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Neon's Nerd Nexus (360 KP) rated Ready or Not (2019) in Movies
Sep 2, 2019 (Updated Sep 2, 2019)
F*cking rich people
Ready Or Not is a delightful mash up of blood soaked horror and devilish comedy that intertwines well making this film an absolute blast. When Ready or not's certificate came up everyone was shocked it was 18 rated (I found kind of sad as to me it symbolised how there is 100% still a big market for the more violent and mature horror film yet these days they sadly seem few and far between. I proud to say this does not disappoint and delivers on gore, grossness and tons of unnecessary yet hilariously fitting cursing. Made by people with clear love for the genre this movie echoes what made 80s horror movies so fun. Its goofy, silly, humorous, cool, violent, over the top, cheesy and stylish with it all working well together as well as being extremely serious and tense when it needs to be too. A great mix of movies like your next, the purge, cabin in the woods and even evil dead this movie doesnt hesitate getting straight to the good stuff moving at a constant brisk pace. Although predictable at times it ride with the horror cliches mixing them up just enough for them to feel modern and refreshingly satisfying. Anti rich themes take front and centre and the film isnt shy of mocking wealthy people constantly questioning their morals, beliefs, way of life, ignorance, naivety, lack of empathy and ability to think they can do as they please. In fact you might say the most horrific parts of the film are just how stupid, desensitized, gullible, careless and void of empathy these people have become which adds a nice real world connection. Theres also some visually impressive/creative scenes that really stand out as they are flawlessly combine with music too. Great tension is also present here and a it has a good eending that keeps you on your toes guessing. Not perfect by any means but go into it with a mind set that you can just sit back and enjoy a well made film that's only interested in you having a good time and you will leave entertained.
Debbiereadsbook (1092 KP) rated Blue Fire in Books
Aug 26, 2019
it hit THAT spot, good and proper!
This was a freebie in August 2019.
Jared loses his home to a wildfire, and Adam rescues him. Adam doesn’t usually follow up his rescues, but Jared calls to his soul, deeply. When Jared isn’t recovering from his depression, Adam takes a chance and takes Jared to the place Adam calls home. Just when things start looking up, Jared runs. Years later, when Jared finds out Adam has been injured, Jared has moment of clarity, and realises he might have run away from the only person who made him truly whole. Will Adam see him, let alone listen to him?
I really rather enjoyed this!
It’s not very long, some 80 odd pages, only took me an hour to read, but it was a very enjoyable hour on a wet and miserable Wednesday morning!
Jared is still grieving the loss of his husband to cancer, and now the house he built has been destroyed and Jared feels destroyed too. Adam, with his ice blue eyes, rescues Jared from the blaze and visits him in rehab. Adam feels a powerful need to look in on Jared, to look AFTER Jared, and taking him to the cabin in the hills seems just the thing. And it was, till one of them says something, that sends them both into a tailspin and Adam has to return to work. After Jared runs, three years pass, and Jared’s glass work centres around his search for that perfect blue, the one that touches his soul. But it isn’t until Adam is injured, that Jared knows he’ll never find that perfect blue in a glass bauble.
I felt for both these guys. Adam, fighting his growing feelings for Jared, and Jared who is still recovering, and fighting all kinds of inner demons of his own.
They both have a say, in the third person. It’s hot and steamy in places, and deeply emotional in others.
It just hit THAT spot, you know? The warm and fuzzies one.
First I’ve read of this author, I’d love to read more!
4 solid stars
**same worded review will appear elsewhere**
Jared loses his home to a wildfire, and Adam rescues him. Adam doesn’t usually follow up his rescues, but Jared calls to his soul, deeply. When Jared isn’t recovering from his depression, Adam takes a chance and takes Jared to the place Adam calls home. Just when things start looking up, Jared runs. Years later, when Jared finds out Adam has been injured, Jared has moment of clarity, and realises he might have run away from the only person who made him truly whole. Will Adam see him, let alone listen to him?
I really rather enjoyed this!
It’s not very long, some 80 odd pages, only took me an hour to read, but it was a very enjoyable hour on a wet and miserable Wednesday morning!
Jared is still grieving the loss of his husband to cancer, and now the house he built has been destroyed and Jared feels destroyed too. Adam, with his ice blue eyes, rescues Jared from the blaze and visits him in rehab. Adam feels a powerful need to look in on Jared, to look AFTER Jared, and taking him to the cabin in the hills seems just the thing. And it was, till one of them says something, that sends them both into a tailspin and Adam has to return to work. After Jared runs, three years pass, and Jared’s glass work centres around his search for that perfect blue, the one that touches his soul. But it isn’t until Adam is injured, that Jared knows he’ll never find that perfect blue in a glass bauble.
I felt for both these guys. Adam, fighting his growing feelings for Jared, and Jared who is still recovering, and fighting all kinds of inner demons of his own.
They both have a say, in the third person. It’s hot and steamy in places, and deeply emotional in others.
It just hit THAT spot, you know? The warm and fuzzies one.
First I’ve read of this author, I’d love to read more!
4 solid stars
**same worded review will appear elsewhere**
Ryan Hill (152 KP) rated The Avengers (2012) in Movies
May 9, 2019
Some assembly required
There's a lot about this movie I love (it used to be one of my favorite films to rewatch when I was a teenager), one thing that really stood out to me about watching this again for the first time in awhile, is how much Whedon understands the language of comics.
Whenever people bring that aspect up, they usually talk about the splash panel inspired sequences (the long take through the Battle of New York), but nobody tends to talk about the choices he makes with how he and Seamus McGarvey decide to shoot the smaller scale scenes like they were regular panels.
Take Loki's entrance for example; as the laser begins to open the portal, we cut above, seeing how big the room is and how long the laser is, all in a wide, beautiful shot, taken from an angel to capture the intensity of the villain's entrance, and then that's followed up with a panel inspired close up on Loki's eyes as he breaks into a grin. Or the shot of Natasha being integrated from the prospective of the mirror in the room, and we see various different treasures as it pushes away from it.
Or probably the best example of this, is Steve's introduction; repeatedly working himself up with every punch, flashing back to the events in his life that make him feel the most intense, before punching it straight off its hook, only for him to grab another one of several he has lying there.
It's little touches like this that are sprinkled throughout, making you feel like you're watching a comic book in motion without having to go full on "Scott Pilgrim", "Into The Spider-Verse", "Speed Racer", or even "Batman: The Movie", along with capturing the lavish and striking lighting and colors found within some of the best artists for them.
Plus, while Whedon's writing is known for his sense of humor (for better and worse, especially when it comes to it's impact on the rest of these films post this one), I don't think enough of us take into account how much that humor is there to service the characters, not just the viewers.
Both this and his work with Drew Goddard on "Cabin in the Woods" showcase this perfectly. When Marty in "Cabin" asks if anyone else thinks something weird is going on when Curt contradict himself by saying they should split up, he isn't just saying that for the sake of a gag, it's Whedon and Goddard's way of hinting that he knows more than the others, and establishing that he's immune from these tricks being played on them.
When Steve and Tony are arguing about who's stronger and Steve keeps saying "put on the suit!", once shit hits the fan, he says it once again, but in a way that's far more urgent and fearful, not just being there for the sake of a funny payoff, but as progression for the next series of events that need to play out.
And, man....
There's just so many great moments. Not just the action or the characters working off of each other, but little moments, like the Old Man standing up for Earth to Loki, Steve giving Fury ten bucks after seeing the Helicarrier in action, Bruce mentioning the time he figured he had enough and how he couldn't end it himself, complete with the fear trembling in his voice and facial expression, Loki saying "I'm listening" as Thor was taken away from him, or his monologue to Natasha, the entire New York battle centering around them both trying to keep the army at bay and save as many by standards as possible, just too many to name.
It's one of the most memorable and entertaining blockbusters of this decade and while it doesn't feel as special seeing all of these people in the same movie anymore, it still has them at their best and manages to do it so effortlessly. Like it's one thing that this movie exists, but the fact that it worked is something that'll never not be amazing.
What else can I say, really? It's "The Avengers". You've likely seen it, memed about it, quoted it, referenced it, it doesn't matter, it's been here for nearly ten years now and it's impact is still felt and mentioned. As well as something that's super easy to put on and rewatch, either for some lazy day entertainment, or to revisit during the lead up to their next big adventure.....
Whenever people bring that aspect up, they usually talk about the splash panel inspired sequences (the long take through the Battle of New York), but nobody tends to talk about the choices he makes with how he and Seamus McGarvey decide to shoot the smaller scale scenes like they were regular panels.
Take Loki's entrance for example; as the laser begins to open the portal, we cut above, seeing how big the room is and how long the laser is, all in a wide, beautiful shot, taken from an angel to capture the intensity of the villain's entrance, and then that's followed up with a panel inspired close up on Loki's eyes as he breaks into a grin. Or the shot of Natasha being integrated from the prospective of the mirror in the room, and we see various different treasures as it pushes away from it.
Or probably the best example of this, is Steve's introduction; repeatedly working himself up with every punch, flashing back to the events in his life that make him feel the most intense, before punching it straight off its hook, only for him to grab another one of several he has lying there.
It's little touches like this that are sprinkled throughout, making you feel like you're watching a comic book in motion without having to go full on "Scott Pilgrim", "Into The Spider-Verse", "Speed Racer", or even "Batman: The Movie", along with capturing the lavish and striking lighting and colors found within some of the best artists for them.
Plus, while Whedon's writing is known for his sense of humor (for better and worse, especially when it comes to it's impact on the rest of these films post this one), I don't think enough of us take into account how much that humor is there to service the characters, not just the viewers.
Both this and his work with Drew Goddard on "Cabin in the Woods" showcase this perfectly. When Marty in "Cabin" asks if anyone else thinks something weird is going on when Curt contradict himself by saying they should split up, he isn't just saying that for the sake of a gag, it's Whedon and Goddard's way of hinting that he knows more than the others, and establishing that he's immune from these tricks being played on them.
When Steve and Tony are arguing about who's stronger and Steve keeps saying "put on the suit!", once shit hits the fan, he says it once again, but in a way that's far more urgent and fearful, not just being there for the sake of a funny payoff, but as progression for the next series of events that need to play out.
And, man....
There's just so many great moments. Not just the action or the characters working off of each other, but little moments, like the Old Man standing up for Earth to Loki, Steve giving Fury ten bucks after seeing the Helicarrier in action, Bruce mentioning the time he figured he had enough and how he couldn't end it himself, complete with the fear trembling in his voice and facial expression, Loki saying "I'm listening" as Thor was taken away from him, or his monologue to Natasha, the entire New York battle centering around them both trying to keep the army at bay and save as many by standards as possible, just too many to name.
It's one of the most memorable and entertaining blockbusters of this decade and while it doesn't feel as special seeing all of these people in the same movie anymore, it still has them at their best and manages to do it so effortlessly. Like it's one thing that this movie exists, but the fact that it worked is something that'll never not be amazing.
What else can I say, really? It's "The Avengers". You've likely seen it, memed about it, quoted it, referenced it, it doesn't matter, it's been here for nearly ten years now and it's impact is still felt and mentioned. As well as something that's super easy to put on and rewatch, either for some lazy day entertainment, or to revisit during the lead up to their next big adventure.....
Ross (3282 KP) rated Black Mirror - Season 2 in TV
Jan 15, 2018
Series 2 includes 4 more episodes (three plus a Christmas special) of the cult Charlie Brooker series exploring the use of technology and extrapolating it to show where society could be headed.
We explore the use of our online personalities to recreate ourselves after we die (though this quickly became more about robots than the differences in our personalities between online and the real world so for me a trick missed to an extent).
We see a post-apocalyptic world where one woman wakes up to be haunted by people filming her on mobile phones while she runs from psychopaths trying to kill her. This is a look at how obsessed the world is with filming and documenting everything, even unpleasant events happening to other people, and voyeurism as a whole. There is a massive twist at the end which makes what was a jarring, inconsistent episode (as in doesn't fit in with the rest of the series) into an exceptional look at an aspect of the world (spoiler avoided).
I found the Waldo episode to be incredibly irritating. As if a rude, cartoonish character with tiny hands could ever really be taken seriously in the world of politics?! Waldo shows an echo of Ali G's rise to fame but takes it to the next level. While I don't think we are meant to actually find Waldo funny, I found him very annoying and a step too far. Weirdly he reminded me of the banter comedy in Nathan Barley (it turns out this story was originally written for Nathan Barley).
The Christmas special was possibly my favourite of the episodes, Rafe Spall and Jon Hamm (Don Draper) living in awkward circumstances in a cabin. We are led to believe they are working at a remote mining operation or some such and finally start to bond over Christmas dinner and open up. They share stories about their lives before they moved, all three showing the benefits and perils of the technology whereby people can stream their lives to others (and get real-time dating advice) but can also block others from their lives (whereby they are pixelated to you and vice versa). Parts of this story were truly harrowing, how a happy relationship could quickly turn sour and the technology mean years of upset that could be avoided.
We explore the use of our online personalities to recreate ourselves after we die (though this quickly became more about robots than the differences in our personalities between online and the real world so for me a trick missed to an extent).
We see a post-apocalyptic world where one woman wakes up to be haunted by people filming her on mobile phones while she runs from psychopaths trying to kill her. This is a look at how obsessed the world is with filming and documenting everything, even unpleasant events happening to other people, and voyeurism as a whole. There is a massive twist at the end which makes what was a jarring, inconsistent episode (as in doesn't fit in with the rest of the series) into an exceptional look at an aspect of the world (spoiler avoided).
I found the Waldo episode to be incredibly irritating. As if a rude, cartoonish character with tiny hands could ever really be taken seriously in the world of politics?! Waldo shows an echo of Ali G's rise to fame but takes it to the next level. While I don't think we are meant to actually find Waldo funny, I found him very annoying and a step too far. Weirdly he reminded me of the banter comedy in Nathan Barley (it turns out this story was originally written for Nathan Barley).
The Christmas special was possibly my favourite of the episodes, Rafe Spall and Jon Hamm (Don Draper) living in awkward circumstances in a cabin. We are led to believe they are working at a remote mining operation or some such and finally start to bond over Christmas dinner and open up. They share stories about their lives before they moved, all three showing the benefits and perils of the technology whereby people can stream their lives to others (and get real-time dating advice) but can also block others from their lives (whereby they are pixelated to you and vice versa). Parts of this story were truly harrowing, how a happy relationship could quickly turn sour and the technology mean years of upset that could be avoided.
BankofMarquis (1832 KP) rated Bad Times at the El Royale (2018) in Movies
Feb 6, 2019
Check Into the El Royale, You'll Be Glad You Did
BAD TIMES AT THE EL ROYALE is a bloody movie about bloody people doing bloody things at a bloody hotel.
It's also bloody good.
Showing the same original style and panache that I have come to expect from Director/Writer Drew Goddard (THE CABIN IN THE WOODS), BAD TIMES...follows the storytelling device of a Quentin Tarantino flick like PULP FICTION or THE HATEFUL EIGHT in that it follows a seemingly disparate group of people - each with their own story - who's lives intersect.
Goddard's reputation has, obviously, preceded him as on the surface this film looks like a "B" flick filled with gore and violence, but in Goddard's hands - and with some strong acting talent and VERY strong production qualities (the sets, costumes and music help tell the story), this film is elevated to something much more than a "B" flick.
Jeff Bridges (HELL AND HIGH WATER) stars (at least in one storyline) as a mysterious Priest who shows up at the El Royale for some reason - and it's not to change the Bibles in the rooms. He is joined in the lobby at check-in by a lounge singer played by Cynthia Ervino (WIDOWS), vacuum cleaner salesman portrayed by John Hamm (BABY DRIVER) and by a mystery women played by Dakota Johnson (50 SHADES...) - all have secrets to hide and through flashbacks and chance encounters, their stories erupt on each other. And erupt they do when into the mix comes charismatic, mostly shirtless Cult Leader Billy Lee (Chris Hemsworth) and his cult followers.
Goddard orchestrates this group of strong actors well, giving each character/actor moments to shine and play off each other. The dialogue, while not at a Tarantino level, was interesting and intriguing as much as what was NOT said then what WAS said.
But, make no mistake about it, this is an action movie - and action there is. Bodies, bullets and blood start flying as soon as these characters collide at the El Royale and bad times happen, for sure.
But, for me, this was a GOOD TIME AT THE EL ROYALE. If you like Pulp Fiction, Baby Driver, Hell and High Water or John Wick, then you'll like this flick. Check in to the El Royale, you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
It's also bloody good.
Showing the same original style and panache that I have come to expect from Director/Writer Drew Goddard (THE CABIN IN THE WOODS), BAD TIMES...follows the storytelling device of a Quentin Tarantino flick like PULP FICTION or THE HATEFUL EIGHT in that it follows a seemingly disparate group of people - each with their own story - who's lives intersect.
Goddard's reputation has, obviously, preceded him as on the surface this film looks like a "B" flick filled with gore and violence, but in Goddard's hands - and with some strong acting talent and VERY strong production qualities (the sets, costumes and music help tell the story), this film is elevated to something much more than a "B" flick.
Jeff Bridges (HELL AND HIGH WATER) stars (at least in one storyline) as a mysterious Priest who shows up at the El Royale for some reason - and it's not to change the Bibles in the rooms. He is joined in the lobby at check-in by a lounge singer played by Cynthia Ervino (WIDOWS), vacuum cleaner salesman portrayed by John Hamm (BABY DRIVER) and by a mystery women played by Dakota Johnson (50 SHADES...) - all have secrets to hide and through flashbacks and chance encounters, their stories erupt on each other. And erupt they do when into the mix comes charismatic, mostly shirtless Cult Leader Billy Lee (Chris Hemsworth) and his cult followers.
Goddard orchestrates this group of strong actors well, giving each character/actor moments to shine and play off each other. The dialogue, while not at a Tarantino level, was interesting and intriguing as much as what was NOT said then what WAS said.
But, make no mistake about it, this is an action movie - and action there is. Bodies, bullets and blood start flying as soon as these characters collide at the El Royale and bad times happen, for sure.
But, for me, this was a GOOD TIME AT THE EL ROYALE. If you like Pulp Fiction, Baby Driver, Hell and High Water or John Wick, then you'll like this flick. Check in to the El Royale, you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
Movie Metropolis (309 KP) rated You're Next (2013) in Movies
Jun 11, 2019
Finding a good horror film has been a little like a prompt train over the last few years, they are few and far between. However, 2013 has produced more than its fair share of movies within the genre, with the excellent The Purge, released earlier this year; Insidious 2, which is in cinemas this autumn and of course, the subject of this review; You’re Next. But can this modern horror film deliver the thrills and spills of those of yesteryear?
Relative newcomer Adam Wingard directs this rather formulaic home invasion film with some nice creative touches and a rousing score, borrowing heavily from other similar films like the dire When a Stranger Calls, the excellent The Strangers and the downright ridiculous Black Christmas.
However, what sets You’re Next apart from the pack is in its comic timing. Rather than going for full shock value, the film delivers a comedic edge which is welcome in breaking up the bludgeoning and stabbing, which there is a huge amount of.
The plot is simple, a family gathers at their parents’ large manor house to celebrate an anniversary, only to be taunted and butchered by a group of masked killers intent on ruining the party. There are the usual horror clichés of people being watched from outside, people being crept up on from behind and the gem that is thinking there is someone there and realising it’s just a member of the family, but Wingard keeps it feeling fresh and new throughout.
The acting is generally terrible, as is the case with many horror films, but because the movie never takes itself too seriously, the performances add to the overall effect rather than become an annoyance. One stand-out characterisation is Sharni Vinson as Erin, a larger than life Australian who really comes into her own in the battle between the ever decreasing family and the constant onslaught of the masked murderers.
Whilst not scaling the heights of last year’s Cabin in the Woods, You’re Next really helps show that there is life in a genre which has been inundated with cheap knock-offs, countless sequels and pointless remakes.
It is daft, unoriginal and full of lifeless characters, but as a slice of truly terrifying horror and a piece of laugh out loud dark comedy, it succeeds and is highly recommended.
Relative newcomer Adam Wingard directs this rather formulaic home invasion film with some nice creative touches and a rousing score, borrowing heavily from other similar films like the dire When a Stranger Calls, the excellent The Strangers and the downright ridiculous Black Christmas.
However, what sets You’re Next apart from the pack is in its comic timing. Rather than going for full shock value, the film delivers a comedic edge which is welcome in breaking up the bludgeoning and stabbing, which there is a huge amount of.
The plot is simple, a family gathers at their parents’ large manor house to celebrate an anniversary, only to be taunted and butchered by a group of masked killers intent on ruining the party. There are the usual horror clichés of people being watched from outside, people being crept up on from behind and the gem that is thinking there is someone there and realising it’s just a member of the family, but Wingard keeps it feeling fresh and new throughout.
The acting is generally terrible, as is the case with many horror films, but because the movie never takes itself too seriously, the performances add to the overall effect rather than become an annoyance. One stand-out characterisation is Sharni Vinson as Erin, a larger than life Australian who really comes into her own in the battle between the ever decreasing family and the constant onslaught of the masked murderers.
Whilst not scaling the heights of last year’s Cabin in the Woods, You’re Next really helps show that there is life in a genre which has been inundated with cheap knock-offs, countless sequels and pointless remakes.
It is daft, unoriginal and full of lifeless characters, but as a slice of truly terrifying horror and a piece of laugh out loud dark comedy, it succeeds and is highly recommended.
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