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Bob Mann (459 KP) rated The Big Sick (2017) in Movies
Sep 29, 2021
Just what the doctor ordered: a charming and thoughtful summer comedy.
Romance and comedy work together beautifully on film: love is innately ridiculous after all! But mix in a dramatic element – particularly a serious medical emergency – to a Rom Com and you walk a dangerous line between on the one hand letting the drama overwhelm the comedy ( “Well! I don’t feel like laughing now!”) and on the other hand diverging into shockingly mawkish finger-down-the-throat sentimentality. Fortunately the new comedy – “The Big Sick” – walks that line to perfection.
Kumail Nanjiani plays (who’d have thought it?) Kumail, a Pakistani-born comic-cum-Uber-driver struggling to get recognised on the Chicago comedy circuit. His performances mix traditional stand-up at a club with a rather po-faced one-man show where he explains at length the culture of Pakistan (Naan-splaining?), including intricate detail on the fielding positions and strategies of cricket. Kumail is heckled during a show by the young and perky Emily (Zoe Kazan, the middle daughter from “It’s Complicated”). Lust blossoms (mental note: stand up comedy seems a fabulous strategy for picking up women) and lust turns to romance as the pair grow closer to each other.
A surging romance. Uber gets love from A to B.
Unfortunately Kumail is aware of something Emily isn’t: his strictly Muslim parents Sharmeen and Azmat (Anupam Kher and Zenobia Schroff) believe in arranged marriages to ‘nice Pakistani girls’ and a relationship with – let alone a marriage to – Emily risks disgrace and familial exile. A medical crisis brings Kumail further into dispute, this time with Emily’s parents Beth and Terry (Holly Hunter and Ray Romano).
Stand-up is, I assert, a very nationalistic thing. It is a medium hugely dependant on context and while I’m sure great British comics like Peter Kay and Eddie Izzard might rate as only a 4 or a 5 out of 10 for most Americans, so most American stand-up comics tend to leave me cold. And perhaps it’s also a movie-thing, that stand-up on the big screen just doesn’t work well? Either way, the initial comedy-club scenes rather left me cold. (And I don’t think most of them were SUPPOSED to be particularly bad – since they seemed to fill the seats each night). As a result I thought this was a “comedy” that wasn’t going to be for me.
Stand up and be counted. Kumail Nanjiani doing the circuit.
But once Nanjiani and Kazan got together the chemistry was immediate and palpable and the duo completely won me round. Kazan in particular is a vibrant and joyous actress who I would love to see a lot more of: this should be a breakout movie for her.
Broader, but none less welcome, comedy is to be found in Kumail’s family home as his mother introduces serial Pakistani girls to the dinner table.
Holly Hunter (“Broadcast News” – one of my favourite films) and Ray Romano are also superb, delivering really thoughtful and nuanced performances that slowly unpeel the stresses inherent in many long-term marriages. The relationship that develops between Kumail and Beth is both poignant and truly touching.
Where the script succeeds is in never quite making the viewer comfortable about where the movie is going and whether the film will end with joy or heartbreak. And you will find no spoilers here!
So is it a comedy classic? Well, no, not quite. What’s a bit disappointing is that for a film as culturally topical as this, the whole question of Islamophobia in Trump’s America is juggled like a hot potato. Aside from one memorable scene in the club, with a redneck heckler, and an excruciating exchange about 9/11 between Kumail and Terry, the subject is completely ignored. This is a shame. The script (by Nanjiani and Emily Gordon) would have benefited enormously from some rather braver “Thick of It” style input from the likes of Armando Iannucci.
I also have to despair at the movie’s marketing executives who came up with this title. FFS! I know “East is East” has already gone, but could you have possibly come up with a less appealing title? I guess the title does serve one useful purpose in flagging up potential upset for those with bad historical experiences of intensive care. (Like “The Descendants” this is what we would term in our family #notaShawFamilyfilm).
Overall though this film, directed by Michael Showalter (no, me neither!) and produced by Judd Apatow (whose name gets the biggest billing), is a fun and engaging movie experience that comes highly recommended. A delightful antidote to the summer blockbuster season. The end titles also bring a delightful surprise (that I’ve seen spoiled since by some reviews) that was moving and brought added depth to the drama that had gone before.
More Hollywood please, more.
Kumail Nanjiani plays (who’d have thought it?) Kumail, a Pakistani-born comic-cum-Uber-driver struggling to get recognised on the Chicago comedy circuit. His performances mix traditional stand-up at a club with a rather po-faced one-man show where he explains at length the culture of Pakistan (Naan-splaining?), including intricate detail on the fielding positions and strategies of cricket. Kumail is heckled during a show by the young and perky Emily (Zoe Kazan, the middle daughter from “It’s Complicated”). Lust blossoms (mental note: stand up comedy seems a fabulous strategy for picking up women) and lust turns to romance as the pair grow closer to each other.
A surging romance. Uber gets love from A to B.
Unfortunately Kumail is aware of something Emily isn’t: his strictly Muslim parents Sharmeen and Azmat (Anupam Kher and Zenobia Schroff) believe in arranged marriages to ‘nice Pakistani girls’ and a relationship with – let alone a marriage to – Emily risks disgrace and familial exile. A medical crisis brings Kumail further into dispute, this time with Emily’s parents Beth and Terry (Holly Hunter and Ray Romano).
Stand-up is, I assert, a very nationalistic thing. It is a medium hugely dependant on context and while I’m sure great British comics like Peter Kay and Eddie Izzard might rate as only a 4 or a 5 out of 10 for most Americans, so most American stand-up comics tend to leave me cold. And perhaps it’s also a movie-thing, that stand-up on the big screen just doesn’t work well? Either way, the initial comedy-club scenes rather left me cold. (And I don’t think most of them were SUPPOSED to be particularly bad – since they seemed to fill the seats each night). As a result I thought this was a “comedy” that wasn’t going to be for me.
Stand up and be counted. Kumail Nanjiani doing the circuit.
But once Nanjiani and Kazan got together the chemistry was immediate and palpable and the duo completely won me round. Kazan in particular is a vibrant and joyous actress who I would love to see a lot more of: this should be a breakout movie for her.
Broader, but none less welcome, comedy is to be found in Kumail’s family home as his mother introduces serial Pakistani girls to the dinner table.
Holly Hunter (“Broadcast News” – one of my favourite films) and Ray Romano are also superb, delivering really thoughtful and nuanced performances that slowly unpeel the stresses inherent in many long-term marriages. The relationship that develops between Kumail and Beth is both poignant and truly touching.
Where the script succeeds is in never quite making the viewer comfortable about where the movie is going and whether the film will end with joy or heartbreak. And you will find no spoilers here!
So is it a comedy classic? Well, no, not quite. What’s a bit disappointing is that for a film as culturally topical as this, the whole question of Islamophobia in Trump’s America is juggled like a hot potato. Aside from one memorable scene in the club, with a redneck heckler, and an excruciating exchange about 9/11 between Kumail and Terry, the subject is completely ignored. This is a shame. The script (by Nanjiani and Emily Gordon) would have benefited enormously from some rather braver “Thick of It” style input from the likes of Armando Iannucci.
I also have to despair at the movie’s marketing executives who came up with this title. FFS! I know “East is East” has already gone, but could you have possibly come up with a less appealing title? I guess the title does serve one useful purpose in flagging up potential upset for those with bad historical experiences of intensive care. (Like “The Descendants” this is what we would term in our family #notaShawFamilyfilm).
Overall though this film, directed by Michael Showalter (no, me neither!) and produced by Judd Apatow (whose name gets the biggest billing), is a fun and engaging movie experience that comes highly recommended. A delightful antidote to the summer blockbuster season. The end titles also bring a delightful surprise (that I’ve seen spoiled since by some reviews) that was moving and brought added depth to the drama that had gone before.
More Hollywood please, more.
Mayhawke (97 KP) rated I am No One in Books
Feb 13, 2018
Intriguing but ultimately disappointing
Written in the first person I Am No One is the account of recent events in the life of the fictional NY academic, Jeremy O'Keefe. O'Keefe, ironically an expert in surveillance, finds himself the subject of apparent scrutiny by unknown observers, a discovery that propels him into paranoia and pushes him to the boundaries of sanity. As the story is unpacked, page by page, it becomes clear that O'Keefe's paranoia is not unfounded, and that his initial confusion as to why anyone would want to bother observing the behaviour of a mundane and only moderately successful Professor actually belies a deeper understanding of the cause and his actions that precipitated it.
O'Keefe is a difficult character to really sympathise with. Whilst his ideology is admirably egalitarian he falls into that bracket of slightly stuffy, middle-class liberals who take themselves too seriously and fail to practise what they preach. In fairness to O'Keefe he largely has the grace and self-awareness to question the rationality of his fears and accidental moments of prejudice (though he is of the very typical male Liberal variety that doesn't seem to recognise the contradiction of professing himself feminist whilst watching porn): slightly pompous, slightly too much self-regard slightly too much sense of victimhood, he is not unlikeable just a bit of a non-entity. Whilst this is clearly intentional it makes his narrative stodgy. Not unreadable, but at the same time easy to put down for a week whilst a more engaging book is read. This is either a spectacularly adept piece of characterisation or an unfortunate reflection of the author, Patrick Flanery. I do hope it is the writing because if not then all the peculiar, inaccurate and unlikely observations made by O'Keefe onbehalf of his character regarding differences between the British and Americans are likely also Flanery's:. For example the breath-taking assertion that socio-economic failure is treated more harshly in the UK than in the US, when any basic knowledge of sociology in the two countries shows that the criteria for failure is a) much broader in the US and b) responded to far more harshly, e.g.: "if you don't earn enough from your three jobs to afford medical insurance to pay for your cancer treatment, you clearly haven't worked hard enough. The fault is yours , you are a failure and the punishment is premature death.". It is also difficult to accept that Flanery is regularly treated with distrust and dislike by bank cashiers for his Irish name. Quite aside from anything else most bank cashiers in this country now aren't old enough to remember the Irish troubles, and the bigots-for-bigotry's-sake have long since transferred their angst from the Irish to the Poles and the Muslims.
Flanery is also an academic, something that is abundantly obvious from the highly structured writing method he employs in this book. The reader is left with the impression that where other novelists write books to be read as stories Flanery has written a text with an eye to future deconstruction by English Lit students. That is not necessarily a bad thing, of course, but occasionally one wishes he could have been a little less concerned with construction in the minutiae and more concerned with crafting a story with a complete beginning, middle and end. And therein lies one of the greatest failings of this book: it has no real conclusion. Questions are raised that go unanswered. In particular, there are issues with characters, whose true identity may never be elaborated upon or, in the case of his girlfriend who makes a sudden, poorly explained behavioural volte-face that is entirely out of character but provides Flanery with a device to enable his protagonist take the critical closing step to the tale.
It seems that Flanery has written this book as a parable on the dangers of unfettered digital surveillance: how easy it is for those who wish to to access all our personal data and how very quickly and efficiently lives can be subverted. Whilst this may be a revelation to a few it has to be said that there is nothing revealed in this book about the scope and methods of data collection that anyone who has even a small amount of technical savvy won't already know, which rather undermines it as an expose. The book also attempts to portray how easy it is to suddenly and unintentionally find oneself on the wrong side of the law. Unfortunately in this story the actions which purport to have landed O'Keefe in possible criminality are so ridiculous and far-fetched that only the most paranoid would ever see an offence in them. Contrary to highlighting the ease with which the well intentioned can unwittingly find themselves in need of lawyers it suggests that all the peripheral characters are actually far more paranoid and delusional than O'Keefe will ever be.
All that aside this was an intriguing and mildly engaging story. Largely well-written but let down by a an unsatisfactory conclusion and a failure to induce the kind of fear that was intended.
O'Keefe is a difficult character to really sympathise with. Whilst his ideology is admirably egalitarian he falls into that bracket of slightly stuffy, middle-class liberals who take themselves too seriously and fail to practise what they preach. In fairness to O'Keefe he largely has the grace and self-awareness to question the rationality of his fears and accidental moments of prejudice (though he is of the very typical male Liberal variety that doesn't seem to recognise the contradiction of professing himself feminist whilst watching porn): slightly pompous, slightly too much self-regard slightly too much sense of victimhood, he is not unlikeable just a bit of a non-entity. Whilst this is clearly intentional it makes his narrative stodgy. Not unreadable, but at the same time easy to put down for a week whilst a more engaging book is read. This is either a spectacularly adept piece of characterisation or an unfortunate reflection of the author, Patrick Flanery. I do hope it is the writing because if not then all the peculiar, inaccurate and unlikely observations made by O'Keefe onbehalf of his character regarding differences between the British and Americans are likely also Flanery's:. For example the breath-taking assertion that socio-economic failure is treated more harshly in the UK than in the US, when any basic knowledge of sociology in the two countries shows that the criteria for failure is a) much broader in the US and b) responded to far more harshly, e.g.: "if you don't earn enough from your three jobs to afford medical insurance to pay for your cancer treatment, you clearly haven't worked hard enough. The fault is yours , you are a failure and the punishment is premature death.". It is also difficult to accept that Flanery is regularly treated with distrust and dislike by bank cashiers for his Irish name. Quite aside from anything else most bank cashiers in this country now aren't old enough to remember the Irish troubles, and the bigots-for-bigotry's-sake have long since transferred their angst from the Irish to the Poles and the Muslims.
Flanery is also an academic, something that is abundantly obvious from the highly structured writing method he employs in this book. The reader is left with the impression that where other novelists write books to be read as stories Flanery has written a text with an eye to future deconstruction by English Lit students. That is not necessarily a bad thing, of course, but occasionally one wishes he could have been a little less concerned with construction in the minutiae and more concerned with crafting a story with a complete beginning, middle and end. And therein lies one of the greatest failings of this book: it has no real conclusion. Questions are raised that go unanswered. In particular, there are issues with characters, whose true identity may never be elaborated upon or, in the case of his girlfriend who makes a sudden, poorly explained behavioural volte-face that is entirely out of character but provides Flanery with a device to enable his protagonist take the critical closing step to the tale.
It seems that Flanery has written this book as a parable on the dangers of unfettered digital surveillance: how easy it is for those who wish to to access all our personal data and how very quickly and efficiently lives can be subverted. Whilst this may be a revelation to a few it has to be said that there is nothing revealed in this book about the scope and methods of data collection that anyone who has even a small amount of technical savvy won't already know, which rather undermines it as an expose. The book also attempts to portray how easy it is to suddenly and unintentionally find oneself on the wrong side of the law. Unfortunately in this story the actions which purport to have landed O'Keefe in possible criminality are so ridiculous and far-fetched that only the most paranoid would ever see an offence in them. Contrary to highlighting the ease with which the well intentioned can unwittingly find themselves in need of lawyers it suggests that all the peripheral characters are actually far more paranoid and delusional than O'Keefe will ever be.
All that aside this was an intriguing and mildly engaging story. Largely well-written but let down by a an unsatisfactory conclusion and a failure to induce the kind of fear that was intended.
Bob Mann (459 KP) rated 1917 (2020) in Movies
Jan 12, 2020
Cinematography (1 more)
Visceral and enormously tense movie experience
Visceral, brilliant and a far from relaxing evening at the movies.
It's already won Best Film at the Golden Globes, and seems set for Oscar glory too. Is Sam Mendes's WW1 epic any good?
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
Bob Mann (459 KP) rated Their Finest (2017) in Movies
Sep 29, 2021
Keep Calm and Carry on Writing.
In a well-mined category, “Their Finest” is a World War 2 comedy/drama telling a tale I haven’t seen told before: the story behind the British Ministry of Information and their drive to produce propaganda films that support morale and promote positive messages in a time of national crisis. For it is 1940 and London is under nightly attack by the Luftwaffe during the time known as “The Blitz”. Unfortunately the Ministry is run by a bunch of toffs, and their output is laughably misaligned with the working class population, and especially the female population: with their husbands fighting overseas, these two groups are fast becoming one and the same. For women are finding and enjoying new empowerment and freedom in being socially unshackled from the kitchen sink.
The brave crew of the Nancy Starling. Bill Nighy as Uncle Frank, with twins Lily and Francesca Knight as the Starling sisters.
Enter Catrin Cole (Gemma Arterton, “The Girl with all the Gifts“) who is one such woman arriving to a dangerous London from South Wales to live with struggling disabled artist Ellis (Jack Huston, grandson of John Huston). Catrin, stretching the truth a little, brings a stirring ‘true’ tale of derring-do about the Dunkirk evacuation to the Ministry’s attention. She is then employed to “write the slop” (the woman’s dialogue) in the writing team headed by spiky Tom Buckley (Sam Claflin, “Me Before You“).
One of the stars of the film within the film is ‘Uncle Frank’ played by the aging but charismatic actor Ambrose Hilliard (Bill Nighy, “Dad’s Army“, “Love Actually”). Catrin proves her worth by pouring oil on troubled waters as the army insist on the introduction of an American airman (Jake Lacy, “Carol“) to the stressful mix. An attraction builds between Catrin and Tom, but how will the love triangle resolve itself? (For a significant clue see the “Spoiler Section” below the trailer, but be warned that this is a major spoiler!).
As you might expect if you’ve seen the trailer the film is, in the main, warm and funny with Gemma Arterton just gorgeously huggable as the determined young lady trying to make it in a misogynistic 40’s world of work. Arterton is just the perfect “girl next door”: (sigh… if I was only 20 years younger and unattached!) But mixed in with the humour and the romantic storyline is a harsh sprinkling of the trials of war and not a little heartbreak occurs. This is at least a 5 tissue movie.
Claflin, who is having a strong year with appearances in a wide range of films, is also eminently watchable. One of his best scenes is a speech with Arterton about “why people love the movies”, a theory that the film merrily and memorably drives a stake through the heart of!
Elsewhere Lacy is hilarious as the hapless airman with zero acting ability; Helen McCrory (“Harry Potter”) as Sophie Smith vamps it up wonderfully as the potential Polish love interest for Hilliard; Richard E Grant (“Logan“) and Jeremy Irons (“The Lion King”, “Die Hard: with a Vengeance”) pop up in useful cameos and Eddie Marsan (“Sherlock Holmes”) is also touching as Hilliard’s long-suffering agent.
But it is Bill Nighy’s Hilliard who carries most of the wit and humour of the film with his pompous thespian persona, basking in the dwindling glory of a much loved series of “Inspector Lynley” films. With his pomposity progressively warming under the thawing effect of Sophie and Catrin, you have to love him! Bill Nighy is, well, Bill Nighy. Hugh Grant gets it (unfairly) in the neck for “being Hugh Grant” in every film, but this pales in comparison with Nighy’s performances! But who cares: his kooky delivery is just delightful and he is a national treasure!
Slightly less convincing for me was Rachael Stirling’s role as a butch ministry busybody with more than a hint of the lesbian about her. Stirling’s performance in the role is fine, but would this really have been so blatant in 1940’s Britain? This didn’t really ring true for me.
While the film gamely tries to pull off London in the Blitz the film’s limited budget (around £25m) makes everything feel a little underpowered and ’empty’: a few hundred more extras in the Underground/Blitz scenes for example would have helped no end. However, the special effects crew do their best and the cinematography by Sebastian Blenkov (“The Riot Club”) suitably conveys the mood: a scene where Catrin gets caught in a bomb blast outside a clothes shop is particularly moving.
As with all comedy dramas, sometimes the bedfellows lie uncomfortably with each other, and a couple of plot twists: one highly predictable; one shockingly unpredictable make this a non-linear watch. This rollercoaster of a script by Gaby Chiappe, in an excellent feature film debut (she actually also has a cameo in the propaganda “carrot film”!), undeniably adds interest and makes the film more memorable. However (I know from personal experience) that the twist did not please everyone in the audience!
Despite its occasionally uneven tone, this is a really enjoyable watch (particularly for more mature audiences) and Danish director Lone Scherfig finally has a vehicle that matches the quality of her much praised Carey Mulligan vehicle “An Education”.
The brave crew of the Nancy Starling. Bill Nighy as Uncle Frank, with twins Lily and Francesca Knight as the Starling sisters.
Enter Catrin Cole (Gemma Arterton, “The Girl with all the Gifts“) who is one such woman arriving to a dangerous London from South Wales to live with struggling disabled artist Ellis (Jack Huston, grandson of John Huston). Catrin, stretching the truth a little, brings a stirring ‘true’ tale of derring-do about the Dunkirk evacuation to the Ministry’s attention. She is then employed to “write the slop” (the woman’s dialogue) in the writing team headed by spiky Tom Buckley (Sam Claflin, “Me Before You“).
One of the stars of the film within the film is ‘Uncle Frank’ played by the aging but charismatic actor Ambrose Hilliard (Bill Nighy, “Dad’s Army“, “Love Actually”). Catrin proves her worth by pouring oil on troubled waters as the army insist on the introduction of an American airman (Jake Lacy, “Carol“) to the stressful mix. An attraction builds between Catrin and Tom, but how will the love triangle resolve itself? (For a significant clue see the “Spoiler Section” below the trailer, but be warned that this is a major spoiler!).
As you might expect if you’ve seen the trailer the film is, in the main, warm and funny with Gemma Arterton just gorgeously huggable as the determined young lady trying to make it in a misogynistic 40’s world of work. Arterton is just the perfect “girl next door”: (sigh… if I was only 20 years younger and unattached!) But mixed in with the humour and the romantic storyline is a harsh sprinkling of the trials of war and not a little heartbreak occurs. This is at least a 5 tissue movie.
Claflin, who is having a strong year with appearances in a wide range of films, is also eminently watchable. One of his best scenes is a speech with Arterton about “why people love the movies”, a theory that the film merrily and memorably drives a stake through the heart of!
Elsewhere Lacy is hilarious as the hapless airman with zero acting ability; Helen McCrory (“Harry Potter”) as Sophie Smith vamps it up wonderfully as the potential Polish love interest for Hilliard; Richard E Grant (“Logan“) and Jeremy Irons (“The Lion King”, “Die Hard: with a Vengeance”) pop up in useful cameos and Eddie Marsan (“Sherlock Holmes”) is also touching as Hilliard’s long-suffering agent.
But it is Bill Nighy’s Hilliard who carries most of the wit and humour of the film with his pompous thespian persona, basking in the dwindling glory of a much loved series of “Inspector Lynley” films. With his pomposity progressively warming under the thawing effect of Sophie and Catrin, you have to love him! Bill Nighy is, well, Bill Nighy. Hugh Grant gets it (unfairly) in the neck for “being Hugh Grant” in every film, but this pales in comparison with Nighy’s performances! But who cares: his kooky delivery is just delightful and he is a national treasure!
Slightly less convincing for me was Rachael Stirling’s role as a butch ministry busybody with more than a hint of the lesbian about her. Stirling’s performance in the role is fine, but would this really have been so blatant in 1940’s Britain? This didn’t really ring true for me.
While the film gamely tries to pull off London in the Blitz the film’s limited budget (around £25m) makes everything feel a little underpowered and ’empty’: a few hundred more extras in the Underground/Blitz scenes for example would have helped no end. However, the special effects crew do their best and the cinematography by Sebastian Blenkov (“The Riot Club”) suitably conveys the mood: a scene where Catrin gets caught in a bomb blast outside a clothes shop is particularly moving.
As with all comedy dramas, sometimes the bedfellows lie uncomfortably with each other, and a couple of plot twists: one highly predictable; one shockingly unpredictable make this a non-linear watch. This rollercoaster of a script by Gaby Chiappe, in an excellent feature film debut (she actually also has a cameo in the propaganda “carrot film”!), undeniably adds interest and makes the film more memorable. However (I know from personal experience) that the twist did not please everyone in the audience!
Despite its occasionally uneven tone, this is a really enjoyable watch (particularly for more mature audiences) and Danish director Lone Scherfig finally has a vehicle that matches the quality of her much praised Carey Mulligan vehicle “An Education”.
Darren (1599 KP) rated Formula 51 (2002) in Movies
Jun 20, 2019
Story: The 51st State starts in 1971 California where Elmo McElroy (Jackson) getting caught smoking weed losing he recently receive diploma in pharmacy. Move forward 30 years Elmo works as a drug maker for The Lizard (Meat Loaf). We learn that Dakota (Mortimer) owes The Lizard a debt which she pays off with her assassin skills. Elmo has taken it upon himself to escape The Lizard but he doesn’t get the job done, this leads to The Lizard giving Dakota a chance to clean her slate for good by sending her to kill Elmo and the drug dealer who never turned up for the deal Durant (Tomlinson).
Next we meet Felix DeSouza (Carlyle) a fellow dealer who is happy to live in Manchester while cheering for Liverpool putting him into conflict when he doesn’t need too. Felix has to deliver Elmo to Durant to help with the latest deal as Elmo brings his product to England but to keep things interesting Dakota just so happens to be Felix’s ex make the assassination attempt difficult due to the personal side.
It is up to Felix and Elmo to try and work out a deal in the city before the time runs out with Dakota trying to track down Elmo to for The Lizard. All this while determined detective Kane (Pertwee) want in on the action and to stop the deal taking place. All these factors lead to the final outcome of the film when we find out just who is playing who.
The 51st State is a film that really made me want to switch it off very early because the needless amount of swearing and aggressive toning of the language just seemed to be there because someone couldn’t think of any real words. I wasn’t the most interested in this film because of the heavy drug use either because I feel drugs over use makes people out to stupid because not everyone needs drugs but the films seems to make the point everyone does. After getting through the opening half of the film and getting used the poorly written script the story does unfold to be quite interesting. We get plenty of twists and turn along the way and the final twist does actually make you smile because of how Elmo has handled it all. (5/10)
Actor Review
Samuel L Jackson: Elmo McElroy is the most wanted chemist in the world of drugs, he decides to leave his old market behind and take his work to England where he gets stuck in the middle of a battle for power between the drug lords. Samuel does end up giving us a performance you would expect but his image if something that will shock with his kilt. (7/10)
elmo
Robert Carlyle: Felix DeSouza is the hot head Liverpool fan who works for a drug lord in the city but when things get out of hand he has to help settle the deal for Elmo and his price tickets to Liverpool v Manchester United. Robert gives the performance you would expect from the British star. (7/10)
robert
Emily Mortimer: Dakota Parker is the deadly beautiful assassin who is working off a debt from The Lizard, she has history with Felix but is working on catching Elmo for The Lizard. Emily does a good job as the assassin with a past. (7/10)
dakota
Meat Loaf: The Lizard is the American drug lord that has been double crossed by Elmo but he isn’t taking it lightly when he sends his best assassin to bring him back to complete the business deal they had going down. Meat Loaf does end up giving a performance you wouldn’t expect from the musician. (7/10)
Rhys Ifans: Iki is the local dealer who can help get the deal done in Liverpool once everything gets out of hand. He is playing both sides because he is the go to guy in the city. Rhys is one of the best over the top crazy performers in the acting work and he shows why here. (7/10)
ike
Support Cast: The 51st State has a supporting cast that includes plenty of different characters involved in the drug world that all help motive our characters.
Director Review: Ronny Yu – Ronny does try to give us a crime caper but does he need to just have the characters swearing for the sake of it. (5/10)
Action: The 51st State has a couple of fights but most of the action is almost happening. (5/10)
Crime: The 51st State puts us in a drug world well giving us a mixture of colourful characters. (8/10)
Thriller: The 51st State doesn’t pull you in as much as it should because we think everything is done and dusted early on and by the time it has changed we are not sure what to think. (6/10)
Settings: The 51st State uses the setting of Liverpool very well making everything feel like a normal day with the crime happening around it. (8/10)
Suggestion: The 51st State is one to try, I think if you are a fan of the genre you will enjoy but otherwise it might end up feeling like too much. (Try It)
Best Part: Final deal.
Worst Part: Too much needless aggressive swearing.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: Early on in the credits.
Oscar Chances: No
Budget: $28 Million
Runtime: 1 Hour 33 Minutes
Tagline: In a world of shady characters and dirty deals, this is just business as usual.
Overall: This is a typical over aggressive drug filled film that has a twist that makes it more enjoyable.
https://moviesreview101.com/2015/12/11/the-51st-state-2001/
Next we meet Felix DeSouza (Carlyle) a fellow dealer who is happy to live in Manchester while cheering for Liverpool putting him into conflict when he doesn’t need too. Felix has to deliver Elmo to Durant to help with the latest deal as Elmo brings his product to England but to keep things interesting Dakota just so happens to be Felix’s ex make the assassination attempt difficult due to the personal side.
It is up to Felix and Elmo to try and work out a deal in the city before the time runs out with Dakota trying to track down Elmo to for The Lizard. All this while determined detective Kane (Pertwee) want in on the action and to stop the deal taking place. All these factors lead to the final outcome of the film when we find out just who is playing who.
The 51st State is a film that really made me want to switch it off very early because the needless amount of swearing and aggressive toning of the language just seemed to be there because someone couldn’t think of any real words. I wasn’t the most interested in this film because of the heavy drug use either because I feel drugs over use makes people out to stupid because not everyone needs drugs but the films seems to make the point everyone does. After getting through the opening half of the film and getting used the poorly written script the story does unfold to be quite interesting. We get plenty of twists and turn along the way and the final twist does actually make you smile because of how Elmo has handled it all. (5/10)
Actor Review
Samuel L Jackson: Elmo McElroy is the most wanted chemist in the world of drugs, he decides to leave his old market behind and take his work to England where he gets stuck in the middle of a battle for power between the drug lords. Samuel does end up giving us a performance you would expect but his image if something that will shock with his kilt. (7/10)
elmo
Robert Carlyle: Felix DeSouza is the hot head Liverpool fan who works for a drug lord in the city but when things get out of hand he has to help settle the deal for Elmo and his price tickets to Liverpool v Manchester United. Robert gives the performance you would expect from the British star. (7/10)
robert
Emily Mortimer: Dakota Parker is the deadly beautiful assassin who is working off a debt from The Lizard, she has history with Felix but is working on catching Elmo for The Lizard. Emily does a good job as the assassin with a past. (7/10)
dakota
Meat Loaf: The Lizard is the American drug lord that has been double crossed by Elmo but he isn’t taking it lightly when he sends his best assassin to bring him back to complete the business deal they had going down. Meat Loaf does end up giving a performance you wouldn’t expect from the musician. (7/10)
Rhys Ifans: Iki is the local dealer who can help get the deal done in Liverpool once everything gets out of hand. He is playing both sides because he is the go to guy in the city. Rhys is one of the best over the top crazy performers in the acting work and he shows why here. (7/10)
ike
Support Cast: The 51st State has a supporting cast that includes plenty of different characters involved in the drug world that all help motive our characters.
Director Review: Ronny Yu – Ronny does try to give us a crime caper but does he need to just have the characters swearing for the sake of it. (5/10)
Action: The 51st State has a couple of fights but most of the action is almost happening. (5/10)
Crime: The 51st State puts us in a drug world well giving us a mixture of colourful characters. (8/10)
Thriller: The 51st State doesn’t pull you in as much as it should because we think everything is done and dusted early on and by the time it has changed we are not sure what to think. (6/10)
Settings: The 51st State uses the setting of Liverpool very well making everything feel like a normal day with the crime happening around it. (8/10)
Suggestion: The 51st State is one to try, I think if you are a fan of the genre you will enjoy but otherwise it might end up feeling like too much. (Try It)
Best Part: Final deal.
Worst Part: Too much needless aggressive swearing.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: Early on in the credits.
Oscar Chances: No
Budget: $28 Million
Runtime: 1 Hour 33 Minutes
Tagline: In a world of shady characters and dirty deals, this is just business as usual.
Overall: This is a typical over aggressive drug filled film that has a twist that makes it more enjoyable.
https://moviesreview101.com/2015/12/11/the-51st-state-2001/
Kirk Bage (1775 KP) rated Black Mirror - Season 3 in TV
Mar 3, 2020
Nosedive - 8
We had to wait almost another 2 years for the Netflix investment to show a product, and in time for Halloween 2016 we got the super-glossy re-boot of Nosedive, with a big name up front and lots of anticipation. The tone was instantly more playful; less British, more inclusive to a world audience. It tackled with a wry humour the universal phenomenon of popularity and everything being rated, most notably, people themselves. In a future world of sunshine and pastel shades it has become the norm to rate every interaction, from buying coffee to buying a house, in the hope of becoming one of the beautiful people rated above a 4.5. It cleverly questions the motivations for that desire, and the pitfalls of false behaviour and the manipulation from an elite standpoint. It isn’t necessary to imagine this future, as we are virtually there already, and all this episode does is heighten the idea to hyperbolic proportions. Rated down by many viewers because it is “annoying”, but that is entirely the point: the whole thing makes you want to scream!
Playtest - 6.5
Also available for Halloween (as was the whole season, in standard Netflix style) came a chance to explore what really scares us! And… they blew it. Sure, the idea that gaming and VR becomes so photo realistic it seems entirely real isn’t far away. But, making it personal to a very annoying character dissolves all tension quite early on. Some mild jump scares aside, this has to go down as a missed opportunity. Notable only for the re-occurance of the White Bear symbol.
Shut Up and Dance - 7
This is the one most likely to make you think, hmm, that is too far! An uncomfortable episode, not only because of the subject matter and ultimate revelation, but because of the intense nastiness that pervades it. No doubt that tension is intentional, and therefore effective to a degree, but for me it crosses the line of entertainment and becomes simply nasty. Being unafraid to tackle controversial subjects is to be applauded, but the execution has to be note perfect, or the risk is the backlash this episode received. A cautionary tale about surveillance, data theft, blackmail and our personal online responsibility. Not a bad piece, just a slight misjudgment on tone and delivery.
San Junipero - 9.5
Just when critics were sharpening their pens that Netflix had ruined the potential of Black Mirror in its first phase, comes an almost perfect piece of TV that is literally heavenly! Everything about San Junipero is a work of art! Another “blind” episode that takes a while to unravel; the pacing and realisation of which is so beautifully judged that, from a writing point of view, this has to be seen as the pinnacle of the show to date. Mackenzie Davis is extraordinary as the vulnerable, shy and naive Yorkie, looking for a connection in an 80s nightclub, filled with nostalgia and cultural memes galore. The music alone is not only sing aloud perfect, but chosen for storytelling reasons so clever it raises goosebumps! The relationship between Yorkie and Kelly, an equally great Gugu Mbatha-Raw, is filled with chemistry and nuance, drawing us in to a place so deep that when the penny drops on what is really going on it draws a gasp and then possibly tears – I know it did for me! The mechanics of the technology that would make this story possible does raise a lot of questions, but in the end it is better to accept it as an allegory for love, life and our ideas of “eternity”. Don’t look too deeply at the how, but marvel at the why, and this could be the best hour of TV you will ever see! So rewatchable, rich and rewarding; the only reason not to make this a feature length big budget film is that how could it possibly be improved?
Men Against Fire - 7
Revisiting yet again the technology of a brain implant that affects our vision of the world, literally and figuratively, this episode explores indoctrination and brainwashing, with the underlying themes of racism and basic human compassion. It is a fine analogy of how the media and governments would have us think of immigrants and the “dangers” of anything “not us”. A tad obvious, and doesn’t really go anywhere new once the twist is revealed. Visually quite stunning, but not as strong as other episodes that cover similar ground.
Hated in the Nation - 8.5
With a running time of 89 minutes, this is essentially what happens when Black Mirror pushes an idea to feature length. Allowing more time for character development does make a difference, and the tension build in this fine concept for a thriller also benefits from a few extra minutes. The ever reliable Kelly MacDonald is the cornerstone of a strong cast, on the hunt for the mind behind a series of killings by killer bee drones, targeted at a democratically elected “most hated” person every day, based on a public vote. An exploration of media vilification and how easy it can be to manipulate our idea of someone’s identity and judge their actions and even personalities based on one wrong thing they may have said or done. The episode is a who-dunnit? A why-doit? And, framed, with the backdrop of the inquest surrounding events, both a good cop movie and a courtroom drama. Charlie Brooker has hinted that some of these characters may return at some point. I’m all for it.
We had to wait almost another 2 years for the Netflix investment to show a product, and in time for Halloween 2016 we got the super-glossy re-boot of Nosedive, with a big name up front and lots of anticipation. The tone was instantly more playful; less British, more inclusive to a world audience. It tackled with a wry humour the universal phenomenon of popularity and everything being rated, most notably, people themselves. In a future world of sunshine and pastel shades it has become the norm to rate every interaction, from buying coffee to buying a house, in the hope of becoming one of the beautiful people rated above a 4.5. It cleverly questions the motivations for that desire, and the pitfalls of false behaviour and the manipulation from an elite standpoint. It isn’t necessary to imagine this future, as we are virtually there already, and all this episode does is heighten the idea to hyperbolic proportions. Rated down by many viewers because it is “annoying”, but that is entirely the point: the whole thing makes you want to scream!
Playtest - 6.5
Also available for Halloween (as was the whole season, in standard Netflix style) came a chance to explore what really scares us! And… they blew it. Sure, the idea that gaming and VR becomes so photo realistic it seems entirely real isn’t far away. But, making it personal to a very annoying character dissolves all tension quite early on. Some mild jump scares aside, this has to go down as a missed opportunity. Notable only for the re-occurance of the White Bear symbol.
Shut Up and Dance - 7
This is the one most likely to make you think, hmm, that is too far! An uncomfortable episode, not only because of the subject matter and ultimate revelation, but because of the intense nastiness that pervades it. No doubt that tension is intentional, and therefore effective to a degree, but for me it crosses the line of entertainment and becomes simply nasty. Being unafraid to tackle controversial subjects is to be applauded, but the execution has to be note perfect, or the risk is the backlash this episode received. A cautionary tale about surveillance, data theft, blackmail and our personal online responsibility. Not a bad piece, just a slight misjudgment on tone and delivery.
San Junipero - 9.5
Just when critics were sharpening their pens that Netflix had ruined the potential of Black Mirror in its first phase, comes an almost perfect piece of TV that is literally heavenly! Everything about San Junipero is a work of art! Another “blind” episode that takes a while to unravel; the pacing and realisation of which is so beautifully judged that, from a writing point of view, this has to be seen as the pinnacle of the show to date. Mackenzie Davis is extraordinary as the vulnerable, shy and naive Yorkie, looking for a connection in an 80s nightclub, filled with nostalgia and cultural memes galore. The music alone is not only sing aloud perfect, but chosen for storytelling reasons so clever it raises goosebumps! The relationship between Yorkie and Kelly, an equally great Gugu Mbatha-Raw, is filled with chemistry and nuance, drawing us in to a place so deep that when the penny drops on what is really going on it draws a gasp and then possibly tears – I know it did for me! The mechanics of the technology that would make this story possible does raise a lot of questions, but in the end it is better to accept it as an allegory for love, life and our ideas of “eternity”. Don’t look too deeply at the how, but marvel at the why, and this could be the best hour of TV you will ever see! So rewatchable, rich and rewarding; the only reason not to make this a feature length big budget film is that how could it possibly be improved?
Men Against Fire - 7
Revisiting yet again the technology of a brain implant that affects our vision of the world, literally and figuratively, this episode explores indoctrination and brainwashing, with the underlying themes of racism and basic human compassion. It is a fine analogy of how the media and governments would have us think of immigrants and the “dangers” of anything “not us”. A tad obvious, and doesn’t really go anywhere new once the twist is revealed. Visually quite stunning, but not as strong as other episodes that cover similar ground.
Hated in the Nation - 8.5
With a running time of 89 minutes, this is essentially what happens when Black Mirror pushes an idea to feature length. Allowing more time for character development does make a difference, and the tension build in this fine concept for a thriller also benefits from a few extra minutes. The ever reliable Kelly MacDonald is the cornerstone of a strong cast, on the hunt for the mind behind a series of killings by killer bee drones, targeted at a democratically elected “most hated” person every day, based on a public vote. An exploration of media vilification and how easy it can be to manipulate our idea of someone’s identity and judge their actions and even personalities based on one wrong thing they may have said or done. The episode is a who-dunnit? A why-doit? And, framed, with the backdrop of the inquest surrounding events, both a good cop movie and a courtroom drama. Charlie Brooker has hinted that some of these characters may return at some point. I’m all for it.
KalJ95 (25 KP) rated Marvel's Spider-Man in Video Games
Jun 19, 2020
All Round Performances Are Fantastic. (4 more)
Combat Is Arkham-esque.
New York Sandbox Is The Definition Of Fun.
Story Feels Fresh And Thrilling.
The Webswinging.
Frame Rate Issues. (1 more)
Few Missed Opportunities With The Story.
The Best Superhero Game Ever?
When I was nine years old, I fell thirty feet out of a tree on a British summers day. Coincidently, because of damp moss on a branch. I spent seven days in a hospital, recovering from a punctured lung, caused by impact on my ribs. In that week, I spent most of my time playing Spider-Man 2, a tie in with the Sam Raimi film, on a hospital owned PlayStation 2. Why am I telling you this story? Well, I spent quite a substantial amount of time playing that game, and it slowly made me realise the mechanics and skill that go into making a video game. Spider-Man wouldn't just shoot his web up in the sky and start swinging, like the Spider-Man game previous. Spider-Man would have to attach his webs to buildings he flew by, and this blew my mind and kept me occupied for hours and hours. For me, it encapsulated a feeling of being so immersed within a medium, you forget everything around you, and in my case it just so happened to be bed ridden in a hospital with a punctured lung. Spider-Man games have come and gone since that 2004 classic, but none have ever been as fun to play.
Marvel’s Spider-Man is the best Spider-Man game ever made, and an even bolder statement, it just might be the best superhero game ever made. Insomniac have crafted an original experience, whilst keeping the spirit and tone of Spidey the same of that from the comics. You can tell right from the opening cinematic, Insomniac have done their research extensively, from the witty dialogue of Peter Parker’s banter, to the wise cracks he makes as his alter ego when punching the pulp out of thugs and villains. The fundamental idea of what this game strives to be is fun, and this is the very definition.
The story is follows Peter, as he juggles the responsibility of being a superhero, with the very normal aspects of everyday life, like holding down an apartment, or retaining a relationship with his Aunt May and Mary Jane Watson. While this remains the core of the narrative, villainy is taking shape in the background, as multiple antagonists are preparing to take down the web-slinger, once and for all. Included in the story comes a variety of side missions, activities to complete, collectables to find, and costumes to unlock. The sheer amount of things to do in this game is unbelievable. The costumes alone ranks up to thirty eight (with DLC included), all in ridiculously beautiful detail. I specifically remember a moment when the rising sun over the Big Apple shone over the windows of a skyscraper, bouncing onto the red of Spider-Man’s suit. I was in awe. In fact, I was in awe over the entire map of New York City, which feels alive, even a character within itself. The major monuments all bring such authenticity to the overall feel of a city you can fully explore. Its a massive playground for Spider-Man, and I never felt the need to fast travel at all.
The characters make the story worth playing multiple times. Certain characters can’t be mentioned due to spoiling aspects of the narrative, but stand-out performances happen time and time again. This also brings a dynamic between characters that shines over the entire experience. Peter and MJ are partners, yet their relationship seems distanced from past troubles. We never find out specifically, but the seeds are planted from dialogue that we can only guess from an audiences’ perspective. It brings so much back story to the characters, making them seem so fleshed out and real. No Uncle Ben death scenes either, so that is a plus in my book.
The combat, at first, felt all to familiar with Rocksteady’s Arkham Series, which isn't a problem, but instead I wanted something a little new to engage with. Then a collection of gadgets are introduced, and this mixes everything up. Everything feels so fluid and silky smooth, from webbing thugs against a wall, or sending out a spiderdrone to fire rounds of electric bullets to incapacitate an opponent. Again, this never feels stale, even when I had collected every collectable and finished all activities, I spent hours just waiting for police calls so I could attend crimes an battle enemies. This is perhaps where Insomniac need to be commended most. Games are all too disposable at times, once its done you're done with it, but Marvel’s Spider-Man is so damn fun, even when everything is done. You feel the need to explore, the need to finish the side missions and activities, because every aspect is so well produced.
I do however have minor issues to mention. I did experience tiny pauses in gameplay whilst the city loaded more buildings, I don't know if this was down to playing on a standard PS4 rather than a Pro. The story does sometimes cut a few beats short in areas, and the DLC feels like it could of been included within the game, which ultimately feels like it was, and was decided to be DLC for an extra cost. But, these are little gripes for an overall fantastic package. I can’t wait to see what happens next.
Marvel’s Spider-Man is the best Spider-Man game ever made, and an even bolder statement, it just might be the best superhero game ever made. Insomniac have crafted an original experience, whilst keeping the spirit and tone of Spidey the same of that from the comics. You can tell right from the opening cinematic, Insomniac have done their research extensively, from the witty dialogue of Peter Parker’s banter, to the wise cracks he makes as his alter ego when punching the pulp out of thugs and villains. The fundamental idea of what this game strives to be is fun, and this is the very definition.
The story is follows Peter, as he juggles the responsibility of being a superhero, with the very normal aspects of everyday life, like holding down an apartment, or retaining a relationship with his Aunt May and Mary Jane Watson. While this remains the core of the narrative, villainy is taking shape in the background, as multiple antagonists are preparing to take down the web-slinger, once and for all. Included in the story comes a variety of side missions, activities to complete, collectables to find, and costumes to unlock. The sheer amount of things to do in this game is unbelievable. The costumes alone ranks up to thirty eight (with DLC included), all in ridiculously beautiful detail. I specifically remember a moment when the rising sun over the Big Apple shone over the windows of a skyscraper, bouncing onto the red of Spider-Man’s suit. I was in awe. In fact, I was in awe over the entire map of New York City, which feels alive, even a character within itself. The major monuments all bring such authenticity to the overall feel of a city you can fully explore. Its a massive playground for Spider-Man, and I never felt the need to fast travel at all.
The characters make the story worth playing multiple times. Certain characters can’t be mentioned due to spoiling aspects of the narrative, but stand-out performances happen time and time again. This also brings a dynamic between characters that shines over the entire experience. Peter and MJ are partners, yet their relationship seems distanced from past troubles. We never find out specifically, but the seeds are planted from dialogue that we can only guess from an audiences’ perspective. It brings so much back story to the characters, making them seem so fleshed out and real. No Uncle Ben death scenes either, so that is a plus in my book.
The combat, at first, felt all to familiar with Rocksteady’s Arkham Series, which isn't a problem, but instead I wanted something a little new to engage with. Then a collection of gadgets are introduced, and this mixes everything up. Everything feels so fluid and silky smooth, from webbing thugs against a wall, or sending out a spiderdrone to fire rounds of electric bullets to incapacitate an opponent. Again, this never feels stale, even when I had collected every collectable and finished all activities, I spent hours just waiting for police calls so I could attend crimes an battle enemies. This is perhaps where Insomniac need to be commended most. Games are all too disposable at times, once its done you're done with it, but Marvel’s Spider-Man is so damn fun, even when everything is done. You feel the need to explore, the need to finish the side missions and activities, because every aspect is so well produced.
I do however have minor issues to mention. I did experience tiny pauses in gameplay whilst the city loaded more buildings, I don't know if this was down to playing on a standard PS4 rather than a Pro. The story does sometimes cut a few beats short in areas, and the DLC feels like it could of been included within the game, which ultimately feels like it was, and was decided to be DLC for an extra cost. But, these are little gripes for an overall fantastic package. I can’t wait to see what happens next.
Debbiereadsbook (1084 KP) rated Heated Beat in Books
Nov 12, 2020
wonderful books/narration!
Independent reviewer for Archaeolibrarian, I was gifted the audio version of this book.
My Mate Jack (book 1)
Don't you just love a friends to lovers book? With lots of misunderstandings and mix-ups along the way? Nothing else, just these two friends, one with a crush on his straight best friend? Made even better by some awesome narration??
This book right here!
Will has been in love with Jack forever, but Jack likes girls and Will doesn't. When Jack asks Will about kissing, then about having sex with men, Will allows Jack to get close. Then Jack goes to Ibiza and Will goes to uni and things are said, done, implied and the fall out is massive.
I want to be a bit picky here, cos, you know, I can, its my review but the only thing that would have made this book any better was if Jack had much more of a say. Apart from the epilogue, Jack doesn't get a say and I wanted him to, I so DESPERATELY wanted him to. I needed to know what was going through HIS mind when he kisses Jack, when they do what they do before they go their ways, and I don't get it. Had he been given a bigger say, I would be raving about this book! Oh, don't get me wrong, I LOVED this as it was but Jack? He would have been the icing on a pretty special cake.
Dan Calley narrates. Mr Calley is fast becoming a favourite. His voice carries a very British accent, and his reading voice is deep and even. His voices are amazing, and he hits the accents to a tee. He gets across all of Will's feelings about Jack. His reactions to what they do, to what comes after and to what he does when Jack fianlly, FINALLY, tells Will what he really wants. Or rather Who.
It's not a very long read/listen (108 pages/3 hours) but it packs a powerful punch. I didn't quite manage to listen to it in one go, cos that darn dayjob got in the way, but I very nearly did.
Apart from not getting enough of Jack, I cannot fault the book nor the narration so...
5 full and shiny stars for the book AND the narration.
~~same worded review will appear elsewhere~
Lucky Man (book 2)
This is book 2 in the Heated Beat series, and while it's not NECESSARY to read/listen to book one, My Mate Jack, I think you SHOULD, cos , you know, I said so! Jack and Will pop up a lot, since Jack lives with Finn, but it's not needed to have their story before this one. But you know, THAT book was a 5 star listen too!
Danny has drooled over Finn on stage for some time. Meeting him, going home with him, gave him the best night of his life. But Finn has a secret and Danny has a stressful job. Can they make it work?
This is a much darker, dirtier, deadly listen than book one, but I loved it just as much, maybe a tad more.
There is powerful and instant chemistry between Finn and Danny, and it carries right through the book. Its hot and steamy, but equally, deeply emotional, for both Finn and Danny. Finn's health issues, and what that meant in his previous relationships, are his primary concern. Danny is dealing with a murderer who has been on a spree across the country.
Danny reaction to Finn's health issues were not what Finn was expecting, but still, Danny struggled with Finn a couple of times, especially when he had an episode (is that the correct term? ) but Danny rode it out, and did his best to understand. Some serious research into Finn's condition has been done for this book, I'm not saying what that is, because spoilers, but the level of research into treatments and how people suffering this condition cope shows here.
I LOVED that this book is set in Nottingham. As a Nottingham gal, I got all the places that were mentioned, and loved that the shortened, locally used names for places like The Queens Medical Centre (big hospital!) are used. Loved the references to local towns, and how far they are away from Nottingham and the correct distances/times are used. Proper made my day!
I did get the murderer all wrong. I had a fairly close to Finn character pegged as the bad guy, but that all went belly up on me, so well played!
Both Finn and Danny have a say here, and I am SOOOOOOOOOOOOOOOOOOOOOOOOOO glad they do! I think this one, especially, would have suffered had we not got them both, so thank you Garrett Leigh, for making my day twice in this book!
Dan Calley narrates again, and again, he knocks it out the park!
His voices for Will and Jack are spot on from book to book, but Danny and Finn's voices are perfect too. He gets over all of Danny's concern about the relationship, given that he isn't out at work. He gets over all of his concern about Finn when he has an episode, and how he deals with the aftermath. Calley gets over all of Finn's insecurities, and what's going on in his brain. I felt for Finn, listening to him have internal conversations with himself about Danny and his feelings for Danny, and where their relationship was going.
Mr Calley NAILS it, he really does.
5 full and shiny stars for the book AND narration
**same worded review will appear elsewhere**
My Mate Jack (book 1)
Don't you just love a friends to lovers book? With lots of misunderstandings and mix-ups along the way? Nothing else, just these two friends, one with a crush on his straight best friend? Made even better by some awesome narration??
This book right here!
Will has been in love with Jack forever, but Jack likes girls and Will doesn't. When Jack asks Will about kissing, then about having sex with men, Will allows Jack to get close. Then Jack goes to Ibiza and Will goes to uni and things are said, done, implied and the fall out is massive.
I want to be a bit picky here, cos, you know, I can, its my review but the only thing that would have made this book any better was if Jack had much more of a say. Apart from the epilogue, Jack doesn't get a say and I wanted him to, I so DESPERATELY wanted him to. I needed to know what was going through HIS mind when he kisses Jack, when they do what they do before they go their ways, and I don't get it. Had he been given a bigger say, I would be raving about this book! Oh, don't get me wrong, I LOVED this as it was but Jack? He would have been the icing on a pretty special cake.
Dan Calley narrates. Mr Calley is fast becoming a favourite. His voice carries a very British accent, and his reading voice is deep and even. His voices are amazing, and he hits the accents to a tee. He gets across all of Will's feelings about Jack. His reactions to what they do, to what comes after and to what he does when Jack fianlly, FINALLY, tells Will what he really wants. Or rather Who.
It's not a very long read/listen (108 pages/3 hours) but it packs a powerful punch. I didn't quite manage to listen to it in one go, cos that darn dayjob got in the way, but I very nearly did.
Apart from not getting enough of Jack, I cannot fault the book nor the narration so...
5 full and shiny stars for the book AND the narration.
~~same worded review will appear elsewhere~
Lucky Man (book 2)
This is book 2 in the Heated Beat series, and while it's not NECESSARY to read/listen to book one, My Mate Jack, I think you SHOULD, cos , you know, I said so! Jack and Will pop up a lot, since Jack lives with Finn, but it's not needed to have their story before this one. But you know, THAT book was a 5 star listen too!
Danny has drooled over Finn on stage for some time. Meeting him, going home with him, gave him the best night of his life. But Finn has a secret and Danny has a stressful job. Can they make it work?
This is a much darker, dirtier, deadly listen than book one, but I loved it just as much, maybe a tad more.
There is powerful and instant chemistry between Finn and Danny, and it carries right through the book. Its hot and steamy, but equally, deeply emotional, for both Finn and Danny. Finn's health issues, and what that meant in his previous relationships, are his primary concern. Danny is dealing with a murderer who has been on a spree across the country.
Danny reaction to Finn's health issues were not what Finn was expecting, but still, Danny struggled with Finn a couple of times, especially when he had an episode (is that the correct term? ) but Danny rode it out, and did his best to understand. Some serious research into Finn's condition has been done for this book, I'm not saying what that is, because spoilers, but the level of research into treatments and how people suffering this condition cope shows here.
I LOVED that this book is set in Nottingham. As a Nottingham gal, I got all the places that were mentioned, and loved that the shortened, locally used names for places like The Queens Medical Centre (big hospital!) are used. Loved the references to local towns, and how far they are away from Nottingham and the correct distances/times are used. Proper made my day!
I did get the murderer all wrong. I had a fairly close to Finn character pegged as the bad guy, but that all went belly up on me, so well played!
Both Finn and Danny have a say here, and I am SOOOOOOOOOOOOOOOOOOOOOOOOOO glad they do! I think this one, especially, would have suffered had we not got them both, so thank you Garrett Leigh, for making my day twice in this book!
Dan Calley narrates again, and again, he knocks it out the park!
His voices for Will and Jack are spot on from book to book, but Danny and Finn's voices are perfect too. He gets over all of Danny's concern about the relationship, given that he isn't out at work. He gets over all of his concern about Finn when he has an episode, and how he deals with the aftermath. Calley gets over all of Finn's insecurities, and what's going on in his brain. I felt for Finn, listening to him have internal conversations with himself about Danny and his feelings for Danny, and where their relationship was going.
Mr Calley NAILS it, he really does.
5 full and shiny stars for the book AND narration
**same worded review will appear elsewhere**
Lee (2222 KP) rated Bill & Ted Face the Music (2020) in Movies
Sep 15, 2020
Back in 1991, I thought that Bill & Ted's Bogus Journey was the greatest movie of all time. Sure, Bill & Ted's Excellent Adventure was pretty incredible too, but with the addition of Death… Station… evil robot Bill & Ted… it was all just genius as far as I was concerned. My movie watching habits since the nineties have shown me that neither of those films is actually the greatest of all time (well, maybe top 50), but that certainly didn't stop me from getting ridiculously giddy with excitement at the prospect of a third outing. Even more so after successfully introducing my youngest daughter to both movies recently, at which point I also concluded that Excellent Adventure was, in fact, the better of the two!
So, here we are. 29 years on from Bogus Journey, and we find Bill & Ted at a very difficult time in their lives. Dwindling popularity and record sales mean that their destiny of uniting the world with a single song is now becoming increasingly unlikely. A wedding reception where Bill & Ted are unveiling their latest musical creation to a less than lukewarm reception gives us a nice nostalgic chance to see some familiar faces from the previous movies and also brings us quickly up to speed on the lives of our two heroes. Still married to the medieval princesses (Jayma Mays and Erinn Hayes), they now both have grown-up daughters, Thea (Brigette Lundy-Paine) and Billie (Samara Weaving). Both girls are like younger versions of their fathers, making heavy use of the word ‘dude’, and with extensive musical tastes and knowledge. They worship their fathers though and truly believe in their music.
Following the wedding reception, a trip to couples therapy shows us that it's not just their music career that's heading for the rocks. There's even talk of breaking up the band - “We’ve spent our entire lives trying to unite the world. And I’m tired, dude” Ted confesses to Bill. And as their destiny begins to fracture, reality also starts to unravel, with historical figures randomly being sucked from their own time and dumped into another.
Arriving just in the nick of time is a traveller from the future. Kelly (Kristen Schaal) lands in an egg-shaped time machine and whisks the boys into the future where they find that they are now no longer being worshipped in the same way as they were before. They are told in no uncertain terms that they have just 77 minutes to come up with the song they were destined to write, or the past, present and future are all going to collide, resulting in the world collapsing in on itself. Whoah!
Resigning themselves to the fact that if they haven't been able to come up with the song in the last couple of decades, they're unlikely to come up with it in the next 77 minutes, Bill & Ted land on the genius idea that they can simply go to the future and steal the song from their future selves. So, they begin jumping forward to various points in time and meeting up with different versions of themselves. We get overweight rock star Bill & Ted, complete with dodgy British accents, muscular prison inmate Bill & Ted and even OAP nursing home Bill & Ted.
Meanwhile, daughters Thea and Billie come up with a slightly more solid plan of action that involves picking up prominent musicians from history and forming them into the ultimate band, in the hopes that their combined talents will come up with the song that saves the world. It's a race against time as both missions play out simultaneously, taking in a trip to hell, recruiting ex-band member Death (William Sandler) and trying to outwit a robot who's out to kill them. It's basically a greatest hits remix of the first two movies.
It took some time for me to adjust to seeing Keanu Reeves outside of his role as John Wick, clean-shaven and considerably less dangerous. Both he and Alex Winter are obviously much older than when we last saw them as Bill & Ted, but it was surprising just how well they slipped right back into the roles. It honestly felt so good to be back in the company of these guys. The daughters are also a welcome addition, although they feel underused, and being separated from their fathers for much of the movie means that everything feels a lot more chaotic than we’re used to.
Bill & Ted Face the Music rattles along at a fairly brisk pace and the ending felt very rushed and abrupt. Something about the whole thing just doesn’t feel right and I didn’t feel as though we were ever getting very much time to explore or experience a particular scene before we were straight onto the next. It’s funny at times, but with most of it essentially reworking themes and ideas from earlier movies it ends up as the weakest of the trilogy, which is a real shame.
I’ve got so much love for these characters and movies that I feel bad about being negative in any way. However, I can’t help feeling that Face the Music teeters on the edge of ‘maybe they should have just left alone with the last movie’ a little too often. At the end of the day though, I can't really knock a movie that's essentially all about harmless fun and, more importantly, carries with it a message about uniting the world, being excellent to each other. I think we all could appreciate that philosophy in our lives right now.
So, here we are. 29 years on from Bogus Journey, and we find Bill & Ted at a very difficult time in their lives. Dwindling popularity and record sales mean that their destiny of uniting the world with a single song is now becoming increasingly unlikely. A wedding reception where Bill & Ted are unveiling their latest musical creation to a less than lukewarm reception gives us a nice nostalgic chance to see some familiar faces from the previous movies and also brings us quickly up to speed on the lives of our two heroes. Still married to the medieval princesses (Jayma Mays and Erinn Hayes), they now both have grown-up daughters, Thea (Brigette Lundy-Paine) and Billie (Samara Weaving). Both girls are like younger versions of their fathers, making heavy use of the word ‘dude’, and with extensive musical tastes and knowledge. They worship their fathers though and truly believe in their music.
Following the wedding reception, a trip to couples therapy shows us that it's not just their music career that's heading for the rocks. There's even talk of breaking up the band - “We’ve spent our entire lives trying to unite the world. And I’m tired, dude” Ted confesses to Bill. And as their destiny begins to fracture, reality also starts to unravel, with historical figures randomly being sucked from their own time and dumped into another.
Arriving just in the nick of time is a traveller from the future. Kelly (Kristen Schaal) lands in an egg-shaped time machine and whisks the boys into the future where they find that they are now no longer being worshipped in the same way as they were before. They are told in no uncertain terms that they have just 77 minutes to come up with the song they were destined to write, or the past, present and future are all going to collide, resulting in the world collapsing in on itself. Whoah!
Resigning themselves to the fact that if they haven't been able to come up with the song in the last couple of decades, they're unlikely to come up with it in the next 77 minutes, Bill & Ted land on the genius idea that they can simply go to the future and steal the song from their future selves. So, they begin jumping forward to various points in time and meeting up with different versions of themselves. We get overweight rock star Bill & Ted, complete with dodgy British accents, muscular prison inmate Bill & Ted and even OAP nursing home Bill & Ted.
Meanwhile, daughters Thea and Billie come up with a slightly more solid plan of action that involves picking up prominent musicians from history and forming them into the ultimate band, in the hopes that their combined talents will come up with the song that saves the world. It's a race against time as both missions play out simultaneously, taking in a trip to hell, recruiting ex-band member Death (William Sandler) and trying to outwit a robot who's out to kill them. It's basically a greatest hits remix of the first two movies.
It took some time for me to adjust to seeing Keanu Reeves outside of his role as John Wick, clean-shaven and considerably less dangerous. Both he and Alex Winter are obviously much older than when we last saw them as Bill & Ted, but it was surprising just how well they slipped right back into the roles. It honestly felt so good to be back in the company of these guys. The daughters are also a welcome addition, although they feel underused, and being separated from their fathers for much of the movie means that everything feels a lot more chaotic than we’re used to.
Bill & Ted Face the Music rattles along at a fairly brisk pace and the ending felt very rushed and abrupt. Something about the whole thing just doesn’t feel right and I didn’t feel as though we were ever getting very much time to explore or experience a particular scene before we were straight onto the next. It’s funny at times, but with most of it essentially reworking themes and ideas from earlier movies it ends up as the weakest of the trilogy, which is a real shame.
I’ve got so much love for these characters and movies that I feel bad about being negative in any way. However, I can’t help feeling that Face the Music teeters on the edge of ‘maybe they should have just left alone with the last movie’ a little too often. At the end of the day though, I can't really knock a movie that's essentially all about harmless fun and, more importantly, carries with it a message about uniting the world, being excellent to each other. I think we all could appreciate that philosophy in our lives right now.
