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Kristy H (1252 KP) rated Into the Night in Books
Mar 6, 2019
Intriguing and refreshing mystery
Detective Sergeant Gemma Woodstock is working in Melbourne now, trying to negotiate relationships with her new boss, Chief Inspector Toby Isaacs, and her partner, Detective Sergeant Fleet. She has been in Melbourne for three months; this has meant leaving behind her five-year-old son, Ben, and his father, Scott. She's keeping busy with a series of cases, including that of a homeless man, Walter Miller, who was brutally killed and one with the famous actor, Sterling Wade, who was stabbed while filming a high-profile zombie film. Alone and away from her son, Gemma throws herself into her work, but will these difficult cases prove too much for her and her emotional well-being?
"I was high-functioning but deeply broken and eventually something had to give. When the opportunity to transfer to Melbourne arose, I needed to take it. Living in Smithson was slowly killing me."
This novel picks up a few years after the first Gemma book. Gemma has been haunted by the Rosalind Rose case featured in Bailey's superb first novel, The Dark Lake, as well as her affair with her former partner, Felix. We find her lost and floundering. This serves a dual-purpose for us, the reader. We get to read a novel with a complicated, realistic character in Gemma. She's true to herself. On the other hand, she's not always the easiest to like or even empathize with. This is a woman who has left her child behind, after all. I have to congratulate Bailey on having Gemma not make the easy/safe choices in life, or the ones you typically see in detective novels. Not only do we get a strong yet vulnerable female character, we get one who is flawed, real, and struggling to find her way in the world. I certainly didn't always agree with her choices, but I do enjoy reading about them.
Even better, Gemma features in an excellent complicated and captivating mystery, with several cases that keep you guessing. The prominent one is the Sterling Wade case. Bailey brings in various Hollywood elements, and there are a lot of characters to suspect and pieces to put together. I quite liked not knowing who had killed Sterling. Even the detectives were flummoxed at times: how refreshing. Throughout all her cases, Gemma is working out where she fits in her new department and how she relates to her new partner, Fleet. There's a lot going on, but Bailey handles it all quite deftly. The excellent writing I enjoyed so much in her first novel is on display again here; you'll be impressed at the way she can pull together her story and bring out her characters.
"'Or maybe this case is just fucking with my mind,' I say, 'and making me think that Agatha Christie plots are coming to life.'"
Overall, I found this book intriguing and refreshing. Gemma is a complicated and complex character who is matched by the intricate cases she attempts to solve. Those who enjoy a character-driven mystery will be drawn to Gemma's prickly exterior, while those who simply enjoy a hard-to-solve case will find plenty to like here as well. Sarah Bailey is certainly a go-to author for me.
I received a copy of this book from the publisher and Netgalley in return for an unbiased review (thank you!).
"I was high-functioning but deeply broken and eventually something had to give. When the opportunity to transfer to Melbourne arose, I needed to take it. Living in Smithson was slowly killing me."
This novel picks up a few years after the first Gemma book. Gemma has been haunted by the Rosalind Rose case featured in Bailey's superb first novel, The Dark Lake, as well as her affair with her former partner, Felix. We find her lost and floundering. This serves a dual-purpose for us, the reader. We get to read a novel with a complicated, realistic character in Gemma. She's true to herself. On the other hand, she's not always the easiest to like or even empathize with. This is a woman who has left her child behind, after all. I have to congratulate Bailey on having Gemma not make the easy/safe choices in life, or the ones you typically see in detective novels. Not only do we get a strong yet vulnerable female character, we get one who is flawed, real, and struggling to find her way in the world. I certainly didn't always agree with her choices, but I do enjoy reading about them.
Even better, Gemma features in an excellent complicated and captivating mystery, with several cases that keep you guessing. The prominent one is the Sterling Wade case. Bailey brings in various Hollywood elements, and there are a lot of characters to suspect and pieces to put together. I quite liked not knowing who had killed Sterling. Even the detectives were flummoxed at times: how refreshing. Throughout all her cases, Gemma is working out where she fits in her new department and how she relates to her new partner, Fleet. There's a lot going on, but Bailey handles it all quite deftly. The excellent writing I enjoyed so much in her first novel is on display again here; you'll be impressed at the way she can pull together her story and bring out her characters.
"'Or maybe this case is just fucking with my mind,' I say, 'and making me think that Agatha Christie plots are coming to life.'"
Overall, I found this book intriguing and refreshing. Gemma is a complicated and complex character who is matched by the intricate cases she attempts to solve. Those who enjoy a character-driven mystery will be drawn to Gemma's prickly exterior, while those who simply enjoy a hard-to-solve case will find plenty to like here as well. Sarah Bailey is certainly a go-to author for me.
I received a copy of this book from the publisher and Netgalley in return for an unbiased review (thank you!).
MichaelS (0 KP) rated Justice League (2017) in Movies
Feb 20, 2018
"Meanwhile, at the Hall Of Justice..."
This movie is the culmination of a childhood full of Saturday mornings in front of the tv in pajamas with a bowl of cereal. "Superfriends" was superheroes at it's most basic. The bad guys wanted to take over or destroy the world and the good guys have to stop them. That was the depth of the plots for both those classic cartoons, and this movie. It's pure cartoon fun brought to life, and I loved every minute of it.
The plot only serves as a reason for these heroes to come together. So you can say that story is not a top priority. Character is the name of the game here, and on that level, the movie is gold. Each character is fully realized, with their own individual situation they need to grow from. Every hero is given his or her moment to shine as an individual. When they stand as a team, it's some of the best superhero action we've ever gotten.
The performances of the League members is spot on across the board. Every character is presented exactly the way they should be. Ben Affleck continues to prove all the doubters wrong, by giving us the best live action version of Batman we've ever seen. Right from the start you see how he demands fear from evildoers, but filled with hope for the good things in the world. Gal Gadot IS Wonder Woman. If there was any doubt left after her solo movie, it should be thoroughly erased now. She's strong in body, mind, and spirit. Jason Mamoa forever erases the idea of Aquaman being the wimpiest superhero. His "surfer dude" take on the character brings all the recklessness and abandon you'd expect from a beach bum. He's almost like a Spartan soldier that lives for the excitement of battle. Ezra Miller brings a youthful excitement of someone who is simply jazzed by what he, and others, can do with their abilities. He's almost the comic relief until you realize that the excited reactions he gives to everything is exactly what we would to if we were dropped in that situation.
SPOILER TERRITORY....skip to "END SPOILERS" if you don't want anything ruined
Although it should really come as no surprise to anyone, Superman does indeed return from the dead in this movie. Not only is that he's resurrected very cool, but the aftermath gives us the best fight scene of the film. Superman vs The Justice League. 'nuff said? I've always loved Henry Cavill as Superman, but now he owns the role. He has grown from a man filled with self doubt, trying to find his place in the world, to a man who now fully realizes who he is, and what purpose he serves to mankind. Lots of great Superman stuff in this movie, and that is the thing I'm most thankful for.
END SPOILERS
This is the most fun I've had with a superhero movie in a long time. It may not have the deepest plot, but that is fine with me, because this is truly a comic book come to life. It's full of the action and joyful spirit that the boy in me tuned into every weekend. Now, if the post credit scene in the movie delivers, it REALLY will be everything that the classic Challenges Of The Superfriends, and reduce me to that boy in pajamas again, cereal in hand, and a smile on my face.
The plot only serves as a reason for these heroes to come together. So you can say that story is not a top priority. Character is the name of the game here, and on that level, the movie is gold. Each character is fully realized, with their own individual situation they need to grow from. Every hero is given his or her moment to shine as an individual. When they stand as a team, it's some of the best superhero action we've ever gotten.
The performances of the League members is spot on across the board. Every character is presented exactly the way they should be. Ben Affleck continues to prove all the doubters wrong, by giving us the best live action version of Batman we've ever seen. Right from the start you see how he demands fear from evildoers, but filled with hope for the good things in the world. Gal Gadot IS Wonder Woman. If there was any doubt left after her solo movie, it should be thoroughly erased now. She's strong in body, mind, and spirit. Jason Mamoa forever erases the idea of Aquaman being the wimpiest superhero. His "surfer dude" take on the character brings all the recklessness and abandon you'd expect from a beach bum. He's almost like a Spartan soldier that lives for the excitement of battle. Ezra Miller brings a youthful excitement of someone who is simply jazzed by what he, and others, can do with their abilities. He's almost the comic relief until you realize that the excited reactions he gives to everything is exactly what we would to if we were dropped in that situation.
SPOILER TERRITORY....skip to "END SPOILERS" if you don't want anything ruined
Although it should really come as no surprise to anyone, Superman does indeed return from the dead in this movie. Not only is that he's resurrected very cool, but the aftermath gives us the best fight scene of the film. Superman vs The Justice League. 'nuff said? I've always loved Henry Cavill as Superman, but now he owns the role. He has grown from a man filled with self doubt, trying to find his place in the world, to a man who now fully realizes who he is, and what purpose he serves to mankind. Lots of great Superman stuff in this movie, and that is the thing I'm most thankful for.
END SPOILERS
This is the most fun I've had with a superhero movie in a long time. It may not have the deepest plot, but that is fine with me, because this is truly a comic book come to life. It's full of the action and joyful spirit that the boy in me tuned into every weekend. Now, if the post credit scene in the movie delivers, it REALLY will be everything that the classic Challenges Of The Superfriends, and reduce me to that boy in pajamas again, cereal in hand, and a smile on my face.
Gareth von Kallenbach (965 KP) rated Johnny English Strikes Again (2018) in Movies
Jul 2, 2019
My very first experience with the incredibly talented Rowan Atkinson was when I saw a silly Mr. Bean short that was played before the Beauty and the Beast movie. This was way back in 1991 and yet you wouldn’t believe that he’s aged at all during that time. Johnny English Strikes Again is the third movie in the Johnny English franchise, and is another James Bond inspired spoof where our never aging super spy once again tries to outwit a maniacal super genius hell bent on taking over the world.
The movie starts with Johnny English as a geography teacher at a private school in the heart of England. What makes this a light-hearted and perfect entrance to the movie is that instead of teaching geography lessons, he’s teaching the kids how to become spies. Not only does this result in some very chuckle worthy scenes but it also shows us that Johnny still yearns to be back in the field even though he’s an exceptional teacher to the young spies-in-training. As fate would have it, a hacker has released the identities of all MI-7 agents around the world, so the only hope that England has is to call back retired agents. Reluctantly, Johnny is given the job and of course the hijinks start before he even heads out on his mission. In a very cute and refreshing twist on the usual high-tech spy movies, Johnny prefers his spy gear old school, so he turns down the smart phone and hybrid vehicle and instead requests a gun and picks out an old gas-guzzling Aston Martin V8. It was a very clever way to show that his mission wasn’t going to be anything like how Ethan Hunt would handle things.
This leads us to the plot of the movie. Johnny’s mission, with the help of his faithful sidekick Bough (Ben Miller), is to track down the signal where the hacker has been carrying out his attacks and thwart them before the G12 summit takes place. His first stop is to the south of France, where he encounters an alluring Russian spy named Ophelia (Olga Kurylenko) who is clearly working against him. What follows is a slapstick tale of numerous follies as the unlikely trio dance, drive, and crash their way to saving the world.
As you might expect Johnny English forgoes the crudeness and lewd jokes that are popular in comedic films these days and brings back a much more wholesome family friendly comedy. There is no cursing to speak of, no real violence, and except for the last scene it barely rates in the PG category at all. It harkens back to the late 80’s and early 90’s with similar spoof movies like The Naked Gun, where silly dialog and accident-prone heroes are what leads to the laughter. It’s a film that certainly does not take itself seriously and expects the same from the viewing audience. Some of the humor in the movie may elicit a groan from being that bad…but it’s usually so bad that it becomes funny. I found myself laughing a lot more than I expected to and I wasn’t the only one in the theater laughing.
To truly enjoy Johnny English, you have to know what to expect going into it. I can’t imagine there will be many (particularly those who have seen the previous films) that will have particularly high expectations, and that’s where it shines. It may not win any comedy film awards or be the best movie you’ve ever seen but you’ll go away happy. If you enjoyed the previous films, you will certainly enjoy this film as it’s not a huge diversion from the formula and provides the same sort of silly gags throughout. It certainly won’t appeal to everyone and that’s okay, but if you think you might enjoy it even a little, it’s definitely worth a look.
The movie starts with Johnny English as a geography teacher at a private school in the heart of England. What makes this a light-hearted and perfect entrance to the movie is that instead of teaching geography lessons, he’s teaching the kids how to become spies. Not only does this result in some very chuckle worthy scenes but it also shows us that Johnny still yearns to be back in the field even though he’s an exceptional teacher to the young spies-in-training. As fate would have it, a hacker has released the identities of all MI-7 agents around the world, so the only hope that England has is to call back retired agents. Reluctantly, Johnny is given the job and of course the hijinks start before he even heads out on his mission. In a very cute and refreshing twist on the usual high-tech spy movies, Johnny prefers his spy gear old school, so he turns down the smart phone and hybrid vehicle and instead requests a gun and picks out an old gas-guzzling Aston Martin V8. It was a very clever way to show that his mission wasn’t going to be anything like how Ethan Hunt would handle things.
This leads us to the plot of the movie. Johnny’s mission, with the help of his faithful sidekick Bough (Ben Miller), is to track down the signal where the hacker has been carrying out his attacks and thwart them before the G12 summit takes place. His first stop is to the south of France, where he encounters an alluring Russian spy named Ophelia (Olga Kurylenko) who is clearly working against him. What follows is a slapstick tale of numerous follies as the unlikely trio dance, drive, and crash their way to saving the world.
As you might expect Johnny English forgoes the crudeness and lewd jokes that are popular in comedic films these days and brings back a much more wholesome family friendly comedy. There is no cursing to speak of, no real violence, and except for the last scene it barely rates in the PG category at all. It harkens back to the late 80’s and early 90’s with similar spoof movies like The Naked Gun, where silly dialog and accident-prone heroes are what leads to the laughter. It’s a film that certainly does not take itself seriously and expects the same from the viewing audience. Some of the humor in the movie may elicit a groan from being that bad…but it’s usually so bad that it becomes funny. I found myself laughing a lot more than I expected to and I wasn’t the only one in the theater laughing.
To truly enjoy Johnny English, you have to know what to expect going into it. I can’t imagine there will be many (particularly those who have seen the previous films) that will have particularly high expectations, and that’s where it shines. It may not win any comedy film awards or be the best movie you’ve ever seen but you’ll go away happy. If you enjoyed the previous films, you will certainly enjoy this film as it’s not a huge diversion from the formula and provides the same sort of silly gags throughout. It certainly won’t appeal to everyone and that’s okay, but if you think you might enjoy it even a little, it’s definitely worth a look.
Bob Mann (459 KP) rated Zack Snyder's Justice League (2021) in Movies
Apr 5, 2021
At over 4 hours it's still bloated and sprawling (1 more)
4:3 ratio is a needless gimmick
Does Lipstick on the Pig work?
In Zack Snyder’s much-discussed director’s cut of “Justice League”, Superman (Henry Cavill) is dead (post the events of “Batman v Superman: Dawn of Justice“) and a grieving Lois Lane (Amy Adams) can’t move on. Even Martha Kent (Diane Lane) has had the family farm repossessed. But the world is in deadly danger due to the work of Steppenwolf and his army of parademons. They are trying to reunite three ‘Mother Boxes’, previously hidden on earth. If joined and synchronized they will form ‘The Unity’, creating a gateway for Steppenwolf’s boss – Darkseid – to arrive and control the universe by invoking the “anti-life equation” (basically lockdown 3!).
Only the Justice League’s combined talents might be enough to stop them – but Batman (Ben Affleck) is having trouble in getting Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), Cyborg (Ray Fisher) and The Flash (Ezra Miller) to work together. And even then, they reckon they might be a man short!
Positives:
- Well - it's so much better than the original 2017 version of "Justice League", but then that's not saying much! (I realise that I never did a review for that movie, which I saw on a transatlantic flight - - I put the whole incoherent mess down to my jetlag. But no.... it really was an incoherent mess!).
In the Snyder cut, we gain a much broader introduction to all of the main characters, especially to Barry Allen (the Flash) - in a very entertaining pet shop interview scene - and Victor Stone (Cyborg). And Steppenwolf gets more air time to flesh out his character.
- The story I find very similar to the Marvel equivalent: with Darkseid = Thanos; boxes = stones; Avengers = Justice League! But the story is at least now coherent and flows well. Its action set pieces, especially the ultimate defeat of Steppenwolf (nice decap!), are exciting.
- Some of the distracting scenes (the trapped family in the Russian ruins is a key example) have been excised from this version, making for a significant improvement.
Negatives:
- I'm with Mark Kermode in being a little bit mystified by all of the rave 5* reviews for this one. By anyone's imagination, a run time of 242 minutes is over-indulgent.
- Although the epilogue scene, featuring Jared Leto's Joker and a Batman f-bomb, is entertaining, it actually adds nothing to the exposition and could have been dropped to reduce the bladder-testing run time.
- That 4:3 screen ratio! JUST WHY SNYDER, WHY? There's one scene in particular, where all six members of the Justice League line up in the sunset to dramatic swelling music. The screen ratio forces Snyder to film it at a 60 degree angle to get them all in! "Galaxy Quest" intelligently used three different screen ratios, to great visual effect. So I could perhaps understand it if the 'flashback' scenes had been 4:3 and the rest in 16:9. But as it is, the usage is gimmicky, making (imho) no sense for a big fantasy spectacle like this.
- The Junkie XL (as Thomas Holkenborg) soundtrack I'm afraid did nothing for me.
Summary thoughts:
It's a film, for sure. Is it a watchable film now... hmm, yes just about. And it has scenes which indeed are highly entertaining. But if you follow my One Mann's Movies blog you should know by now my view on movies that extend beyond 90 minutes... they need to justify that delta running time. And by outstaying this target by another 90 minutes... and then by ANOTHER 62 minutes borders on taking the <proverbial>. It's not Shakespeare!
(For the full graphical review, check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/04/04/zack-snyders-justice-league-does-lipstick-on-the-pig-work/).
Only the Justice League’s combined talents might be enough to stop them – but Batman (Ben Affleck) is having trouble in getting Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), Cyborg (Ray Fisher) and The Flash (Ezra Miller) to work together. And even then, they reckon they might be a man short!
Positives:
- Well - it's so much better than the original 2017 version of "Justice League", but then that's not saying much! (I realise that I never did a review for that movie, which I saw on a transatlantic flight - - I put the whole incoherent mess down to my jetlag. But no.... it really was an incoherent mess!).
In the Snyder cut, we gain a much broader introduction to all of the main characters, especially to Barry Allen (the Flash) - in a very entertaining pet shop interview scene - and Victor Stone (Cyborg). And Steppenwolf gets more air time to flesh out his character.
- The story I find very similar to the Marvel equivalent: with Darkseid = Thanos; boxes = stones; Avengers = Justice League! But the story is at least now coherent and flows well. Its action set pieces, especially the ultimate defeat of Steppenwolf (nice decap!), are exciting.
- Some of the distracting scenes (the trapped family in the Russian ruins is a key example) have been excised from this version, making for a significant improvement.
Negatives:
- I'm with Mark Kermode in being a little bit mystified by all of the rave 5* reviews for this one. By anyone's imagination, a run time of 242 minutes is over-indulgent.
- Although the epilogue scene, featuring Jared Leto's Joker and a Batman f-bomb, is entertaining, it actually adds nothing to the exposition and could have been dropped to reduce the bladder-testing run time.
- That 4:3 screen ratio! JUST WHY SNYDER, WHY? There's one scene in particular, where all six members of the Justice League line up in the sunset to dramatic swelling music. The screen ratio forces Snyder to film it at a 60 degree angle to get them all in! "Galaxy Quest" intelligently used three different screen ratios, to great visual effect. So I could perhaps understand it if the 'flashback' scenes had been 4:3 and the rest in 16:9. But as it is, the usage is gimmicky, making (imho) no sense for a big fantasy spectacle like this.
- The Junkie XL (as Thomas Holkenborg) soundtrack I'm afraid did nothing for me.
Summary thoughts:
It's a film, for sure. Is it a watchable film now... hmm, yes just about. And it has scenes which indeed are highly entertaining. But if you follow my One Mann's Movies blog you should know by now my view on movies that extend beyond 90 minutes... they need to justify that delta running time. And by outstaying this target by another 90 minutes... and then by ANOTHER 62 minutes borders on taking the <proverbial>. It's not Shakespeare!
(For the full graphical review, check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/04/04/zack-snyders-justice-league-does-lipstick-on-the-pig-work/).
Summer Heat: A Steamy Romance Collection
Caitlyn Lynch, Christina Rose Andrews, Ariel Bishop, Líadáin Douglas, Annika Steele, Gwen Marshall, Abbigail Clark, Livvy Ward, T.D. Crawls, Ava Bari, Avery J. Heath, Tally Bane, Sera Taíno, Moxie Rivers, Siobhan Kearney, Cynthia Miller and Tricia Ramey
8.0
Rate It
Book
A collection of 17 steamy short stories (5,000 - 10,000 words) by new and established romance...
Anthology Contemporary Romance
BankofMarquis (1832 KP) rated Ready Player One (2018) in Movies
Apr 17, 2018
Entertaining film - but the book was better
I loved the book.
When that phrase is uttered, it doesn't necessarily mean that the film has a strike going against it. For every film that "the book was better" (MISS PEREGRINE and THE GIRL ON THE TRAIN, for instance), I can also point to films where they "did justice to the book" (like THE MARTIAN and the recent version of IT).
So...it was with some trepidation - and some excitement - that I checked into the virtual world of the Oasis and caught READY PLAYER ONE. Most of my excitement was because I was going see this Steven Spielberg opus on the big screen in 70mm. I was ready for an immersive, stunningly visual film experience.
And...I wasn't disappointed.
Set in a not-too-distant-future, dystopian world (is there any other?), READY PLAYER ONE is part WILLIE WONKA and part THE MATRIX. A brilliant game designer has died and has littered his virtual world - a world where most of the people on planet Earth go to escape the poverty and depravity of the "real world" - with clues and an "Easter Egg" (literally). The first one to find the hidden Easter Egg gains ownership of the Oasis. 5 years later, no one has found anything and it has turned into a battle between the evil Corporate conglomerate IOI that wants to commercialize the Oasis and the "gunters" (Grail hunters) that want to keep the Oasis "pure".
So, into this world, Spielberg brings us - and succeeds for the most part. The most stunning part of this film - and the reason I wanted to see this on the big screen and in 70mm - is that 80% of it takes place in the Oasis, the virtual reality world. The scenery, imagery and detail of this world are a marvel to behold. Since it is a virtual world, you can throw away the laws of physics - and that is a fun aspect of things (especially when you forget that your are in a virtual, and not a real, world).
The real fun of this story (both in the book and in the movie) is that most of the Oasis is filled with homages to 1980's Pop Culture (with some 60's, 70's and 90's thrown in), so you are treated to many fun "cameo" images on the screen (like the DeLorean from BACK TO THE FUTURE) - even if they are in the background. I won't give much away, but in one scene I spotted the "open the pod bay doors, HAL" pod from 2001:A SPACE ODYSSEY, just hanging out in the background without anyone referring to it. If you are any kind of pop culture "nerd" you will be in hog heaven with this aspect of the movie.
And that's a good thing because we spend, as I said, 80% of our time in this film in this virtual world - and it is well worth the trip. The other 20% is spent in the "real world" and the visuals, the imagery and, sadly, the characters are just not as exciting or interesting.
Take, for example, our 5 heroes - the "High Five" gunters. In the Oasis, their avatars are interesting to look at and to spend time with. Outside of the Oasis, the 5 actors who inhabit these characters are - to be honest - somewhat boring and lacking in screen presence and charisma.
I blame most of the lack of charisma on Spielberg, who - obviously - spent most of his attention (rightfully so) on the special effects and creating the world of the Oasis. He left the actors to "do their thing" and these 5 kids (or maybe I should say "young adults") just don't have the chops to pull it off. Someone who does - Ben Mendehlson as the Corporation's head and the main villain of this piece - eats scenery like it is snack chips. The only thing he didn't do in this film is twirl his mustache and tie the female lead to the train tracks. Add to that performance the usually obnoxious TJ Miller, as the main henchman who is up to his usual, obnoxious self here. I could have used a lot less of both of these characters.
What I could have used a lot more of is the brilliant Mark Rylance - superbly underplaying his role as the game's chief designer, who pops up in virtual flashbacks and commands the screen whenever he is on. His partner is played by the usually reliable Simon Pegg, who was "fine", but - if I'm being honest - I think is miscast in this film.
Is it a good film? I'd have to say yes - I enjoyed myself very much - and you will too. I did, though, walk out thinking about what a missed opportunity it was. The film could have been better.
The book, certainly, was better.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
When that phrase is uttered, it doesn't necessarily mean that the film has a strike going against it. For every film that "the book was better" (MISS PEREGRINE and THE GIRL ON THE TRAIN, for instance), I can also point to films where they "did justice to the book" (like THE MARTIAN and the recent version of IT).
So...it was with some trepidation - and some excitement - that I checked into the virtual world of the Oasis and caught READY PLAYER ONE. Most of my excitement was because I was going see this Steven Spielberg opus on the big screen in 70mm. I was ready for an immersive, stunningly visual film experience.
And...I wasn't disappointed.
Set in a not-too-distant-future, dystopian world (is there any other?), READY PLAYER ONE is part WILLIE WONKA and part THE MATRIX. A brilliant game designer has died and has littered his virtual world - a world where most of the people on planet Earth go to escape the poverty and depravity of the "real world" - with clues and an "Easter Egg" (literally). The first one to find the hidden Easter Egg gains ownership of the Oasis. 5 years later, no one has found anything and it has turned into a battle between the evil Corporate conglomerate IOI that wants to commercialize the Oasis and the "gunters" (Grail hunters) that want to keep the Oasis "pure".
So, into this world, Spielberg brings us - and succeeds for the most part. The most stunning part of this film - and the reason I wanted to see this on the big screen and in 70mm - is that 80% of it takes place in the Oasis, the virtual reality world. The scenery, imagery and detail of this world are a marvel to behold. Since it is a virtual world, you can throw away the laws of physics - and that is a fun aspect of things (especially when you forget that your are in a virtual, and not a real, world).
The real fun of this story (both in the book and in the movie) is that most of the Oasis is filled with homages to 1980's Pop Culture (with some 60's, 70's and 90's thrown in), so you are treated to many fun "cameo" images on the screen (like the DeLorean from BACK TO THE FUTURE) - even if they are in the background. I won't give much away, but in one scene I spotted the "open the pod bay doors, HAL" pod from 2001:A SPACE ODYSSEY, just hanging out in the background without anyone referring to it. If you are any kind of pop culture "nerd" you will be in hog heaven with this aspect of the movie.
And that's a good thing because we spend, as I said, 80% of our time in this film in this virtual world - and it is well worth the trip. The other 20% is spent in the "real world" and the visuals, the imagery and, sadly, the characters are just not as exciting or interesting.
Take, for example, our 5 heroes - the "High Five" gunters. In the Oasis, their avatars are interesting to look at and to spend time with. Outside of the Oasis, the 5 actors who inhabit these characters are - to be honest - somewhat boring and lacking in screen presence and charisma.
I blame most of the lack of charisma on Spielberg, who - obviously - spent most of his attention (rightfully so) on the special effects and creating the world of the Oasis. He left the actors to "do their thing" and these 5 kids (or maybe I should say "young adults") just don't have the chops to pull it off. Someone who does - Ben Mendehlson as the Corporation's head and the main villain of this piece - eats scenery like it is snack chips. The only thing he didn't do in this film is twirl his mustache and tie the female lead to the train tracks. Add to that performance the usually obnoxious TJ Miller, as the main henchman who is up to his usual, obnoxious self here. I could have used a lot less of both of these characters.
What I could have used a lot more of is the brilliant Mark Rylance - superbly underplaying his role as the game's chief designer, who pops up in virtual flashbacks and commands the screen whenever he is on. His partner is played by the usually reliable Simon Pegg, who was "fine", but - if I'm being honest - I think is miscast in this film.
Is it a good film? I'd have to say yes - I enjoyed myself very much - and you will too. I did, though, walk out thinking about what a missed opportunity it was. The film could have been better.
The book, certainly, was better.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated War for the Planet of the Apes (2017) in Movies
Sep 29, 2021
Putting the “ape” in “The Great Esc-ape”.
2011’s “Rise of the Planet of the Apes” was the one of the big movie surprises for me of that year. With staggeringly good mo-cap for the apes and a touching and memorable story it was (or would have been) a 5-Fad classic. 2014’s “Dawn of the Planet of the Apes” whilst also good took a slight backward step. With “War”, the form is back almost to top notch, and this is a summer release at last deserving of the suffix “blockbuster”.
We have moved a number of years forwards from the events of “Dawn” and society as we know it has crumbled away still further: even the “Holidays are Coming” Coke lorry is no longer in service, so things MUST be bad! We begin the film with the apes having a nice ‘Centre Parcs’ break when their reverie and cappuccinos are rudely interrupted by the attacking forces of “The Colonel” (Woody Harrelson, “Triple 9“, “Zombieland”). For The Colonel is intent on tracking down and killing ape-leader Caesar (Andy Serkis, “LOTR”).
After things get decidedly personal, Caesar leaves his young son Cornelius (in a nice nod to the Roddy McDowell role in the original films) to find and kill The Colonel. So follows a “True Grit” style pursuit/revenge chase, made more similar to this analogy by the picking up of a waif-like mute girl (the excellent Amiah Miller). I found this to be a really emotional plot line, with Caesar torn between the animal drive of his revenge and his role as a leader to his whole community.
The film analogies continue as we take in a “Shining”-style winter hotel; a gritty Prisoner-of-War camp escape drama (“The Great Esc-ape”?); a barricades battle in the style of Helm’s Deep in “LOTR: The Two Towers”; and a full-on Coppola-style helicopter-based war sequence (“Ape-ocalypse now”, as graffiti in the film declares).
Once again, the mo-cap ability to express true emotions on the faces of the apes is mind-blowing, with Serkis again being outstanding as is Steve Zahn (“Dallas Buyer’s Club“) adding some (very funny) comic relief as “Bad Ape”.
While Woody Harrelson is not everyone’s cup of tea (including mine), here I found him to be actually very good (“SO EMOTIONAL”!) as the half crazed dictator forcing beings he sees as less worthy than his kind to build a wall. (That’s just SO familiar… think dammit… think….!). There’s a really cool plot twist in The Colonel’s character arc that I really didn’t see coming. Just so cool.
Another star of the film for me was Michael Giacchino’s music which is simply awesome. Starting with a superbly retro rendition of the 20th Century Fox theme (not top of my list: “The Simpson’s Movie” still holds that spot for me!) Giacchino decorates every scene with great themes and like all great film music some of it you barely notice. A dramatic telling by the Colonel of his back-story is accompanied by sonorous music that is similar in its power to James Horner’s classic “Electronic Battlefield” in “Patriot Games”: only when the scene finishes and the music stops do you appreciate how central it was to the emotion of the scene. (As I sat through all of the end-titles for the music I can also confirm that – despite all the odds – there is no “monkey” at the end!)
The script by “Dawn” collaborators Mark Bomback and (director) Matt Reeves is eventful and packs a dramatic punch particularly in the last half of the film. The talented Mr Reeves (who also directed “Cloverfield” and “Let Me In” and is in assigned to the next Ben Affleck outing as “The Batman”) directs with panache, never letting the foot come off the tension pedal.
On the downside, that “last half of the film” is still 70 minutes away, and whilst I appreciate a leisurely pace for properly setting characters and motivations in place, getting to those simply brilliant scenes set at “the border” is a bit of a slog that might have been tightened up and moved along a bit quicker. Also, while talking about editing, I would have personally ended the film about 90 seconds before they did.
I saw this in 3D, but the effects are subtle at best (although there is a nice binocular rangefinder view). In my opinion it’s not worth going out of your way to experience in 3D.
But overall I loved this movie. The film is chock full of visual delights for film lovers (one of my favourites being “Bedtime for Bonzo” – a nice historical film reference – written on the back of a soldier’s helmet). It’s an epic action film with a strong emotional core to the story that genuinely moved me. There may be other spin-off Planet of the Apes films to follow. But if they left this here, as a near-perfect trilogy, that would be absolutely fine by me.
We have moved a number of years forwards from the events of “Dawn” and society as we know it has crumbled away still further: even the “Holidays are Coming” Coke lorry is no longer in service, so things MUST be bad! We begin the film with the apes having a nice ‘Centre Parcs’ break when their reverie and cappuccinos are rudely interrupted by the attacking forces of “The Colonel” (Woody Harrelson, “Triple 9“, “Zombieland”). For The Colonel is intent on tracking down and killing ape-leader Caesar (Andy Serkis, “LOTR”).
After things get decidedly personal, Caesar leaves his young son Cornelius (in a nice nod to the Roddy McDowell role in the original films) to find and kill The Colonel. So follows a “True Grit” style pursuit/revenge chase, made more similar to this analogy by the picking up of a waif-like mute girl (the excellent Amiah Miller). I found this to be a really emotional plot line, with Caesar torn between the animal drive of his revenge and his role as a leader to his whole community.
The film analogies continue as we take in a “Shining”-style winter hotel; a gritty Prisoner-of-War camp escape drama (“The Great Esc-ape”?); a barricades battle in the style of Helm’s Deep in “LOTR: The Two Towers”; and a full-on Coppola-style helicopter-based war sequence (“Ape-ocalypse now”, as graffiti in the film declares).
Once again, the mo-cap ability to express true emotions on the faces of the apes is mind-blowing, with Serkis again being outstanding as is Steve Zahn (“Dallas Buyer’s Club“) adding some (very funny) comic relief as “Bad Ape”.
While Woody Harrelson is not everyone’s cup of tea (including mine), here I found him to be actually very good (“SO EMOTIONAL”!) as the half crazed dictator forcing beings he sees as less worthy than his kind to build a wall. (That’s just SO familiar… think dammit… think….!). There’s a really cool plot twist in The Colonel’s character arc that I really didn’t see coming. Just so cool.
Another star of the film for me was Michael Giacchino’s music which is simply awesome. Starting with a superbly retro rendition of the 20th Century Fox theme (not top of my list: “The Simpson’s Movie” still holds that spot for me!) Giacchino decorates every scene with great themes and like all great film music some of it you barely notice. A dramatic telling by the Colonel of his back-story is accompanied by sonorous music that is similar in its power to James Horner’s classic “Electronic Battlefield” in “Patriot Games”: only when the scene finishes and the music stops do you appreciate how central it was to the emotion of the scene. (As I sat through all of the end-titles for the music I can also confirm that – despite all the odds – there is no “monkey” at the end!)
The script by “Dawn” collaborators Mark Bomback and (director) Matt Reeves is eventful and packs a dramatic punch particularly in the last half of the film. The talented Mr Reeves (who also directed “Cloverfield” and “Let Me In” and is in assigned to the next Ben Affleck outing as “The Batman”) directs with panache, never letting the foot come off the tension pedal.
On the downside, that “last half of the film” is still 70 minutes away, and whilst I appreciate a leisurely pace for properly setting characters and motivations in place, getting to those simply brilliant scenes set at “the border” is a bit of a slog that might have been tightened up and moved along a bit quicker. Also, while talking about editing, I would have personally ended the film about 90 seconds before they did.
I saw this in 3D, but the effects are subtle at best (although there is a nice binocular rangefinder view). In my opinion it’s not worth going out of your way to experience in 3D.
But overall I loved this movie. The film is chock full of visual delights for film lovers (one of my favourites being “Bedtime for Bonzo” – a nice historical film reference – written on the back of a soldier’s helmet). It’s an epic action film with a strong emotional core to the story that genuinely moved me. There may be other spin-off Planet of the Apes films to follow. But if they left this here, as a near-perfect trilogy, that would be absolutely fine by me.