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Annie Chanse (15 KP) rated Wintersong in Books
May 25, 2018
It was okay.
Contains spoilers, click to show
[Warning: May contain spoilers]
I SOMEWHAT enjoyed this book. It is very much like "Labyrinth" meets "Beauty and the Beast." The premise is a bit too much like "Labyrinth" for me to be entirely comfortable calling this a "unique" book. Goblin King -- thin, blonde, mischievous Goblin King nonetheless -- comes to earth for a bride. A game ensues in which the stakes are as follows: the girl wins, she gets to take her sister and go home, leaving the Goblin King behind forever. The Goblin King wins, he gets to marry the girl. Sound familiar? Yeah. I thought it might.
I was a little turned off by this at first, but the author quickly adds in enough individuality to make the book her own and separate from the "Labyrinth." I don't want to give away any key plot points, so I am not going to go much further in the description of the book.
I will say, however, that the book is very prettily written, and that music is prominently featured throughout. Thankfully, the author writes music well, and it makes the book quite lovely to read, image-wise.
It is listed as a Young Adult fiction book, but I'd say that is not quite the right categorization for this book. The sex scenes are a little too descriptive for YA, and I worry about the poor librarian who is going to get chewed out because a religious mother catches her thirteen year old daughter reading it. Ha.
The plot was okay, if a little overdone, and the pacing was nice; it flowed well. There were no draggy bits, and nothing seemed too rushed. I'm not sure how I feel about the relationship between Liesl (the girl) and the Goblin King, which is, at times, very Beauty and the Beast and at other times, more Joker and Harley Quinn. :-/ I wouldn't say it was the healthiest of young marriages.
Still, overall, it is a solid 3.25-3.5 star book. I recommend it to lovers of romantic fantasy. Not ideal for hardcore fantasy geeks, though.
Oh, and also, if I see the word "entire" again, as in "I gave myself to him, entire" or "I am Elisabeth, entire" or "He finally gave himself to me, his body, his soul, his trust. Der Erlkonig, entire" one more time, I might punch someone. The author really needs to get over that little quirk. I would hate to see it repeated in the sequel, since she made use of it about ten bazillion times in the debut novel, and she has completely lost her right to EVER use the word "entire" again.
I SOMEWHAT enjoyed this book. It is very much like "Labyrinth" meets "Beauty and the Beast." The premise is a bit too much like "Labyrinth" for me to be entirely comfortable calling this a "unique" book. Goblin King -- thin, blonde, mischievous Goblin King nonetheless -- comes to earth for a bride. A game ensues in which the stakes are as follows: the girl wins, she gets to take her sister and go home, leaving the Goblin King behind forever. The Goblin King wins, he gets to marry the girl. Sound familiar? Yeah. I thought it might.
I was a little turned off by this at first, but the author quickly adds in enough individuality to make the book her own and separate from the "Labyrinth." I don't want to give away any key plot points, so I am not going to go much further in the description of the book.
I will say, however, that the book is very prettily written, and that music is prominently featured throughout. Thankfully, the author writes music well, and it makes the book quite lovely to read, image-wise.
It is listed as a Young Adult fiction book, but I'd say that is not quite the right categorization for this book. The sex scenes are a little too descriptive for YA, and I worry about the poor librarian who is going to get chewed out because a religious mother catches her thirteen year old daughter reading it. Ha.
The plot was okay, if a little overdone, and the pacing was nice; it flowed well. There were no draggy bits, and nothing seemed too rushed. I'm not sure how I feel about the relationship between Liesl (the girl) and the Goblin King, which is, at times, very Beauty and the Beast and at other times, more Joker and Harley Quinn. :-/ I wouldn't say it was the healthiest of young marriages.
Still, overall, it is a solid 3.25-3.5 star book. I recommend it to lovers of romantic fantasy. Not ideal for hardcore fantasy geeks, though.
Oh, and also, if I see the word "entire" again, as in "I gave myself to him, entire" or "I am Elisabeth, entire" or "He finally gave himself to me, his body, his soul, his trust. Der Erlkonig, entire" one more time, I might punch someone. The author really needs to get over that little quirk. I would hate to see it repeated in the sequel, since she made use of it about ten bazillion times in the debut novel, and she has completely lost her right to EVER use the word "entire" again.
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Gareth von Kallenbach (980 KP) rated The World's End (2013) in Movies
Aug 6, 2019
This summer’s movie lineup has been crammed full of sophisticated robots, vampires and even a recently passed billionaire genius. And then you have The World’s End (“TWE”), which might simply be the best and most creative of the bunch. Having a much smaller budget than these bigger movies, and being set in England, Edgar Wright shows that it’s not all about money and tropics in this hilarious romp.
I cannot honestly think of a better way to wrap up the Cornetto Trilogy then the story told in TWE. For those that don’t know there’s a joke behind the Cornetto name, in that a report brought up that a Cornetto ice cream wrapper was featured in each of the first two movies. Shaun of the Dead and Hot Fuzz make up the first two movies, and TWE rounds out what eventually became the Cornetto Trilogy. Ice cream Easter egg aside, all the films in the trilogy share the same cast and crew. They star Simon Pegg and Nick Frost, written by Pegg and Wright, and directed by Wright. The films are chock full of inside jokes that go back as far as this incredible groups humble beginnings with the TV show Spaced. Beyond these connections, though, each films stands on its own as a unique story.
While Shaun of the Dead was the group’s take on zombie films, and Hot Fuzz visited the buddy cop genre, TWE is a comedic riff on films like Invasion of the Body Snatchers. If you have somehow made it this far without having the full plot spoiled for you, do try and keep it that way. The key things you need to know is that there are robots, creepy “YOLO” kids, and the story centers on Gary King, a man who never quite grew up.
Gary (Pegg) is a disaster of an adult male. He’s wild, rambunctious, trying to constantly relive his youth, and irresponsible to boot. This demeanor has not done any good for him as an adult on the far side of 40, but he’s delusional and is not aware that he has not succeeded in life. This actually adds to his charm.
Gary gets a bug up his you know what, and wants to relive one of his last greatest days of his youth. A day when he and his four best friends decided to celebrate finishing school by tackling the town-famous golden mile. Newton Haven has 12 pubs spread along a mile path that Gary manages to convince his friends Steven (Paddy Considine), Oliver (Martin Freeman), Peter (Eddie Marsan) and former best friend Andrew (Frost) to attempt again just like they did all those years ago. The pub crawl concludes at the film’s namesake: The World’s End.
As the evening goes on, and the beers start going down, the five begin to discover that something is off. Between rounds and pubs, the group starts to discuss whether or not the town has changed, or they have. This leads to a fight with the creepy “YOLO” kids that is reminiscent of Chinese Kung Fu movies the likes of Jackie Chan would be found in. As the mates progress from pub to pub, more and more of the mystery of Newton Haven begins to unravel.
The film starts in a deceiving way and hides its true nature underneath a veil of middle-aged men trying to reconcile their present with their past. Gary very much represents the past as he still dresses the way he did when he was 18, still drives the same car, complete with the same cassette tape of music given to him more than 20 years ago by Steven. Gary is a loser, but thinks he is the hero of every story, which causes a love/hate relationship with the group of friends. Then it all changes! Wright and company manage to do a complete 180 and combine a very believable mid-life crisis film with a robot invasion. And it works!
Pegg absolutely nails the role of Gary, from his movements to his banter with the others in the film. There is an air of desperation hidden under his free spirit persona. But surprisingly, it is Frost that steals the movie this time around. Andrew is the most well-rounded character he has portrayed, even through his transformation from a stiff professional into the atomic elbow dropping fighter he needs to become.
As I mentioned earlier, the fight scenes are very reminiscent Chinese Kung Fu movies. The choreography is amazing and the actors have no problem keeping up with the action and bringing the air of humor that the Kung Fu films bring as well. It is impressive watching Frost, a small man by no means, nimbly dispatch several foes. Meanwhile, Pegg is constantly thwarted by enemies as he unsuccessfully attempt to enjoy a pint. For a film billed as comedy, the few fight scenes are among the best of the summer.
As good and Pegg and Frost are though, it all comes back to the man behind the camera… Wright. He has a style that is distinctive and unique. He has shown his range over the years with shows like Spaced and films like Scott Pilgrim vs. the World. And his attention to detail is bar-none. Nothing is included in a shot if it doesn’t have some sort of meaning. Wright is a master film maker in his own right.
TWE is steeped in originality and creativity, which is sorely lacking in many films that are released these days. Wright is a master of deconstructing a genre film to honor it and make fun of it at the same time. Pegg and Frost have an uncanny knack for translating Wright’s visions to the silver screen. The World’s End is another example of their shining chemistry, and also one of the best films of the summer.
I cannot honestly think of a better way to wrap up the Cornetto Trilogy then the story told in TWE. For those that don’t know there’s a joke behind the Cornetto name, in that a report brought up that a Cornetto ice cream wrapper was featured in each of the first two movies. Shaun of the Dead and Hot Fuzz make up the first two movies, and TWE rounds out what eventually became the Cornetto Trilogy. Ice cream Easter egg aside, all the films in the trilogy share the same cast and crew. They star Simon Pegg and Nick Frost, written by Pegg and Wright, and directed by Wright. The films are chock full of inside jokes that go back as far as this incredible groups humble beginnings with the TV show Spaced. Beyond these connections, though, each films stands on its own as a unique story.
While Shaun of the Dead was the group’s take on zombie films, and Hot Fuzz visited the buddy cop genre, TWE is a comedic riff on films like Invasion of the Body Snatchers. If you have somehow made it this far without having the full plot spoiled for you, do try and keep it that way. The key things you need to know is that there are robots, creepy “YOLO” kids, and the story centers on Gary King, a man who never quite grew up.
Gary (Pegg) is a disaster of an adult male. He’s wild, rambunctious, trying to constantly relive his youth, and irresponsible to boot. This demeanor has not done any good for him as an adult on the far side of 40, but he’s delusional and is not aware that he has not succeeded in life. This actually adds to his charm.
Gary gets a bug up his you know what, and wants to relive one of his last greatest days of his youth. A day when he and his four best friends decided to celebrate finishing school by tackling the town-famous golden mile. Newton Haven has 12 pubs spread along a mile path that Gary manages to convince his friends Steven (Paddy Considine), Oliver (Martin Freeman), Peter (Eddie Marsan) and former best friend Andrew (Frost) to attempt again just like they did all those years ago. The pub crawl concludes at the film’s namesake: The World’s End.
As the evening goes on, and the beers start going down, the five begin to discover that something is off. Between rounds and pubs, the group starts to discuss whether or not the town has changed, or they have. This leads to a fight with the creepy “YOLO” kids that is reminiscent of Chinese Kung Fu movies the likes of Jackie Chan would be found in. As the mates progress from pub to pub, more and more of the mystery of Newton Haven begins to unravel.
The film starts in a deceiving way and hides its true nature underneath a veil of middle-aged men trying to reconcile their present with their past. Gary very much represents the past as he still dresses the way he did when he was 18, still drives the same car, complete with the same cassette tape of music given to him more than 20 years ago by Steven. Gary is a loser, but thinks he is the hero of every story, which causes a love/hate relationship with the group of friends. Then it all changes! Wright and company manage to do a complete 180 and combine a very believable mid-life crisis film with a robot invasion. And it works!
Pegg absolutely nails the role of Gary, from his movements to his banter with the others in the film. There is an air of desperation hidden under his free spirit persona. But surprisingly, it is Frost that steals the movie this time around. Andrew is the most well-rounded character he has portrayed, even through his transformation from a stiff professional into the atomic elbow dropping fighter he needs to become.
As I mentioned earlier, the fight scenes are very reminiscent Chinese Kung Fu movies. The choreography is amazing and the actors have no problem keeping up with the action and bringing the air of humor that the Kung Fu films bring as well. It is impressive watching Frost, a small man by no means, nimbly dispatch several foes. Meanwhile, Pegg is constantly thwarted by enemies as he unsuccessfully attempt to enjoy a pint. For a film billed as comedy, the few fight scenes are among the best of the summer.
As good and Pegg and Frost are though, it all comes back to the man behind the camera… Wright. He has a style that is distinctive and unique. He has shown his range over the years with shows like Spaced and films like Scott Pilgrim vs. the World. And his attention to detail is bar-none. Nothing is included in a shot if it doesn’t have some sort of meaning. Wright is a master film maker in his own right.
TWE is steeped in originality and creativity, which is sorely lacking in many films that are released these days. Wright is a master of deconstructing a genre film to honor it and make fun of it at the same time. Pegg and Frost have an uncanny knack for translating Wright’s visions to the silver screen. The World’s End is another example of their shining chemistry, and also one of the best films of the summer.
Bob Mann (459 KP) rated Rear Window (1954) in Movies
Sep 29, 2021
“Hmm… must have splattered a lot”.
Maddy at Maddy Loves Her Classic Films is hosting The Alfred Hitchcockblogathon. A fine idea, celebrating the life and works of the “Master of Suspense”. My contribution comes from his 1954 masterpiece “Rear Window” starring James Stewart and Grace Kelly.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
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Gareth von Kallenbach (980 KP) rated Fast Five (2011) in Movies
Aug 7, 2019
The 2011 summer movie season kicks off in high gear with the release of Fast Five the latest installment in the phenomenally popular Fast and Furious series. The movie picks up exactly where the previous film ended with Brian O’ Conner (Paul Walker), orchestrating a daring escape for Dominic Toretto (Vin Diesel).
The film quickly moves forward in time where Brian and Dominic’s sister Mia (Jordana Brewster), overall fugitives from the law, have taken refuge in Rio. Unsure of exactly where Dominic is, an old family friend offers Brian and Mia roles in a job which will surely score them some very easy and much-needed money. Although reluctant, Brian agrees to the job which involves the theft of three high-value cars from a train. Things go horribly wrong when they’re doublecrossed, the aftermath of which leads to the death of three federal agents. Only Dominic’s arrival, quick thinking, and a daring escape allows Brian and Mia to survive.
Although it is not their fault, the deaths of the agents is blamed solely on the trio, and an elite fugitive hunter named Hobbs (Dwayne Johnson) arrives with his team with the sole mission of stopping Brian, Mia and Dominic, no matter the cost.
As if this wasn’t enough trouble for the fugities, it is learned that they have also fallen on the radar of the local drug kingpin named Reyes (Joaquim de Almeida), who will stop at nothing to retrieve an item now in the trio’s possession. Caught in the crossfire between Hobbs and Reyes, Dominic plots an epic caper that will allow them not only the money to flee Hobbs and disappear into a life of luxury, but allow them to settle the score with Reyes.
What follows is a nonstop action thrill ride that sprinkles in a nice mix of comedy and romance to keep things interesting. The film downplays the racing aspect of the series and instead saves the spectacular driving for key action sequences. While street racing scenes are alluded to they are not shown as director Justin Chin focuses squarely on his cast and allows them ample time to develop their characters. In doing so it strengthens the bond between them and allows the climactic sequence to have an even greater impact than your standard over-the-top summer film action scenes.
.
There are some really funny moments in the film as Dominic assembles his team to pull off the ultimate job. The new characters work very well with the established cast from the previous films and introduce characters which I hope will be a part of any future films in the series. Johnson was a very pleasant surprise, as his character could easily have been one-dimensional. He was given a few wrinkles which allowed him to walk the fine line between good guy and bad guy, which is an essential quality to many of the film’s characters. Johnson’s action sequences were solid and highly effective and once again underscores that he needs to be focusing more on action films and less on the family-friendly genre that
has dominated the bulk of his recent work.
Walker and Diesel complement each other perfectly and appear to be having a great time working with one another again. They have a very easy-going and natural chemistry with one another that works even when they’re not behind the wheel of a car or caught up in a frantic action scene.
While the plot of the film is fairly straightforward it provides ample framework for the characters to grow and propel the story forward. While the audience is asked to take some great leaps in logic it doesn’t derail from the finished product. The stuntwork in the film was absolutely amazing and the spectacular finale of the movie alone must be seen to be believed.
Many times during my press screening the audience was completely silent for a brief second following an action sequence before erupting into thunderous applause and cheers after they’ve fully processed what just unfolded on the screen. Larger-than-life characters combined with larger-than-life action, plus some very sexy cars and very sexy people make an extremely winning formula. If the rumors are true, Chin may be handed the reins to the Terminator franchise as well as the next film in the Fast and Furious series, then audiences are in for one hell of a ride.
I think my wife summed it up best when she said that movie was “Ridiculous…ridiculously good.” Reality is thrown out the window for pure adrenaline and testosterone fueled action.
The film quickly moves forward in time where Brian and Dominic’s sister Mia (Jordana Brewster), overall fugitives from the law, have taken refuge in Rio. Unsure of exactly where Dominic is, an old family friend offers Brian and Mia roles in a job which will surely score them some very easy and much-needed money. Although reluctant, Brian agrees to the job which involves the theft of three high-value cars from a train. Things go horribly wrong when they’re doublecrossed, the aftermath of which leads to the death of three federal agents. Only Dominic’s arrival, quick thinking, and a daring escape allows Brian and Mia to survive.
Although it is not their fault, the deaths of the agents is blamed solely on the trio, and an elite fugitive hunter named Hobbs (Dwayne Johnson) arrives with his team with the sole mission of stopping Brian, Mia and Dominic, no matter the cost.
As if this wasn’t enough trouble for the fugities, it is learned that they have also fallen on the radar of the local drug kingpin named Reyes (Joaquim de Almeida), who will stop at nothing to retrieve an item now in the trio’s possession. Caught in the crossfire between Hobbs and Reyes, Dominic plots an epic caper that will allow them not only the money to flee Hobbs and disappear into a life of luxury, but allow them to settle the score with Reyes.
What follows is a nonstop action thrill ride that sprinkles in a nice mix of comedy and romance to keep things interesting. The film downplays the racing aspect of the series and instead saves the spectacular driving for key action sequences. While street racing scenes are alluded to they are not shown as director Justin Chin focuses squarely on his cast and allows them ample time to develop their characters. In doing so it strengthens the bond between them and allows the climactic sequence to have an even greater impact than your standard over-the-top summer film action scenes.
.
There are some really funny moments in the film as Dominic assembles his team to pull off the ultimate job. The new characters work very well with the established cast from the previous films and introduce characters which I hope will be a part of any future films in the series. Johnson was a very pleasant surprise, as his character could easily have been one-dimensional. He was given a few wrinkles which allowed him to walk the fine line between good guy and bad guy, which is an essential quality to many of the film’s characters. Johnson’s action sequences were solid and highly effective and once again underscores that he needs to be focusing more on action films and less on the family-friendly genre that
has dominated the bulk of his recent work.
Walker and Diesel complement each other perfectly and appear to be having a great time working with one another again. They have a very easy-going and natural chemistry with one another that works even when they’re not behind the wheel of a car or caught up in a frantic action scene.
While the plot of the film is fairly straightforward it provides ample framework for the characters to grow and propel the story forward. While the audience is asked to take some great leaps in logic it doesn’t derail from the finished product. The stuntwork in the film was absolutely amazing and the spectacular finale of the movie alone must be seen to be believed.
Many times during my press screening the audience was completely silent for a brief second following an action sequence before erupting into thunderous applause and cheers after they’ve fully processed what just unfolded on the screen. Larger-than-life characters combined with larger-than-life action, plus some very sexy cars and very sexy people make an extremely winning formula. If the rumors are true, Chin may be handed the reins to the Terminator franchise as well as the next film in the Fast and Furious series, then audiences are in for one hell of a ride.
I think my wife summed it up best when she said that movie was “Ridiculous…ridiculously good.” Reality is thrown out the window for pure adrenaline and testosterone fueled action.
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RəX Regent (349 KP) rated Downfall (Der Untergang) (2004) in Movies
Feb 19, 2019
The true story of the last days of NAZI Germany, focusing on Hitler and his cohorts as they sought refuge on his Berlin Bunker and is chronicled here with such honesty.
Told in a straight forward manner, we are given a portrait of not only Adolf Hitler himself, played perfectly by Bruno Ganz, who manages to humanize him without ever apologising for his heinous acts, but also those close to him. Shown through the young eyes of his final secretary, Traudl Junge (Alexandra Maria Lara), we are given a picture of what The Third Reich was to those who believed in it as well as what it had become for those who would suffer at it bloody hands.
Directed by Hirschbiegel to put us, the audience in the anterooms with these monsters, we are placed into a complex environment, edgy, atmospheric and most of all, real, as we witness noble acts of patriotism, conscience and pure, despicable horror, none less so that Magda Geobells, with the full consent of her husband, Joseph, first drugging, then murdering their six children as they slept, rather than “let them live in a world without national socialism.”
The only redeeming factors were their eventual suicides and in terms of the film, their first rate performances throughout this harrowing scene. Corinna Harfouch, who portrays Magda manages to portray this evil woman yet convey the emotion which was subdued deep beneath the surface. No small feat to allow such a fleeting glimpse of humanity during such and inhuman act.
But the same must be said Bruno Ganz, who manages to portray Hitler with such humanity; whilst showing us the true nature of his monstrosities, highlighting that the REAL monsters live among us and can seduce us at any time, any where, especially when we are vulnerable.
During one of the film’s early scenes, Hitler and Albert Speer (Heino Ferch), his Armaments Minister, discussing his vision for The Third Reich as he looks over a model of the new Germany which would be built after he won the war, a Germany without department stores, instead focusing on art, literature and culture.
Surely a noble goal, but as we all know, this cultural hub would have been built at an unacceptable cost, mainly with the blood of those who Hitler and his cohorts deemed to be inferior.
This is one of many clever methods used to convey a fair portrait of Hitler and The Third Reich. To demonstrate how bad they were, you first have to show impartiality, pointing out the good in what they do, play devil’s advocate as it were. Because whether we like it or not, evil motives are often built upon decent goals.
But as this film demonstrates, as Hitler shows his destine for anyone, even his own people, who will not give their lives for HIS vision of Germany, his Third Reich was being eaten away by a cancer of his own making, a Germany rotting from the very top.
Downfall is without a doubt one of the best World War 2 films which I have ever seen, delivering a compelling and immersive look behind the scenes of one of the most important defeats in modern history.
But being British and having to follow this with subtitles, which was great as watching this in its native German only adds to the experience, it can be a bit difficult to keep up with every plot machination, as we spend two and half hours reading about troop deployments, tactics and the philosophy of the Third Reich as we are presented with such atmospheric work, but if you can keep up with but the text and visuals, this is one hell of an education for those who do not know and an immersive masterpiece for those who follow WW2 history.
Told in a straight forward manner, we are given a portrait of not only Adolf Hitler himself, played perfectly by Bruno Ganz, who manages to humanize him without ever apologising for his heinous acts, but also those close to him. Shown through the young eyes of his final secretary, Traudl Junge (Alexandra Maria Lara), we are given a picture of what The Third Reich was to those who believed in it as well as what it had become for those who would suffer at it bloody hands.
Directed by Hirschbiegel to put us, the audience in the anterooms with these monsters, we are placed into a complex environment, edgy, atmospheric and most of all, real, as we witness noble acts of patriotism, conscience and pure, despicable horror, none less so that Magda Geobells, with the full consent of her husband, Joseph, first drugging, then murdering their six children as they slept, rather than “let them live in a world without national socialism.”
The only redeeming factors were their eventual suicides and in terms of the film, their first rate performances throughout this harrowing scene. Corinna Harfouch, who portrays Magda manages to portray this evil woman yet convey the emotion which was subdued deep beneath the surface. No small feat to allow such a fleeting glimpse of humanity during such and inhuman act.
But the same must be said Bruno Ganz, who manages to portray Hitler with such humanity; whilst showing us the true nature of his monstrosities, highlighting that the REAL monsters live among us and can seduce us at any time, any where, especially when we are vulnerable.
During one of the film’s early scenes, Hitler and Albert Speer (Heino Ferch), his Armaments Minister, discussing his vision for The Third Reich as he looks over a model of the new Germany which would be built after he won the war, a Germany without department stores, instead focusing on art, literature and culture.
Surely a noble goal, but as we all know, this cultural hub would have been built at an unacceptable cost, mainly with the blood of those who Hitler and his cohorts deemed to be inferior.
This is one of many clever methods used to convey a fair portrait of Hitler and The Third Reich. To demonstrate how bad they were, you first have to show impartiality, pointing out the good in what they do, play devil’s advocate as it were. Because whether we like it or not, evil motives are often built upon decent goals.
But as this film demonstrates, as Hitler shows his destine for anyone, even his own people, who will not give their lives for HIS vision of Germany, his Third Reich was being eaten away by a cancer of his own making, a Germany rotting from the very top.
Downfall is without a doubt one of the best World War 2 films which I have ever seen, delivering a compelling and immersive look behind the scenes of one of the most important defeats in modern history.
But being British and having to follow this with subtitles, which was great as watching this in its native German only adds to the experience, it can be a bit difficult to keep up with every plot machination, as we spend two and half hours reading about troop deployments, tactics and the philosophy of the Third Reich as we are presented with such atmospheric work, but if you can keep up with but the text and visuals, this is one hell of an education for those who do not know and an immersive masterpiece for those who follow WW2 history.