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LeftSideCut (3776 KP) rated Underwater (2020) in Movies
Sep 11, 2020
Fair play, Underwater doesn't fuck around - 2 minutes in and all hell starts breaking loose and shit hits the fan pretty relentlessly until the credits roll. It's clear that director William Eubank wants your attention from the beginning - unfortunately it doesn't quite stay like this throughout...
I actually enjoyed Underwater for the most part, it's just that somewhere in the middle, it really starts to drag a bit, and I'm not even quite sure why - there's always something going on but it just lost me a bit.
Fortunately, the up and down middle act is book-ended by a very strong and tense first act, and one hell of a final third - no spoilers here but holy fuck!!!
The ending 'reveal' honestly elevates Underwater to loftier heights.
It also benefits from a good cast. Kristen Stewart has really grown on me in recent years and she's a fantastic lead in this. Always a pleasure to have Jessica Henwick and John Gallagher Jr. onscreen as well.
As per usual, I couldn't really get on with T.J. Miller - there's just something about that dude that always feels a bit too try hard - people liked him in Deadpool and now he's just typecast as the comic relief - Underwater doesn't really need comic relief.
There are some genuinely tense moments here and there, and the Aliens vibes are prominent - it's of course a few tiers under Aliens, but the bottom of the sea feels just as empty and otherworldly as space, and the creature designs are suitably eerie. The low light levels cover up a lot of CGI, so it never looks too fake either, with the exception of a couple of dodgy gore effects.
Underwater is a decent enough sci-fi-horror thriller that suffer a bit from pacing issues, but a good watch for those of you who like movie monsters.
I actually enjoyed Underwater for the most part, it's just that somewhere in the middle, it really starts to drag a bit, and I'm not even quite sure why - there's always something going on but it just lost me a bit.
Fortunately, the up and down middle act is book-ended by a very strong and tense first act, and one hell of a final third - no spoilers here but holy fuck!!!
The ending 'reveal' honestly elevates Underwater to loftier heights.
It also benefits from a good cast. Kristen Stewart has really grown on me in recent years and she's a fantastic lead in this. Always a pleasure to have Jessica Henwick and John Gallagher Jr. onscreen as well.
As per usual, I couldn't really get on with T.J. Miller - there's just something about that dude that always feels a bit too try hard - people liked him in Deadpool and now he's just typecast as the comic relief - Underwater doesn't really need comic relief.
There are some genuinely tense moments here and there, and the Aliens vibes are prominent - it's of course a few tiers under Aliens, but the bottom of the sea feels just as empty and otherworldly as space, and the creature designs are suitably eerie. The low light levels cover up a lot of CGI, so it never looks too fake either, with the exception of a couple of dodgy gore effects.
Underwater is a decent enough sci-fi-horror thriller that suffer a bit from pacing issues, but a good watch for those of you who like movie monsters.
Gareth von Kallenbach (980 KP) rated Wonder Woman 1984 (2020) in Movies
Dec 23, 2020
Gal Gadot returns as Diana Prince in âWonder Woman 1984â which has seen its release date shift a few times due to the Covid-19 pandemic. The film has started to open overseas and will arrive in the U.S. on Christmas day with a limited debut on HBO Max as well.
The story sees Diana now living in Washington D.C. in 1984. Diana is popular but has refused male companionship as she still longs for her late love Steve Trevor (Chris Pine).
Diana works in the Smithsonian Institute in antiquities and keeps her secret identity under wraps even when a daring mall heist forces her to leap into action.
A shy and passive employee named Barbara (Kirsten Wiig); who is afraid of her own shadow and largely ignored by her peers is befriended by Diana and they discover one item from the heist is inscribed with the ability to grant a wish. Unknowingly Diana wishes for Steve to return and Barbara wishes to be more like Diana which sets a chain of events into motion.
A shady business man named Maxwell Lord (Perdro Pascal) has his site on obtaining the relic as he believes having the ability to grant wishes will allow him to save his failing business and give him the power he craves.
With such a promising setup; the film ultimately does not deliver on its premise and becomes bogged down in drawn out sequences with surprisingly little action and gaps in logic that defy even standards for a comic book film.
The first 90 minutes of the film has roughly 10-15 minutes of action tops and we are instead given lengthy scenes of Steve trying to find an 80s fashion look; flying over fireworks, and Maxwell trashing from one locale to another without much needed continuity.
An action scene involving a convoy chase through the desert seems very inspired by âRaiders of the Lost Arkâ and ultimately does not deliver especially with such a long gape between the action sequences.
The final act does attempt to redeem the film as seeing Barbara transform into her new persona is interesting and Wiig does a very solid job with the role. This sadly is undermined with a single line of dialogue which takes away a big part of the transformation that audiences deserved to see.
There was also a sequence where Diana races down the streets and takes to flight with her Lasso and then discovers she can fly like Superman. Not only is this not in keeping with the character; but we see this extended fast moving sequence where she is clearly heading away from D.C. at great speed only to arrive at a destination with an item which had been established to be back at her home in D.C. It is this sort of sloppiness that really detracts from the film. There is also the fact that Steve has to fly her around on a jet that even as a pilot he should not know how to fly as he has never flown a jet aircraft in his life.
When the big confrontation comes it is a letdown as it is not overly epic and the CGI really does not seem to mesh. What is an even bigger disappointment is that a certain character stands emoting for several minutes while Diana gives such a bland and extended speech that even my wife had to ask âwho wrote these linesâ.
The film was not a total disaster as the characters were interesting and worked well with one another making the film entertaining in parts despite being really disappointed with it.
The film strikes me as a product of the talented Patty Jenkins being able to do whatever she wanted after the success of the first film. Jenkins not only Directed but did the screenplay for it. Considering the amazing job she did writing âMonsterâ I had high expectations for the film but to me it seemed like it could have used a bit more attention to several aspects.
My summary would be the following⊠good cast, entertaining in parts, not much action over two hours, takes huge liberties with Diana and her abilities, massive gaps in logic even for a comic movie. It aims to be epic and comes up lacking. At least the mid. credit scene was worth it.
3 stars out of 5
The story sees Diana now living in Washington D.C. in 1984. Diana is popular but has refused male companionship as she still longs for her late love Steve Trevor (Chris Pine).
Diana works in the Smithsonian Institute in antiquities and keeps her secret identity under wraps even when a daring mall heist forces her to leap into action.
A shy and passive employee named Barbara (Kirsten Wiig); who is afraid of her own shadow and largely ignored by her peers is befriended by Diana and they discover one item from the heist is inscribed with the ability to grant a wish. Unknowingly Diana wishes for Steve to return and Barbara wishes to be more like Diana which sets a chain of events into motion.
A shady business man named Maxwell Lord (Perdro Pascal) has his site on obtaining the relic as he believes having the ability to grant wishes will allow him to save his failing business and give him the power he craves.
With such a promising setup; the film ultimately does not deliver on its premise and becomes bogged down in drawn out sequences with surprisingly little action and gaps in logic that defy even standards for a comic book film.
The first 90 minutes of the film has roughly 10-15 minutes of action tops and we are instead given lengthy scenes of Steve trying to find an 80s fashion look; flying over fireworks, and Maxwell trashing from one locale to another without much needed continuity.
An action scene involving a convoy chase through the desert seems very inspired by âRaiders of the Lost Arkâ and ultimately does not deliver especially with such a long gape between the action sequences.
The final act does attempt to redeem the film as seeing Barbara transform into her new persona is interesting and Wiig does a very solid job with the role. This sadly is undermined with a single line of dialogue which takes away a big part of the transformation that audiences deserved to see.
There was also a sequence where Diana races down the streets and takes to flight with her Lasso and then discovers she can fly like Superman. Not only is this not in keeping with the character; but we see this extended fast moving sequence where she is clearly heading away from D.C. at great speed only to arrive at a destination with an item which had been established to be back at her home in D.C. It is this sort of sloppiness that really detracts from the film. There is also the fact that Steve has to fly her around on a jet that even as a pilot he should not know how to fly as he has never flown a jet aircraft in his life.
When the big confrontation comes it is a letdown as it is not overly epic and the CGI really does not seem to mesh. What is an even bigger disappointment is that a certain character stands emoting for several minutes while Diana gives such a bland and extended speech that even my wife had to ask âwho wrote these linesâ.
The film was not a total disaster as the characters were interesting and worked well with one another making the film entertaining in parts despite being really disappointed with it.
The film strikes me as a product of the talented Patty Jenkins being able to do whatever she wanted after the success of the first film. Jenkins not only Directed but did the screenplay for it. Considering the amazing job she did writing âMonsterâ I had high expectations for the film but to me it seemed like it could have used a bit more attention to several aspects.
My summary would be the following⊠good cast, entertaining in parts, not much action over two hours, takes huge liberties with Diana and her abilities, massive gaps in logic even for a comic movie. It aims to be epic and comes up lacking. At least the mid. credit scene was worth it.
3 stars out of 5
Movie Metropolis (309 KP) rated The BFG (2016) in Movies
Jun 10, 2019
Spielberg, where are you?
Roald Dahlâs inspiring novels have had a chequered history when it comes to turning them into films. Danny DeVitoâs Matilda is widely regarded as one of the best adaptations, with Tim Burtonâs Charlie & the Chocolate Factory rendered a monstrosity by fans of the author and movie critics alike.
So when Steven Spielberg was announced as director of The BFG, my personal favourite of all Dahlâs novels, I was equal parts pleased and wary. Could my favourite filmmaker really do this amazing book justice?
Partially is the short answer. Spielberg proves a safe pair of hands as usual, but it lacks his trademark flair, losing the darker, more brooding elements of the source material in the process.
Ten-year-old Sophie (Ruby Barnhill) experiences the adventure of a lifetime when she meets the Big Friendly Giant (Mark Rylance). Naturally scared at first, she soon realizes that the 24-foot behemoth is actually gentle and charming. As their friendship grows, Sophieâs presence attracts the unwanted attention of Bloodbottler, Fleshlumpeater and other giants. After traveling to London, Sophie and the BFG must convince the Queen to help them get rid of all the bad giants once and for all.
Casting wise, The BFG is practically spot on with Mark Rylance being exceptional in the titular role. It was always going to be hard to fill the shoes of David Jason, who tackled the character in the 1989 TV film, but he is perfect; getting the mannerisms and voice down to a tee. The motion capture used to render Rylanceâs face onto the giant is breath-taking and some of the best Iâve seen. Elsewhere, Ruby Barnhill certainly has the look of Sophie, but lacks the acting finesse of some child actors.
The cinematography is both beautiful and at times hard to stomach. The opening sequence in which Sophie is taken from her bed to Giant Country is stunning, climaxing in a first-person view of the far-away land. Unfortunately, Spielbergâs avoidance of shaky cam lends an almost video-game feel to the scene that proves nauseating after a few minutes.
The BFG also suffers when both its main characters share a close-up. In particular, when Sophie is being carried by the giant, the motions look continuously jerky and spoil an otherwise impeccably rendered film â you can see where the $140million was spent.
Unfortunately, John Williamsâ score lacks any sort of punch and feels sorely out of place in certain parts of the film. This is even more unusual considering the pairing of Spielberg and Williams has given us greats like Jurassic Park, E.T. and Indiana Jones.
Nevertheless, this is a sweet film that children and adults should enjoy. The themes of friendship and loneliness can resonate with all generations and a packed-out cinema proves just what a draw Roald Dahl still is to this day.
Overall, The BFG is everything most families will want from a summer holiday blockbuster. Itâs sugary sweet, with great special effects, engaging acting and a wonderful story that follows its source material reasonably well. However, for Spielberg fans, itâs puzzling because the directorâs presence feels a little lost. Thereâs a lot to like, but not a lot to love.
https://moviemetropolis.net/2016/07/28/spielberg-where-are-you-the-bfg-review/
So when Steven Spielberg was announced as director of The BFG, my personal favourite of all Dahlâs novels, I was equal parts pleased and wary. Could my favourite filmmaker really do this amazing book justice?
Partially is the short answer. Spielberg proves a safe pair of hands as usual, but it lacks his trademark flair, losing the darker, more brooding elements of the source material in the process.
Ten-year-old Sophie (Ruby Barnhill) experiences the adventure of a lifetime when she meets the Big Friendly Giant (Mark Rylance). Naturally scared at first, she soon realizes that the 24-foot behemoth is actually gentle and charming. As their friendship grows, Sophieâs presence attracts the unwanted attention of Bloodbottler, Fleshlumpeater and other giants. After traveling to London, Sophie and the BFG must convince the Queen to help them get rid of all the bad giants once and for all.
Casting wise, The BFG is practically spot on with Mark Rylance being exceptional in the titular role. It was always going to be hard to fill the shoes of David Jason, who tackled the character in the 1989 TV film, but he is perfect; getting the mannerisms and voice down to a tee. The motion capture used to render Rylanceâs face onto the giant is breath-taking and some of the best Iâve seen. Elsewhere, Ruby Barnhill certainly has the look of Sophie, but lacks the acting finesse of some child actors.
The cinematography is both beautiful and at times hard to stomach. The opening sequence in which Sophie is taken from her bed to Giant Country is stunning, climaxing in a first-person view of the far-away land. Unfortunately, Spielbergâs avoidance of shaky cam lends an almost video-game feel to the scene that proves nauseating after a few minutes.
The BFG also suffers when both its main characters share a close-up. In particular, when Sophie is being carried by the giant, the motions look continuously jerky and spoil an otherwise impeccably rendered film â you can see where the $140million was spent.
Unfortunately, John Williamsâ score lacks any sort of punch and feels sorely out of place in certain parts of the film. This is even more unusual considering the pairing of Spielberg and Williams has given us greats like Jurassic Park, E.T. and Indiana Jones.
Nevertheless, this is a sweet film that children and adults should enjoy. The themes of friendship and loneliness can resonate with all generations and a packed-out cinema proves just what a draw Roald Dahl still is to this day.
Overall, The BFG is everything most families will want from a summer holiday blockbuster. Itâs sugary sweet, with great special effects, engaging acting and a wonderful story that follows its source material reasonably well. However, for Spielberg fans, itâs puzzling because the directorâs presence feels a little lost. Thereâs a lot to like, but not a lot to love.
https://moviemetropolis.net/2016/07/28/spielberg-where-are-you-the-bfg-review/
Purple Phoenix Games (2266 KP) rated The Princess Bride: Storming The Castle in Tabletop Games
Jun 12, 2019
You havenât played this game? Inconceivable! Actually, quite conceivable. I wasnât really into the board game hobby when this came out in 2008, so of course I did not pick it up at release. I am a big Princess Bride fan, and I probably would have picked it up at release because Iâm a sucker for certain IPs. There are few copies of this still floating around for sale, so it can be had at a modest price. However, will you enjoy it? Will it bore you âto the painâ? Read on.
So this game, at its heart, is a racing game. You will be racing your pawn toward Humperdinckâs castle in the middle of the table, and you need to traverse several Path cards depicting different areas in the Princess Bride universe. Each of these Path cards will dictate whether you will need specific equipment/items to gain access, or if they are free of that requirement. If you start your turn at the gates of the castle, or have an item allowing you entry sooner, you win!
Ok, the bad. The components are just not great. The box is flimsy and boring. The insert is laughable. The cards are acceptable quality â donât expect any better quality than normal playing cards picked up at the dollar store. The art on the cards is also very boring and the ink used on the cards seems to be flaking a bit after just a few plays. Screen grabs on cards are fine to me, but the choices made on some of these cards are very questionable. The pawns are poorly designed and they fall over all the time, which is unfortunate when you have to play on a smaller table.
The good now. Owning a Princess Bride game that I can pull out and actually play and have a decent time is a positive for me. There are other games with this same IP that are⊠not at all fun. This one actually has some gameplay to it that you can enjoy for a while, and even crave future plays. Yes, it feels a bit like Munchkin in that you are trying to achieve the winning goal and your opponents are trying their hardest to delay you. However, it differs due to the fact that the pile-on is slow and you have to basically forfeit your turn to debilitate your opponent. Is that strategy worth it? Iâm not so sureâŠ
Does it make you feel like you are in the story? Not really. Do you shudder when the RUSes and Shrieking Eels come into play? Nah, but they are so formidable in the story! Is the GAME worth it though? Yeah, it is. If you are a fan of the book or movie, this is the best Princess Bride game out there. Will another game come out and knock it off the top spot? I hope so. But for now, I am happy with my copy of the game. Perhaps I will look into blinging it out a bit to make it more epic. That said, Purple Phoenix Games gives this one a swashbuckling 7 / 12.
https://purplephoenixgames.wordpress.com/2019/01/21/the-princess-bride-storming-the-castle-review/
So this game, at its heart, is a racing game. You will be racing your pawn toward Humperdinckâs castle in the middle of the table, and you need to traverse several Path cards depicting different areas in the Princess Bride universe. Each of these Path cards will dictate whether you will need specific equipment/items to gain access, or if they are free of that requirement. If you start your turn at the gates of the castle, or have an item allowing you entry sooner, you win!
Ok, the bad. The components are just not great. The box is flimsy and boring. The insert is laughable. The cards are acceptable quality â donât expect any better quality than normal playing cards picked up at the dollar store. The art on the cards is also very boring and the ink used on the cards seems to be flaking a bit after just a few plays. Screen grabs on cards are fine to me, but the choices made on some of these cards are very questionable. The pawns are poorly designed and they fall over all the time, which is unfortunate when you have to play on a smaller table.
The good now. Owning a Princess Bride game that I can pull out and actually play and have a decent time is a positive for me. There are other games with this same IP that are⊠not at all fun. This one actually has some gameplay to it that you can enjoy for a while, and even crave future plays. Yes, it feels a bit like Munchkin in that you are trying to achieve the winning goal and your opponents are trying their hardest to delay you. However, it differs due to the fact that the pile-on is slow and you have to basically forfeit your turn to debilitate your opponent. Is that strategy worth it? Iâm not so sureâŠ
Does it make you feel like you are in the story? Not really. Do you shudder when the RUSes and Shrieking Eels come into play? Nah, but they are so formidable in the story! Is the GAME worth it though? Yeah, it is. If you are a fan of the book or movie, this is the best Princess Bride game out there. Will another game come out and knock it off the top spot? I hope so. But for now, I am happy with my copy of the game. Perhaps I will look into blinging it out a bit to make it more epic. That said, Purple Phoenix Games gives this one a swashbuckling 7 / 12.
https://purplephoenixgames.wordpress.com/2019/01/21/the-princess-bride-storming-the-castle-review/
Darren (1599 KP) rated Always Be My Maybe (2019) in Movies
Dec 26, 2019
Verdict: Rom Com 101
Story: Always Be My Maybe starts when we get to meet two friends Sasha and Marcus who have grown up as best friends into their high school era where they almost become a couple, only their friendship falls apart. 15 years later Sasha (Wong) has become a major celebrity chef, heading back home for the latest restaurant opening. Marcus (Park) has followed his father Harry (Saito) into the family business, getting high on the side.
When the two reunite they see the changes they have both been through and start looking at what could once have been between the two despite having their own relationships on the side.
Thoughts on Always Be My Maybe
Characters â Sasha was once Marcus best friend before becoming one of the biggest celebrity chefs in America, she has restaurants across America and now looks to return home for the latest one. She starts to see her relationship crumble and with her old best friend walking back into her life, she is left to wonder what if. Marcus was Sasha best friend too, he never made too much of his life, working with his father, getting high and being part of his small band, never leave San Francisco. With Sasha back in his life, he must decide if it is finally time to take a chance on life. Harry is Marcus father that has always let him do his own thing, they both lost his wife and mother to Marcus. Veronica is Sasha best friend who is always there for business and personal issues, she knows about the previous friendship.
Performances â Randall Park and Ali Wong are both fine in the leading roles, they do struggle with balancing the ideas of their stand-up routines, with realistic conversations, which shows through the film. The supporting performers do get the better laughs, with more realistic nature to everything happening.
Story â The story follows two childhood friends that almost became more that have gone onto live very different lives until they get a chance to meet up again 15-years-later to put forward the question once more about what could have been. We do have deeper side to the story, which explores the ideas of not taking chances in life, when you meet somebody who will go everywhere. The idea that the two get a second chance does make most of the story feel like a straight to TV level of storytelling and while it doesnât completely fall into relying on stand-up jokes, we do get more than we need to. The story does have a proper heart which is the important factor needed, only it just doesnât do much more outside of this.
Comedy/Romance â The comedy is mostly miss until Keanu Reeves arrives on the scene, where he will give laughs through the scenes with ease, while the romance elements are everything we have seen before.
Settings â The film is mostly set in San Francisco which is always a nice backdrop, it does show the different lifestyles the two are living with where they feel more comfortable.
Scene of the Movie â Double date.
That Moment That Annoyed Me â It offers nothing new to the rom com.
Final Thoughts â This is a by the book rom com that does get saved by an outrageous cameo, which is the clear highlight of the film.
Overall: Simple and Fun.
Story: Always Be My Maybe starts when we get to meet two friends Sasha and Marcus who have grown up as best friends into their high school era where they almost become a couple, only their friendship falls apart. 15 years later Sasha (Wong) has become a major celebrity chef, heading back home for the latest restaurant opening. Marcus (Park) has followed his father Harry (Saito) into the family business, getting high on the side.
When the two reunite they see the changes they have both been through and start looking at what could once have been between the two despite having their own relationships on the side.
Thoughts on Always Be My Maybe
Characters â Sasha was once Marcus best friend before becoming one of the biggest celebrity chefs in America, she has restaurants across America and now looks to return home for the latest one. She starts to see her relationship crumble and with her old best friend walking back into her life, she is left to wonder what if. Marcus was Sasha best friend too, he never made too much of his life, working with his father, getting high and being part of his small band, never leave San Francisco. With Sasha back in his life, he must decide if it is finally time to take a chance on life. Harry is Marcus father that has always let him do his own thing, they both lost his wife and mother to Marcus. Veronica is Sasha best friend who is always there for business and personal issues, she knows about the previous friendship.
Performances â Randall Park and Ali Wong are both fine in the leading roles, they do struggle with balancing the ideas of their stand-up routines, with realistic conversations, which shows through the film. The supporting performers do get the better laughs, with more realistic nature to everything happening.
Story â The story follows two childhood friends that almost became more that have gone onto live very different lives until they get a chance to meet up again 15-years-later to put forward the question once more about what could have been. We do have deeper side to the story, which explores the ideas of not taking chances in life, when you meet somebody who will go everywhere. The idea that the two get a second chance does make most of the story feel like a straight to TV level of storytelling and while it doesnât completely fall into relying on stand-up jokes, we do get more than we need to. The story does have a proper heart which is the important factor needed, only it just doesnât do much more outside of this.
Comedy/Romance â The comedy is mostly miss until Keanu Reeves arrives on the scene, where he will give laughs through the scenes with ease, while the romance elements are everything we have seen before.
Settings â The film is mostly set in San Francisco which is always a nice backdrop, it does show the different lifestyles the two are living with where they feel more comfortable.
Scene of the Movie â Double date.
That Moment That Annoyed Me â It offers nothing new to the rom com.
Final Thoughts â This is a by the book rom com that does get saved by an outrageous cameo, which is the clear highlight of the film.
Overall: Simple and Fun.
Emma @ The Movies (1786 KP) rated The Sun Is Also A Star (2019) in Movies
Jun 20, 2020
At some point I may get bored of YA adaptations that throw two young people together with a bit of adversity. I'm not saying that this wasn't good but there are other typed of YA books out there that could be done.
After years living in the US, Natasha and her family are a day away from being deported back to Jamaica. She's determined to find a way to have them stay so instead of packing she's off to make one last attempt to stay in the city she loves.
Daniel is about to have the biggest interview of his life, his whole future is resting on it, but he throws all thoughts of it aside when he sees Natasha looking up in a crowd of people ignoring the world. She's a beautiful anomaly in his life and he needs to find her no matter the consequences.
Circumstances bring the two together and Daniel manages to convince her that even an hour with him could change their lives forever.
When I write it down like that the story doesn't sound quite so... magical? Man sees attractive young woman and attempts to stalk her... yeah, slightly creepy, but thankfully the film doesn't feel like that.
Nicola Yoon is two for two with her novels (the first being Everything, Everything) and we've got another lovely film in The Sun Is Also A Star. Of course it's yet another book I haven't read, if only there were a few more hours of leisure time in our lives.
Thinking back on this I find the timeline for the film a little confusing, which is strange considering you know that the majority happens over the space of two days. Perhaps it's because it's a little far fetched, perhaps it's also because they're constantly going from place to place and it seems like more than just a day's worth of activity.
Natasha is played by Yara Shahidi, the only thing I know her from recently is Black-ish, which I love. I had reservations about this casting, actors going from long-running shows into films doesn't always end well, partly because of the different acting style needed and partly from my side and being very familiar with their character. I shouldn't have worried, she does a great job with this role, and it's nice to see a character that doesn't have a typical backstory.
The same can be said for Daniel, played by Riverdale's Charles Melton. Watching his struggle with the path of his life is really interesting and I liked the small flashback to where everything was decided. If we ignore the creepiness of the couple's meeting then Daniel is a nice down to earth character and Melton strikes a nice balance between his home life and his actual life around people he knows.
Together they make a captivating couple on screen, and I like how they're each other's support even though they don't know that much about each other. They have great chemistry and that definitely boosted the enjoyment of the film.
I hardly made any notes when watching this, those that I did were about the nice use of voiceovers (that sounded very much like nature documentary), some good songs at the beginning, and then the intriguing and nice way they ended it. It's an enjoyable watch but I think it's come at the wrong end of the YA adaptation trend, everything is very similar despite having some individual charm.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/08/the-sun-is-also-star-movie-review.html
After years living in the US, Natasha and her family are a day away from being deported back to Jamaica. She's determined to find a way to have them stay so instead of packing she's off to make one last attempt to stay in the city she loves.
Daniel is about to have the biggest interview of his life, his whole future is resting on it, but he throws all thoughts of it aside when he sees Natasha looking up in a crowd of people ignoring the world. She's a beautiful anomaly in his life and he needs to find her no matter the consequences.
Circumstances bring the two together and Daniel manages to convince her that even an hour with him could change their lives forever.
When I write it down like that the story doesn't sound quite so... magical? Man sees attractive young woman and attempts to stalk her... yeah, slightly creepy, but thankfully the film doesn't feel like that.
Nicola Yoon is two for two with her novels (the first being Everything, Everything) and we've got another lovely film in The Sun Is Also A Star. Of course it's yet another book I haven't read, if only there were a few more hours of leisure time in our lives.
Thinking back on this I find the timeline for the film a little confusing, which is strange considering you know that the majority happens over the space of two days. Perhaps it's because it's a little far fetched, perhaps it's also because they're constantly going from place to place and it seems like more than just a day's worth of activity.
Natasha is played by Yara Shahidi, the only thing I know her from recently is Black-ish, which I love. I had reservations about this casting, actors going from long-running shows into films doesn't always end well, partly because of the different acting style needed and partly from my side and being very familiar with their character. I shouldn't have worried, she does a great job with this role, and it's nice to see a character that doesn't have a typical backstory.
The same can be said for Daniel, played by Riverdale's Charles Melton. Watching his struggle with the path of his life is really interesting and I liked the small flashback to where everything was decided. If we ignore the creepiness of the couple's meeting then Daniel is a nice down to earth character and Melton strikes a nice balance between his home life and his actual life around people he knows.
Together they make a captivating couple on screen, and I like how they're each other's support even though they don't know that much about each other. They have great chemistry and that definitely boosted the enjoyment of the film.
I hardly made any notes when watching this, those that I did were about the nice use of voiceovers (that sounded very much like nature documentary), some good songs at the beginning, and then the intriguing and nice way they ended it. It's an enjoyable watch but I think it's come at the wrong end of the YA adaptation trend, everything is very similar despite having some individual charm.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/08/the-sun-is-also-star-movie-review.html
Alex Kapranos recommended track Sonny's Lettah by Linton Kwesi Johnson in Independant Intavenshan: The Island Anthology by Linton Kwesi Johnson in Music (curated)
Emma @ The Movies (1786 KP) rated The Grinch (2018) in Movies
Sep 25, 2019
After watching The Grinch my heart grew three times.
This is the first time that I've ever encountered The Grinch... yes, ever. Apart from calling people a grinch when they moan about Christmas. Never read the book, never seen previous incarnations. I really don't know how.
I'm really pleased that this film was good. After most of Secret Life Of Pets and all of Sing I was starting to lose faith in Illumination. This is a much better offering and genuinely a nice film. It's funny, it's thoughtful and it's Christmassy all rolled into one.
Despite the film being called The Grinch the stars of the show were Max and Fred. Max shows you just how happy a dog can be all of the time even if they're surrounded by negative feelings, and Fred, well... those puppy dog eyes... good boys! I did also love Cindy-Lou Who. That kids has a fantastic eye for gadgets that must come from repeated viewings of other holiday classics like Home Alone.
There really isn't a lot else to say about this other than it's a great film. Cindy-Lou is a great motivational speaker and the whole film in general fills you with the desire to do good things and take a new perspective on things... well it did for me... this film might have brainwashed me.
As a little extra we also take a step back to the good old days where you got a cartoon before the main screening! Yellow Is The New Black. An amusing diversion. Those poor little minions.
(P.S. The reason this is getting four and a half stars and not five is that the alarm clock. If you've seen the trailer you'll understand my slight disappointment... I suppose what they've done is more in keeping though. *grumpy sigh*)
What you should do
Don't be a Grinch. You should go and see this... kids, no kids, it doesn't really matter. It's brilliant animation with a wonderful story to tell.
Movie thing you wish you could take home
I'll take a giant portion of Cindy-Lou's ingenuity please!
This is the first time that I've ever encountered The Grinch... yes, ever. Apart from calling people a grinch when they moan about Christmas. Never read the book, never seen previous incarnations. I really don't know how.
I'm really pleased that this film was good. After most of Secret Life Of Pets and all of Sing I was starting to lose faith in Illumination. This is a much better offering and genuinely a nice film. It's funny, it's thoughtful and it's Christmassy all rolled into one.
Despite the film being called The Grinch the stars of the show were Max and Fred. Max shows you just how happy a dog can be all of the time even if they're surrounded by negative feelings, and Fred, well... those puppy dog eyes... good boys! I did also love Cindy-Lou Who. That kids has a fantastic eye for gadgets that must come from repeated viewings of other holiday classics like Home Alone.
There really isn't a lot else to say about this other than it's a great film. Cindy-Lou is a great motivational speaker and the whole film in general fills you with the desire to do good things and take a new perspective on things... well it did for me... this film might have brainwashed me.
As a little extra we also take a step back to the good old days where you got a cartoon before the main screening! Yellow Is The New Black. An amusing diversion. Those poor little minions.
(P.S. The reason this is getting four and a half stars and not five is that the alarm clock. If you've seen the trailer you'll understand my slight disappointment... I suppose what they've done is more in keeping though. *grumpy sigh*)
What you should do
Don't be a Grinch. You should go and see this... kids, no kids, it doesn't really matter. It's brilliant animation with a wonderful story to tell.
Movie thing you wish you could take home
I'll take a giant portion of Cindy-Lou's ingenuity please!
Darren (1599 KP) rated Breaking In (2018) (2018) in Movies
Jun 21, 2019
Story: Breaking In starts when Shaun Russell (Union) takes her children Jasmine (Alexus) and Glover (Carr) to her fatherâs estate after his death, the weekend is meant to be to prepare the house for sale. The weekend takes a dark twist when four thieves Eddie (Burke), Duncan (Cabral), Sam (Meaden) and Peter (Furze) have broken in, searching for a secret safe.
With Shaun locked out and her children being held captive by the thieves, she will do anything to save her children, not caring what the men want, this does become a battle of a mother that will do anything versus thieves that wonât stop for anything.
Thoughts on Breaking In
Characters â Shaun is a mother of two children that is tidying up the affairs of her late father, she thinks her weekend will just be tidying up his house, but she soon shows that she has a few skills picked up from her father, she will play a cat-n-mouse game with a group of thieves that are holding her children hostage, Shaun will prove herself as somebody smarter than the thieves, showing a motherâs love will overcome any plan. Eddie is the leader of the thieves, he remains calm and in control, even if his men can get out of hand, he only wants the money, getting pushed into difficult decisions. Duncan is the loose cannon of the thieves, he doesnât want to leave any witnesses to the crime they are committing. Jasmine is the eldest daughter that needs to protect her little brother from the situation, even if the two have a bickering relationship.
Performances â Gabrielle Union in the leading role is great, she brings us a strong powerful mother that isnât going to let any man take advantage of her family. Billy Burke does bring the required calmness to his character which is everything needed, with Richard Cabral bring his own unhinged character to life to just about step away from the generic normal one. Ajiona Alexus and Seth Carr fill the children roles which in the works very well as they feel like they could easily be brother and sister.
Story â The story here follows a mother that will do anything to get her children to safety after their home gets invaded by a group of criminals searching for money. This is a home invasion film, it doesnât need to break away from the normal in anyway, we know the formula, with this one putting the spin on the mother being separated from her children, we have the discussion of power between the criminals and mother, which is an important scene. We see how the mother might have a few more tricks up her sleeves that first thought. This is everything you expect without needing to make anything complicated, making it an easy watch.
Action/Crime â The action is restricted because of the separation between the characters, but when we need it, we get action we need, the crime story does follow how the thieves operate, though we donât learn everything about the fatherâs situation in the criminal world.
Settings â The film is set in one location which is the house that has the ability to hold people out or keep people in, this helps build the battle between mother and thieves.
Scene of the Movie â Losing control.
That Moment That Annoyed Me â Not truly learning about the Shaunâs father previous life as a criminal.
Final Thoughts â This is a by the book home invasion film, it does give us plenty of entertainment and is above the average in the sub-genre.
Overall: Home invasion above the rest.
https://moviesreview101.com/2019/06/20/breaking-in-2018/
With Shaun locked out and her children being held captive by the thieves, she will do anything to save her children, not caring what the men want, this does become a battle of a mother that will do anything versus thieves that wonât stop for anything.
Thoughts on Breaking In
Characters â Shaun is a mother of two children that is tidying up the affairs of her late father, she thinks her weekend will just be tidying up his house, but she soon shows that she has a few skills picked up from her father, she will play a cat-n-mouse game with a group of thieves that are holding her children hostage, Shaun will prove herself as somebody smarter than the thieves, showing a motherâs love will overcome any plan. Eddie is the leader of the thieves, he remains calm and in control, even if his men can get out of hand, he only wants the money, getting pushed into difficult decisions. Duncan is the loose cannon of the thieves, he doesnât want to leave any witnesses to the crime they are committing. Jasmine is the eldest daughter that needs to protect her little brother from the situation, even if the two have a bickering relationship.
Performances â Gabrielle Union in the leading role is great, she brings us a strong powerful mother that isnât going to let any man take advantage of her family. Billy Burke does bring the required calmness to his character which is everything needed, with Richard Cabral bring his own unhinged character to life to just about step away from the generic normal one. Ajiona Alexus and Seth Carr fill the children roles which in the works very well as they feel like they could easily be brother and sister.
Story â The story here follows a mother that will do anything to get her children to safety after their home gets invaded by a group of criminals searching for money. This is a home invasion film, it doesnât need to break away from the normal in anyway, we know the formula, with this one putting the spin on the mother being separated from her children, we have the discussion of power between the criminals and mother, which is an important scene. We see how the mother might have a few more tricks up her sleeves that first thought. This is everything you expect without needing to make anything complicated, making it an easy watch.
Action/Crime â The action is restricted because of the separation between the characters, but when we need it, we get action we need, the crime story does follow how the thieves operate, though we donât learn everything about the fatherâs situation in the criminal world.
Settings â The film is set in one location which is the house that has the ability to hold people out or keep people in, this helps build the battle between mother and thieves.
Scene of the Movie â Losing control.
That Moment That Annoyed Me â Not truly learning about the Shaunâs father previous life as a criminal.
Final Thoughts â This is a by the book home invasion film, it does give us plenty of entertainment and is above the average in the sub-genre.
Overall: Home invasion above the rest.
https://moviesreview101.com/2019/06/20/breaking-in-2018/
Bob Mann (459 KP) rated Joker (2019) in Movies
Nov 10, 2019
Joachim Phoenix - Oscar winning performance? (1 more)
Look and feel of the film - technically brilliant
A loser's tale.
âJokerâ has managed to stir up a whirlwind of controversy, centring partly around the level of violence included but also on the use of âthat songâ on the soundtrack. But putting aside that flurry of commentary, what of the film itself?
Man, this is a dark film! Itâs as much of an anti-superhero film as this yearâs âBrightburnâ. The Batman legacy has addressed the mental state of the protagonists before (both that of the hero and the villains). Here we have a real study of how a mentally unstable no-hoper can be pushed over the edge by bigotry, carelessness and government cut-backs.
Indeed, there is something alarmingly prescient about the movieâs plot line, watching this as we (in the UK) are in the month of possible (or as Boris Johnson would say, definite) Brexit madness! âIs it me, or is it getting crazier out there?â Arthur Fleck muses to his social worker (Sharon Washington). And a rant by Arthur late on goes âEverybody just yells and screams at each other. Nobodyâs civil anymore. Nobody thinks what itâs like to be the other guy. You think men like Thomas Wayne ever think what itâs like to be someone like me? To be somebody but themselves? They donât. They think that weâll just sit there and take it, like good little boys! That we wonât werewolf and go wild!â Chilling words as we possibly face a very bumpy October and November in the UK.
After reviewing âJudyâ I wouldnât be the least surprised if Iâd just seen the Best Actress award bagged (by RenĂ©e Zellweger). Now, with âJokerâ, surely Joachim Phoenix might bag his first (and well overdue in my book) Oscar. Although nominated before (for âGladiatorâ, âWalk the Lineâ and âThe Masterâ) heâs never won. Here Phoenixâs physical transformation into Arthur Fleck is SIMPLY EXTRAORDINARY. And the way he captures the (medically) induced fits of helpless laughter, ending in a sort of choking fit, is brilliant and replicated to a âTâ on multiple occasions.
I loved âYou Were Never Really Hereâ, primarily due to Phoenixâs pitch-perfect performance. And âJokerâ reminded me very much of Lynne Ramseyâs film: a disturbed loner, looking after his elderly mother; with violence meted out to wrong-doers. Joe is almost the yin to Arthur Fleckâs yang: Joe is an invisible man who is very much present; Arthur is a very visible man who thinks he is invisible. Thereâs even comment by Fleck towards the end of the film that sometimes he thinks heâs ânot really there at allâ! (A deliberate âinâ joke in reference to that film?)
After some pretty piss-poor âpension grabsâ in recent years, culminating in the appalling career- nadir of âDirty Grandpaâ in 2016, Robert De Niro comes good with a fine performance as the idolised but thoughtless and cruel talk-show host Murray Franklin. Itâs very much a supporting role, but delivered with great aplomb.
Also great again is âDeadpool 2ââs Zazie Beetz (a great trivia answer for an actor with three âzâsâ in the name). This angle of the story is deviously clever, and Zazie handles the various twists and turns brilliantly.
Movie violence needs to be taken in context to both the filmâs story and to the movieâs certificate. For those expecting a light and fluffy âAvengersâ style of movie, they might be shocked by what they see. True that the film definitely pushes the boundaries of what I think is acceptable in a UK15-certificate film. ⊠I suspect there were HEATED discussions at the BBFC after this screening! The violence though seems comparable to some other 15âs Iâve seen: a DIY-store drill scene in âThe Equalizerâ comes to mind.
A particularly brutal scene is reminiscent of a climactic scene in âOnce Upon a Time⊠in Hollywoodâ, such that Quentin Tarantino might have just cause to appeal his âUK18â certificate.
You might argue about the level of violence that SHOULD be shown in a 15 certificate film. But I think the violence portrayed â given this is in the known context an origin story for a psychopathic killer â is appropriate. I personally found the Heath Ledgerâs Jokerâs âpencil trickâ scene in âThe Dark Knightâ more disturbing, given it was a 12 certificate.
I have less sympathy for the inclusion of âRock and Roll Part 2â on the soundtrack. The fact that a convicted paedophile (I refuse to say his name) is profiting from the ticket sales is galling. This is almost deliberately courting controversy. There has been some view that this is a âtraditionalâ chant song at US football matches (as âThe Hey Songâ). But most (all?) teams have now recognized the connection and stopped its use. At least here the director and producers should have more of a âworld viewâ on this.
Where âHangoverâ director Todd Phillips does recover some of this respect is in the quality of the script (co-written with Scott Silver) and the direction. Itâs misdirection without mis-direction! Some of the twists in the plot (no spoilers here!) I did not see coming, and certain aspects of the story (again no spoilers!) are left brilliantly (and chillingly) vague.
Sure, it borrows heavily in story-line and mood from Martin Scorseseâs âTaxi Driverâ. And I was also reminded of 1993âs Joel Schumacher flick âFalling Downâ where Michael Douglas is an ordinary man pushed to the edge and beyond by a series of lifeâs trials. But if you want to criticise a film for ânot being 100% originalâ then letâs start at the top of the 2019 IMDB listings and keep going! Iâve also seen comment from some that criticises the somewhat clunky overlay of the Batman back-story into the script. I also understand that view but I didnât personally share it.
Elsewhere I would not be surprised if the movie gets garlanded with technical Oscar nominations aplenty come January. The cinematography, by Phillips-regular Lawrence Sher, is exquisite in setting the grimy 70âs tone. (I loved the retro Warner Brothers logo too). And both video and sound editing is top-notch. Not forgetting a sonorous cello-heavy soundtrack that perfectly suits the mood. Want to put a bet on which film might top the ânumber of Oscar nominationsâ list? This might not be a bad choice.
Dark and brooding, with a slow-burn start, this is a proper drama that might make action superhero fans fidgety. But I simply loved it, and would love to carve out the time to give it a re-watch. The Phoenix performance is extraordinary. Will this make my Top 10 of the year? Fingers to head, and pull the triggerâŠ. itâs a no-brainer.
Man, this is a dark film! Itâs as much of an anti-superhero film as this yearâs âBrightburnâ. The Batman legacy has addressed the mental state of the protagonists before (both that of the hero and the villains). Here we have a real study of how a mentally unstable no-hoper can be pushed over the edge by bigotry, carelessness and government cut-backs.
Indeed, there is something alarmingly prescient about the movieâs plot line, watching this as we (in the UK) are in the month of possible (or as Boris Johnson would say, definite) Brexit madness! âIs it me, or is it getting crazier out there?â Arthur Fleck muses to his social worker (Sharon Washington). And a rant by Arthur late on goes âEverybody just yells and screams at each other. Nobodyâs civil anymore. Nobody thinks what itâs like to be the other guy. You think men like Thomas Wayne ever think what itâs like to be someone like me? To be somebody but themselves? They donât. They think that weâll just sit there and take it, like good little boys! That we wonât werewolf and go wild!â Chilling words as we possibly face a very bumpy October and November in the UK.
After reviewing âJudyâ I wouldnât be the least surprised if Iâd just seen the Best Actress award bagged (by RenĂ©e Zellweger). Now, with âJokerâ, surely Joachim Phoenix might bag his first (and well overdue in my book) Oscar. Although nominated before (for âGladiatorâ, âWalk the Lineâ and âThe Masterâ) heâs never won. Here Phoenixâs physical transformation into Arthur Fleck is SIMPLY EXTRAORDINARY. And the way he captures the (medically) induced fits of helpless laughter, ending in a sort of choking fit, is brilliant and replicated to a âTâ on multiple occasions.
I loved âYou Were Never Really Hereâ, primarily due to Phoenixâs pitch-perfect performance. And âJokerâ reminded me very much of Lynne Ramseyâs film: a disturbed loner, looking after his elderly mother; with violence meted out to wrong-doers. Joe is almost the yin to Arthur Fleckâs yang: Joe is an invisible man who is very much present; Arthur is a very visible man who thinks he is invisible. Thereâs even comment by Fleck towards the end of the film that sometimes he thinks heâs ânot really there at allâ! (A deliberate âinâ joke in reference to that film?)
After some pretty piss-poor âpension grabsâ in recent years, culminating in the appalling career- nadir of âDirty Grandpaâ in 2016, Robert De Niro comes good with a fine performance as the idolised but thoughtless and cruel talk-show host Murray Franklin. Itâs very much a supporting role, but delivered with great aplomb.
Also great again is âDeadpool 2ââs Zazie Beetz (a great trivia answer for an actor with three âzâsâ in the name). This angle of the story is deviously clever, and Zazie handles the various twists and turns brilliantly.
Movie violence needs to be taken in context to both the filmâs story and to the movieâs certificate. For those expecting a light and fluffy âAvengersâ style of movie, they might be shocked by what they see. True that the film definitely pushes the boundaries of what I think is acceptable in a UK15-certificate film. ⊠I suspect there were HEATED discussions at the BBFC after this screening! The violence though seems comparable to some other 15âs Iâve seen: a DIY-store drill scene in âThe Equalizerâ comes to mind.
A particularly brutal scene is reminiscent of a climactic scene in âOnce Upon a Time⊠in Hollywoodâ, such that Quentin Tarantino might have just cause to appeal his âUK18â certificate.
You might argue about the level of violence that SHOULD be shown in a 15 certificate film. But I think the violence portrayed â given this is in the known context an origin story for a psychopathic killer â is appropriate. I personally found the Heath Ledgerâs Jokerâs âpencil trickâ scene in âThe Dark Knightâ more disturbing, given it was a 12 certificate.
I have less sympathy for the inclusion of âRock and Roll Part 2â on the soundtrack. The fact that a convicted paedophile (I refuse to say his name) is profiting from the ticket sales is galling. This is almost deliberately courting controversy. There has been some view that this is a âtraditionalâ chant song at US football matches (as âThe Hey Songâ). But most (all?) teams have now recognized the connection and stopped its use. At least here the director and producers should have more of a âworld viewâ on this.
Where âHangoverâ director Todd Phillips does recover some of this respect is in the quality of the script (co-written with Scott Silver) and the direction. Itâs misdirection without mis-direction! Some of the twists in the plot (no spoilers here!) I did not see coming, and certain aspects of the story (again no spoilers!) are left brilliantly (and chillingly) vague.
Sure, it borrows heavily in story-line and mood from Martin Scorseseâs âTaxi Driverâ. And I was also reminded of 1993âs Joel Schumacher flick âFalling Downâ where Michael Douglas is an ordinary man pushed to the edge and beyond by a series of lifeâs trials. But if you want to criticise a film for ânot being 100% originalâ then letâs start at the top of the 2019 IMDB listings and keep going! Iâve also seen comment from some that criticises the somewhat clunky overlay of the Batman back-story into the script. I also understand that view but I didnât personally share it.
Elsewhere I would not be surprised if the movie gets garlanded with technical Oscar nominations aplenty come January. The cinematography, by Phillips-regular Lawrence Sher, is exquisite in setting the grimy 70âs tone. (I loved the retro Warner Brothers logo too). And both video and sound editing is top-notch. Not forgetting a sonorous cello-heavy soundtrack that perfectly suits the mood. Want to put a bet on which film might top the ânumber of Oscar nominationsâ list? This might not be a bad choice.
Dark and brooding, with a slow-burn start, this is a proper drama that might make action superhero fans fidgety. But I simply loved it, and would love to carve out the time to give it a re-watch. The Phoenix performance is extraordinary. Will this make my Top 10 of the year? Fingers to head, and pull the triggerâŠ. itâs a no-brainer.
Jackjack (877 KP) Sep 11, 2020