite Aronofsky's already well-established reputation and the rather high anticipation for the film, Black Swan still delivers a product that is even better than expected.
Like most ballerinas, Nina (Portman) lives, breathes, and is completely devoted to dance. Artistic director Thomas Leroy (Cassel) is preparing a new spring production of his interpretation of Swan Lake. Nina is next in line to become prima ballerina after the former dancer to hold that spot, Beth Macintyre (Ryder), reluctantly retires. Everything seems to be shifting in that direction until a rather unorthodox, provocative, and unstable (in a dangerous kind of way) dancer named Lily (Kunis) arrives. Lily seems to have an eye for Nina's spot as soon as she walks through the door. Thomas begins to see Nina as the White Swan, which signifies innocence and perfection and Lily as the Black Swan, which is more sensual and deceptive. The problem is that one dancer is required to play both parts. Other than the stiff competition she has to deal with, The Swan Queen role begins to take its toll on Nina who begins to think Lily wants even more than her spot in the production. Nina's obsessive behavior leads to her releasing her dark side that she must now struggle to control.
Aronofsky has always had an exceptional eye for cinematography in his films. His use of micro-photography in The Fountain made the entire film a visually stunning spectacle that will stand the test of time while something like a someone's pupil dilating or a drug deal gone bad in Requiem for a Dream is memorable because of the way and angle Aronofsky shot it rather than relying on its disturbing content to make the scene a classic. Black Swan is no different. Being placed behind Nina whenever she heads to the dance venue gives the viewer a rather unique third person perspective that also gives the impression that you're walking right behind the main character of the film. The intense dream sequences are also shot in a way that flawlessly blur the line between reality and hallucination. Is this really happening or is it all a figment of Nina's deteriorating imagination? Figuring that out is half the film's charm.
The extraordinary main cast is the main ingredient to the film being as great as it is though. The key players all seem to have this twisted side to them that is nearly the exact opposite of the way they first appear to be, which coincides with the Swan Lake theme. Winona Ryder steals most of the screen time she's given whether she's trashing her dressing room, yelling obscenities in Portman's face, or sitting in a hospital room. Even though Mila Kunis seems to play nothing more than her role in Forgetting Sarah Marshall to the most extreme degree on the surface, it's the edge she's given that results in unpredictablity for her character. While Vincent Cassel's performance is strong thanks to his sensual reputation with his dancers and Barbara Hersey is both charming and disturbing as Nina's mother who seems to secretly be trying to live in her daughter's dance shoes after a missed opportunity in her past, it's no surprise to hear that Natalie Portman is the heart of the film. Nina is so consumed with dance that she keeps pushing herself even when her mind and body begin to show her that she's had enough. Her breakdowns are heartbreaking and engaging to watch while her transformation by the end of the film can best be described as a monstrous beauty. It's all thanks to Portman's powerful, phenomenal, tour de force performance.
While some might not be surprised that Aronofsky has created another masterpiece, this may be his most solid and well-rounded film to date. Black Swan is a beautiful, disturbing, and captivating work of art that features gorgeous camera work, an excellent and mindbending story, and one of Natalie Portman's best performances.
Like most ballerinas, Nina (Portman) lives, breathes, and is completely devoted to dance. Artistic director Thomas Leroy (Cassel) is preparing a new spring production of his interpretation of Swan Lake. Nina is next in line to become prima ballerina after the former dancer to hold that spot, Beth Macintyre (Ryder), reluctantly retires. Everything seems to be shifting in that direction until a rather unorthodox, provocative, and unstable (in a dangerous kind of way) dancer named Lily (Kunis) arrives. Lily seems to have an eye for Nina's spot as soon as she walks through the door. Thomas begins to see Nina as the White Swan, which signifies innocence and perfection and Lily as the Black Swan, which is more sensual and deceptive. The problem is that one dancer is required to play both parts. Other than the stiff competition she has to deal with, The Swan Queen role begins to take its toll on Nina who begins to think Lily wants even more than her spot in the production. Nina's obsessive behavior leads to her releasing her dark side that she must now struggle to control.
Aronofsky has always had an exceptional eye for cinematography in his films. His use of micro-photography in The Fountain made the entire film a visually stunning spectacle that will stand the test of time while something like a someone's pupil dilating or a drug deal gone bad in Requiem for a Dream is memorable because of the way and angle Aronofsky shot it rather than relying on its disturbing content to make the scene a classic. Black Swan is no different. Being placed behind Nina whenever she heads to the dance venue gives the viewer a rather unique third person perspective that also gives the impression that you're walking right behind the main character of the film. The intense dream sequences are also shot in a way that flawlessly blur the line between reality and hallucination. Is this really happening or is it all a figment of Nina's deteriorating imagination? Figuring that out is half the film's charm.
The extraordinary main cast is the main ingredient to the film being as great as it is though. The key players all seem to have this twisted side to them that is nearly the exact opposite of the way they first appear to be, which coincides with the Swan Lake theme. Winona Ryder steals most of the screen time she's given whether she's trashing her dressing room, yelling obscenities in Portman's face, or sitting in a hospital room. Even though Mila Kunis seems to play nothing more than her role in Forgetting Sarah Marshall to the most extreme degree on the surface, it's the edge she's given that results in unpredictablity for her character. While Vincent Cassel's performance is strong thanks to his sensual reputation with his dancers and Barbara Hersey is both charming and disturbing as Nina's mother who seems to secretly be trying to live in her daughter's dance shoes after a missed opportunity in her past, it's no surprise to hear that Natalie Portman is the heart of the film. Nina is so consumed with dance that she keeps pushing herself even when her mind and body begin to show her that she's had enough. Her breakdowns are heartbreaking and engaging to watch while her transformation by the end of the film can best be described as a monstrous beauty. It's all thanks to Portman's powerful, phenomenal, tour de force performance.
While some might not be surprised that Aronofsky has created another masterpiece, this may be his most solid and well-rounded film to date. Black Swan is a beautiful, disturbing, and captivating work of art that features gorgeous camera work, an excellent and mindbending story, and one of Natalie Portman's best performances.
Chris Sawin (602 KP) rated Messengers 2: The Scarecrow (2009) in Movies
Jun 22, 2019
John Rollins is a guy who's just trying to catch a break. He lives on a farm with his wife and two children, but his crops just won't grow. His cornfield is infested with crows and his water pump won't work. Stress and fatigue don't begin to describe what John is currently going through. He's a man of faith that's just trying to figure out how he can support his family with no income. He's pretty much lost all hope until he stumbles upon the scarecrow in his barn. After being convinced by his neighbor, he puts the scarecrow up in his cornfield. Besides, he has nothing to lose and everything to gain. John wakes up to a field full of dead crows and his water pump begins working again. Everything looks to finally be turning in John's favor, but there's two sides to every coin. People that get in the way of John's crops or his family begin to turn up dead. What makes matters worse is that John finds possessions of the victims in his cornfield and he is the only person all the evidence points to. Once he realizes that the scarecrow is the root of his newfound problems and that he could wind up losing his family, John knows he has to get rid of it but he may already be too late...
In my movie watching experience, I've learned that it's usually important to watch an original film before its sequel. With this day and age though where sequels are actually prequels and we get prequel trilogies sixteen years AFTER the original trilogy, there aren't really any guidelines to follow when it comes to watching films anymore. So being somebody who had no interest in seeing The Messengers, the sequel didn't really interest me until they announced Norman Reedus in the title role. Since Reedus had been impressive in films such as The Boondock Saints, Blade II, and even his brief (but rather incredible) cameo in Antibodies, I felt it was my obligation to at least give this film a chance. The results are pretty much what you'd expect for a direct to DVD horror film.
The acting isn't terrible, but doesn't really do much to stand out. Norman Reedus, Heather Stephens, and Richard Riehle are pretty much the cream of the crop as far as acting goes. Reedus does a good job of acting like a farmer who's going through troubled times and just wants to support his family. He was easy to relate to since just about everyone is either going through tough times or has so in the past. Stephens played the concerned wife and was able to portray the widest range of emotions in the film. Riehle always seemed to show up to encourage John Rollins to do mischievous things, so the seeds are planted from the get-go that something isn't quite right with him. The boy who played John's son, Michael, is the only actor in the film that could really be considered atrocious as his lines are delivered so nonchalantly.
The way the rest of the film plays out just feels like it borrowed heavily from Jeepers Creepers 2 and the Children of the Corn films. The scarecrow drags its scythe on the ground as it's stalking its victims, which was a nice touch but was really the only enjoyable part of the scarecrow. Once it reveals itself at the end of the film and starts walking around, it makes pterodactyl sounds and trust me, that's just as incredible as it sounds. The film actually starts going downhill in the second half, which is when the cheesy effects come in and unanswered questions begin. The latter half of the film is filled with a lot of moments that will leave you scratching your head wondering why you even decided to watch this film to begin with.
Messengers 2: The Scarecrow isn't exactly the greatest film to watch, but it isn't the worst either. While it does have its fair share of blood and isn't half bad at times, it doesn't really offer anything most horror fans haven't seen before. Messengers 2 is really only recommended for die hard fans of Norman Reedus since it's basically just a rehash of Jeepers Creepers 2 with a lower budget. It's the type of film that's a decent watch at 3 o' clock in the morning when you stumble across it channel surfing, but isn't worth deliberately tracking down on DVD.
In my movie watching experience, I've learned that it's usually important to watch an original film before its sequel. With this day and age though where sequels are actually prequels and we get prequel trilogies sixteen years AFTER the original trilogy, there aren't really any guidelines to follow when it comes to watching films anymore. So being somebody who had no interest in seeing The Messengers, the sequel didn't really interest me until they announced Norman Reedus in the title role. Since Reedus had been impressive in films such as The Boondock Saints, Blade II, and even his brief (but rather incredible) cameo in Antibodies, I felt it was my obligation to at least give this film a chance. The results are pretty much what you'd expect for a direct to DVD horror film.
The acting isn't terrible, but doesn't really do much to stand out. Norman Reedus, Heather Stephens, and Richard Riehle are pretty much the cream of the crop as far as acting goes. Reedus does a good job of acting like a farmer who's going through troubled times and just wants to support his family. He was easy to relate to since just about everyone is either going through tough times or has so in the past. Stephens played the concerned wife and was able to portray the widest range of emotions in the film. Riehle always seemed to show up to encourage John Rollins to do mischievous things, so the seeds are planted from the get-go that something isn't quite right with him. The boy who played John's son, Michael, is the only actor in the film that could really be considered atrocious as his lines are delivered so nonchalantly.
The way the rest of the film plays out just feels like it borrowed heavily from Jeepers Creepers 2 and the Children of the Corn films. The scarecrow drags its scythe on the ground as it's stalking its victims, which was a nice touch but was really the only enjoyable part of the scarecrow. Once it reveals itself at the end of the film and starts walking around, it makes pterodactyl sounds and trust me, that's just as incredible as it sounds. The film actually starts going downhill in the second half, which is when the cheesy effects come in and unanswered questions begin. The latter half of the film is filled with a lot of moments that will leave you scratching your head wondering why you even decided to watch this film to begin with.
Messengers 2: The Scarecrow isn't exactly the greatest film to watch, but it isn't the worst either. While it does have its fair share of blood and isn't half bad at times, it doesn't really offer anything most horror fans haven't seen before. Messengers 2 is really only recommended for die hard fans of Norman Reedus since it's basically just a rehash of Jeepers Creepers 2 with a lower budget. It's the type of film that's a decent watch at 3 o' clock in the morning when you stumble across it channel surfing, but isn't worth deliberately tracking down on DVD.
Darren (1599 KP) rated The Front Runner (2018) in Movies
Jul 25, 2019
Story: The Front Runner starts after Gary Hart (Jackman) has missed out on the Vice-President position, four-years later in 1987, Gary is running for the Presidency, he is the clear favourite too, his team which includes Bill Dixon (Simmons) knows it is only a matter of time before he wins, while the opposition team is looking for weakness in his reputation.
Gary’s lead starts taking a hit when an early report of a potential affair emerges and before long every single newspaper in the country is trying to cover the story on different levels, some using it as a gossip column while others just want to question his own integrity. This will see Gary’s hope of becoming President come crashing down around him.
Thoughts on The Front Runner
Characters – These characters are based on real people, which will show certain ones in good and bad lights. Senator Gary Hart is running for Presidency, is has the whole campaign under complete control, which has all but guaranteed he would become the next President of the United States. Gary has the ability to spin any story that is placed on front of him, to show that he could bring America a brighter future. Gary however does have a secret with an affair which the press turn into a big story which sees him needing to try and recover from the spiralling situation he has created with his own wrong doing. Lee Hart is the wife of Gary, she has been part of a previous separation which made her suffer enough, she has however always stood by her man with strict rules for the future. Bill Dixon is the campaign manager for Gary, that wants to keep everything simple only this becomes difficult when the truth starts to come out. The Front Runner struggles with one big problem, we have such a large cast of characters it does make it hard to keep up with the almost nameless characters, we have three or four papers and their staff, the campaign team, the people involved in the potential affair, it just becomes completely keeping up with who is who.
Performances – Hugh Jackman is great to watch in the leading role, if he was given that one scene to try and make his character truly memorable it would have put him into a stronger respected performance for the year. Vera Farmiga does everything asked of her character which she doesn’t do anything wrong with. J.K. Simmons almost feels wasted in his role which should have been larger for what is going on. Most of the performances do seem to struggle for this reason.
Story – The story here follows a presidential candidate whose life becomes filed with speculation after an alleged affair that both sides denied saw him going from a guarantee winner to needing to withdraw, changing the way politics are portrayed in the papers forever. This story does put the spotlight on the moment that saw a change in how politics and journalist operated, the film even points out in the fact that previous Presidents asked for heads to be turned about affairs, but this alleged one saw the country turn on any person that was willing to cheat. The story does show how the three weeks changed the whole race, only it does try to put way too many characters into the film which does make it hard to keep up with who each person is and what side of the story they really are on.
Biopic/History – We follow a 3 week period in Gary Hart’s life, the three weeks that took him from being the next President to the moment he withdrew wanting to keep the false accusations about him out of the papers, this shows how quickly the public can turn on people and the media can make it happen, this plays into the history side of electing a President because we see how minds suddenly changed after how previous ones had acted.
Settings – The film does use the authentic settings, show how the press would hide for a story, while Gary would use the public to put an end to the stories being made up.
Scene of the Movie – Twisting the medias words.
That Moment That Annoyed Me – Too many characters.
Final Thoughts – This is a story which does feel like it should be told to more people, only this version of the story is completely over-saturated be characters making it hard to keep up with.
Overall: Political Thriller that just doesn’t pack the punch.
Gary’s lead starts taking a hit when an early report of a potential affair emerges and before long every single newspaper in the country is trying to cover the story on different levels, some using it as a gossip column while others just want to question his own integrity. This will see Gary’s hope of becoming President come crashing down around him.
Thoughts on The Front Runner
Characters – These characters are based on real people, which will show certain ones in good and bad lights. Senator Gary Hart is running for Presidency, is has the whole campaign under complete control, which has all but guaranteed he would become the next President of the United States. Gary has the ability to spin any story that is placed on front of him, to show that he could bring America a brighter future. Gary however does have a secret with an affair which the press turn into a big story which sees him needing to try and recover from the spiralling situation he has created with his own wrong doing. Lee Hart is the wife of Gary, she has been part of a previous separation which made her suffer enough, she has however always stood by her man with strict rules for the future. Bill Dixon is the campaign manager for Gary, that wants to keep everything simple only this becomes difficult when the truth starts to come out. The Front Runner struggles with one big problem, we have such a large cast of characters it does make it hard to keep up with the almost nameless characters, we have three or four papers and their staff, the campaign team, the people involved in the potential affair, it just becomes completely keeping up with who is who.
Performances – Hugh Jackman is great to watch in the leading role, if he was given that one scene to try and make his character truly memorable it would have put him into a stronger respected performance for the year. Vera Farmiga does everything asked of her character which she doesn’t do anything wrong with. J.K. Simmons almost feels wasted in his role which should have been larger for what is going on. Most of the performances do seem to struggle for this reason.
Story – The story here follows a presidential candidate whose life becomes filed with speculation after an alleged affair that both sides denied saw him going from a guarantee winner to needing to withdraw, changing the way politics are portrayed in the papers forever. This story does put the spotlight on the moment that saw a change in how politics and journalist operated, the film even points out in the fact that previous Presidents asked for heads to be turned about affairs, but this alleged one saw the country turn on any person that was willing to cheat. The story does show how the three weeks changed the whole race, only it does try to put way too many characters into the film which does make it hard to keep up with who each person is and what side of the story they really are on.
Biopic/History – We follow a 3 week period in Gary Hart’s life, the three weeks that took him from being the next President to the moment he withdrew wanting to keep the false accusations about him out of the papers, this shows how quickly the public can turn on people and the media can make it happen, this plays into the history side of electing a President because we see how minds suddenly changed after how previous ones had acted.
Settings – The film does use the authentic settings, show how the press would hide for a story, while Gary would use the public to put an end to the stories being made up.
Scene of the Movie – Twisting the medias words.
That Moment That Annoyed Me – Too many characters.
Final Thoughts – This is a story which does feel like it should be told to more people, only this version of the story is completely over-saturated be characters making it hard to keep up with.
Overall: Political Thriller that just doesn’t pack the punch.