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James P. Sumner (65 KP) created a post
Aug 22, 2019
Darren (1599 KP) rated Patient Seven (2016) in Movies
Oct 24, 2019
Characters – Dr Daniel Marcus is the man trying to learn about six disturbed patients at a mental hospital, each story needs to be broken down in a different way, he is doing research for his book, but leaving us wondering what his motives are is the biggest mystery in this film. we do meet the different patients which all have different stories and we follow the events of their stories each different from the rest. We do meet the doctors, but as the film is an anthology we just don’t get enough time to look into their characters.
Performances – Michael Ironside is the star of this film with his calming presence while interviewing the patients that can turn on them in a heartbeat. We have a couple of known names in the supporting cast with Alfie Allen in the second story being the highlight of the rest of the performances, while no one is bad in their roles here, they just don’t get the time they deserve.
Story – The story here is told like an interview process to give us seven short horror stories, the fact each one goes in a different direction helps the audience find one they can enjoy even if the previous one isn’t for them. Vampires, ghost, spirits, serial killers and zombies are the main topics each one feels short enough to be entertaining, even if one did make me want to see a feature film about that character. For a horror anthology this does check the boxes well and is one that can be enjoyed.
Horror – The horror in the story comes from the different stories, while we don’t always get the best build up to the horror moments, we do follow the horror guidelines well.
Settings – Each story does take us to a new setting which helps make the film feel fresh, though I don’t quiet understand how the crimes from England, New Zealand and Iceland ended up in an American mental home.
Special Effects – The effects in the film across the different stories are great and make you feel like you are part of them.
Scene of the Movie – The second story.
That Moment That Annoyed Me – Some of the stories are slightly too short though.
Final Thoughts – This is a good horror anthology even if the ending feel slightly flat, we get plenty going on and can enjoy the different ideals of horror.
Overall: Horror anthology does correctly.
Performances – Michael Ironside is the star of this film with his calming presence while interviewing the patients that can turn on them in a heartbeat. We have a couple of known names in the supporting cast with Alfie Allen in the second story being the highlight of the rest of the performances, while no one is bad in their roles here, they just don’t get the time they deserve.
Story – The story here is told like an interview process to give us seven short horror stories, the fact each one goes in a different direction helps the audience find one they can enjoy even if the previous one isn’t for them. Vampires, ghost, spirits, serial killers and zombies are the main topics each one feels short enough to be entertaining, even if one did make me want to see a feature film about that character. For a horror anthology this does check the boxes well and is one that can be enjoyed.
Horror – The horror in the story comes from the different stories, while we don’t always get the best build up to the horror moments, we do follow the horror guidelines well.
Settings – Each story does take us to a new setting which helps make the film feel fresh, though I don’t quiet understand how the crimes from England, New Zealand and Iceland ended up in an American mental home.
Special Effects – The effects in the film across the different stories are great and make you feel like you are part of them.
Scene of the Movie – The second story.
That Moment That Annoyed Me – Some of the stories are slightly too short though.
Final Thoughts – This is a good horror anthology even if the ending feel slightly flat, we get plenty going on and can enjoy the different ideals of horror.
Overall: Horror anthology does correctly.
BankofMarquis (1832 KP) rated Klaus (2019) in Movies
Jul 28, 2020 (Updated Dec 24, 2020)
Visually Interesting - with strong voice performances
We have seen the Origin story of Santa Claus many times and in many ways over the years, so it was with some trepidation that the BankoMarquis ventured forth to check out the Netflix original film KLAUS which covers some very similar territory.
And I need not worry, for KLAUS is a visually interesting film with some very good voice performances that elevates a (relatively) by-the-book story into quite a delightful film experience.
Directed and Written by Sergio Pablos - a veteran animator with credits like Disney’s Tarzan, Despicable Me, Rio and Smallfoot - KLAUS tells the tale of…Jesper, a mailman who is also a privileged youth who’s lackluster ways runs him afoul of his father and he is banished to a remote, Northern country where her runs afoul of…KLAUS.
And…you can probably figure out where the story goes from there, but it is not the story - or the destination - that matters, it is the journey. And…what a wonderful journey it is.
Let’s start with the best part - this film is GORGEOUS to look at. Pablos uses hand drawn animation with lighting techniques taken from digital animation and the result is crisp, clean and stunning to look at. I will watch this film again, just to look at the visuals.
As for the voice casting - it is stellar - with one, small quibble. The great J.K. Simmon is…well…GREAT as Klaus. His deep baritone voice is perfect for the enigmatic hermit that is hiding secrets - and a heart of gold. Rashida Jones, Will Sasso, Norm MacDonald and the always brilliant Joan Cusack add their tremendous voices to the proceedings very well. My only quibble is with the work of Jason Schwartzman as Jesper, the character we follow throughout the film. I found his voice and character grating at times (I know this is on purpose, so Schwartzman did a good job in his work) but, I would have liked to have Pablos “tone down” the lead character just a bit.
But that is a “quibble” in a very entertaining movie that is a wonderful family film that can be enjoyed on different levels - and for different reasons - by children and adults alike.
Letter Grade: A-
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)
And I need not worry, for KLAUS is a visually interesting film with some very good voice performances that elevates a (relatively) by-the-book story into quite a delightful film experience.
Directed and Written by Sergio Pablos - a veteran animator with credits like Disney’s Tarzan, Despicable Me, Rio and Smallfoot - KLAUS tells the tale of…Jesper, a mailman who is also a privileged youth who’s lackluster ways runs him afoul of his father and he is banished to a remote, Northern country where her runs afoul of…KLAUS.
And…you can probably figure out where the story goes from there, but it is not the story - or the destination - that matters, it is the journey. And…what a wonderful journey it is.
Let’s start with the best part - this film is GORGEOUS to look at. Pablos uses hand drawn animation with lighting techniques taken from digital animation and the result is crisp, clean and stunning to look at. I will watch this film again, just to look at the visuals.
As for the voice casting - it is stellar - with one, small quibble. The great J.K. Simmon is…well…GREAT as Klaus. His deep baritone voice is perfect for the enigmatic hermit that is hiding secrets - and a heart of gold. Rashida Jones, Will Sasso, Norm MacDonald and the always brilliant Joan Cusack add their tremendous voices to the proceedings very well. My only quibble is with the work of Jason Schwartzman as Jesper, the character we follow throughout the film. I found his voice and character grating at times (I know this is on purpose, so Schwartzman did a good job in his work) but, I would have liked to have Pablos “tone down” the lead character just a bit.
But that is a “quibble” in a very entertaining movie that is a wonderful family film that can be enjoyed on different levels - and for different reasons - by children and adults alike.
Letter Grade: A-
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Emma @ The Movies (1786 KP) rated Breakthrough (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
The fact that this film is based on a true story is incredible to think about. I haven't read the book that was written by the boy's mother or read about the actual incident and events online, I'm not sure I want to. I usually like finding out the differences to the actual stories but I wonder if in this instance it might make me change the way I feel about the film.
John is off with his friends having fun, and what's more fun than playing out on a frozen lake? By the time they hear the crack it's too late, the three boys go under. With the emergency services on their way it's a countdown to rescuing them. Two of them have their head above water, but John, knocked unconscious while trying to help his friend out of the water, is sinking. When water rescue appears it may already be too late. They take the search slowly, but John could be anywhere, it's almost certainly too late. Tommy is about to call an end to the search when he hears someone telling him to go back, and there he is.
Rushed to the hospital, the doctors and staff work on trying to bring him back, but as the time elapses there is nothing to do but continue until his family arrive. Joyce, his mother, is devastated and not willing to accept that it's the end... and she prays, asking god to save her son... the monitor beeps to life.
Everywhere I see descriptions of this it says "christian drama". I honestly don't see that the word "christian" needs to be in there. Sure, Joyce prays a fair bit, and their pastor is in it a lot too, but it's still just a drama about something miraculous happening.
By far the best performance for me was Chrissy Metz. Joyce comes across as a very determined woman in everything that she does, and Metz really makes that stand out. From the happiness to the heartbreak, it's all believeable, which sometimes doesn't happen with films that are based on true stories.
I enjoyed Mike Colter as Tommy too. As a non-religious man trying to deal with what happened to him, and what he sees happening to John, the thought process was clear on his face and I liked how he visually interacted with those around him in those moments.
By far the strongest scene for me was the one I mentioned above in the hospital. I think it's always quite challenging to create something that has an impact on the viewer when they already know what the outcome is going to be. In this instance we already know that John doesn't die, we just don't know how the situation is remedied. The hospital staff have left the room and Joyce is with her son, she doesn't want to accept what's before her eyes. We cut between her and the staff outside in the hall in what builds up to an incredible moment. The staff reacting to Joyce as she wails in pain is something that was just stuck in my chest, I could really feel it.
While some are saying that Breakthrough is a christian film, but personally it feels more like a film about community. It's about family, about friends, about everyone around us. It also captures some of the things you have to deal with in these situations. Although fleeting at the end of the film, we see John coming to terms with the fact he survived, his miracle is hard to take for other people and they feel like they need answers, but from where? Him?
Everything about the film felt thoughtful and real, even though some bits felt a little cramped at times. By that I mean they clearly wanted to show the "negativity" and realistic thinking of those around John, he didn't have good odds and everyone would be talking about that. But getting that in felt a little cluttered with everything else going on.
I enjoyed this "christian" film, or as I like to call it "film". I spent a significant amount of time with my sleeves pressed up under my eyes, and when the doctors on screen were telling people to breathe I was doing it to recover. It's not a pushy film, I didn't feel the urge to go and join a congregation after watching it, it's just a wonderful reminder that miracles can happen, and while you wait for them there will be people all around you for support even when you don't expect it.
What you should do
It may not be a film to watch for some, I imagine the content may bring back memories that are difficult, but if you're up to it then it's well worth a watch.
Movie thing you wish you could take home
Just a smidge of Joyce's determination would be good.
John is off with his friends having fun, and what's more fun than playing out on a frozen lake? By the time they hear the crack it's too late, the three boys go under. With the emergency services on their way it's a countdown to rescuing them. Two of them have their head above water, but John, knocked unconscious while trying to help his friend out of the water, is sinking. When water rescue appears it may already be too late. They take the search slowly, but John could be anywhere, it's almost certainly too late. Tommy is about to call an end to the search when he hears someone telling him to go back, and there he is.
Rushed to the hospital, the doctors and staff work on trying to bring him back, but as the time elapses there is nothing to do but continue until his family arrive. Joyce, his mother, is devastated and not willing to accept that it's the end... and she prays, asking god to save her son... the monitor beeps to life.
Everywhere I see descriptions of this it says "christian drama". I honestly don't see that the word "christian" needs to be in there. Sure, Joyce prays a fair bit, and their pastor is in it a lot too, but it's still just a drama about something miraculous happening.
By far the best performance for me was Chrissy Metz. Joyce comes across as a very determined woman in everything that she does, and Metz really makes that stand out. From the happiness to the heartbreak, it's all believeable, which sometimes doesn't happen with films that are based on true stories.
I enjoyed Mike Colter as Tommy too. As a non-religious man trying to deal with what happened to him, and what he sees happening to John, the thought process was clear on his face and I liked how he visually interacted with those around him in those moments.
By far the strongest scene for me was the one I mentioned above in the hospital. I think it's always quite challenging to create something that has an impact on the viewer when they already know what the outcome is going to be. In this instance we already know that John doesn't die, we just don't know how the situation is remedied. The hospital staff have left the room and Joyce is with her son, she doesn't want to accept what's before her eyes. We cut between her and the staff outside in the hall in what builds up to an incredible moment. The staff reacting to Joyce as she wails in pain is something that was just stuck in my chest, I could really feel it.
While some are saying that Breakthrough is a christian film, but personally it feels more like a film about community. It's about family, about friends, about everyone around us. It also captures some of the things you have to deal with in these situations. Although fleeting at the end of the film, we see John coming to terms with the fact he survived, his miracle is hard to take for other people and they feel like they need answers, but from where? Him?
Everything about the film felt thoughtful and real, even though some bits felt a little cramped at times. By that I mean they clearly wanted to show the "negativity" and realistic thinking of those around John, he didn't have good odds and everyone would be talking about that. But getting that in felt a little cluttered with everything else going on.
I enjoyed this "christian" film, or as I like to call it "film". I spent a significant amount of time with my sleeves pressed up under my eyes, and when the doctors on screen were telling people to breathe I was doing it to recover. It's not a pushy film, I didn't feel the urge to go and join a congregation after watching it, it's just a wonderful reminder that miracles can happen, and while you wait for them there will be people all around you for support even when you don't expect it.
What you should do
It may not be a film to watch for some, I imagine the content may bring back memories that are difficult, but if you're up to it then it's well worth a watch.
Movie thing you wish you could take home
Just a smidge of Joyce's determination would be good.
Bob Mann (459 KP) rated La La Land (2016) in Movies
Sep 29, 2021
“It’s very nostalgic – will people like it?”
A little film. Not sure whether you might have heard of it yet? Damien Chazelle has followed up his astonishingly proficient “Whiplash” – my top film of 2015 – with a sure-fire theatre-filler in “La La Land”. The old-fashioned musical extravaganza is back, and back with style!
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.
Emma @ The Movies (1786 KP) rated Pride and Prejudice and Zombies (2016) in Movies
Sep 25, 2019
A film for all those women who dream of chivalry, but want to kick some ass.
Contains spoilers, click to show
"It is a truth universally acknowledged that a zombie in possession of brains must be in want of more brains."
A mysterious plague has fallen across England. The countryside is a relative haven, where the city has become a playground for unmentionables. The oriental arts have become the fashion and a desirable young lady no longer needs to be the prim and proper wife, unless your name is Mr Collins.
The Bennet's lovely daughters, beautiful and strong of body and mind are accustomed to a regimented life of training, until the handsome stranger Mr Bingley comes to the country. A whirlwind of romance and the undead lead them into a battle for family and love.
Heaving bosoms, country estates. Brain eating corpses and assorted weaponry. Everything you'd expect when the undead meets Jane Austen. As if on cue my playlist has shuffled to Zombie by The Cranberries. I can't deny enjoying this film, I should point out that I was always going to enjoy it, be it Oscar or Razzie worthy. It definitely had the potential to be an epic re-watchable classic or the B-movie winner that shone from the book.
When it was first published I picked it up almost instantly and soon found Quirk Books and other crossover books developing a little shrine-like area. [Now given pride of place in my nerd room.] Having a dislike of classics embedded in me from school and enjoying the general kick-assery of action films, it was a great crossover to bring those classics back into my life.
Admission time, while I've read the book I can't actually remember when, it was dozens of books ago. I loved it but not everyone did. I'm going to make a big sweeping statement. [Sorry, not sorry] It's not a Jane Austen book people, get over it. "He's ruined Elizabeth Bennet!" No he's taken a strong minded female character and put her in a new fantasy setting. I'm sure there would have been less objections if all the names were different (and the title too) and it was just described as "loosely based on Jane Austen's Pride and Prejudice". But swings and roundabouts, because it probably wouldn't have been as popular if it wasn't called Pride and Prejudice and Zombies.
Sam Riley's Mr Darcy was no Colin Firth, but it was still very good. It did kind of seem like they threw him in a lake because they felt they should pay homage to Firth's dunking.
Note to those who see the film, Liz Bennet's heaving bosom is seen on a regular basis and is entirely distracting. I'm not sure there's a plot line linked to them, they're just always there, they probably should have got their own credit for the part.
I think my favourite scene was where Darcy came to Elizabeth to proclaim his love... and then they proceed to beat each other with sticks, books, basically whatever is to hand. Heated and packed with sexual tension it made for entertaining viewing. It also reminded me of the scene in Buffy where the slayer and Spike fight in an abandoned building, and the amount of sexual tension between the pair results in breaking the building, amongst other things... but those other things probably wouldn't work so well in Austen's time.
Even with all the bits that brought a smile to my face and made for enjoyable watching, there were some things I couldn't help but be annoyed with.
Firstly, Matt Smith, my dear number 11... [insert long silence here] I know Mr Collins is there for the annoying comic relief and awkwardness but oh my god. It was too much and I was overcome with annoyance. The cast is made up of relatively unknown people, with the exceptions of Charles Dance, Sally Phillips and Matt Smith. I can't help but wonder if Mr Collins would have been easier to deal with if he was an unknown actor.
The camera work had its own peculiarities. Some shots were taken from the zombies point of view. They were blurred and frustrating to watch, I can't really tell what it added. I'm sure it would have added a bit more drama if you'd seen the potential victim being run at. Again, I'm not an expert in showbiz filming but I'm fairly certain that making your audience want to throw up is not the idea. Right near the end there is a shot that perfectly portrays the devastation of the situation...
"How should we get across the devastation of the city and cut out to the next scene?"
"Spin the camera round until people want to vomit?"
"GENIUS!"
I sat there feeling a bit woozy, trying to avoid looking at the screen for the whole thing. I'm not sure either of the fancy styles really improved anything.
My only other wonder about the film is whether it should have gone all out spoof. This was a sensible spoof [relatively speaking], in that it wasn't made specifically for laughs. It did have some, but there were also some moments of emotion too. Should they have played the film out for more comedy? Who knows, but I feel the scene where Darcy and Elizabeth are stabbing a field to kill zombies that are buried underneath was completely wasted in a sensible spoof!
All in all I did enjoy it, but for those of you looking to see it at the cinema I'm not sure it's worth a £10 ticket. Well worth it if you have an offer of some description though. Just remember going in to it that it isn't Jane Austen, it's just your run of the mill zombie period drama... wow, never thought I'd say that sentence.
A mysterious plague has fallen across England. The countryside is a relative haven, where the city has become a playground for unmentionables. The oriental arts have become the fashion and a desirable young lady no longer needs to be the prim and proper wife, unless your name is Mr Collins.
The Bennet's lovely daughters, beautiful and strong of body and mind are accustomed to a regimented life of training, until the handsome stranger Mr Bingley comes to the country. A whirlwind of romance and the undead lead them into a battle for family and love.
Heaving bosoms, country estates. Brain eating corpses and assorted weaponry. Everything you'd expect when the undead meets Jane Austen. As if on cue my playlist has shuffled to Zombie by The Cranberries. I can't deny enjoying this film, I should point out that I was always going to enjoy it, be it Oscar or Razzie worthy. It definitely had the potential to be an epic re-watchable classic or the B-movie winner that shone from the book.
When it was first published I picked it up almost instantly and soon found Quirk Books and other crossover books developing a little shrine-like area. [Now given pride of place in my nerd room.] Having a dislike of classics embedded in me from school and enjoying the general kick-assery of action films, it was a great crossover to bring those classics back into my life.
Admission time, while I've read the book I can't actually remember when, it was dozens of books ago. I loved it but not everyone did. I'm going to make a big sweeping statement. [Sorry, not sorry] It's not a Jane Austen book people, get over it. "He's ruined Elizabeth Bennet!" No he's taken a strong minded female character and put her in a new fantasy setting. I'm sure there would have been less objections if all the names were different (and the title too) and it was just described as "loosely based on Jane Austen's Pride and Prejudice". But swings and roundabouts, because it probably wouldn't have been as popular if it wasn't called Pride and Prejudice and Zombies.
Sam Riley's Mr Darcy was no Colin Firth, but it was still very good. It did kind of seem like they threw him in a lake because they felt they should pay homage to Firth's dunking.
Note to those who see the film, Liz Bennet's heaving bosom is seen on a regular basis and is entirely distracting. I'm not sure there's a plot line linked to them, they're just always there, they probably should have got their own credit for the part.
I think my favourite scene was where Darcy came to Elizabeth to proclaim his love... and then they proceed to beat each other with sticks, books, basically whatever is to hand. Heated and packed with sexual tension it made for entertaining viewing. It also reminded me of the scene in Buffy where the slayer and Spike fight in an abandoned building, and the amount of sexual tension between the pair results in breaking the building, amongst other things... but those other things probably wouldn't work so well in Austen's time.
Even with all the bits that brought a smile to my face and made for enjoyable watching, there were some things I couldn't help but be annoyed with.
Firstly, Matt Smith, my dear number 11... [insert long silence here] I know Mr Collins is there for the annoying comic relief and awkwardness but oh my god. It was too much and I was overcome with annoyance. The cast is made up of relatively unknown people, with the exceptions of Charles Dance, Sally Phillips and Matt Smith. I can't help but wonder if Mr Collins would have been easier to deal with if he was an unknown actor.
The camera work had its own peculiarities. Some shots were taken from the zombies point of view. They were blurred and frustrating to watch, I can't really tell what it added. I'm sure it would have added a bit more drama if you'd seen the potential victim being run at. Again, I'm not an expert in showbiz filming but I'm fairly certain that making your audience want to throw up is not the idea. Right near the end there is a shot that perfectly portrays the devastation of the situation...
"How should we get across the devastation of the city and cut out to the next scene?"
"Spin the camera round until people want to vomit?"
"GENIUS!"
I sat there feeling a bit woozy, trying to avoid looking at the screen for the whole thing. I'm not sure either of the fancy styles really improved anything.
My only other wonder about the film is whether it should have gone all out spoof. This was a sensible spoof [relatively speaking], in that it wasn't made specifically for laughs. It did have some, but there were also some moments of emotion too. Should they have played the film out for more comedy? Who knows, but I feel the scene where Darcy and Elizabeth are stabbing a field to kill zombies that are buried underneath was completely wasted in a sensible spoof!
All in all I did enjoy it, but for those of you looking to see it at the cinema I'm not sure it's worth a £10 ticket. Well worth it if you have an offer of some description though. Just remember going in to it that it isn't Jane Austen, it's just your run of the mill zombie period drama... wow, never thought I'd say that sentence.
Gareth von Kallenbach (980 KP) rated Inherent Vice (2015) in Movies
Aug 6, 2019
“Inherent Vice” Follows Doc (Joaquin Phoenix), a private investigator, as he falls down a dark rabbit hole into a world of crime and systemic corruption.
Phoenix is a transformative actor, delving deep into his role. We’ve seen him do it before in movies like “Walk the Line.” He becomes his character to the point that it is conceivable this just might be the real him.
It is set in bohemian 1970s California. Everything from the way the camera captures the scene, to the outfits that adorn the characters, exudes a hippy-grunge vibe.
The film encompasses multiple genres including crime, comedy, and drama.
Similar to movies like “The Big Lebowski,” it is filled with humorous moments as Doc, a well-meaning and laid back stoner, is constantly found in the middle of the proverbial shit.
When his ex-girlfriend Shasta Fay (Katherine Waterston) reappears one random day, telling him of a plot to kidnap her billionaire boyfriend and then disappears shortly after, Doc becomes consumed by his investigation into her whereabouts. He is led into a conspiracy-like web of drugs, crime, and corruption.
It is not a typical movie with a coherent storyline, rather it is an experience of what Doc goes through as a mind bending mystery unfolds before him.
Strange, subtle details leave a trail of breadcrumbs for the audience to follow along with Doc, as he tries to make some sense out of the connections he stumbles across.
The plot transpires in a blur, floating into the perceptions of the audience like the winding smoke of an opium den. With a few dull moments, it drags on at times, much like the reality of human experience tends to do.
The musical selection only adds to the film’s tantalizing stylistic ambiance – at times it’s a dull and prolonged high, other times it’s a seedy bluesy underground, or absolute instrumental lunacy. Interestingly, much of the music was composed by Radiohead lead guitarist Jonny Greenwood.
Adding to the intricacy and authenticity of the film, is a brief cameo by what is perhaps the most psychedelic band of our time, The Growlers. This moment will only be recognized by fans who are paying close attention, but is an absolutely fitting detail.
Director Paul Thomas Anderson adapted the film from the original novel written by Thomas Pynchon. Like reading a novel, the film is consuming. But because it goes by much quicker than reading a book, it may need to be watched several times for the viewer to grasp exactly what happened.
Audiences will leave theaters with a resonating feeling of pure delirium from the cerebral experience that is “Inherent Vice.”
A surreal masterpiece, I give “Inherent Vice” 5 out of 5 stars.
Phoenix is a transformative actor, delving deep into his role. We’ve seen him do it before in movies like “Walk the Line.” He becomes his character to the point that it is conceivable this just might be the real him.
It is set in bohemian 1970s California. Everything from the way the camera captures the scene, to the outfits that adorn the characters, exudes a hippy-grunge vibe.
The film encompasses multiple genres including crime, comedy, and drama.
Similar to movies like “The Big Lebowski,” it is filled with humorous moments as Doc, a well-meaning and laid back stoner, is constantly found in the middle of the proverbial shit.
When his ex-girlfriend Shasta Fay (Katherine Waterston) reappears one random day, telling him of a plot to kidnap her billionaire boyfriend and then disappears shortly after, Doc becomes consumed by his investigation into her whereabouts. He is led into a conspiracy-like web of drugs, crime, and corruption.
It is not a typical movie with a coherent storyline, rather it is an experience of what Doc goes through as a mind bending mystery unfolds before him.
Strange, subtle details leave a trail of breadcrumbs for the audience to follow along with Doc, as he tries to make some sense out of the connections he stumbles across.
The plot transpires in a blur, floating into the perceptions of the audience like the winding smoke of an opium den. With a few dull moments, it drags on at times, much like the reality of human experience tends to do.
The musical selection only adds to the film’s tantalizing stylistic ambiance – at times it’s a dull and prolonged high, other times it’s a seedy bluesy underground, or absolute instrumental lunacy. Interestingly, much of the music was composed by Radiohead lead guitarist Jonny Greenwood.
Adding to the intricacy and authenticity of the film, is a brief cameo by what is perhaps the most psychedelic band of our time, The Growlers. This moment will only be recognized by fans who are paying close attention, but is an absolutely fitting detail.
Director Paul Thomas Anderson adapted the film from the original novel written by Thomas Pynchon. Like reading a novel, the film is consuming. But because it goes by much quicker than reading a book, it may need to be watched several times for the viewer to grasp exactly what happened.
Audiences will leave theaters with a resonating feeling of pure delirium from the cerebral experience that is “Inherent Vice.”
A surreal masterpiece, I give “Inherent Vice” 5 out of 5 stars.
BankofMarquis (1832 KP) rated Hillbilly Elegy (2020) in Movies
Apr 14, 2021
Decent - with 3 strong female performances
Glenn Close is one of the most lauded Actresses of our time and her current streak of 7 Academy Award nominations without a win is a record. It would be ironic, indeed, if she would win her first Oscar with this, her 8th Oscar nomination, this time as Best Supporting Actress in HILLBILLY ELEGY.
Written by Vanessa Taylor and based on the book (and true story) by J.D. Vance, HILLBILLY ELEGY tells the tale of J.D. (naturally enough), who overcomes his impoverished roots and dysfunctional family background to become a star Law Student at Yale.
Gabriel Basso plays J.D. as the Law Student and he is just not charismatic enough to shine in this role especially as he goes up against 3 talented actresses that have PLENTY to sink their considerable acting chops into.
Close plays “Mamaw”, the grandmother of the clan. She is a no-nonsense, pragmatic matriarch that lives and breathes (through cigarette clogged lungs) “Family First”. It’s an interesting and strong performance by Close, but she does teeter into “Granny Clampett” territory at times for me. It’s a good performance…but the one that will finally get Close her Oscar? I don’t think so.
Amy Adams steals the movie as J.D.’s mother (and Mamaw’s daughter), Bev. She is (as we say in these parts) “a whole thing”. Her Bev is self-centered, clawing, desperate and constantly wondering why the world doesn’t give her the things that she is deserved. Nothing is EVER her fault and if you don’t believe me, just ask her. Adams’ performance is the strongest in this film and she never crosses the line into caricature.
One last moment of credit needs to be given to Haley Bennett as J.D.’s sister Lindsay, who is often the one stuck taking care of their Mother. When I first saw Bennett a few years back in 2016 in back to back strong performances in THE GIRL ON THE TRAIN and THE MAGNIFICENT SEVEN, I thought we were watching the emergence of a star. It’s good to see her on the screen again.
Credit for these performances must go the unlikely person helming this film, good ol’, reliable Ron Howard who’s workmanlike Directorial instincts and style lends itself very well to this, often told, type of story. It’s nothing flashy, but gets the job done.
And that pretty much sums up my feelings towards this film “nothing flashy, but gets the job done”, not the greatest film to come out in 2020 - but it is layered with 3 strong female performances by Adams, Bennett and Close so that makes this film one good enough to check out.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Written by Vanessa Taylor and based on the book (and true story) by J.D. Vance, HILLBILLY ELEGY tells the tale of J.D. (naturally enough), who overcomes his impoverished roots and dysfunctional family background to become a star Law Student at Yale.
Gabriel Basso plays J.D. as the Law Student and he is just not charismatic enough to shine in this role especially as he goes up against 3 talented actresses that have PLENTY to sink their considerable acting chops into.
Close plays “Mamaw”, the grandmother of the clan. She is a no-nonsense, pragmatic matriarch that lives and breathes (through cigarette clogged lungs) “Family First”. It’s an interesting and strong performance by Close, but she does teeter into “Granny Clampett” territory at times for me. It’s a good performance…but the one that will finally get Close her Oscar? I don’t think so.
Amy Adams steals the movie as J.D.’s mother (and Mamaw’s daughter), Bev. She is (as we say in these parts) “a whole thing”. Her Bev is self-centered, clawing, desperate and constantly wondering why the world doesn’t give her the things that she is deserved. Nothing is EVER her fault and if you don’t believe me, just ask her. Adams’ performance is the strongest in this film and she never crosses the line into caricature.
One last moment of credit needs to be given to Haley Bennett as J.D.’s sister Lindsay, who is often the one stuck taking care of their Mother. When I first saw Bennett a few years back in 2016 in back to back strong performances in THE GIRL ON THE TRAIN and THE MAGNIFICENT SEVEN, I thought we were watching the emergence of a star. It’s good to see her on the screen again.
Credit for these performances must go the unlikely person helming this film, good ol’, reliable Ron Howard who’s workmanlike Directorial instincts and style lends itself very well to this, often told, type of story. It’s nothing flashy, but gets the job done.
And that pretty much sums up my feelings towards this film “nothing flashy, but gets the job done”, not the greatest film to come out in 2020 - but it is layered with 3 strong female performances by Adams, Bennett and Close so that makes this film one good enough to check out.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
American Showman: Samuel Roxy Rothafel and the Birth of the Entertainment Industry, 1908-1935
Book
Samuel "Roxy" Rothafel (1882-1936) built an influential and prolific career as film exhibitor, stage...
Eleanor Luhar (47 KP) rated Billy and Me in Books
Jun 24, 2019
This is a very, very different genre than I usually read. It was romantic and contemporary and kind of cliche and gross. But I will admit that it was written well.
Despite the gooey topics, this book was easy to sit and read through. The writing was good, though some of the speech didn't feel particularly authentic. My main problem was how cliche this was. A young woman who loves classic literature andworks in a tea shop meets a movie star without realising who he is and falls in love... Yeah, it's kind of a stereotypical romance. I hate this sort of thing. It's tacky and just ugh. But there was more to it than just the romance, which was very good. Sophie had her own issues to deal with, stemming from childhood grief and caring for her mother. It even had a really tragic moment toward the end, that didn't involve the actor - Billy - much at all.
As I mentioned above, the language wasn't always particularly fluid. It sometimes felt like Fletcher was trying too hard to make it more romantic and emotional. Billy was pretty much 'perfect' and extremely romantic, probably extremely unrealistically so. He was likeable, still, just not very realistic.
Sophie herself was a bit... not annoying, but she's not my favourite protagonist ever. She was trying too hard to be unique and strong and independent and it just irritated me. I get what Fletcher was going for (I think) but I just didn't love Sophie that much at all.
Like most other contemporary novels (not that I've actually read many of them), Sophie's life comes together perfectly at the end. Well, not quite perfectly, but the ending was sickly sweet. But I'm a bit of a cynic. You might like this more than me.
Despite the genre and gross cutesy lovey stuff, I think this deserves 3.5 stars. The writing was good and I did actually enjoy reading it.
Despite the gooey topics, this book was easy to sit and read through. The writing was good, though some of the speech didn't feel particularly authentic. My main problem was how cliche this was. A young woman who loves classic literature andworks in a tea shop meets a movie star without realising who he is and falls in love... Yeah, it's kind of a stereotypical romance. I hate this sort of thing. It's tacky and just ugh. But there was more to it than just the romance, which was very good. Sophie had her own issues to deal with, stemming from childhood grief and caring for her mother. It even had a really tragic moment toward the end, that didn't involve the actor - Billy - much at all.
As I mentioned above, the language wasn't always particularly fluid. It sometimes felt like Fletcher was trying too hard to make it more romantic and emotional. Billy was pretty much 'perfect' and extremely romantic, probably extremely unrealistically so. He was likeable, still, just not very realistic.
Sophie herself was a bit... not annoying, but she's not my favourite protagonist ever. She was trying too hard to be unique and strong and independent and it just irritated me. I get what Fletcher was going for (I think) but I just didn't love Sophie that much at all.
Like most other contemporary novels (not that I've actually read many of them), Sophie's life comes together perfectly at the end. Well, not quite perfectly, but the ending was sickly sweet. But I'm a bit of a cynic. You might like this more than me.
Despite the genre and gross cutesy lovey stuff, I think this deserves 3.5 stars. The writing was good and I did actually enjoy reading it.