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Bob Mann (459 KP) rated Ready Player One (2018) in Movies
Sep 29, 2021
Virtually brilliant with Easter Eggs a plenty.
Of all the Spielberg films of recent years – and possibly with the exception of “The BFG” – this was the film whose trailer disconcerted me the most. It really looked dire: CGI over heart; gimmicks over substance. I was right about ‘The BFG”, one of my least favourite Spielberg flicks. I was definitely wrong about “Ready Player One”: it’s a blast.
The film is fun in continually throwing surprises at you, including those actors not included in the trailer and only on small print on the poster. So I won’t spoil that here for you (you can of course look them up on imdb if you want to: but I suggest you try to see this one ‘cold’).
It’s 2044, and the majority of the population have taken the next logical step of video gaming and virtual reality and retreated into their own headsets, living out their lives primarily as avatars within the fanciful landscapes of “The Oasis”. You can “be” anyone and (subject to gaining the necessary credits) “do” anything there.
When the housing market is stacked against you. Columbus Ohio circa 2044.
The Oasis was the brainchild of a (Steve Wozniak-like) genius called James Halliday (played in enormous style by “Actor R”) and supported by his (Steve Jobs-like) business partner Ogden Morrow (“Actor P”). The two had a big falling out leaving Halliday in total control of the Oasis. But he died, and his dying “game” was to devise a devious competition that left a trail of three virtual keys in the Oasis leading to an ‘easter egg’: which if found would provide the finder with total ownership of the Oasis and the trillions of dollars that it is worth.
But the game is not only played by amateur “gunters” (egg-hunters) like our hero Wade Watts (Tye Sheridan, “X-Men: Apocalypse“) and his in-Oasis flirting partner Samantha (Olivia Cooke, “Me and Earl and the Dying Girl”); there are big corporate game-hunters involved like IoI (that’s eye-oh-eye, not one-oh-one as I assumed from the trailer) who fill warehouses with combinations of nerd-consultants and professional game players to try to find the keys before anyone else. Which hardly seems fair does it? Ruthless boss Sorrento (Ben Mendelsohn, “Rogue One“) and his tough-as-nails hench-woman F’Nale Zandor (Hannah John-Kamen, “Tomb Raider“) really couldn’t give a toss!
In the future, everyone is reaching out for something.
What follows is two-hours of high-octane game-play and eye-popping 3D (it is good in 3D by the way) that melds a baseline of “Avatar” with soupçons of “Tron”, “Minority Report” and Dan Brown novels. But its a blend that works.
I was afraid as I said that CGI would squash flat any hope of character development and story, and – yes – to be sure this is ‘suppressed’ a bit. You never get to really know many of the ‘pack’ members to any great level other than Wade and Samantha. And exactly what drives the corporate protagonists, other than “corporate greed”, is not particularly clear. What gives the film heart though are the performances of “Actor P” and (particularly) “Actor R”, who again steals every scene he is in. For their limited screen time together, the pair bounce off each other in a delightful way.
I have to make a confession at this point that I spent the whole film thinking “Miles Teller is way too old for the part of Wade”! Tye Sheridan (who I think *does* bear a likeness!) is actually much more age appropriate, and is fine in the role. But the star performance for me, out of the youngsters at least, was Oldham’s-own Olivia Cooke, who has a genuinely magnetic screen presence. She is most definitely a name to watch for the future.
Ready Player One
Young star of the show for me – Olivia Cooke as Samantha.
Lena Waithe (“Master of None”) plays Wade’s inventor friend Helen.
The story, although simple and quite one-dimensional, in the main intrigues: there is nothing like a Mario-style chase for keys to entertain when it is done well (I am so old and crusty that in my day it was “Manic Miner” on a ZX-Spectrum!).
He’s iron and he’s just gigantic! Reb’s creation becomes a force to be reckoned with when needed.
And there’s not just one “Easter Egg” in this film: the film is rammed to the rafters with throwbacks to classic pop-culture icons of past decades, and particularly the 80’s…. the film could have been subtitled “I ❤ 80’s”. Some of these are subliminal (Mayor Goldie Wilson anyone?), and others are more prominent but very clever: “The Zemekis cube” and “The Holy Hand Grenade” being prime examples. This is a film that deserves buying on Blu-ray and then slo-mo-ing through! The nostalgia extends to the music by Alan Silvestri, with occasional motifs from his most famous soundtrack!
For me though, the highspot of the film is a journey into a recreation of a classic ’80’s film which – while a scary sequence, earning for sure its 12A UK rating – is done with verve and chutzpah.
Wade’s avatar, Parzival.
Although a little overlong (2 hours 20 mins) and getting rather over-blown and LOTR-esque in the finale, the ending is very satisfying – roll on Tuesdays and Thursdays!
Spielberg’s recent films have been largely solid and well-constructed watches (“The Post” and “Bridge of Spies” for example) but they have been more niche than mainstream box office draws. I firmly predict that “Ready Player One” will change that: here Spielberg has a sure-fire hit on his hands and word of mouth (rather than the ho-hum trailer) should assure that.
The film is fun in continually throwing surprises at you, including those actors not included in the trailer and only on small print on the poster. So I won’t spoil that here for you (you can of course look them up on imdb if you want to: but I suggest you try to see this one ‘cold’).
It’s 2044, and the majority of the population have taken the next logical step of video gaming and virtual reality and retreated into their own headsets, living out their lives primarily as avatars within the fanciful landscapes of “The Oasis”. You can “be” anyone and (subject to gaining the necessary credits) “do” anything there.
When the housing market is stacked against you. Columbus Ohio circa 2044.
The Oasis was the brainchild of a (Steve Wozniak-like) genius called James Halliday (played in enormous style by “Actor R”) and supported by his (Steve Jobs-like) business partner Ogden Morrow (“Actor P”). The two had a big falling out leaving Halliday in total control of the Oasis. But he died, and his dying “game” was to devise a devious competition that left a trail of three virtual keys in the Oasis leading to an ‘easter egg’: which if found would provide the finder with total ownership of the Oasis and the trillions of dollars that it is worth.
But the game is not only played by amateur “gunters” (egg-hunters) like our hero Wade Watts (Tye Sheridan, “X-Men: Apocalypse“) and his in-Oasis flirting partner Samantha (Olivia Cooke, “Me and Earl and the Dying Girl”); there are big corporate game-hunters involved like IoI (that’s eye-oh-eye, not one-oh-one as I assumed from the trailer) who fill warehouses with combinations of nerd-consultants and professional game players to try to find the keys before anyone else. Which hardly seems fair does it? Ruthless boss Sorrento (Ben Mendelsohn, “Rogue One“) and his tough-as-nails hench-woman F’Nale Zandor (Hannah John-Kamen, “Tomb Raider“) really couldn’t give a toss!
In the future, everyone is reaching out for something.
What follows is two-hours of high-octane game-play and eye-popping 3D (it is good in 3D by the way) that melds a baseline of “Avatar” with soupçons of “Tron”, “Minority Report” and Dan Brown novels. But its a blend that works.
I was afraid as I said that CGI would squash flat any hope of character development and story, and – yes – to be sure this is ‘suppressed’ a bit. You never get to really know many of the ‘pack’ members to any great level other than Wade and Samantha. And exactly what drives the corporate protagonists, other than “corporate greed”, is not particularly clear. What gives the film heart though are the performances of “Actor P” and (particularly) “Actor R”, who again steals every scene he is in. For their limited screen time together, the pair bounce off each other in a delightful way.
I have to make a confession at this point that I spent the whole film thinking “Miles Teller is way too old for the part of Wade”! Tye Sheridan (who I think *does* bear a likeness!) is actually much more age appropriate, and is fine in the role. But the star performance for me, out of the youngsters at least, was Oldham’s-own Olivia Cooke, who has a genuinely magnetic screen presence. She is most definitely a name to watch for the future.
Ready Player One
Young star of the show for me – Olivia Cooke as Samantha.
Lena Waithe (“Master of None”) plays Wade’s inventor friend Helen.
The story, although simple and quite one-dimensional, in the main intrigues: there is nothing like a Mario-style chase for keys to entertain when it is done well (I am so old and crusty that in my day it was “Manic Miner” on a ZX-Spectrum!).
He’s iron and he’s just gigantic! Reb’s creation becomes a force to be reckoned with when needed.
And there’s not just one “Easter Egg” in this film: the film is rammed to the rafters with throwbacks to classic pop-culture icons of past decades, and particularly the 80’s…. the film could have been subtitled “I ❤ 80’s”. Some of these are subliminal (Mayor Goldie Wilson anyone?), and others are more prominent but very clever: “The Zemekis cube” and “The Holy Hand Grenade” being prime examples. This is a film that deserves buying on Blu-ray and then slo-mo-ing through! The nostalgia extends to the music by Alan Silvestri, with occasional motifs from his most famous soundtrack!
For me though, the highspot of the film is a journey into a recreation of a classic ’80’s film which – while a scary sequence, earning for sure its 12A UK rating – is done with verve and chutzpah.
Wade’s avatar, Parzival.
Although a little overlong (2 hours 20 mins) and getting rather over-blown and LOTR-esque in the finale, the ending is very satisfying – roll on Tuesdays and Thursdays!
Spielberg’s recent films have been largely solid and well-constructed watches (“The Post” and “Bridge of Spies” for example) but they have been more niche than mainstream box office draws. I firmly predict that “Ready Player One” will change that: here Spielberg has a sure-fire hit on his hands and word of mouth (rather than the ho-hum trailer) should assure that.
Bong Mines Entertainment (15 KP) rated Beerbongs & Bentleys by Post Malone in Music
Jun 7, 2019
Post Malone is a rapper from Syracuse, New York. Not too long ago, he released his sophomore album, entitled, “beerbongs & bentleys”, featuring Swae Lee, 21 Savage, Ty Dolla Sign, Nicki Minaj, G-Eazy, and YG.
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. He’s worked so hard to become rich and successful. Now, he can’t trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, he’s willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what he’s doing is wrong. But there’s no need for these women to get star-struck. In a way, he’s suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. She’s the reason why he doesn’t want his female fans recording him in the clubs.
Apparently, Malone’s girl leaves him for unknown reasons. Malone claims it’s because his career is skyrocketing. So, that might’ve complicated their relationship. But the real reason is anyone’s guess.
After her departure, Malone feels lonely and depressed, even though he’s surrounded by fame and fortune.
Malone realizes that money can’t buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesn’t plan on sleeping anytime soon. As long as he’s partying, he doesn’t feel alone. He even addresses the current state of urban music.
TAKIN’ SHOTS
Malone continues his pleasure-seeking. This time, he’s at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesn’t stop him from taking more shots. Also, he’s waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he is—a Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that he’s been a begging idiot. Now, he doesn’t want her anymore. It’s over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, “Can I have some to hold?”
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesn’t believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that he’s still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballin’ jersey. He’s busy on the road getting paid. So, he doesn’t have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. He’s been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesn’t answer when he calls her name.
It seems Malone’s girl did him dirty. She left him in the cold and now he’s burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and he’s starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didn’t have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when he’s in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
‘Candy Paint’ was originally recorded for “The Fate of the Furious: The Album” soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
‘beerbongs & bentleys’ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Malone’s struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. He’s worked so hard to become rich and successful. Now, he can’t trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, he’s willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what he’s doing is wrong. But there’s no need for these women to get star-struck. In a way, he’s suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. She’s the reason why he doesn’t want his female fans recording him in the clubs.
Apparently, Malone’s girl leaves him for unknown reasons. Malone claims it’s because his career is skyrocketing. So, that might’ve complicated their relationship. But the real reason is anyone’s guess.
After her departure, Malone feels lonely and depressed, even though he’s surrounded by fame and fortune.
Malone realizes that money can’t buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesn’t plan on sleeping anytime soon. As long as he’s partying, he doesn’t feel alone. He even addresses the current state of urban music.
TAKIN’ SHOTS
Malone continues his pleasure-seeking. This time, he’s at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesn’t stop him from taking more shots. Also, he’s waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he is—a Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that he’s been a begging idiot. Now, he doesn’t want her anymore. It’s over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, “Can I have some to hold?”
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesn’t believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that he’s still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballin’ jersey. He’s busy on the road getting paid. So, he doesn’t have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. He’s been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesn’t answer when he calls her name.
It seems Malone’s girl did him dirty. She left him in the cold and now he’s burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and he’s starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didn’t have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when he’s in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
‘Candy Paint’ was originally recorded for “The Fate of the Furious: The Album” soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
‘beerbongs & bentleys’ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Malone’s struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
5 Minute Movie Guy (379 KP) rated Baby Driver (2017) in Movies
Jul 1, 2019
Baby Driver is simply the epitome of cool, and if you’re looking for a fun and frisky thrill-ride of a movie, this is sure to be the ticket!
Edgar Wright’s Baby Driver is a pulse-pounding, jukebox-jamming blast! In this wildly entertaining crime thriller, a young man called Baby is the perennial pedal-pushing getaway driver for an Atlanta crime boss known as Doc. The two of them have worked countless jobs together, and in Doc’s mind, Baby is the only one worthy behind the wheel. Unbeknownst to Doc, however, Baby plans to wipe his hands clean and hit the road for good as soon as the opportunity arrives. Tensions steadily rise as this perfect getaway driver tries to find a way out and get away from his life of crime.
The premise in Baby Driver is a familiar one, although the movie itself is anything but. Sure, it features the cliché of one last job, but the motives here are a bit different and morality is a big focus. I’ll spare the details, but this crime movie has a heart and a conscience, and at its core, it’s really more of a love story, as Baby tries to make a daring dash for freedom all in the name of romance. After meeting a nice girl named Debora at a local diner, Baby has finally found a reason to want to break free from his past so he can live a life of love. With its romantic drive, its high-octane action, and its fresh and funky soundtrack, Baby Driver is an action thriller that would make for a perfect date night movie.
While I did very much enjoy Baby Driver, it did leave a worrisome first impression. One of the earliest scenes verges on the borderline of being a musical, and as well-crafted as the one-take scene may be, it sort of rubbed me the wrong way by making Baby look like a goofball. It was trying too hard to be cool and to me it ended up feeling pretty pretentious. Really what got me engaged in the movie was the film’s stellar supporting cast, led by Jamie Foxx, Jon Hamm, and Jon Bernthal, all of whom play bank robbers working for Doc. By the time the film’s second robbery rolled around, all else was forgiven, and I was eagerly strapped in for the ride.
The cast in this movie is outstanding. Foxx steals the show in every scene he’s in, playing a violent loose-cannon thug known as Bats. His intensity, wit, and strong distrust of others make Bats a character you won’t want to take your eyes off of. Hamm’s character Buddy is less abrasive, but no less intimidating when he’s angry. I really loved watching his nice guy façade crumble away when things got personal. Ansel Elgort, the teenage heartthrob from The Fault in Our Stars, has enough charm and coolness to make Baby an easy character to root for. Meanwhile, Kevin Spacey does a wonderful job balancing the complexity of his character, Doc. Eiza González is lovely and cool as Buddy’s girlfriend Darling, and Jon Bernthal truly makes the most out of his limited screen-time. All in all, I have nothing but praise for the actors as well as their well-written characters.
A big part of what makes Baby Driver so cool is its killer soundtrack, and it’s not just the music, but the way that it’s incorporated into the movie. The music itself is practically a character in the movie, as Baby is always playing songs through his iPod to drown out the ringing in his ears caused by a condition known as tinnitus. It’s used to great effect in terms of both plot and action. The movie’s eclectic music mix features over 40 songs, and much of the action is brilliantly synced up to the beat. The timing really ratchets up the fun factor and makes for a uniquely wild experience. I don’t know a good half of the songs in the movie, but this diversity helps give Baby Driver an identity of its own, and I look forward to taking the soundtrack for another spin.
Baby Driver is so fresh, fun, and entertaining that you’ve really just got to go see it for yourself. Edgar Wright has really made something special with his upbeat, funky crime thriller. The characters are compelling, the action is superb, and the comedy is hysterical. It’s one of the most laugh-out-loud funny movies of the year, but also full of edge-of-your-seat excitement. The movie builds tension so well, and it rarely takes its foot off the gas. I particularly loved the final act when Baby propels the intensity to new heights by taking charge of his own destiny, bringing forth an exciting and unpredictable turn of events. It puts an exhilarating and frantic twist on what is already a wild movie.
That’s not to say it’s a perfect movie, though. The ending itself left me feeling pretty unsatisfied. It forgoes the predictable ending for something different, and as respectable as that may be, it went on for too long and was a little too hokey and hard to believe for my taste. After riding high on Baby Driver’s adrenaline for so long, the ending botches the film’s momentum by devoting too much time to unnecessary explanation. While I even like the way the story concludes, I wish it could have gotten there a little more smoothly.
Bumpy start and finish aside, I really had a great time Baby Driver. It is an incredibly fun and energetic experience that the whole audience seemed to enjoy. It’s rhythmic, it’s stylish, and it’s not like any other film you’ll see this year. Baby Driver is simply the epitome of cool, and if you’re looking for a fun and frisky ride in theaters this summer, Baby Driver is sure to be the ticket.
The premise in Baby Driver is a familiar one, although the movie itself is anything but. Sure, it features the cliché of one last job, but the motives here are a bit different and morality is a big focus. I’ll spare the details, but this crime movie has a heart and a conscience, and at its core, it’s really more of a love story, as Baby tries to make a daring dash for freedom all in the name of romance. After meeting a nice girl named Debora at a local diner, Baby has finally found a reason to want to break free from his past so he can live a life of love. With its romantic drive, its high-octane action, and its fresh and funky soundtrack, Baby Driver is an action thriller that would make for a perfect date night movie.
While I did very much enjoy Baby Driver, it did leave a worrisome first impression. One of the earliest scenes verges on the borderline of being a musical, and as well-crafted as the one-take scene may be, it sort of rubbed me the wrong way by making Baby look like a goofball. It was trying too hard to be cool and to me it ended up feeling pretty pretentious. Really what got me engaged in the movie was the film’s stellar supporting cast, led by Jamie Foxx, Jon Hamm, and Jon Bernthal, all of whom play bank robbers working for Doc. By the time the film’s second robbery rolled around, all else was forgiven, and I was eagerly strapped in for the ride.
The cast in this movie is outstanding. Foxx steals the show in every scene he’s in, playing a violent loose-cannon thug known as Bats. His intensity, wit, and strong distrust of others make Bats a character you won’t want to take your eyes off of. Hamm’s character Buddy is less abrasive, but no less intimidating when he’s angry. I really loved watching his nice guy façade crumble away when things got personal. Ansel Elgort, the teenage heartthrob from The Fault in Our Stars, has enough charm and coolness to make Baby an easy character to root for. Meanwhile, Kevin Spacey does a wonderful job balancing the complexity of his character, Doc. Eiza González is lovely and cool as Buddy’s girlfriend Darling, and Jon Bernthal truly makes the most out of his limited screen-time. All in all, I have nothing but praise for the actors as well as their well-written characters.
A big part of what makes Baby Driver so cool is its killer soundtrack, and it’s not just the music, but the way that it’s incorporated into the movie. The music itself is practically a character in the movie, as Baby is always playing songs through his iPod to drown out the ringing in his ears caused by a condition known as tinnitus. It’s used to great effect in terms of both plot and action. The movie’s eclectic music mix features over 40 songs, and much of the action is brilliantly synced up to the beat. The timing really ratchets up the fun factor and makes for a uniquely wild experience. I don’t know a good half of the songs in the movie, but this diversity helps give Baby Driver an identity of its own, and I look forward to taking the soundtrack for another spin.
Baby Driver is so fresh, fun, and entertaining that you’ve really just got to go see it for yourself. Edgar Wright has really made something special with his upbeat, funky crime thriller. The characters are compelling, the action is superb, and the comedy is hysterical. It’s one of the most laugh-out-loud funny movies of the year, but also full of edge-of-your-seat excitement. The movie builds tension so well, and it rarely takes its foot off the gas. I particularly loved the final act when Baby propels the intensity to new heights by taking charge of his own destiny, bringing forth an exciting and unpredictable turn of events. It puts an exhilarating and frantic twist on what is already a wild movie.
That’s not to say it’s a perfect movie, though. The ending itself left me feeling pretty unsatisfied. It forgoes the predictable ending for something different, and as respectable as that may be, it went on for too long and was a little too hokey and hard to believe for my taste. After riding high on Baby Driver’s adrenaline for so long, the ending botches the film’s momentum by devoting too much time to unnecessary explanation. While I even like the way the story concludes, I wish it could have gotten there a little more smoothly.
Bumpy start and finish aside, I really had a great time Baby Driver. It is an incredibly fun and energetic experience that the whole audience seemed to enjoy. It’s rhythmic, it’s stylish, and it’s not like any other film you’ll see this year. Baby Driver is simply the epitome of cool, and if you’re looking for a fun and frisky ride in theaters this summer, Baby Driver is sure to be the ticket.
Neil Goddard (3 KP) rated Hellboy (2019) in Movies
Feb 27, 2020
It all looked soooo promising
Contains spoilers, click to show
Let me say this upfront; David Harbour looks f---ing boss as Hellboy. The makeup is far superior to that of Ron Perlman, not that there was anything wrong with Ron Perlman’s, but with this new incarnation it’s all in the eyes. Deep red, sunken, pained. Sadly, that is all I can say about this movie that is one hundred percent genuinely positive. There are positives however, but they come with a big ‘however’.
I was initially a little concerned that we were getting a re-boot and not a direct sequel to Hellboy II: The Golden Army (2008), especially as it still seemed so recent and was so well made. I know it was over a decade ago but quality is timeless, yeah? Then David Harbour was cast and Neil Marshall announced as director. Great, thought I, an actor I like and a director who’s put out some solid genre material. I saw the first picture of Harbour as Hellboy and I was genuinely excited. I saw the trailer and again, excited. Then I watched the film.
Eurgh, where to start?
Firstly, Ian McShane’s initial voice over is clunky and ill fitting, then they throw in some b@llocks about King Arthur and Excalibur. I had my first wobble here, as some of the effects seemed less than special.
Cue opening titles.
The film starts with a Mexican wrestling match that is purely exposition to let us know Hellboy is a hard drinking and hard fighting anti-hero working for an organisation that deals with the paranormal. The make up for his vampiric opponent is also great (can’t fault the makeup department), but the scene seemed superfluous. We get the nubbin of the story forming now; some horrible witchy wench from way back when was cut into bits and flung around jolly old England to prevent her from spreading a right ‘orrible plague. Turns out a potty-mouthed Liverpudlian pig-monster is collecting said bits in the hope of putting her back together in exchange for his normal appearance. Scouse pig-monster is quite entertaining.
Hellboy goes to England at the request of an upper-class paranormal society to help them kill giants; this goes t1ts up. Again, this seems like unnecessary exposition to introduce Alice, a medium who he rescued as a baby, who now rescues him in a transit van. We also get introduced to M11’s Agent Daimio. There something wrong with him, he keeps injecting himself with a serum to stop something happening. I knew at this point we’d get to see what it was eventually, probably at a juncture where something is needed to rescue someone important. However, at this point I had a feeling it would be bad, I just didn’t know how bad.
There some more fighting, some good effects, some mediocre effects and some terrible effects. There’s some good one-liners, there’s some dull and/or terrible dialogue and then we get the film’s conclusion.
There’s something I’ve been putting off mentioning as I didn’t want the entire review to be about it, and it could have been; the witchy wench at the heart of all this paranormal consternation, Nimue, is played by Milla Jovovich and she is terrible. From when she first opens her mouth to her predictable demise, she is terrible. Terrible. TERRIBLE.
I love some of the Resident Evil films but all she’s required to do is some slow-motion scissor kicks and shoot zombies and zombie-dogs in the face. She is tolerated, rather than enjoyed. Here she is emoting, or at least I think that’s what she was going for, and as a depiction of an evil entity bent of the destruction of all mankind, she is, for want of a better word, cack.
David Harbour and the Hellboy franchise deserve better than this. To be blunt, the franchise has better than this and Mike Mignola should be a bit more f---ing precious with his creation.
Hellboy (2004) was genuinely exciting; it was an origin story that bought that story full circle for its thrilling and apocalyptical conclusion. It has a wonderful nemesis, great support and breath-taking visuals. The re-tread of the origin story in Hellboy (2019) is, again, one more unnecessary diversion from a sketchy plot, which, for all its meagre bones takes a f-ck load of time to tell.
Hellboy II: The Golden Army (2008) was equally impressive. It also introduced a fully formed community of creatures and customs hiding alongside mankind. It did so with nonchalant aplomb. Nothing seemed irrelevant or forced. For two films with almost identical running times, Hellboy (2019) tells less of a story with way more waffle.
So, I did mention there were some positives. David Harbour is great. He’s dour, sarcastic, defiant and funny, he just has no engaging story in which to be all those things. Ian McShane is good as the father figure but he is overshadowed by memories of the late, unbelievably great John Hurt. The story of a witch trying to destroy mankind is solid fantasy movie gold and the unleashing of her plague late in the final act is suitably hellish; bizarre demons emerging from city streets and tearing humans limb from limb, it’s bloody wonderful and wonderfully bloody. They all could have come straight out of a Clive Barker fever dream. However, it’s too little too late, by this point in the story we’ve had too many cutaways, too much shoddy CGI, and Agent Daimio stinking up many a scene with his ‘will he won’t he’ turn into something rubbish… he does.
The worst part of all this is I don’t know if they can come back from this. The film may have sunk the franchise at least for the next few years.
I do however, look forward to a re-boot in a decade or so, if we haven’t all been assimilated by aliens, overrun by AI robots or decimated by a supernatural plague bought on by some witchy wench with an axe to grind.
THREE WORD SUMMATION: Big Red Turd.
I was initially a little concerned that we were getting a re-boot and not a direct sequel to Hellboy II: The Golden Army (2008), especially as it still seemed so recent and was so well made. I know it was over a decade ago but quality is timeless, yeah? Then David Harbour was cast and Neil Marshall announced as director. Great, thought I, an actor I like and a director who’s put out some solid genre material. I saw the first picture of Harbour as Hellboy and I was genuinely excited. I saw the trailer and again, excited. Then I watched the film.
Eurgh, where to start?
Firstly, Ian McShane’s initial voice over is clunky and ill fitting, then they throw in some b@llocks about King Arthur and Excalibur. I had my first wobble here, as some of the effects seemed less than special.
Cue opening titles.
The film starts with a Mexican wrestling match that is purely exposition to let us know Hellboy is a hard drinking and hard fighting anti-hero working for an organisation that deals with the paranormal. The make up for his vampiric opponent is also great (can’t fault the makeup department), but the scene seemed superfluous. We get the nubbin of the story forming now; some horrible witchy wench from way back when was cut into bits and flung around jolly old England to prevent her from spreading a right ‘orrible plague. Turns out a potty-mouthed Liverpudlian pig-monster is collecting said bits in the hope of putting her back together in exchange for his normal appearance. Scouse pig-monster is quite entertaining.
Hellboy goes to England at the request of an upper-class paranormal society to help them kill giants; this goes t1ts up. Again, this seems like unnecessary exposition to introduce Alice, a medium who he rescued as a baby, who now rescues him in a transit van. We also get introduced to M11’s Agent Daimio. There something wrong with him, he keeps injecting himself with a serum to stop something happening. I knew at this point we’d get to see what it was eventually, probably at a juncture where something is needed to rescue someone important. However, at this point I had a feeling it would be bad, I just didn’t know how bad.
There some more fighting, some good effects, some mediocre effects and some terrible effects. There’s some good one-liners, there’s some dull and/or terrible dialogue and then we get the film’s conclusion.
There’s something I’ve been putting off mentioning as I didn’t want the entire review to be about it, and it could have been; the witchy wench at the heart of all this paranormal consternation, Nimue, is played by Milla Jovovich and she is terrible. From when she first opens her mouth to her predictable demise, she is terrible. Terrible. TERRIBLE.
I love some of the Resident Evil films but all she’s required to do is some slow-motion scissor kicks and shoot zombies and zombie-dogs in the face. She is tolerated, rather than enjoyed. Here she is emoting, or at least I think that’s what she was going for, and as a depiction of an evil entity bent of the destruction of all mankind, she is, for want of a better word, cack.
David Harbour and the Hellboy franchise deserve better than this. To be blunt, the franchise has better than this and Mike Mignola should be a bit more f---ing precious with his creation.
Hellboy (2004) was genuinely exciting; it was an origin story that bought that story full circle for its thrilling and apocalyptical conclusion. It has a wonderful nemesis, great support and breath-taking visuals. The re-tread of the origin story in Hellboy (2019) is, again, one more unnecessary diversion from a sketchy plot, which, for all its meagre bones takes a f-ck load of time to tell.
Hellboy II: The Golden Army (2008) was equally impressive. It also introduced a fully formed community of creatures and customs hiding alongside mankind. It did so with nonchalant aplomb. Nothing seemed irrelevant or forced. For two films with almost identical running times, Hellboy (2019) tells less of a story with way more waffle.
So, I did mention there were some positives. David Harbour is great. He’s dour, sarcastic, defiant and funny, he just has no engaging story in which to be all those things. Ian McShane is good as the father figure but he is overshadowed by memories of the late, unbelievably great John Hurt. The story of a witch trying to destroy mankind is solid fantasy movie gold and the unleashing of her plague late in the final act is suitably hellish; bizarre demons emerging from city streets and tearing humans limb from limb, it’s bloody wonderful and wonderfully bloody. They all could have come straight out of a Clive Barker fever dream. However, it’s too little too late, by this point in the story we’ve had too many cutaways, too much shoddy CGI, and Agent Daimio stinking up many a scene with his ‘will he won’t he’ turn into something rubbish… he does.
The worst part of all this is I don’t know if they can come back from this. The film may have sunk the franchise at least for the next few years.
I do however, look forward to a re-boot in a decade or so, if we haven’t all been assimilated by aliens, overrun by AI robots or decimated by a supernatural plague bought on by some witchy wench with an axe to grind.
THREE WORD SUMMATION: Big Red Turd.
Bob Mann (459 KP) rated Bad Boys for Life (2020) in Movies
Mar 9, 2020
Welcome to Miami - again!
Will Smith seems to have been having a lacklustre period in his career. His genie from "Aladdin" got a rather lukewarm reception. And his last movie - "Gemini Man" - billed as a big summer blockbuster - failed to impress. True it wasn't a commercial disaster (raking in at the time of writing about 150% of budget), but it's still a film on a plane for me that, even if I'm bored, I'll say "nah" to.
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
Gareth von Kallenbach (971 KP) rated Dredd (2012) in Movies
Aug 7, 2019
The mid 90’s was a strange time for movies. Sure, there were quite a few remembered fondly (just like with any era) but there were also many movies that are forgotten due to their ridiculousness. It was a time that gave us the style of adaptions on par with Alien 3 and Alien Resurrection, or the two Joel Schumacher Batman films. Likewise, there was a Judge Dredd film right in the middle of that time period.
It was a mess. It exemplified everything wrong with many adaptions in the 90’s. Big name actors, over-the-top designs, cheesy dialogue. It tried very hard to be akin to the original Total Recall but instead succeeded at only being a movie fun to laugh at. It featured Sylvester Stallone and Rob Schneider. That is all that needs to be said about that film. So, when Hollywood comes along and decides to make a new adaption, of course the original’s ridiculousness looms over the whole affair. Not helping is the fact that most of the cast and crew are relatively obscure, and its source material (the Judge Dredd comics) is not as well-known as most of Marvel’s or DC’s pantheon. Yet, this brand new adaption, Dredd 3D, soars much higher than the original and manages to be one of those well-hidden gems of Fall 2012. I don’t imagine this film breaking box office records, but it is a wholly worthwhile piece of screen entertainment, even if it has some notable flaws and is overshadowed by past outings in the franchise.
The future America is an irradiated waste land known as the Cursed Earth. On the east coast of North America lies Mega-City One, a vast, violent metropolis containing 800 million residents, where 17,000 crimes are reported daily and “Slo-Mo”, an addictive new drug that slows the user’s perception of time, has been introduced. The only force of order is the Judges, who act as police, judge, jury and executioner. Judge Dredd (Karl Urban) is tasked by the Chief Judge (Rakie Ayola) with evaluating rookie Judge Cassandra Anderson (Olivia Thirlby), a psychic who has failed the tests to become a full Judge. They become involved in a raid upon a crime and Slo-Mo ridden apartment complex known as Peach-Trees, which is ruled by a vicious crime boss Ma-Ma (Lena Heady).
You can guess from the title that the movie is meant to be watched in 3D. But that is where personal opinions of 3D come into play. For me personally, I cannot ding the film’s use of 3D because it uses it well enough that it becomes unnoticeable, which is to say it does not obnoxiously remind you at all times it is meant to be watched in 3D by throwing random things at the camera. But I will say that, although somewhat gimmicky, the “Slo-Mo” segments (which are shot from the perspective of those on the mind-altering drug ‘Slo-Mo’) do use 3D very well and manage to be some of the most visually striking and beautiful shots in the entire film.
The plot is simple to understand and straight forward. There are not huge twists and turns, and manages to be tightly written. It is not extremely memorable for plot standards, but it does not need to be. The story is held up by focusing on three major characters, which some good additional characterization of two more side characters. In that sense, the plot and characters do not pop off the screen into greatness, yet they are still tightly written enough that both elements (plot and characters) are not muddled or confusing. The simple plot, and the fact it all takes place in one apartment complex, makes it easier to focus on action and visuals.
While the visuals are all extremely well-done, the action could use some work. The setting of Mega-City One is extremely well established, as opposed to the original Judge Dredd adaption. It seems like it could be a real place not far off in the future, as it is set up with a realistic visual design – just with added grittiness and subtle science fictional elements. Also, there is not a huge amount of CG and the Judge uniforms especially look like iconic yet possibly realistic futuristic police suits. But the action could use some work, as stated. I could not help but constantly compare it to the recently released film, “The Raid: Redeption”, the Indonesian martial arts police film centering on a single police raid on an apartment complex. The similarities are there.
Both movies have very similar locations and plots, but the difference is that while Dredd has more interesting setting and science fiction elements (and arguably more interesting characters), The Raid: Redemption’s action is far more entertaining and engrossing. The real problem with Dredd is that there are never any real amazing feats of heroics on part of Judge Dredd. They set up the film in a sort of “’Die Hard’ in the future vibe” but that requires the hero to barely overcome overwhelming odds. As it stands, it never really feels like Judge Dredd is in a ton of danger. There are some cool shooting moments, and some even more interesting usage of Judge Anderson’s psychic powers. But at the end of the day, there simply are not many memorable action moments.
Overall, it does not ruin the film at all. It still manages to be an entertaining and interesting movie regardless of memorable action sequences. It has a tightly plotted narrative with fairly well done characters, not muddled by overuse of complexity or plot twists. It manages to be visually excellent with interesting science fictional elements, but never does it soar with its action set-pieces. It would have benefitted with some better use of gunplay or more clever feats of heroics on Judge Dredd’s part. But at least it takes itself seriously enough to not have anything akin to Rob Schneider following Sylvester Stallone around in a cheesy script.
It was a mess. It exemplified everything wrong with many adaptions in the 90’s. Big name actors, over-the-top designs, cheesy dialogue. It tried very hard to be akin to the original Total Recall but instead succeeded at only being a movie fun to laugh at. It featured Sylvester Stallone and Rob Schneider. That is all that needs to be said about that film. So, when Hollywood comes along and decides to make a new adaption, of course the original’s ridiculousness looms over the whole affair. Not helping is the fact that most of the cast and crew are relatively obscure, and its source material (the Judge Dredd comics) is not as well-known as most of Marvel’s or DC’s pantheon. Yet, this brand new adaption, Dredd 3D, soars much higher than the original and manages to be one of those well-hidden gems of Fall 2012. I don’t imagine this film breaking box office records, but it is a wholly worthwhile piece of screen entertainment, even if it has some notable flaws and is overshadowed by past outings in the franchise.
The future America is an irradiated waste land known as the Cursed Earth. On the east coast of North America lies Mega-City One, a vast, violent metropolis containing 800 million residents, where 17,000 crimes are reported daily and “Slo-Mo”, an addictive new drug that slows the user’s perception of time, has been introduced. The only force of order is the Judges, who act as police, judge, jury and executioner. Judge Dredd (Karl Urban) is tasked by the Chief Judge (Rakie Ayola) with evaluating rookie Judge Cassandra Anderson (Olivia Thirlby), a psychic who has failed the tests to become a full Judge. They become involved in a raid upon a crime and Slo-Mo ridden apartment complex known as Peach-Trees, which is ruled by a vicious crime boss Ma-Ma (Lena Heady).
You can guess from the title that the movie is meant to be watched in 3D. But that is where personal opinions of 3D come into play. For me personally, I cannot ding the film’s use of 3D because it uses it well enough that it becomes unnoticeable, which is to say it does not obnoxiously remind you at all times it is meant to be watched in 3D by throwing random things at the camera. But I will say that, although somewhat gimmicky, the “Slo-Mo” segments (which are shot from the perspective of those on the mind-altering drug ‘Slo-Mo’) do use 3D very well and manage to be some of the most visually striking and beautiful shots in the entire film.
The plot is simple to understand and straight forward. There are not huge twists and turns, and manages to be tightly written. It is not extremely memorable for plot standards, but it does not need to be. The story is held up by focusing on three major characters, which some good additional characterization of two more side characters. In that sense, the plot and characters do not pop off the screen into greatness, yet they are still tightly written enough that both elements (plot and characters) are not muddled or confusing. The simple plot, and the fact it all takes place in one apartment complex, makes it easier to focus on action and visuals.
While the visuals are all extremely well-done, the action could use some work. The setting of Mega-City One is extremely well established, as opposed to the original Judge Dredd adaption. It seems like it could be a real place not far off in the future, as it is set up with a realistic visual design – just with added grittiness and subtle science fictional elements. Also, there is not a huge amount of CG and the Judge uniforms especially look like iconic yet possibly realistic futuristic police suits. But the action could use some work, as stated. I could not help but constantly compare it to the recently released film, “The Raid: Redeption”, the Indonesian martial arts police film centering on a single police raid on an apartment complex. The similarities are there.
Both movies have very similar locations and plots, but the difference is that while Dredd has more interesting setting and science fiction elements (and arguably more interesting characters), The Raid: Redemption’s action is far more entertaining and engrossing. The real problem with Dredd is that there are never any real amazing feats of heroics on part of Judge Dredd. They set up the film in a sort of “’Die Hard’ in the future vibe” but that requires the hero to barely overcome overwhelming odds. As it stands, it never really feels like Judge Dredd is in a ton of danger. There are some cool shooting moments, and some even more interesting usage of Judge Anderson’s psychic powers. But at the end of the day, there simply are not many memorable action moments.
Overall, it does not ruin the film at all. It still manages to be an entertaining and interesting movie regardless of memorable action sequences. It has a tightly plotted narrative with fairly well done characters, not muddled by overuse of complexity or plot twists. It manages to be visually excellent with interesting science fictional elements, but never does it soar with its action set-pieces. It would have benefitted with some better use of gunplay or more clever feats of heroics on Judge Dredd’s part. But at least it takes itself seriously enough to not have anything akin to Rob Schneider following Sylvester Stallone around in a cheesy script.
Gareth von Kallenbach (971 KP) rated Toni Erdmann (2016) in Movies
Jul 12, 2019
Well Now! *over exaggerated sigh of relief* After my first movie review of the year it is a suspicious coincidence as well as a welcome relief, that I have the incredibly good fortune to bring you the review of a movie that is not only good but it’s original, sometimes confusing, weird, downright funny, and German. Hey, sometimes when you are disappointed with a domestic film it’s best to look at a foreign film. That ‘strategy’ applies to any movie viewer in any country I can assure you. Today’s film for your consideration is already making waves and winning awards in Germany, Europe, and around the world. It’s making such a significant fuss that as of February 7th, its confirmed that Jack Nicholson is coming out of self-imposed retirement to portray the lead in an American remake of the movie!
‘Toni Erdmann’ is an Austrian-German dramatic comedy written, directed, and co-produced by Maren Abe. The film stars famed Austrian actor Peter Simonischek as Winfried Conradi (the character was based on the directors father a purported prankster) a divorced music teacher and father whose considered by his family, friends, and students to be a hippie. He has the reputation of being a prankster and is notorious for playing practical jokes. He is estranged from his daughter Ines (Sandra Huller). An ambitious business woman working for a company in Romania. They rarely speak except for family gatherings at which Ines is usually on her phone conducting business and actually spends little time with the family. Her father in particular. The only friendship Winfried has is with his blind and deaf dog. One night, after a family gathering and paying a visit to his mother, Winfried falls asleep in his front yard only to wake up and find that his beloved dog has passed away during the night. Feeling lost and dwelling on the past, he travels to Bucharest where his daughter currently consults for an oil company. He finds the office complex where she is based and waits in the lobby for several hours. Finally, he catches a glimpse of Ines walking through the lobby with several board members of her client’s company and sneaks up behind them wearing sunglasses and his trademarked fake teeth while pretending to read a newspaper. Ines notices but completely ignores Winfried. Despite the failure of his practical joke, Ines contacts her father and invites him to a reception at the American embassy in Bucharest where they have a chance encounter with the CEO of a German oil company Mr. Henneberg with whom Ines has been desperately trying arrange business dealings with. While paying little attention to Ines, ironically Henneberg begins a conversation with Winfried in which he casually and jokingly mentioned that he has hired a replacement daughter because Ines is always so busy. Much to the surprise of both, Henneberg invites Ines and her father to join him and his entourage for drinks at a trendy bar where he continues to brush off Ines but only after sharing Winfried’s joke with his colleagues.
Ines is so absorbed in her work she seems to only tolerate her father’s presence and after a few days, Winfried decides to leave feeling alienated as though he’s getting in the way of his daughter’s life. A few days later, Ines and two of her friends are out having drinks when Winfried appears at the bar. Wearing a wig and his trademark false teeth he chimes in on the conversation between his daughter and her friends and comically introduces himself as ‘Toni Erdmann’ a consultant and life coach. Ines two friends continue to converse with him trying their best not to laugh while Winfried continues to ‘enhance’ his character much to the dismay of Ines.
Meanwhile, Ines day-to-Day work routine becomes more frustrating as she seems to be going nowhere with her career despite her best efforts. Becoming almost amused with her father’s character, Ines decides to play along with the character and even invites ‘Erdmann’ to spend time with her at work and with her friends and later even to a business meeting. Strangely enough, the ‘Erdmann’ character created by her father has become a strange and hilarious means of bonding with her father leading to one misadventure after another in which she decides she no longer cares about her current state of being and proceeds to alienate her boss and her colleagues and a way that’s reminiscent of her father’s ‘prankster tendencies’.
This film did not disappoint. It’s funny, it’s shocking, it’s awkward at some points. Most importantly, it’s original. It flys in the face of routine and redundancy and like many great films implies that in the end, the most important thing is family. When worse comes to worse family might not always get you out of trouble but they will certainly provide the catalyst for an escape from the hum drum of whatever is eating at your life.
‘Toni Erdmann’ has already been nominated for ‘Best Film Of The Year’ by critics in several countries including France and England. It premiered at the Cannes film festival last year in the ‘Un Certain Regard’ category of the film festival but the night before its premiere, the judges and critics gave it such praise it was immediately added to the more prestigious ‘Palme d’Or’ category and went on to receive high praise at its premiere. It has already won 20 awards in serval countries with many more awards pending. I’m calling this film 4 out of 5 stars. The film clocks in at 162 minutes. A bit long on the tooth for running time but DO NOT let that discourage you from seeing the film. Do yourself a favor and check out ‘Toni Erdmann’ now and see the original in all it’s hilarious glory. As I mentioned earlier, it’s been confirmed that Jack Nicholson is coming out of retirement to portray the lead in the American remake. This film is totally something you would’ve seen Mr. Nicholson doing early in his career back when he was just getting started as an actor. Even with this in mind someone somewhere along the line could still screw it up.
‘Toni Erdmann’ is an Austrian-German dramatic comedy written, directed, and co-produced by Maren Abe. The film stars famed Austrian actor Peter Simonischek as Winfried Conradi (the character was based on the directors father a purported prankster) a divorced music teacher and father whose considered by his family, friends, and students to be a hippie. He has the reputation of being a prankster and is notorious for playing practical jokes. He is estranged from his daughter Ines (Sandra Huller). An ambitious business woman working for a company in Romania. They rarely speak except for family gatherings at which Ines is usually on her phone conducting business and actually spends little time with the family. Her father in particular. The only friendship Winfried has is with his blind and deaf dog. One night, after a family gathering and paying a visit to his mother, Winfried falls asleep in his front yard only to wake up and find that his beloved dog has passed away during the night. Feeling lost and dwelling on the past, he travels to Bucharest where his daughter currently consults for an oil company. He finds the office complex where she is based and waits in the lobby for several hours. Finally, he catches a glimpse of Ines walking through the lobby with several board members of her client’s company and sneaks up behind them wearing sunglasses and his trademarked fake teeth while pretending to read a newspaper. Ines notices but completely ignores Winfried. Despite the failure of his practical joke, Ines contacts her father and invites him to a reception at the American embassy in Bucharest where they have a chance encounter with the CEO of a German oil company Mr. Henneberg with whom Ines has been desperately trying arrange business dealings with. While paying little attention to Ines, ironically Henneberg begins a conversation with Winfried in which he casually and jokingly mentioned that he has hired a replacement daughter because Ines is always so busy. Much to the surprise of both, Henneberg invites Ines and her father to join him and his entourage for drinks at a trendy bar where he continues to brush off Ines but only after sharing Winfried’s joke with his colleagues.
Ines is so absorbed in her work she seems to only tolerate her father’s presence and after a few days, Winfried decides to leave feeling alienated as though he’s getting in the way of his daughter’s life. A few days later, Ines and two of her friends are out having drinks when Winfried appears at the bar. Wearing a wig and his trademark false teeth he chimes in on the conversation between his daughter and her friends and comically introduces himself as ‘Toni Erdmann’ a consultant and life coach. Ines two friends continue to converse with him trying their best not to laugh while Winfried continues to ‘enhance’ his character much to the dismay of Ines.
Meanwhile, Ines day-to-Day work routine becomes more frustrating as she seems to be going nowhere with her career despite her best efforts. Becoming almost amused with her father’s character, Ines decides to play along with the character and even invites ‘Erdmann’ to spend time with her at work and with her friends and later even to a business meeting. Strangely enough, the ‘Erdmann’ character created by her father has become a strange and hilarious means of bonding with her father leading to one misadventure after another in which she decides she no longer cares about her current state of being and proceeds to alienate her boss and her colleagues and a way that’s reminiscent of her father’s ‘prankster tendencies’.
This film did not disappoint. It’s funny, it’s shocking, it’s awkward at some points. Most importantly, it’s original. It flys in the face of routine and redundancy and like many great films implies that in the end, the most important thing is family. When worse comes to worse family might not always get you out of trouble but they will certainly provide the catalyst for an escape from the hum drum of whatever is eating at your life.
‘Toni Erdmann’ has already been nominated for ‘Best Film Of The Year’ by critics in several countries including France and England. It premiered at the Cannes film festival last year in the ‘Un Certain Regard’ category of the film festival but the night before its premiere, the judges and critics gave it such praise it was immediately added to the more prestigious ‘Palme d’Or’ category and went on to receive high praise at its premiere. It has already won 20 awards in serval countries with many more awards pending. I’m calling this film 4 out of 5 stars. The film clocks in at 162 minutes. A bit long on the tooth for running time but DO NOT let that discourage you from seeing the film. Do yourself a favor and check out ‘Toni Erdmann’ now and see the original in all it’s hilarious glory. As I mentioned earlier, it’s been confirmed that Jack Nicholson is coming out of retirement to portray the lead in the American remake. This film is totally something you would’ve seen Mr. Nicholson doing early in his career back when he was just getting started as an actor. Even with this in mind someone somewhere along the line could still screw it up.
Bob Mann (459 KP) rated The Girl in the Spider's Web (2018) in Movies
Sep 28, 2021
Would the last straight woman in Stockholm turn off the lights?
You’ve gotta love a Scandi-thriller. Well, that was until last year’s hopeless Michael Fassbender vehicle “The Snowman” which devalued the currency better than Brexit has done to the pound! The mother of them all though was the original “Girl with the Dragon Tattoo” trilogy (in Swedish) in 2009. Although subject to a wholly unnecessary English remake two year’s later by David Fincher (with Mara Rooney and Daniel Craig) it was Noomi Rapace who struck the perfect note as the original anarchic and damaged Lisbeth Salander: a punk wielding a baseball bat like an alien-thing possessed (pun well and truly intended!).
Now though we have “A New Dragon Tattoo Story” (as the film’s subtitle clumsily declares) based on the book by David Lagercrantz, who took over the literary franchise after the untimely death of Stieg Larsson. Picking up the reins as Salander is that most British of actresses Claire Foy…. which seems an odd choice, but one which – after you get past the rather odd accent – she just about pulls off.
The Plot
Lizbeth Salendar (Claire Foy) has an interesting hobby. She is a vigilante, like a lesbian Batman, stalking the streets of Stockholm putting wrongs right where abusive boyfriends/husbands are concerned.
She is also a hacking machine for rent. And Frans Balder (Stephen Merchant) has a problem. He has invented a software program that allows its user to control every nuclear warhead in the world from a single laptop (cue every other Bond/24/Austin Powers script ever written). But he has had second thoughts and wants it back from its resting place on the server of the NSA’s chief hacker, Ed Needham (Lakeith Stanfield). Balder recruits Salander to recover it, but when things go pear-shaped Salander finds herself on the wrong side of both the law and the encircling terrorist “spiders”.
The Review
Scandi-dramas work best when they exploit the snow; maintain a sexual tension; and go dark, gritty and violent. On the plus side, “The Girl in the Spider’s Web” ticks most of those boxes adequately. Foy’s Salandar is smart, sassy and sexy, outwitting the best of the best, and only once finding her intellectual match. (If you’re a lesbian, Stockholm is most definitely the place to be: there only seemed to be one hetero-female there, and she was an adulteress).
But Salander also has a Bond-like invincibility that unfortunately tests your incredulity at multiple points. Contributing to the excitement is the stunt team, who keep themselves busy with some great car and bike chases.
So, the movie has its moments and is great to look at. But the film ends up a sandwich or two short of a smorgasbord, thanks largely to some totally bonkers plot points and more than a few ridiculous coincidences. There are without doubt an array of well-constructed set pieces here, but they fail to fully connect with any great conviction. An example of a scene that infuriates is a dramatic bathroom fight in a red-lit gloom with identical protagonists that is cut together so furiously you would need a Blu-ray slo-mo to work out what the hell is going on… and then I fear you might fail.
So it’s an A- for the Production Design (Eve Stewart, “The Danish Girl“) and the Cinematography (Pedro Luque, “Don’t Breathe“), but a C- for the director Fede Alvarez (also “Don’t Breathe“).
Avoid the Trailer
I will save my biggest source of wrath though for that major bug-bear of mine: trailers that spoil the plot.
I’ve asked before, but for a film like this, WHO EXACTLY PUTS TOGETHER THE TRAILER? I’d like to think it’s some mindless committee of marketing execs somewhere. Because I HONESTLY CAN’T BELIEVE it would be the director! (If I’m wrong though, I would point my finger at Mr Alvarez and chant “shame, shame, shame”!)
For the trailer that I saw playing in UK cinemas does it’s level best to not only drop in the key spoilers of the plot (including the climactic scene), but also spoils just about every action money-shot in the movie. It’s all so pointless. If you’ve by any chance managed to get to this point without seeing the trailer, then SAVE YOURSELVES and AVOID IT!
(The one attached below by the way is slightly – slightly! – better, including some over-dubbing of a line that I don’t think was in the film. Perhaps they realised their huge mistake and reissued it?)
The Turns
As I mentioned earlier, Claire Foy again extends her range by playing Salander really well. She is the reason to go and see the film.
The Daniel Craig part of Blomkvist is played here by Sverrir Gudnason, who was in “The Circle” (which I saw) and was Borg in “Borg McEnroe” (which I didn’t). Blomkvist really is a lazy ****, since he works for the publication “Millenium” but writes absolutely nothing for years. It must be only because the boss (Vicky Krieps) fancies him that he keeps his job. Gudnason is good enough, but has very little to do in the movie: its the Salander/Foy show. Slightly, but only slightly, more involved is Lakeith Standfield as the US intelligence man.
Given little to do in the plot. Sverrir Gudnason as the incredibly unproductive ‘journalist’ Mikael Blomkvist. (Source: Sony Pictures Entertainment)
Stephen Merchant is an odd casting choice for Balder. Not withstanding that he was brilliant when almost unrecognisable in “Logan“, here he looks far too much like his “Ricky Gervais sidekick” persona to be taken seriously: and it’s not even remotely a comedy (there is only one humorous moment in the film, a nice “clicker” gag in a car park).
Final Thoughts
I had high hopes for this film from the trailer, but I was left disappointed. It’s not classic Scandi-noir like the original “Tattoo”; and it’s not going for the black comedy angle of “Headhunters” (which I saw again last week and loved… again!). It falls into a rather “meh” category. It’s not a bad evening’s watch, but perhaps worth leaving for a DVD/cable showing.
Now though we have “A New Dragon Tattoo Story” (as the film’s subtitle clumsily declares) based on the book by David Lagercrantz, who took over the literary franchise after the untimely death of Stieg Larsson. Picking up the reins as Salander is that most British of actresses Claire Foy…. which seems an odd choice, but one which – after you get past the rather odd accent – she just about pulls off.
The Plot
Lizbeth Salendar (Claire Foy) has an interesting hobby. She is a vigilante, like a lesbian Batman, stalking the streets of Stockholm putting wrongs right where abusive boyfriends/husbands are concerned.
She is also a hacking machine for rent. And Frans Balder (Stephen Merchant) has a problem. He has invented a software program that allows its user to control every nuclear warhead in the world from a single laptop (cue every other Bond/24/Austin Powers script ever written). But he has had second thoughts and wants it back from its resting place on the server of the NSA’s chief hacker, Ed Needham (Lakeith Stanfield). Balder recruits Salander to recover it, but when things go pear-shaped Salander finds herself on the wrong side of both the law and the encircling terrorist “spiders”.
The Review
Scandi-dramas work best when they exploit the snow; maintain a sexual tension; and go dark, gritty and violent. On the plus side, “The Girl in the Spider’s Web” ticks most of those boxes adequately. Foy’s Salandar is smart, sassy and sexy, outwitting the best of the best, and only once finding her intellectual match. (If you’re a lesbian, Stockholm is most definitely the place to be: there only seemed to be one hetero-female there, and she was an adulteress).
But Salander also has a Bond-like invincibility that unfortunately tests your incredulity at multiple points. Contributing to the excitement is the stunt team, who keep themselves busy with some great car and bike chases.
So, the movie has its moments and is great to look at. But the film ends up a sandwich or two short of a smorgasbord, thanks largely to some totally bonkers plot points and more than a few ridiculous coincidences. There are without doubt an array of well-constructed set pieces here, but they fail to fully connect with any great conviction. An example of a scene that infuriates is a dramatic bathroom fight in a red-lit gloom with identical protagonists that is cut together so furiously you would need a Blu-ray slo-mo to work out what the hell is going on… and then I fear you might fail.
So it’s an A- for the Production Design (Eve Stewart, “The Danish Girl“) and the Cinematography (Pedro Luque, “Don’t Breathe“), but a C- for the director Fede Alvarez (also “Don’t Breathe“).
Avoid the Trailer
I will save my biggest source of wrath though for that major bug-bear of mine: trailers that spoil the plot.
I’ve asked before, but for a film like this, WHO EXACTLY PUTS TOGETHER THE TRAILER? I’d like to think it’s some mindless committee of marketing execs somewhere. Because I HONESTLY CAN’T BELIEVE it would be the director! (If I’m wrong though, I would point my finger at Mr Alvarez and chant “shame, shame, shame”!)
For the trailer that I saw playing in UK cinemas does it’s level best to not only drop in the key spoilers of the plot (including the climactic scene), but also spoils just about every action money-shot in the movie. It’s all so pointless. If you’ve by any chance managed to get to this point without seeing the trailer, then SAVE YOURSELVES and AVOID IT!
(The one attached below by the way is slightly – slightly! – better, including some over-dubbing of a line that I don’t think was in the film. Perhaps they realised their huge mistake and reissued it?)
The Turns
As I mentioned earlier, Claire Foy again extends her range by playing Salander really well. She is the reason to go and see the film.
The Daniel Craig part of Blomkvist is played here by Sverrir Gudnason, who was in “The Circle” (which I saw) and was Borg in “Borg McEnroe” (which I didn’t). Blomkvist really is a lazy ****, since he works for the publication “Millenium” but writes absolutely nothing for years. It must be only because the boss (Vicky Krieps) fancies him that he keeps his job. Gudnason is good enough, but has very little to do in the movie: its the Salander/Foy show. Slightly, but only slightly, more involved is Lakeith Standfield as the US intelligence man.
Given little to do in the plot. Sverrir Gudnason as the incredibly unproductive ‘journalist’ Mikael Blomkvist. (Source: Sony Pictures Entertainment)
Stephen Merchant is an odd casting choice for Balder. Not withstanding that he was brilliant when almost unrecognisable in “Logan“, here he looks far too much like his “Ricky Gervais sidekick” persona to be taken seriously: and it’s not even remotely a comedy (there is only one humorous moment in the film, a nice “clicker” gag in a car park).
Final Thoughts
I had high hopes for this film from the trailer, but I was left disappointed. It’s not classic Scandi-noir like the original “Tattoo”; and it’s not going for the black comedy angle of “Headhunters” (which I saw again last week and loved… again!). It falls into a rather “meh” category. It’s not a bad evening’s watch, but perhaps worth leaving for a DVD/cable showing.
Mothergamer (1521 KP) rated the PC version of Assassin's Creed: Origins in Video Games
Apr 3, 2019
I have been excited about Assassin's Creed Origins since I first heard about it so when I got my copy I began playing right away. The opening for the game is intense and introduces you to Bayek of Siwa, a Medjay (essentially a protector for the people of Egypt sanctioned by the Pharoh) and a bit later his wife Aya. The story starts with a sad event, but it clearly explains in that moment why and how the Brotherhood of Assassins were created. Playing as Bayek, there is an initial tutorial for what the game controls are and they're pretty great. The controls seem more streamlined to the point where my biggest complaint of getting stuck on things during parkour runs and jumps did not happen at all. It was a very welcome change.
Bayek of Siwa.
I did get the season pass and this is truly worth it because you get access to some great weapons, gear, and mounts. Having the season pass will also give you access to the two DLC chapters, The Hidden Ones and The Curse Of The Pharohs on their release dates. If you're part of the Ubisoft Club, you also get some cool rewards ranging from crafting materials to legendary weapons. This also includes the Altair and Ezio outfits. You can also earn a lot of the weapons and gear from doing side quests and daily quests.
Some of the rewards you get with Ubisoft Club.
Ancient Egypt is huge. This is truly an open world game and it is definitely in your interests to explore everything because there are a lot of interesting things to see and do. I took a long time getting to the main story because I was having fun just exploring and doing all the side quests. There are a ton of side quests which give you the needed experience points and give rewards ranging from weapons to mounts. It is a grind to a soft level cap of 40, but because the game is fun to play I never really noticed and I got to level 40 fairly quickly.
One of many great views in the game.
One of my favorite things in the game was the symbiotic relationship Bayek had with his eagle, Senu. When doing missions where you needed to locate a target you could call Senu and with the ability of eagle vision have Senu search the area and seeing the world from her perspective until you find the target. This was a very useful thing to have especially when scouting enemy forts so I could see how many people there actually were.
Senu scouting an area.
The skill tree for Bayek is easy to navigate and there are three sections to unlock skills; Hunter, Warrior, and Seer. Even after you hit the level cap you can still build up these skills as the experience points then go into the meter and when maxed each time, it rewards you with ability points which can be used to unlock skills. Bow Bearer is incredibly useful for the Hunter because it allows you to carry a bow for stealth and one for melee battles. Chain assassination is also useful because it can get you out of a sticky situation.
The skill map is easy to navigate.
You do get to play as Aya for some missions and it is fun to play as her because there are some ship battles with her as well. The ship battles controls are well done and I wish there had been a few more of them because they were exciting and I enjoyed them. I also wish there were more missions with Aya because she was a smart and brave woman and she was just as interesting a character as Bayek. There is normal sailing also and this helps with getting to other areas or finding a spot where treasure is hidden. You can dive into the water and find those treasures as well as other secrets like tunnels leading into hidden temples.
Sailing in the game is great fun.
The main story is excellent. I really liked Bayek and Aya because they were such interesting characters. I felt sad for their pain and a sense of vindication for them when they accomplished their goal. There are of course real historical people in the game like Cleopatra and they are involved in the story. I did feel the main story was a bit short, but I still enjoyed it a great deal. It answered a lot of the big questions such as how the Brotherhood was started and also gave hints about some of the assassins that followed after Bayek and Aya.
Once you're done with the main game, there are still things you can do. There are mini game events like chariot races at the Hippodrome or gladiator fights at the Cyrene Arena. Both are fun to do and give you a break from the main story and side quests in the game. The chariot controls do have a bit of a learning curve, but once you get the hang of them it's a breeze. The gladiator fights have three rounds and then you unlock an elite mode which is just one challenging boss fight with the champion of each of those rounds. You can also compete with your friends for the best score.
Racing at the Hippodrome.
There are daily quests as well which you get from an NPC named Reda. The quests range from rescuing people to recovering stolen merchandise. When these are done, you get a reward from Reda usually a rare or legendary weapon. Sometimes you get a rare mount which comes in handy. You can take photos and share them with the photo share feature. This is a cool thing where you can use the controls to take a photo and share it with other players in the game. You can also avenge other players. If you find a fellow assassin that has been killed, it gives you a quest to find the perpetrators and you can exact revenge on them.
There is also the event Trial Of The Gods. Currently you can fight Anubis, the god of the dead. You should be level 40 for this fight because it's difficult otherwise. This is a great battle and once you defeat Anubis you get rewarded with a spiffy item. If you missed it, don't worry. There will be another chance to fight him and you will be able to fight other gods later on.
Battling the god Anubis.
Assassin's Creed Origins is an amazing adventure. The story is excellent, the side quests are fun, and there are so many beautiful things to see in this game. There is so much wonderful variety in the people, the voice acting, and the music. It is a joy to play and even after you're finished, there's still a lot of things you can do. I loved the game and and I can't wait to play more.
Bayek of Siwa.
I did get the season pass and this is truly worth it because you get access to some great weapons, gear, and mounts. Having the season pass will also give you access to the two DLC chapters, The Hidden Ones and The Curse Of The Pharohs on their release dates. If you're part of the Ubisoft Club, you also get some cool rewards ranging from crafting materials to legendary weapons. This also includes the Altair and Ezio outfits. You can also earn a lot of the weapons and gear from doing side quests and daily quests.
Some of the rewards you get with Ubisoft Club.
Ancient Egypt is huge. This is truly an open world game and it is definitely in your interests to explore everything because there are a lot of interesting things to see and do. I took a long time getting to the main story because I was having fun just exploring and doing all the side quests. There are a ton of side quests which give you the needed experience points and give rewards ranging from weapons to mounts. It is a grind to a soft level cap of 40, but because the game is fun to play I never really noticed and I got to level 40 fairly quickly.
One of many great views in the game.
One of my favorite things in the game was the symbiotic relationship Bayek had with his eagle, Senu. When doing missions where you needed to locate a target you could call Senu and with the ability of eagle vision have Senu search the area and seeing the world from her perspective until you find the target. This was a very useful thing to have especially when scouting enemy forts so I could see how many people there actually were.
Senu scouting an area.
The skill tree for Bayek is easy to navigate and there are three sections to unlock skills; Hunter, Warrior, and Seer. Even after you hit the level cap you can still build up these skills as the experience points then go into the meter and when maxed each time, it rewards you with ability points which can be used to unlock skills. Bow Bearer is incredibly useful for the Hunter because it allows you to carry a bow for stealth and one for melee battles. Chain assassination is also useful because it can get you out of a sticky situation.
The skill map is easy to navigate.
You do get to play as Aya for some missions and it is fun to play as her because there are some ship battles with her as well. The ship battles controls are well done and I wish there had been a few more of them because they were exciting and I enjoyed them. I also wish there were more missions with Aya because she was a smart and brave woman and she was just as interesting a character as Bayek. There is normal sailing also and this helps with getting to other areas or finding a spot where treasure is hidden. You can dive into the water and find those treasures as well as other secrets like tunnels leading into hidden temples.
Sailing in the game is great fun.
The main story is excellent. I really liked Bayek and Aya because they were such interesting characters. I felt sad for their pain and a sense of vindication for them when they accomplished their goal. There are of course real historical people in the game like Cleopatra and they are involved in the story. I did feel the main story was a bit short, but I still enjoyed it a great deal. It answered a lot of the big questions such as how the Brotherhood was started and also gave hints about some of the assassins that followed after Bayek and Aya.
Once you're done with the main game, there are still things you can do. There are mini game events like chariot races at the Hippodrome or gladiator fights at the Cyrene Arena. Both are fun to do and give you a break from the main story and side quests in the game. The chariot controls do have a bit of a learning curve, but once you get the hang of them it's a breeze. The gladiator fights have three rounds and then you unlock an elite mode which is just one challenging boss fight with the champion of each of those rounds. You can also compete with your friends for the best score.
Racing at the Hippodrome.
There are daily quests as well which you get from an NPC named Reda. The quests range from rescuing people to recovering stolen merchandise. When these are done, you get a reward from Reda usually a rare or legendary weapon. Sometimes you get a rare mount which comes in handy. You can take photos and share them with the photo share feature. This is a cool thing where you can use the controls to take a photo and share it with other players in the game. You can also avenge other players. If you find a fellow assassin that has been killed, it gives you a quest to find the perpetrators and you can exact revenge on them.
There is also the event Trial Of The Gods. Currently you can fight Anubis, the god of the dead. You should be level 40 for this fight because it's difficult otherwise. This is a great battle and once you defeat Anubis you get rewarded with a spiffy item. If you missed it, don't worry. There will be another chance to fight him and you will be able to fight other gods later on.
Battling the god Anubis.
Assassin's Creed Origins is an amazing adventure. The story is excellent, the side quests are fun, and there are so many beautiful things to see in this game. There is so much wonderful variety in the people, the voice acting, and the music. It is a joy to play and even after you're finished, there's still a lot of things you can do. I loved the game and and I can't wait to play more.
Bong Mines Entertainment (15 KP) rated Rather You Than Me by Rick Ross in Music
Jun 7, 2019
Rick Ross is a rapper and CEO of Maybach Music Group. Not too long ago, he released “Rather You Than Me“, a star-studded album filled with expensive thoughts and gun-toting lyrics.
This is Ross’ ninth studio album, and we can agree that his wisdom and wishful thinking are two ingredients which make this project noteworthy.
1) Rick Ross – “Apple of My Eye” (ft. Raphael Saadiq)
Ross, who used to view himself as a fat ugly ni^^a who wouldn’t be anything, now feels out of place in a room full of failures. His lyrical growth is obvious, and Major Nine’s production is reminiscent of ‘90s Funk/R&B. The mood is laid back with choppy drums beating to Beanie Sigel’s “I Feel It in the Air’ vibe.
Ross injects his thoughts about Meek’s & Nicki’s breakup, “I told Meek I wouldn’t trust Nicki, instead of beefing with your dog, you just give him some distance.” But the questionable, “I’m happy Donald Trump became the president because we gotta destroy before we elevate,” had us scratching our heads. Ni^^a what? Anyhow, this is a dope track and we will bump it again.
2) Rick Ross – “Santorini Greece”
Ross realizes that his success doesn’t exempt him from being crucified like Christ or anyone else. But one thing’s for sure, success gave Ross the ability to travel the world, and the bragging rights to say that he put Santorini, Greece on the map.
3) Rick Ross – “Idols Become Rivals” (ft. Chris Rock)
After letting the first two songs marinate, Ross adds a plot to the scene and pens a letter to Birdman, the CEO of Cash Money Records. If Tupac’s “Against All Odds” is the realest sh^t ever written in hip-hop, then this song is not too far behind. Ross airs out the rap mogul’s dirty laundry while taking him to the cleaners at the same time.
Black Metaphor’s track is laid back and Ross’s melodic flow is hypnotic. And Ross reaches Godfather status when he chooses to stick up for DJ Khalid, BG, Lil Wayne, Mannie Fresh, etc.
4) Rick Ross – “Trap Trap Trap” (ft. Young Thug, Wale)
Ross turns up the pulse and takes us on a trap journey with Young Thug and Wale. But unfortunately, Ross talking about trapping isn’t stimulating and doesn’t contribute to the momentum gained by the first three songs. Quite frankly, Ross already established his trapping legacy on his first album.
Now, it just sounds repetitive, causing our emotional attachment to depart temporarily, especially when Wale raps, “I ain’t nothing like them trap guys,” got us questioning the lineup, even though Wale delivers a dope verse. If the first three songs brought us to the third eye or crown chakra, then this song took us down to the solar chakra.
5) Rick Ross – “Dead Presidents” (ft. Future, Jeezy, Yo Gotti)
Ross goes lower to the root chakra and brings in a drug-dealing line up to support his trapping movement. But the drug-dealing references and gun-toting accolades blow a huge black cloud over Rather You Than Me, an optimistic album that Ross created to showcase his happiness of seeing other survivalist enjoying the finer things in life.
So, every time a dark thought or a dire situation is inserted, it defeats Ross’ higher purpose for the album. We would’ve appreciated this song more if it was on another project with a trapping theme.
6) Rick Ross – “She’s on My D*ck” (ft. Gucci Mane)
A dope, hard-knocking track produced by Beat Billionaire, keeps the momentum going horizontally when it should be moving vertically north towards Ross’ original script. This song has a mediocre theme and suffers from lack of creativity in the chorus, but the beat saves the song. [usr 3.0]
7) Rick Ross – “I Think She Like Me” (ft. Ty Dolla $ign)
Ross probably heard us yelling, “Stick to the script” because he restores order over J-Pilot- & C Gutta-produced track.
Ross raps with a Barry White vocal tone, “I once got no allowance, now I got the crown. I said I was The Boss, nobody made a sound. Really had to see them things, this level story telling. Who else could flip a chorus into 40 million?”
Ross wins here, and he wins big. One of the best in the business to talk that talk and Ty Dollar $ign comes through in the clutch.
8) Rick Ross – “Powers That Be” (ft. Nas)
Now in storytelling mode, Ross enlists lyricist Nas to help him usher his concept. The lyrics are on point but the fullness of the song is lackluster. We expected more, but only got a few firecrackers igniting, roman candles busting, minus the major firework show. It felt like an appetizer. You know? If you eat enough, you might be too full to finish your incoming meal.
9) Rick Ross – “Game Ain’t Based on Sympathy”
Ross reminisces about his past over a dope soul-inspired track with a groovy/psychedelic loop that blends in naturally with Ross’s deep monotone.
We can listen to Ross rap for hours, especially if he’s talking about conscious issues.
10) Rick Ross – “Scientology”
As the momentum, gradually rises back to the crown, Ross flows over a dope, wonderland of sounds track produced by Bink! & The Youngstars. Like going up an elevator, Ross took us to a destination that we didn’t know existed.
11) Lamborghini Doors – (ft. Meek Mill, Anthony Hamilton)
If it’s not broke, don’t fix it. Ross’ decision to follow in the same direction as “Scientology” was the right one because Ross’ and Meek Mill’s chemistry is heartfelt. Since the momentum is moving upwards towards the sky, it’s fitting when Meek said, “We coming up like them Lamborghini doors.”
12) Triple Platinum – (ft. Scrilla)
The prayer at the beginning does the album justice; and when Ross said, “Me and HOV back and forth like I’m triple platinum,” we saw how far Ross had come, and how far he still must go.
13) Maybach Music V – (ft. Katt Rockell & Dej Loaf)
Ross and Dej Loaf rap over an airy/dreamy track produced by Beat Butcha & Buda & Grandz. More expensive thoughts and money spending don’t hurt the momentum if the topic is about the finer things in life.
14) Summer Seventeen – (ft. Yo Gotti)
In conclusion, Ross ends the album on a gangster note. And the Beat Billionaire-produced track is hard as steel and bump-worthy. We love the theme, “I want my ni^^as rich by summer seventeen”, a wishful thought like that is what ‘Rather You Than Me’ is all about—everybody eating.
https://www.bongminesentertainment.com/rick-ross-rather-review/
This is Ross’ ninth studio album, and we can agree that his wisdom and wishful thinking are two ingredients which make this project noteworthy.
1) Rick Ross – “Apple of My Eye” (ft. Raphael Saadiq)
Ross, who used to view himself as a fat ugly ni^^a who wouldn’t be anything, now feels out of place in a room full of failures. His lyrical growth is obvious, and Major Nine’s production is reminiscent of ‘90s Funk/R&B. The mood is laid back with choppy drums beating to Beanie Sigel’s “I Feel It in the Air’ vibe.
Ross injects his thoughts about Meek’s & Nicki’s breakup, “I told Meek I wouldn’t trust Nicki, instead of beefing with your dog, you just give him some distance.” But the questionable, “I’m happy Donald Trump became the president because we gotta destroy before we elevate,” had us scratching our heads. Ni^^a what? Anyhow, this is a dope track and we will bump it again.
2) Rick Ross – “Santorini Greece”
Ross realizes that his success doesn’t exempt him from being crucified like Christ or anyone else. But one thing’s for sure, success gave Ross the ability to travel the world, and the bragging rights to say that he put Santorini, Greece on the map.
3) Rick Ross – “Idols Become Rivals” (ft. Chris Rock)
After letting the first two songs marinate, Ross adds a plot to the scene and pens a letter to Birdman, the CEO of Cash Money Records. If Tupac’s “Against All Odds” is the realest sh^t ever written in hip-hop, then this song is not too far behind. Ross airs out the rap mogul’s dirty laundry while taking him to the cleaners at the same time.
Black Metaphor’s track is laid back and Ross’s melodic flow is hypnotic. And Ross reaches Godfather status when he chooses to stick up for DJ Khalid, BG, Lil Wayne, Mannie Fresh, etc.
4) Rick Ross – “Trap Trap Trap” (ft. Young Thug, Wale)
Ross turns up the pulse and takes us on a trap journey with Young Thug and Wale. But unfortunately, Ross talking about trapping isn’t stimulating and doesn’t contribute to the momentum gained by the first three songs. Quite frankly, Ross already established his trapping legacy on his first album.
Now, it just sounds repetitive, causing our emotional attachment to depart temporarily, especially when Wale raps, “I ain’t nothing like them trap guys,” got us questioning the lineup, even though Wale delivers a dope verse. If the first three songs brought us to the third eye or crown chakra, then this song took us down to the solar chakra.
5) Rick Ross – “Dead Presidents” (ft. Future, Jeezy, Yo Gotti)
Ross goes lower to the root chakra and brings in a drug-dealing line up to support his trapping movement. But the drug-dealing references and gun-toting accolades blow a huge black cloud over Rather You Than Me, an optimistic album that Ross created to showcase his happiness of seeing other survivalist enjoying the finer things in life.
So, every time a dark thought or a dire situation is inserted, it defeats Ross’ higher purpose for the album. We would’ve appreciated this song more if it was on another project with a trapping theme.
6) Rick Ross – “She’s on My D*ck” (ft. Gucci Mane)
A dope, hard-knocking track produced by Beat Billionaire, keeps the momentum going horizontally when it should be moving vertically north towards Ross’ original script. This song has a mediocre theme and suffers from lack of creativity in the chorus, but the beat saves the song. [usr 3.0]
7) Rick Ross – “I Think She Like Me” (ft. Ty Dolla $ign)
Ross probably heard us yelling, “Stick to the script” because he restores order over J-Pilot- & C Gutta-produced track.
Ross raps with a Barry White vocal tone, “I once got no allowance, now I got the crown. I said I was The Boss, nobody made a sound. Really had to see them things, this level story telling. Who else could flip a chorus into 40 million?”
Ross wins here, and he wins big. One of the best in the business to talk that talk and Ty Dollar $ign comes through in the clutch.
8) Rick Ross – “Powers That Be” (ft. Nas)
Now in storytelling mode, Ross enlists lyricist Nas to help him usher his concept. The lyrics are on point but the fullness of the song is lackluster. We expected more, but only got a few firecrackers igniting, roman candles busting, minus the major firework show. It felt like an appetizer. You know? If you eat enough, you might be too full to finish your incoming meal.
9) Rick Ross – “Game Ain’t Based on Sympathy”
Ross reminisces about his past over a dope soul-inspired track with a groovy/psychedelic loop that blends in naturally with Ross’s deep monotone.
We can listen to Ross rap for hours, especially if he’s talking about conscious issues.
10) Rick Ross – “Scientology”
As the momentum, gradually rises back to the crown, Ross flows over a dope, wonderland of sounds track produced by Bink! & The Youngstars. Like going up an elevator, Ross took us to a destination that we didn’t know existed.
11) Lamborghini Doors – (ft. Meek Mill, Anthony Hamilton)
If it’s not broke, don’t fix it. Ross’ decision to follow in the same direction as “Scientology” was the right one because Ross’ and Meek Mill’s chemistry is heartfelt. Since the momentum is moving upwards towards the sky, it’s fitting when Meek said, “We coming up like them Lamborghini doors.”
12) Triple Platinum – (ft. Scrilla)
The prayer at the beginning does the album justice; and when Ross said, “Me and HOV back and forth like I’m triple platinum,” we saw how far Ross had come, and how far he still must go.
13) Maybach Music V – (ft. Katt Rockell & Dej Loaf)
Ross and Dej Loaf rap over an airy/dreamy track produced by Beat Butcha & Buda & Grandz. More expensive thoughts and money spending don’t hurt the momentum if the topic is about the finer things in life.
14) Summer Seventeen – (ft. Yo Gotti)
In conclusion, Ross ends the album on a gangster note. And the Beat Billionaire-produced track is hard as steel and bump-worthy. We love the theme, “I want my ni^^as rich by summer seventeen”, a wishful thought like that is what ‘Rather You Than Me’ is all about—everybody eating.
https://www.bongminesentertainment.com/rick-ross-rather-review/