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Bob Mann (459 KP) rated Halloween (2018) in Movies
Sep 28, 2021
“He’s waited for me; I’ve waited for him”.
A blood-soaked history.
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
Gareth von Kallenbach (980 KP) rated the PlayStation 4 version of Batman: Arkham Knight in Video Games
Jun 19, 2019
Playing as Batman never gets old for fans of the Caped Crusader and in the latest video game offering Arkham Knight from Warner Bros Interactive and Rocksteady Studios, fans can once again climb, soar, and now drive through the streets of Gotham City to make the world a safer place.
After the Scarecrow has launched an attack on the city, it is up to Batman to save the day as the mass exodus caused by the attack has left Gotham a shell of its former self and allowed more of the seedy underbelly of the city to come to ground.
As Batman investigates he encounters all sorts of foes ranging from Poison Ivy to the Arkham Knight who stand in his way. Of course there are legions of henchmen and goons for you to fight through and the free-form combat that has been established in the previous games in the series really shines as the action is as fast and smooth as you would want.
Driving segments played a big part in the game and while I loved racing through the city, I did find the vehicle combat a bit linear and repetitive for my taste, but there are some great side missions such as one in the sewers with the Riddler that will put your driving skills to the test.
What I loved about the game was that the city was a true living and breathing city. It is vast, complex, and something to enjoy when you’re gliding or rappelling your way across the rooftops.
The plot of the game is also a huge selling point as it is filled with twists and turns that will keep you hooked during the entire time that you are playing the game.
From the great graphics and action, the sound quality in the game really makes things come to life, especially the thuds of your fists hitting the next bad guy who was crazy enough to think that they could get away from Batman.
If you are a fan of the previous Batman games in the series, there is much to like about Arkham Knight as aside from the Batmobile issues, I had very little to complain about. The control system works well, the graphics, and sound are first-rate, and the storyline is gripping and engaging.
I look forward to playing the game again and focusing more on the side quests, but for now, let me say that Batman: Arkham Knight is a must own for fan of the series as it is on par with the amazing Arkham Asylum for the best Batman adaptation to date.
http://sknr.net/2015/07/28/batman-arkham-knight/
After the Scarecrow has launched an attack on the city, it is up to Batman to save the day as the mass exodus caused by the attack has left Gotham a shell of its former self and allowed more of the seedy underbelly of the city to come to ground.
As Batman investigates he encounters all sorts of foes ranging from Poison Ivy to the Arkham Knight who stand in his way. Of course there are legions of henchmen and goons for you to fight through and the free-form combat that has been established in the previous games in the series really shines as the action is as fast and smooth as you would want.
Driving segments played a big part in the game and while I loved racing through the city, I did find the vehicle combat a bit linear and repetitive for my taste, but there are some great side missions such as one in the sewers with the Riddler that will put your driving skills to the test.
What I loved about the game was that the city was a true living and breathing city. It is vast, complex, and something to enjoy when you’re gliding or rappelling your way across the rooftops.
The plot of the game is also a huge selling point as it is filled with twists and turns that will keep you hooked during the entire time that you are playing the game.
From the great graphics and action, the sound quality in the game really makes things come to life, especially the thuds of your fists hitting the next bad guy who was crazy enough to think that they could get away from Batman.
If you are a fan of the previous Batman games in the series, there is much to like about Arkham Knight as aside from the Batmobile issues, I had very little to complain about. The control system works well, the graphics, and sound are first-rate, and the storyline is gripping and engaging.
I look forward to playing the game again and focusing more on the side quests, but for now, let me say that Batman: Arkham Knight is a must own for fan of the series as it is on par with the amazing Arkham Asylum for the best Batman adaptation to date.
http://sknr.net/2015/07/28/batman-arkham-knight/
Phillip McSween (751 KP) rated See You Yesterday (2019) in Movies
Oct 23, 2019
Highly Entertaining and Thought-Provoking
After successfully creating a time machine, high school scientist CJ Walker (Eden Duncan-Smith) decides to go back in time and save her brother from being gunned down by police. She soon learns that it’s harder to change the past than she once thought.
Acting: 10
Beginning: 10
With an eighty-seven-minute runtime, the movie doesn’t linger getting you into the action immediately. We see CJ and her partner Sebastian Thomas (Dante Chrichlow) working through trials of time machine testing which prove for hilarious results. It quickly brought me into the world of the characters and laid the foundation for the story.
Characters: 10
Cinematography/Visuals: 8
See You Yesterday captures the full essence of New York. The teens walk through busy streets past bodegas and fruit stands. They hit corner stores and picnics, the subway their primary means of transportation. Although the time travel aspect is slightly cheesy to watch (ok, extremely cheesy), it doesn’t diminish the impactful moments director Stefon Bristol is able to capture.
Conflict: 10
Entertainment Value: 10
The movie makes full use of its short runtime, not slowing down for a second. It does a masterful job of sprinkling in comedic moments into a movie that could otherwise lull you into a sense of helplessness. I was riveted throughout by all the potential outcomes that could await.
Memorability: 10
So much to say about how powerful this movie is. It explores time travel like never before with decisions that revolve around what’s happening right now in the public eye. You walk away not sure of what’s right or what’s wrong or if you would’ve approached the situation in the same way. This movie will definitely sit with you long after you watch it.
Pace: 10
Plot: 10
Great story through and through. The movie never cheats itself and carries things through no matter how tough it can be at times. The story works largely in part due to the two main characters having such opposing views to approaching the conflict. It creates friction and an uncomfortable tension necessary for the checks and balances of the movie.
Resolution: 7
While I wasn’t in love with the ending, I understand that it was necessary and I also understand the point that was being driven home. If nothing else, it was definitely an ending that left you wanting more.
Overall: 95
See You Yesterday represents everything I love about movies. As of late October 2019, this definitely falls into my Top Ten list for the year. See it, asap. Not only will you love it, but it won’t take up a lot of time in your day.
Acting: 10
Beginning: 10
With an eighty-seven-minute runtime, the movie doesn’t linger getting you into the action immediately. We see CJ and her partner Sebastian Thomas (Dante Chrichlow) working through trials of time machine testing which prove for hilarious results. It quickly brought me into the world of the characters and laid the foundation for the story.
Characters: 10
Cinematography/Visuals: 8
See You Yesterday captures the full essence of New York. The teens walk through busy streets past bodegas and fruit stands. They hit corner stores and picnics, the subway their primary means of transportation. Although the time travel aspect is slightly cheesy to watch (ok, extremely cheesy), it doesn’t diminish the impactful moments director Stefon Bristol is able to capture.
Conflict: 10
Entertainment Value: 10
The movie makes full use of its short runtime, not slowing down for a second. It does a masterful job of sprinkling in comedic moments into a movie that could otherwise lull you into a sense of helplessness. I was riveted throughout by all the potential outcomes that could await.
Memorability: 10
So much to say about how powerful this movie is. It explores time travel like never before with decisions that revolve around what’s happening right now in the public eye. You walk away not sure of what’s right or what’s wrong or if you would’ve approached the situation in the same way. This movie will definitely sit with you long after you watch it.
Pace: 10
Plot: 10
Great story through and through. The movie never cheats itself and carries things through no matter how tough it can be at times. The story works largely in part due to the two main characters having such opposing views to approaching the conflict. It creates friction and an uncomfortable tension necessary for the checks and balances of the movie.
Resolution: 7
While I wasn’t in love with the ending, I understand that it was necessary and I also understand the point that was being driven home. If nothing else, it was definitely an ending that left you wanting more.
Overall: 95
See You Yesterday represents everything I love about movies. As of late October 2019, this definitely falls into my Top Ten list for the year. See it, asap. Not only will you love it, but it won’t take up a lot of time in your day.
James P. Sumner (65 KP) rated Yesterday (2019) in Movies
Jul 18, 2019
The best British film in years!
Despite not really being a fan of The Beatles or their music, when I first saw the trailer for this at the start of the year, I was genuinely intrigued by the concept. An aspiring musician (and huge Beatles fan) is hit by a bus during an inexplicable global blackout, only to wake up to a world in which The Beatles seemingly never existed. As the only one who remembers their songs, he releases them as his own and conquers the music world.
The trailer did a good job of letting you know what to expect without giving too much away, believe it or not. There are a few twists and turns along the way, which were a nice surprise. Ultimately, this IS a British rom-com underneath it all, and the final third is as predictable as every other film in the genre.
Yet this film oozes charm and whimsicality, and sets itself apart from everything that's come before it. Say what you want about Love Actually, but for me, that was the last British film to really make a splash on this level - which was 16 years ago!
The script is amazing. No scene feels unnecessary. No dialogue feels pointless. Richard Curtis, yet again, proves he's a true master of his craft. The lead roles are perfectly cast. Lily James, in particular, puts in another great performance, showing she's worthy of more heavyweight roles (although she's definitely found her niche in this type of film).
What I really loved about this film was how thought-provoking it was. Relative newcomer, Himesh Patel's portrayal of Jack Malek is spot-on, playing with your own emotions and morals, forcing you to ask yourself if you could remain as grounded and humble as he did if something like this happened to you. Despite being over the top at times, it all felt surprisingly real. I can imagine this is exactly how it would play out if something like this were to happen to someone - the media frenzy, the explosion of popularity online, the whirlwind of life-changing moments...
The film is about big moments in your life, and what you choose to do with them when they happen. It's about chasing your dreams and what you would do if you caught them. It's about how to follow your heart when it wants two things at once. I left the cinema smiling, but also genuinely thinking about my entire outlook on life.
Danny Boyle has done an excellent job with this film, and it deserves to go down as one of the best British films in recent years. Whether you're a fan of the music or not, this should not be missed. Near perfect!
The trailer did a good job of letting you know what to expect without giving too much away, believe it or not. There are a few twists and turns along the way, which were a nice surprise. Ultimately, this IS a British rom-com underneath it all, and the final third is as predictable as every other film in the genre.
Yet this film oozes charm and whimsicality, and sets itself apart from everything that's come before it. Say what you want about Love Actually, but for me, that was the last British film to really make a splash on this level - which was 16 years ago!
The script is amazing. No scene feels unnecessary. No dialogue feels pointless. Richard Curtis, yet again, proves he's a true master of his craft. The lead roles are perfectly cast. Lily James, in particular, puts in another great performance, showing she's worthy of more heavyweight roles (although she's definitely found her niche in this type of film).
What I really loved about this film was how thought-provoking it was. Relative newcomer, Himesh Patel's portrayal of Jack Malek is spot-on, playing with your own emotions and morals, forcing you to ask yourself if you could remain as grounded and humble as he did if something like this happened to you. Despite being over the top at times, it all felt surprisingly real. I can imagine this is exactly how it would play out if something like this were to happen to someone - the media frenzy, the explosion of popularity online, the whirlwind of life-changing moments...
The film is about big moments in your life, and what you choose to do with them when they happen. It's about chasing your dreams and what you would do if you caught them. It's about how to follow your heart when it wants two things at once. I left the cinema smiling, but also genuinely thinking about my entire outlook on life.
Danny Boyle has done an excellent job with this film, and it deserves to go down as one of the best British films in recent years. Whether you're a fan of the music or not, this should not be missed. Near perfect!
Goddess in the Stacks (553 KP) rated Gender Outlaw: On Men, Women and the Rest of Us in Books
Jul 23, 2019
This book has one of the best forewords I've ever seen. Bornstein explains that since 1994, when the book was first published, language has changed a lot, and terms that were used regularly then, like transsexual, are highly offensive now. So she has heavily rewritten the book to change the language, but she goes on to say that language is an always-changing thing, and in five or six years this edition, too, might be offensive in the language used. Then she apologizes for that. My favorite lines are one of the last paragraphs of the foreword:
"Now, if anything you read in this book makes you feel bad or wrong or small and weak, then please know that I said something wrong. This book was written many years ago, and the culture I wrote it in is not the culture in which you're reading it. So, if you find anything to be personally insulting, please accept my apology and keep reading with the knowledge that your identity and how you express your gender are correct only when you feel they are correct."
It was a wonderful note to start the book on. I just loved "if you are offended, if this invalidates your identity, then I AM WRONG." Bornstein transitioned in the 80s, and has been an outspoken advocate of queer and trans people most of her life. She is definitely a figure in queer history that more people should read about.
The rest of the book is every bit as good as the foreword. Bornstein absolutely destroys the concept of gender in this book, dissecting it and looking at all the parts and pieces to attempt to figure out why society is so set on the binary system. She more than makes her case that gender is a spectrum, not an either/or. And not just a spectrum between "more male" and "more female" but a colorful kaleidoscope of gender expression and identity. She does not shy away from sensitive topics like surgeries and anatomy. She talks to the reader like she's your favorite outrageous aunt, sitting in the family room gossiping over heavily-spiked tea.
The formatting was occasionally confusing; she has the usual justified text, but then she has left-aligned passages (usually quotes from other people) and right-aligned passages (side-bar like content; I'm unclear if these are notes she made on the original text or what, but it generally clarifies or alters what the main text is talking about.)
I would HIGHLY recommend this book for anyone who wants to learn more about gender issues. Bornstein has an incredibly entertaining way of writing, and she loves to challenge what we think of as gender.
You can find all my reviews and more at http://goddessinthestacks.com
"Now, if anything you read in this book makes you feel bad or wrong or small and weak, then please know that I said something wrong. This book was written many years ago, and the culture I wrote it in is not the culture in which you're reading it. So, if you find anything to be personally insulting, please accept my apology and keep reading with the knowledge that your identity and how you express your gender are correct only when you feel they are correct."
It was a wonderful note to start the book on. I just loved "if you are offended, if this invalidates your identity, then I AM WRONG." Bornstein transitioned in the 80s, and has been an outspoken advocate of queer and trans people most of her life. She is definitely a figure in queer history that more people should read about.
The rest of the book is every bit as good as the foreword. Bornstein absolutely destroys the concept of gender in this book, dissecting it and looking at all the parts and pieces to attempt to figure out why society is so set on the binary system. She more than makes her case that gender is a spectrum, not an either/or. And not just a spectrum between "more male" and "more female" but a colorful kaleidoscope of gender expression and identity. She does not shy away from sensitive topics like surgeries and anatomy. She talks to the reader like she's your favorite outrageous aunt, sitting in the family room gossiping over heavily-spiked tea.
The formatting was occasionally confusing; she has the usual justified text, but then she has left-aligned passages (usually quotes from other people) and right-aligned passages (side-bar like content; I'm unclear if these are notes she made on the original text or what, but it generally clarifies or alters what the main text is talking about.)
I would HIGHLY recommend this book for anyone who wants to learn more about gender issues. Bornstein has an incredibly entertaining way of writing, and she loves to challenge what we think of as gender.
You can find all my reviews and more at http://goddessinthestacks.com
Emma @ The Movies (1786 KP) rated Color Out of Space (2019) in Movies
Feb 8, 2020
You had me at Nicolas Cage.
The Gardners are settling into the secluded family home nicely, no city hustle and bustle to bother them. That peaceful life is shattered when a curious meteorite crashes into their garden. Far from a normal bit of space debris, the rock seems to be changing everything around it. It's taking over, the plants, pace and time, even the family themselves.
Briefly hearing Richard Stanley before this screening made me feel this adaptation of Lovecraft's work of the same name was in good hands, he clearly has an appreciation for what he's was working on and the imagery he creates makes for incredible viewing.
So, straight to Nic Cage... he doesn't quite go full Cage, but he's pretty close. It's the usual insanity we've all come to love.
This film is a little crazy on many levels, the family as a whole are very off before we even get to the magical meteorite. Each member seemingly has their own little corner of crazy town mapped out, and yet when you look at them as a whole you'd wouldn't put them in the same family.
As the film progresses and things get even more bizarre the family feel even less connected than at the beginning. The alien influence is pushing them further apart, but on top of that the script falls away in the middle and chaotic devolving of sanity replaces it. Each member of the family has their own experience with the meteorite, apart from chaos and the underlying cause none of it feels connected.
To say it plainly, there's some really messed up stuff. I would love to see how some of it was achieved because if Richardson is doing half the things it appears she is then she deserves some kind of award. I've got the short story to read so I can compare the two because honestly I can't visualise the written version of this story.
The creatures that evolve are made to be terrifying, and they do scare, but the comedy moments that come through from the performances (mostly unintentionally I guess) detract from it being all that shocking.
Our meteorite has a great influence over the sets for most of the movie, the colours and the growth are used to good effect. The progression is clear and well balanced, it might not always look realistic but the fact that that's the point helps.
When you look at Color Out Of Space as a whole it's all over the place, interesting but ambling, understandable and confusing. Despite that, it's an experience that I enjoyed having.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/color-out-of-space-movie-review.html
The Gardners are settling into the secluded family home nicely, no city hustle and bustle to bother them. That peaceful life is shattered when a curious meteorite crashes into their garden. Far from a normal bit of space debris, the rock seems to be changing everything around it. It's taking over, the plants, pace and time, even the family themselves.
Briefly hearing Richard Stanley before this screening made me feel this adaptation of Lovecraft's work of the same name was in good hands, he clearly has an appreciation for what he's was working on and the imagery he creates makes for incredible viewing.
So, straight to Nic Cage... he doesn't quite go full Cage, but he's pretty close. It's the usual insanity we've all come to love.
This film is a little crazy on many levels, the family as a whole are very off before we even get to the magical meteorite. Each member seemingly has their own little corner of crazy town mapped out, and yet when you look at them as a whole you'd wouldn't put them in the same family.
As the film progresses and things get even more bizarre the family feel even less connected than at the beginning. The alien influence is pushing them further apart, but on top of that the script falls away in the middle and chaotic devolving of sanity replaces it. Each member of the family has their own experience with the meteorite, apart from chaos and the underlying cause none of it feels connected.
To say it plainly, there's some really messed up stuff. I would love to see how some of it was achieved because if Richardson is doing half the things it appears she is then she deserves some kind of award. I've got the short story to read so I can compare the two because honestly I can't visualise the written version of this story.
The creatures that evolve are made to be terrifying, and they do scare, but the comedy moments that come through from the performances (mostly unintentionally I guess) detract from it being all that shocking.
Our meteorite has a great influence over the sets for most of the movie, the colours and the growth are used to good effect. The progression is clear and well balanced, it might not always look realistic but the fact that that's the point helps.
When you look at Color Out Of Space as a whole it's all over the place, interesting but ambling, understandable and confusing. Despite that, it's an experience that I enjoyed having.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/color-out-of-space-movie-review.html
Kristy H (1252 KP) rated The Guncle in Books
Jul 22, 2021
A beautiful, funny, and sweet story of finding hope after loss
Patrick and Sara were best friends in college. Then she married his brother, had two kids, and life went on. Until Sara dies, leaving Patrick's niece and nephew motherless. Patrick has always adored Maisie and Grant--for small time periods. But when his brother Greg asks Patrick, aka "Gay Uncle Patrick," or "GUP," to take the kids for a bit, he's faced with a dilemma. It's time to actually step up. So GUP and the kids head to Patrick's house in Palm Springs, where Patrick leads the life of a very single (and gay) slightly faded actor. Once there, he institutes the "Guncle Rules" and they set out trying to survive. But as Patrick bumbles his way through parenting and trying to help his little charges heal, he realizes they may be helping them more than he could have ever imagined.
"He promised when they'd met that he would never let her go. And then life intervened. She went north and married his brother. He went west and found fame on TV. And slowly, over time, he did. Let go."
Oh this book. I'm not sure a book has ever made me cry so many times, yet I loved it so much. It's often sad but also incredibly funny and heartwarming. Rowley does something special here, capturing Patrick, Maisie, and Grant so beautifully and authentically. This is a lovely story about family and coming together after loss.
There's not much I can say to do this wonderful book justice. The Guncle is made up of a million little moments--obviously Maisie and Grant are hurting, but you learn Patrick is as well. Who needs who more? Patrick is bitingly caustic, and he talks to the kids as if they are tiny adults. But the warmth and love that comes across in his humor--that he uses as his shield--is so clear. The book is a quiet and beautiful journey of all three characters learning to live again, and it's so well-done. It's such a tender and honest story. And the acceptance that comes across here--oh, it just warmed my heart. (A scene where Maisie didn't want to wear her bathing suit, and Patrick didn't force her, but let her wear a t-shirt instead, promising to buy her a rash guard--well it brought tears to my eyes.)
I promise if you give this sweet book a try, you will love it. I love Patrick, Maisie, and Grant. I adored the welcoming message of the book. It's a sad premise, but a hopeful book. 4.5+ stars.
"He promised when they'd met that he would never let her go. And then life intervened. She went north and married his brother. He went west and found fame on TV. And slowly, over time, he did. Let go."
Oh this book. I'm not sure a book has ever made me cry so many times, yet I loved it so much. It's often sad but also incredibly funny and heartwarming. Rowley does something special here, capturing Patrick, Maisie, and Grant so beautifully and authentically. This is a lovely story about family and coming together after loss.
There's not much I can say to do this wonderful book justice. The Guncle is made up of a million little moments--obviously Maisie and Grant are hurting, but you learn Patrick is as well. Who needs who more? Patrick is bitingly caustic, and he talks to the kids as if they are tiny adults. But the warmth and love that comes across in his humor--that he uses as his shield--is so clear. The book is a quiet and beautiful journey of all three characters learning to live again, and it's so well-done. It's such a tender and honest story. And the acceptance that comes across here--oh, it just warmed my heart. (A scene where Maisie didn't want to wear her bathing suit, and Patrick didn't force her, but let her wear a t-shirt instead, promising to buy her a rash guard--well it brought tears to my eyes.)
I promise if you give this sweet book a try, you will love it. I love Patrick, Maisie, and Grant. I adored the welcoming message of the book. It's a sad premise, but a hopeful book. 4.5+ stars.
Jesters_folly (230 KP) rated Mandy (2018) in Movies
Sep 25, 2019
Contains spoilers, click to show
Red Miller (Nicholas Cage) is sent on a rampaging quest for vengeance when an evil cult abducts and kill his partner, Mandy Bloom.
The story is simple, Mandy and Red live alone in a forest. By chance Mandy is spotted by a cult leader who decided that he wants her to join him. Things don’t go to plan and Mandy ends up dead and Red starts on a quest for revenge. Simple and familiar, it’s not an uncommon plot, however Mandy is part film, part drug filled dream with snippets of animation thrown in, overlaid with a psychedelic, prog rock soundtrack. It has drugs, cults, demonic, slipknot esc bikers, (male) nudity, chainsaws and crossbows, religious parables and Jesus parallels. There is a metaphorical decent to hell and there is Nicholas Cage. All this is shot with constantly changing, coloured filters and distorted voices.
You can probably tell that Mandy isn’t for everyone, at times the film feels like an Italian horror, something like Suspiria or Deep Red and other time it seems like someone has brought a 70’s or 80’s rock/metal album cover to life. Throw in some animation that would be at home in ‘Heavy Metal’ Magazine, turn the crazy dial up to 11 and let Nicolas Cage (slowly) off the sanity leash and you have Mandy.
There are plot point that are not explained, for example Red suddenly has a friend who has a cross bow stored away for him and Red suddenly has a forge and knows how to use it. Is Mandy some kind of witch and, of course, is Red dead at the end.
I would say that there are some crazy scenes but the whole film is crazy but it does lead to some great scene’s like a chainsaw duel.
As I said, Mandy isn’t for everyone, it has a simple plot that has been turned in to a surreal nightmare so if you don’t like weird don’t watch this.
Mandy is also slow to get started as it builds up the atmosphere. I think that, if the film kept the atmosphere it starts with it could have been a similar tone to something like Midsommar however by the halfway point it has past that and, by the end the film just takes a head dive down the rabbit hole (almost literally).
Given all that I found it hard to rate, it has the feel of a 70’s horror and an 80’s grindhouse, some of the filters make it hard to understand some of the lines and the colour filters were disturbing and distracting although most of this was on purpose but over all I did enjoy it.
The story is simple, Mandy and Red live alone in a forest. By chance Mandy is spotted by a cult leader who decided that he wants her to join him. Things don’t go to plan and Mandy ends up dead and Red starts on a quest for revenge. Simple and familiar, it’s not an uncommon plot, however Mandy is part film, part drug filled dream with snippets of animation thrown in, overlaid with a psychedelic, prog rock soundtrack. It has drugs, cults, demonic, slipknot esc bikers, (male) nudity, chainsaws and crossbows, religious parables and Jesus parallels. There is a metaphorical decent to hell and there is Nicholas Cage. All this is shot with constantly changing, coloured filters and distorted voices.
You can probably tell that Mandy isn’t for everyone, at times the film feels like an Italian horror, something like Suspiria or Deep Red and other time it seems like someone has brought a 70’s or 80’s rock/metal album cover to life. Throw in some animation that would be at home in ‘Heavy Metal’ Magazine, turn the crazy dial up to 11 and let Nicolas Cage (slowly) off the sanity leash and you have Mandy.
There are plot point that are not explained, for example Red suddenly has a friend who has a cross bow stored away for him and Red suddenly has a forge and knows how to use it. Is Mandy some kind of witch and, of course, is Red dead at the end.
I would say that there are some crazy scenes but the whole film is crazy but it does lead to some great scene’s like a chainsaw duel.
As I said, Mandy isn’t for everyone, it has a simple plot that has been turned in to a surreal nightmare so if you don’t like weird don’t watch this.
Mandy is also slow to get started as it builds up the atmosphere. I think that, if the film kept the atmosphere it starts with it could have been a similar tone to something like Midsommar however by the halfway point it has past that and, by the end the film just takes a head dive down the rabbit hole (almost literally).
Given all that I found it hard to rate, it has the feel of a 70’s horror and an 80’s grindhouse, some of the filters make it hard to understand some of the lines and the colour filters were disturbing and distracting although most of this was on purpose but over all I did enjoy it.
Jesters_folly (230 KP) rated Cooties (2015) in Movies
Aug 14, 2021
Contains spoilers, click to show
First off a warning, Cooties is a Zombie film where the zombies are children so, if you don't like violence against children than this really isn't the film for you.
Clint (Elijah Wood) moves back to his home town to work on his book and takes a job as a substitute teacher at his old school. On his first day a virus breaks out that turns all the children into zombies. Clint and the other teachers fight to escaper the school and find out what is happening.
Cooties is quite a self aware film, in one of the first scenes Clint askes his mother what she thought of his book and she tells him that the the characters are unlikable, the plot makes no sense and it's boring, the first one of those is true, most of the characters are unlikable, at least at the start of the film. The pre-zombie children are brats and the teachers range from meek to bullies. Making the children unlikable is necessary because of what happens later.
Some of the teachers do undergo character growth, as I said they start off unlikable but a few of them become more likeable as we find out what made them become teachers and how they react to the situation.
Saying that though, Cooties is not an overly cleaver film, it's a zombie film that uses horror tropes; people are trapped in small rooms, there are air vents, people get eaten and, despite how it starts there is no big message to the film. I say despite how it starts because I did think that it was going to be a big 'Anti Meat' film but any sigh of that is forgotten very soon and, apart from a slight pro-teacher message the film soon becomes another zombie flick, it doesn't even have the usual political undertones like the night of the living dead film.
Over all Cooties is generally a good zombie film but I think it will lose a big chunk of it's audience because it becomes quite violent as the teaches have to fight the children to get out.
Don't expect anything great, Cooties is just another zombie film with a gimmick that some will find distasteful but, if you like your zombie films with a bit of humour and mindless action and you can look past the fact the zombies are children then give Cooties a go.
One last thing, I did find myself asking, if the air vent is big enough to fit to small adults side by side then it must have been big enough for a large man so any one could have gone on the mission.
Clint (Elijah Wood) moves back to his home town to work on his book and takes a job as a substitute teacher at his old school. On his first day a virus breaks out that turns all the children into zombies. Clint and the other teachers fight to escaper the school and find out what is happening.
Cooties is quite a self aware film, in one of the first scenes Clint askes his mother what she thought of his book and she tells him that the the characters are unlikable, the plot makes no sense and it's boring, the first one of those is true, most of the characters are unlikable, at least at the start of the film. The pre-zombie children are brats and the teachers range from meek to bullies. Making the children unlikable is necessary because of what happens later.
Some of the teachers do undergo character growth, as I said they start off unlikable but a few of them become more likeable as we find out what made them become teachers and how they react to the situation.
Saying that though, Cooties is not an overly cleaver film, it's a zombie film that uses horror tropes; people are trapped in small rooms, there are air vents, people get eaten and, despite how it starts there is no big message to the film. I say despite how it starts because I did think that it was going to be a big 'Anti Meat' film but any sigh of that is forgotten very soon and, apart from a slight pro-teacher message the film soon becomes another zombie flick, it doesn't even have the usual political undertones like the night of the living dead film.
Over all Cooties is generally a good zombie film but I think it will lose a big chunk of it's audience because it becomes quite violent as the teaches have to fight the children to get out.
Don't expect anything great, Cooties is just another zombie film with a gimmick that some will find distasteful but, if you like your zombie films with a bit of humour and mindless action and you can look past the fact the zombies are children then give Cooties a go.
One last thing, I did find myself asking, if the air vent is big enough to fit to small adults side by side then it must have been big enough for a large man so any one could have gone on the mission.
Purple Phoenix Games (2266 KP) rated Tetris: The Card Game in Tabletop Games
Jul 2, 2020
One of the first video games I can remember playing is Tetris. The colorful Tetrominoes, the catchy theme music, the excitement (and anxiety!) as the speed gradually increases – what isn’t there to love? Tetris is an addicting game that has withstood the test of time, so I was extremely excited when I was gifted Tetris: The Card Game. Does the card version have a foothold in the Tetris fandom? Or does it fail to complete any rows in the matrix? (Haha, see what I did there?)
Tetris: The Card Game is a game of hand management and pattern recognition in which players are racing to be the first to earn 10 points. Setup is simple – shuffle the entire deck of cards, and deal 10 to each player. The cards are double-sided, with one side depicting a Tetris Matrix, and the other depicting a specific Tetromino. Arrange your cards in a 2×5 grid, with the Tetromino side facing up. This grid will act as your personal scoring track. Place the remaining cards, Matrix-side up, in a draw deck in the center of the table. Deal 1 additional card to each player, to go in hand, and the game is ready to begin! You will be using your hand of cards, Tetromino side, to complete the Matrix side of the top card of the draw deck.
A round of play is pretty straight-forward: draw one card, play one card. At the start of your turn, draw the top card from the draw deck. This will reveal a new Matrix on the next card of the draw pile. Choose one of your two cards in hand to complete at least 1 row in the revealed Matrix. Play the card, showing your opponents how it would fit into the Matrix, and score points. You score 1 point per row completed, so if your piece completes 2 rows, you would score 2 points. To track your points, you flip over cards in your 2×5 grid to their Matrix sides, to represent your scored points. If on your turn, you are unable to complete a Matrix line with either of your cards in hand, you must discard one card, and are also penalized by having to forfeit one of your earned points, flipping that card back to its Tetromino side. There are also a handful of Special cards that can be used to manipulate play, whether Reversing the play direction, or forcing a player to lose a point, and that adds a new little twist to the game. The game ends when one player has scored all 10 points and is declared the winner!
Probably the best things about Tetris: The Card Game, is that it is so simple to learn and play. The simplicity brings back the nostalgia of the original game to the extreme. It’s a super light game that can be used as a filler/palate cleanser between bigger games, or just as a game to toss on the table when you’ve got 5 free minutes. Another added bonus of its simplicity is that it is pretty friendly for younger/newer gamers. Looking to get your young’uns into the hobby, or just spreading some happiness with friends and colleagues? This is a good introductory game that is light-hearted, although not a complete brain burner.
Now, on the flip side, there are some drawbacks to this game. The first and biggest being that it is entirely based upon the luck of the draw. There is pretty much no strategy involved, because you are at the mercy of the draw deck. You really can’t set up a game strategy that can be adapted throughout a play because the game is so dependent upon luck. Depending on the current Matrix in play, certain Tetrominos could not be used at all to complete a row, so you end up having to burn a turn (and losing a point) to discard a card. And then you have to hope for the best next turn. Another drawback of this version of Tetris is the hand limit of 2 cards. That severely limits your options each turn, and can turn the game from light-hearted to frustrating because of a lack of choices. This hand limit also limits any strategic options. Certain Matrices can only be completed by certain Tetrominos, so unless you have those in hand, you’re stuck wasting a turn. The Special cards included in the game add a twist to the gameplay, but are a little too ‘take that’ for my taste. But without them, there is no player interaction at all. So it’s kind of a lose-lose situation for me in that regard.
Ultimately, I would say that the OG Tetris is still king. This game attempts to encompass the atmosphere and enjoyability of the video game, but it just falls flat for me. It is too dependent upon luck, and doesn’t offer enough strategic choices for players, so it ends up feeling bland and unengaging. Am I happy with this game? Honestly, no. But playing this with the right group of people could still result in some entertainment and good times. If luck-based games are your thing, then definitely consider this game. But if not, let OG Tetris be your go-to game to fulfill your tile-dropping, row-completing urges. Purple Phoenix Games gives Tetris: The Card Game a blocky 4 / 12.
Tetris: The Card Game is a game of hand management and pattern recognition in which players are racing to be the first to earn 10 points. Setup is simple – shuffle the entire deck of cards, and deal 10 to each player. The cards are double-sided, with one side depicting a Tetris Matrix, and the other depicting a specific Tetromino. Arrange your cards in a 2×5 grid, with the Tetromino side facing up. This grid will act as your personal scoring track. Place the remaining cards, Matrix-side up, in a draw deck in the center of the table. Deal 1 additional card to each player, to go in hand, and the game is ready to begin! You will be using your hand of cards, Tetromino side, to complete the Matrix side of the top card of the draw deck.
A round of play is pretty straight-forward: draw one card, play one card. At the start of your turn, draw the top card from the draw deck. This will reveal a new Matrix on the next card of the draw pile. Choose one of your two cards in hand to complete at least 1 row in the revealed Matrix. Play the card, showing your opponents how it would fit into the Matrix, and score points. You score 1 point per row completed, so if your piece completes 2 rows, you would score 2 points. To track your points, you flip over cards in your 2×5 grid to their Matrix sides, to represent your scored points. If on your turn, you are unable to complete a Matrix line with either of your cards in hand, you must discard one card, and are also penalized by having to forfeit one of your earned points, flipping that card back to its Tetromino side. There are also a handful of Special cards that can be used to manipulate play, whether Reversing the play direction, or forcing a player to lose a point, and that adds a new little twist to the game. The game ends when one player has scored all 10 points and is declared the winner!
Probably the best things about Tetris: The Card Game, is that it is so simple to learn and play. The simplicity brings back the nostalgia of the original game to the extreme. It’s a super light game that can be used as a filler/palate cleanser between bigger games, or just as a game to toss on the table when you’ve got 5 free minutes. Another added bonus of its simplicity is that it is pretty friendly for younger/newer gamers. Looking to get your young’uns into the hobby, or just spreading some happiness with friends and colleagues? This is a good introductory game that is light-hearted, although not a complete brain burner.
Now, on the flip side, there are some drawbacks to this game. The first and biggest being that it is entirely based upon the luck of the draw. There is pretty much no strategy involved, because you are at the mercy of the draw deck. You really can’t set up a game strategy that can be adapted throughout a play because the game is so dependent upon luck. Depending on the current Matrix in play, certain Tetrominos could not be used at all to complete a row, so you end up having to burn a turn (and losing a point) to discard a card. And then you have to hope for the best next turn. Another drawback of this version of Tetris is the hand limit of 2 cards. That severely limits your options each turn, and can turn the game from light-hearted to frustrating because of a lack of choices. This hand limit also limits any strategic options. Certain Matrices can only be completed by certain Tetrominos, so unless you have those in hand, you’re stuck wasting a turn. The Special cards included in the game add a twist to the gameplay, but are a little too ‘take that’ for my taste. But without them, there is no player interaction at all. So it’s kind of a lose-lose situation for me in that regard.
Ultimately, I would say that the OG Tetris is still king. This game attempts to encompass the atmosphere and enjoyability of the video game, but it just falls flat for me. It is too dependent upon luck, and doesn’t offer enough strategic choices for players, so it ends up feeling bland and unengaging. Am I happy with this game? Honestly, no. But playing this with the right group of people could still result in some entertainment and good times. If luck-based games are your thing, then definitely consider this game. But if not, let OG Tetris be your go-to game to fulfill your tile-dropping, row-completing urges. Purple Phoenix Games gives Tetris: The Card Game a blocky 4 / 12.
