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TheDefunctDiva (304 KP) rated Charlie and the Chocolate Factory (2005) in Movies
Sep 27, 2017
C is for Candy
Contains spoilers, click to show
And yes, I certainly mean eye candy. Johnny Depp is gorgeous despite the makeup artists’ attempts to make him seem pale and awkward. My brain isn’t working properly due to lack of sleep so I’ll just go ahead and warn you that this is more a regurgitation than a review. Read at your own risk, because I even give the entire ending of the movie away…
This is the story of Charlie Bucket, an impoverished but genuinely good-natured child. His dream is one of millions: to win a Golden Ticket, and tour Willy Wonka’s chocolate factory in the hopes of obtaining an even bigger prize. If this plot sounds familiar, it’s because you’ve seen Willy Wonka and the Chocolate Factory, or have read the book. I profess my ignorance, for I haven’t read the book Roald Dahl wrote, and therefore have no idea which movie version adheres more strictly to the original text.
Let’s move on by more closely examining Burton’s version. Despite some of the world’s most recalcitrant children winning the four other tickets, Charlie lucks out and becomes the recipient of the last Golden Ticket. This brings great joy to his family and even makes the bed-ridden Grandpa Joe ambulatory again. I love Charlie’s family, especially because his Dad works in a toothpaste factory but everyone in the family has nasty teeth.
The glorious day of the tour arrives and each child shows up with a parental or grandparental guardian. They are introduced first to Willy Wonka by means of a puppet show, which ends in a glorious and unintentional fire. With the smoldering puppets dying disturbingly in the background, Wonka appears with cue cards, giving the impression that the man has no idea how to socially interact. The group then enters the factory.
The first child to be eliminated from the contest is Augustus Gloop. The group has been given free reign of a room made entirely of candy. Augustus cannot resist the lake of chocolate, and he falls in. He is sucked up a tube that leads to the fudge room. Then the Oompa Loompas appear and perform a song engineered for this particular predictable tragedy.
The Oompa Loompas in Burton’s version are short, and they do not have orange hair, but they all have the same face and body. Deep Roy, the actor portraying the Oompa Loompas, deserved an Oscar for effort in my book, for the special features indicate how very involved he was with this production. The songs sung by the Oompa Loompas varied significantly from those in the older version. In fact, I enjoyed how each song of admonishment involved a specific genre of music.
Next Violet Beauregard, the competitive one, is turned into a blueberry by chewing gum. And then we have the case of the sad and supremely spoiled Veruca Salt, who ends up getting thrown down a garbage chute by some very judgmental and highly trained squirrels. After each young lady has been expelled from the contest, the Oompa Loompas say adieu with a musical number.
Throughout the film, Wonka has flashbacks about his father. It seems the elder Wonka was a dentist, and he forbade the young Willy to eat candy. Several scenes show Willy Wonka defying the will of his father, which ultimately led Willy to be a world-renowned chocolatier. Though it was nice to have this subplot as an explanation for some of Wonka’s erratic behavior, I found that I like Gene Wilder’s portrayal of Willy Wonka better. He was whimsical and strange, but the film and the actor seemed to offer no explanation as to how he got that way.
Mike Teavee, a young boy with the attention span of a gnat on amphetamines, is the last of the factory’s victims. He decides to teleport himself into a television screen, which I’m sure seemed like a good idea at the time. Teavee is shown in peril as an Oompa Loompa flips the channels. Now incredibly small, Wonka decides that the best remedy for Mike is the taffy pulling machine.
Charlie is the only child left, and Wonka ushers Charlie and Grandpa Joe into the glass elevator. According to the button, they are going up and out. Indeed, they do, eventually stopping when they crash through the roof of the Bucket house. The grand prize is revealed: Willy Wonka is giving Charlie the factory. This becomes impossible when Wonka forces Charlie to choose between factory and family. Eventually, Wonka reconciles his Daddy issues and allows Charlie’s family to stay at the factory.
The visual effects in this film were amazing. As mentioned previously, Deep Roy was incredible as the face of the many Oompa Loompas. I thought the child actors in this film were also impressive in how they perfectly captured their respective vices. Overall, this was a good film. And yet I still miss moments from the older film, especially the poem with “the grisly reaper mowing.” Call me sentimental…
This is the story of Charlie Bucket, an impoverished but genuinely good-natured child. His dream is one of millions: to win a Golden Ticket, and tour Willy Wonka’s chocolate factory in the hopes of obtaining an even bigger prize. If this plot sounds familiar, it’s because you’ve seen Willy Wonka and the Chocolate Factory, or have read the book. I profess my ignorance, for I haven’t read the book Roald Dahl wrote, and therefore have no idea which movie version adheres more strictly to the original text.
Let’s move on by more closely examining Burton’s version. Despite some of the world’s most recalcitrant children winning the four other tickets, Charlie lucks out and becomes the recipient of the last Golden Ticket. This brings great joy to his family and even makes the bed-ridden Grandpa Joe ambulatory again. I love Charlie’s family, especially because his Dad works in a toothpaste factory but everyone in the family has nasty teeth.
The glorious day of the tour arrives and each child shows up with a parental or grandparental guardian. They are introduced first to Willy Wonka by means of a puppet show, which ends in a glorious and unintentional fire. With the smoldering puppets dying disturbingly in the background, Wonka appears with cue cards, giving the impression that the man has no idea how to socially interact. The group then enters the factory.
The first child to be eliminated from the contest is Augustus Gloop. The group has been given free reign of a room made entirely of candy. Augustus cannot resist the lake of chocolate, and he falls in. He is sucked up a tube that leads to the fudge room. Then the Oompa Loompas appear and perform a song engineered for this particular predictable tragedy.
The Oompa Loompas in Burton’s version are short, and they do not have orange hair, but they all have the same face and body. Deep Roy, the actor portraying the Oompa Loompas, deserved an Oscar for effort in my book, for the special features indicate how very involved he was with this production. The songs sung by the Oompa Loompas varied significantly from those in the older version. In fact, I enjoyed how each song of admonishment involved a specific genre of music.
Next Violet Beauregard, the competitive one, is turned into a blueberry by chewing gum. And then we have the case of the sad and supremely spoiled Veruca Salt, who ends up getting thrown down a garbage chute by some very judgmental and highly trained squirrels. After each young lady has been expelled from the contest, the Oompa Loompas say adieu with a musical number.
Throughout the film, Wonka has flashbacks about his father. It seems the elder Wonka was a dentist, and he forbade the young Willy to eat candy. Several scenes show Willy Wonka defying the will of his father, which ultimately led Willy to be a world-renowned chocolatier. Though it was nice to have this subplot as an explanation for some of Wonka’s erratic behavior, I found that I like Gene Wilder’s portrayal of Willy Wonka better. He was whimsical and strange, but the film and the actor seemed to offer no explanation as to how he got that way.
Mike Teavee, a young boy with the attention span of a gnat on amphetamines, is the last of the factory’s victims. He decides to teleport himself into a television screen, which I’m sure seemed like a good idea at the time. Teavee is shown in peril as an Oompa Loompa flips the channels. Now incredibly small, Wonka decides that the best remedy for Mike is the taffy pulling machine.
Charlie is the only child left, and Wonka ushers Charlie and Grandpa Joe into the glass elevator. According to the button, they are going up and out. Indeed, they do, eventually stopping when they crash through the roof of the Bucket house. The grand prize is revealed: Willy Wonka is giving Charlie the factory. This becomes impossible when Wonka forces Charlie to choose between factory and family. Eventually, Wonka reconciles his Daddy issues and allows Charlie’s family to stay at the factory.
The visual effects in this film were amazing. As mentioned previously, Deep Roy was incredible as the face of the many Oompa Loompas. I thought the child actors in this film were also impressive in how they perfectly captured their respective vices. Overall, this was a good film. And yet I still miss moments from the older film, especially the poem with “the grisly reaper mowing.” Call me sentimental…
Hadley (567 KP) rated The Silver Eyes (Five Nights at Freddy's, #1) in Books
Jul 5, 2019
It was in 2014 when the video game Five Nights at Freddy's debuted, and now it's one of the most well known horror games in the world. Homicidal animatronics, a nighttime security guard, and a children's pizza restaurant make up Scott Cawthon's world in FNAF. Fast forward to 2016: Cawthon makes the game's story into a book series. The lore surrounding the video game franchise seems to be more sought after than the game play itself. ' The Silver Eyes' is the first of three books telling the dark story from Cawthon, but from the eyes of the animatronics creator's daughter, Charlie, instead of the night guard at Freddy Fazbear's Pizzeria.
We start with seventeen-year-old Charlie, who is returning to her hometown of Hurricane, Utah for a scholarship/memorial ceremony dedicated to her deceased childhood friend, Michael. She has a reunion with other childhood friends: Carlton, Jessica, John, Lamar and Marla; all of who share the same tragedy of Michael's disappearance from when they were children at Freddy Fazbear's. This disappearance seems to be the only thing the group can discuss, but more so from Charlie because her father was blamed for Michael's disappearance. This, the shared experience of being present at the time of Michael's kidnapping, and having been part of the same circle of friends, dominates this story. Charlie is our main point of view, but we are given a few glimpses from other characters which end up irrelevant.
Charlie's father, years before, had the pizzeria Freddy Fazbear's built in Hurricane, but after Michael was kidnapped while being there, it was shut down and, now, a mall is being built around it. But, with the stigma coming from Fazbear's kidnapping, no businesses will agree to have their store put inside the new building, leaving it abandoned. Right away, the reader is taken with the group of friends on a trip to the building, where they break into Fazbear's with only a lone guard on duty, but with the amount of noise the group makes and even, somehow, turning the electricity back on, it's unreasonable to the reader that the guard isn't aware of their presence. (Even the characters don't seem worried about the guard coming in and kicking them out).
Without trying to give any spoilers away to those who may not know the story- the night guard finally shows up later on in the book, but only to join the group on their third adventure through the abandoned Fazbear's. And it is as this point, the book is at it's best. Even the writing seems to change - - - as if a different person took over for the second part of the book (which is a good thing).
Cawthon and Breed-Wrisley tried their best to convey the story of Five Nights at Freddy's, but although the story is a good one, the writing is lacking in many aspects. There's not just a few inconsistencies that I found, but rather a lot, and one of these is an important one: Charlie,earlier on in the story, tells us about her twin brother, Sammy, being kidnapped from the first Pizzeria her father had built, but later on, she states that Sammy was present at the newer Fazbear's when clearly he had been kidnapped before the newer restaurant was even built.
This story isn't so much about animatronics and a child murderer, but rather a group of children that shared a trauma that permeates into their adulthood. Sadly, the symptoms of this trauma aren't clearly stated from a reality stand point, but the teen drama is held in-check, making it a much more pleasant read than most young adult books. Character development is also lacking enough that--- even the main character--- seems like a stranger to the reader, where interactions between most of the group seems forced and unreasonable.
I can only recommend this book to fans of Five Nights at Freddy's, but as just a casual reader of the horror genre, the writing is a huge disappointment. I can't and won't read this again.
We start with seventeen-year-old Charlie, who is returning to her hometown of Hurricane, Utah for a scholarship/memorial ceremony dedicated to her deceased childhood friend, Michael. She has a reunion with other childhood friends: Carlton, Jessica, John, Lamar and Marla; all of who share the same tragedy of Michael's disappearance from when they were children at Freddy Fazbear's. This disappearance seems to be the only thing the group can discuss, but more so from Charlie because her father was blamed for Michael's disappearance. This, the shared experience of being present at the time of Michael's kidnapping, and having been part of the same circle of friends, dominates this story. Charlie is our main point of view, but we are given a few glimpses from other characters which end up irrelevant.
Charlie's father, years before, had the pizzeria Freddy Fazbear's built in Hurricane, but after Michael was kidnapped while being there, it was shut down and, now, a mall is being built around it. But, with the stigma coming from Fazbear's kidnapping, no businesses will agree to have their store put inside the new building, leaving it abandoned. Right away, the reader is taken with the group of friends on a trip to the building, where they break into Fazbear's with only a lone guard on duty, but with the amount of noise the group makes and even, somehow, turning the electricity back on, it's unreasonable to the reader that the guard isn't aware of their presence. (Even the characters don't seem worried about the guard coming in and kicking them out).
Without trying to give any spoilers away to those who may not know the story- the night guard finally shows up later on in the book, but only to join the group on their third adventure through the abandoned Fazbear's. And it is as this point, the book is at it's best. Even the writing seems to change - - - as if a different person took over for the second part of the book (which is a good thing).
Cawthon and Breed-Wrisley tried their best to convey the story of Five Nights at Freddy's, but although the story is a good one, the writing is lacking in many aspects. There's not just a few inconsistencies that I found, but rather a lot, and one of these is an important one: Charlie,earlier on in the story, tells us about her twin brother, Sammy, being kidnapped from the first Pizzeria her father had built, but later on, she states that Sammy was present at the newer Fazbear's when clearly he had been kidnapped before the newer restaurant was even built.
This story isn't so much about animatronics and a child murderer, but rather a group of children that shared a trauma that permeates into their adulthood. Sadly, the symptoms of this trauma aren't clearly stated from a reality stand point, but the teen drama is held in-check, making it a much more pleasant read than most young adult books. Character development is also lacking enough that--- even the main character--- seems like a stranger to the reader, where interactions between most of the group seems forced and unreasonable.
I can only recommend this book to fans of Five Nights at Freddy's, but as just a casual reader of the horror genre, the writing is a huge disappointment. I can't and won't read this again.
Gareth von Kallenbach (977 KP) rated Fright Night (2011) in Movies
Aug 7, 2019
Twenty-six years ago, “Fright Night” premiered in theaters and went on to become a fondly remembered title amongst horror fans. The movie cleverly combined horror and humor to create a fresh take on the vampire and teen horror genres which had started to grow stale. While the movie spawned a largely forgettable direct to video sequel, the original film has remained popular over the years. So, when I first heard that they were planning on remaking the film I was skeptical as I felt it would be very difficult to match the original film.
Boasting an impressive cast which includes Anton Yelchin, Colin Farrell, David Tennant, Christopher Mintz-Plasse, and Toni Collette, the remake does not try to reinvent the wheel, but instead takes the formula of the original and creates an entirely new entry into the saga.
For those unfamiliar with the series, Yelchin stars as Charlie Brewster, a young man who is trying to balance watching over his single mother, and his growing relationship with a girl way out of his league named Amy (Imogen Poots). He is also wrestling with becoming part of a cooler crowd at the cost of alienating his geeky former best friend, Ed, played by Christopher Mintz-Plasse.
Colin Farrell plays the handsome and suave new next door neighbor who easily charms Charlie’s mom, played by Toni Colette. Unbeknownst to his neighbors, the charming and charismatic Jerry, played by Colin Ferrell, is actually a vampire who’s come to their Las Vegas suburb to continue his nighttime hunts. Ed has become suspicious of the recent disappearances in their community and confides to Charlie that he’s had Jerry under surveillance and knows that he is a vampire.
Needless to say this does not sit well with Charlie, who distances himself further from Ed. But when Ed goes missing, Charlie decides to do some investigating of his own. Charlie turns to a local Vegas performance artist named Peter Vincent (David Tennant), whose vampire-themed show portrays him as an expert in fighting the undead. While at first skeptical over Charlie’s claims, a few devastating confrontations with Jerry and his minions forces Vincent to rethink his role. The two unlikely allies soon find themselves in a deadly race against time to defeat Jerry and save their loved ones before it’s too late.
The film cleverly combines horror and comedy and does a good job of providing some suspenseful moments in between the blood and gore, managing to squeeze in more than a few laughs along the way. While not overly scary, the visual effects work is solid and aside from the converted 3-D is a really enjoyable to watch. The film would’ve been much better had it been shot in 3-D or simply left as a 2-D film as the conversion really didn’t offer anything of value as is often the case in these lab converted efforts.
The cast works very well with one another and Farrell cheekily introduces a few new wrinkles to the vampire lore. I really enjoyed David Tennant’s performance and should they do a sequel I certainly hope that they bring him back. Anton Yelchin gives a reliable performance but I was surprised that Christopher Mintz-Plasse did not have a bigger role but he does have some memorable moments in the film. What really impressed me was that the film did not attempt to do a shot-by-shot remake of the original but instead took the premise of the original and offered a fresh take that easily could have been issued as the third chapter in the series rather than a reboot. While there were nods to the original, outside of the premise it was very much its own film.
The film is not going to set any high marks for new standards in horror nor is the plot fresh and original. It simply knows what its target audience and source material are and sets a course right down the middle without attempting to deviate too much one way or another. “Fright Night” just might be perfect for those looking for a dose of nostalgia and some highly suspenseful, fun entertainment.
Boasting an impressive cast which includes Anton Yelchin, Colin Farrell, David Tennant, Christopher Mintz-Plasse, and Toni Collette, the remake does not try to reinvent the wheel, but instead takes the formula of the original and creates an entirely new entry into the saga.
For those unfamiliar with the series, Yelchin stars as Charlie Brewster, a young man who is trying to balance watching over his single mother, and his growing relationship with a girl way out of his league named Amy (Imogen Poots). He is also wrestling with becoming part of a cooler crowd at the cost of alienating his geeky former best friend, Ed, played by Christopher Mintz-Plasse.
Colin Farrell plays the handsome and suave new next door neighbor who easily charms Charlie’s mom, played by Toni Colette. Unbeknownst to his neighbors, the charming and charismatic Jerry, played by Colin Ferrell, is actually a vampire who’s come to their Las Vegas suburb to continue his nighttime hunts. Ed has become suspicious of the recent disappearances in their community and confides to Charlie that he’s had Jerry under surveillance and knows that he is a vampire.
Needless to say this does not sit well with Charlie, who distances himself further from Ed. But when Ed goes missing, Charlie decides to do some investigating of his own. Charlie turns to a local Vegas performance artist named Peter Vincent (David Tennant), whose vampire-themed show portrays him as an expert in fighting the undead. While at first skeptical over Charlie’s claims, a few devastating confrontations with Jerry and his minions forces Vincent to rethink his role. The two unlikely allies soon find themselves in a deadly race against time to defeat Jerry and save their loved ones before it’s too late.
The film cleverly combines horror and comedy and does a good job of providing some suspenseful moments in between the blood and gore, managing to squeeze in more than a few laughs along the way. While not overly scary, the visual effects work is solid and aside from the converted 3-D is a really enjoyable to watch. The film would’ve been much better had it been shot in 3-D or simply left as a 2-D film as the conversion really didn’t offer anything of value as is often the case in these lab converted efforts.
The cast works very well with one another and Farrell cheekily introduces a few new wrinkles to the vampire lore. I really enjoyed David Tennant’s performance and should they do a sequel I certainly hope that they bring him back. Anton Yelchin gives a reliable performance but I was surprised that Christopher Mintz-Plasse did not have a bigger role but he does have some memorable moments in the film. What really impressed me was that the film did not attempt to do a shot-by-shot remake of the original but instead took the premise of the original and offered a fresh take that easily could have been issued as the third chapter in the series rather than a reboot. While there were nods to the original, outside of the premise it was very much its own film.
The film is not going to set any high marks for new standards in horror nor is the plot fresh and original. It simply knows what its target audience and source material are and sets a course right down the middle without attempting to deviate too much one way or another. “Fright Night” just might be perfect for those looking for a dose of nostalgia and some highly suspenseful, fun entertainment.
Gareth von Kallenbach (977 KP) rated Hide and Seek (2005) in Movies
Aug 14, 2019
The mind is a deep a complex organ that science still struggles to fully comprehend, despite the countless hours of research and study that have been expended in unlocking the mysteries contained within.
In the new thriller Hide and Seek, audiences are introduced to Dr. David Callaway (Robert De Niro), a Psychologist who is struggling to help his daughter Emile (Dakota Fanning) after the suicide of her mother. David believes that the best option is to move from New York City to a quite area upstate where he can focus on being a father to his daughter, who has become withdrawn despite intense counseling.
Despite opposition from Emily’s therapist and family friend Katherine (Famke Janssen), David and Emily relocate to a scenic and quite location and hour from the city.
At first everything seems to be going well with the move and David meets an attractive young lady named Elizabeth (Elisabeth Shue), who watches over a little girl for another member of her family. Thinking that a friend will snap Emily from her state, David encourages Elizabeth to come to the house.
David is convinced the addition of a friend will encourage Emily to stop talking about an imaginary friend named Charlie who seems to have preoccupied the little girls time. David is convinced that Charlie is a creation of Emily’s psyche that will fade over time especially as she makes friends and copes with the loss of her mother.
Emily instead withdraws even further from people and a series of bizarre and violent events ensue with Emily insisting that Charlie is the reason behind all of them. As David struggles to deal with the ever increasing tension caused by Charlie, he soon becomes caught up in a situation beyond his control.
The setup for the film is good as your mind races with a myriad of possibilities and outcome. Sadly many of my scenarios, and I suspect most of the audience were better and more satisfying then the conclusion of the film. The film quickly degrades into an abundance of absurdities and situations that seem lifted from the Drama 101 textbook as well as a dozen other and better films in the genre.
While the cast does good work with what they have, it is unsatisfying to see talent like Shue and Janssen reduced to minor supporting characters when they could have brought so much more to the film. Worse yet is De Niro seems to be going through the motions as this brilliant and gifted actor is not given any material that will challenge him and let his brilliant method acting shine.
For the first half of the film it is a mostly enjoyable and intriguing film that does hold your attention. However once the so called surprises of the film are revealed and the film moves towards it’s conclusion, you cant help but think that you have been cheated and deserved a much better payoff for sitting through the first hour of the film. Days after seeing it, I am still stunned at how badly the film ended and how such a good premise and talented cast were horribly wasted on a film that had surprisingly no scares or tension as the audience at my press screening sat largely in silence throughout the film.
My advice, save this for a rental as it is at best, a movie of the week quality film.
In the new thriller Hide and Seek, audiences are introduced to Dr. David Callaway (Robert De Niro), a Psychologist who is struggling to help his daughter Emile (Dakota Fanning) after the suicide of her mother. David believes that the best option is to move from New York City to a quite area upstate where he can focus on being a father to his daughter, who has become withdrawn despite intense counseling.
Despite opposition from Emily’s therapist and family friend Katherine (Famke Janssen), David and Emily relocate to a scenic and quite location and hour from the city.
At first everything seems to be going well with the move and David meets an attractive young lady named Elizabeth (Elisabeth Shue), who watches over a little girl for another member of her family. Thinking that a friend will snap Emily from her state, David encourages Elizabeth to come to the house.
David is convinced the addition of a friend will encourage Emily to stop talking about an imaginary friend named Charlie who seems to have preoccupied the little girls time. David is convinced that Charlie is a creation of Emily’s psyche that will fade over time especially as she makes friends and copes with the loss of her mother.
Emily instead withdraws even further from people and a series of bizarre and violent events ensue with Emily insisting that Charlie is the reason behind all of them. As David struggles to deal with the ever increasing tension caused by Charlie, he soon becomes caught up in a situation beyond his control.
The setup for the film is good as your mind races with a myriad of possibilities and outcome. Sadly many of my scenarios, and I suspect most of the audience were better and more satisfying then the conclusion of the film. The film quickly degrades into an abundance of absurdities and situations that seem lifted from the Drama 101 textbook as well as a dozen other and better films in the genre.
While the cast does good work with what they have, it is unsatisfying to see talent like Shue and Janssen reduced to minor supporting characters when they could have brought so much more to the film. Worse yet is De Niro seems to be going through the motions as this brilliant and gifted actor is not given any material that will challenge him and let his brilliant method acting shine.
For the first half of the film it is a mostly enjoyable and intriguing film that does hold your attention. However once the so called surprises of the film are revealed and the film moves towards it’s conclusion, you cant help but think that you have been cheated and deserved a much better payoff for sitting through the first hour of the film. Days after seeing it, I am still stunned at how badly the film ended and how such a good premise and talented cast were horribly wasted on a film that had surprisingly no scares or tension as the audience at my press screening sat largely in silence throughout the film.
My advice, save this for a rental as it is at best, a movie of the week quality film.
The Last Night
6.0
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Humans first knew the era of survival. Then they knew the era of work. Now they live in the era of...
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JT (287 KP) rated The Intruder (2019) in Movies
Mar 10, 2020
When are couples moving into a new home going to realise that there is a lot more to worry about than just making sure all of your stuff arrives in one piece. If it’s not things going bump in the night or uninvited demons, it’s seemingly sweet as pie neighbours with an ulterior motive.
Annie (Meagan Good) and Scott ( Michael Ealy) think that they have found their dream home, away from the concrete jungle of the city with an idyllic setting in which to start a family. Step in Charlie (Dennis Quaid), a kind hearted widower who is selling in order to start a new life with his daughter in Florida – or so it would seem, as we know, looks can be deceiving.
Dennis Quaid nails the disturbed seller turned psycho
The film has been battered with reviews saying that it forgoes plot in favour of setting up a good jump scare, but do you know what? I don’t mind that.
I’ve always been a sucker for this type of genre and this one is no different. There are the obvious plot holes, some laughable, like how come it takes Annie so long to realise that Charlie has psychotic tendencies, despite Scott practically spelling it out for her? Or the fact that everyone seems to be drawn to a particular linen closet. It moves along enough to keep you entertained with Quaid giving a good account of himself and clearly having fun.
Director (Deon Taylor) seems inspired by classic home invasion thrillers but offers nothing new that we won’t have already seen before – you can just throw this one onto the pile with all the rest.
Annie (Meagan Good) and Scott ( Michael Ealy) think that they have found their dream home, away from the concrete jungle of the city with an idyllic setting in which to start a family. Step in Charlie (Dennis Quaid), a kind hearted widower who is selling in order to start a new life with his daughter in Florida – or so it would seem, as we know, looks can be deceiving.
Dennis Quaid nails the disturbed seller turned psycho
The film has been battered with reviews saying that it forgoes plot in favour of setting up a good jump scare, but do you know what? I don’t mind that.
I’ve always been a sucker for this type of genre and this one is no different. There are the obvious plot holes, some laughable, like how come it takes Annie so long to realise that Charlie has psychotic tendencies, despite Scott practically spelling it out for her? Or the fact that everyone seems to be drawn to a particular linen closet. It moves along enough to keep you entertained with Quaid giving a good account of himself and clearly having fun.
Director (Deon Taylor) seems inspired by classic home invasion thrillers but offers nothing new that we won’t have already seen before – you can just throw this one onto the pile with all the rest.
Children of the Broken Treaty: Canada's Lost Promise and One Girl's Dream
Book
In this new edition of Charlie Angus's award-winning and bestselling book, he brings us up-to-date...
Merissa (11950 KP) rated Fractured Hearts in Books
May 23, 2023
Charlie has her heart broken at a young age and decided that it would never happen again. She threw herself into her studies and becomes a new resident vet. Whilst out one night with her friend, she sees a sexy cowboy who she would like to know more about. He seems to feel the same way and they dance together, feeling the sparks fly. However, when it appears that his friend is the one who broke her heart years previously, Charlie makes a run for it, unwilling to see the disgust in his eyes when he realises who she is.
Now, to be honest, that's the one part that confused me. I could understand her not wanting to see him, to be wary of his reaction, but I just don't know why he would have had disgust in his eyes. Anyway, that's a distraction from the story, which I thoroughly enjoyed!
The scenes between these three as they learn to have a relationship with each other, and how it changes, are very well-written. There is a lot to read and it is written in a way that draws you in, letting you see events from every perspective. The bedroom scenes are smokin' and will leave you wanting more.
With an intricate love story, action and suspense, this is a brilliant story that I would definitely recommend. Brilliant.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Feb 25, 2016
Now, to be honest, that's the one part that confused me. I could understand her not wanting to see him, to be wary of his reaction, but I just don't know why he would have had disgust in his eyes. Anyway, that's a distraction from the story, which I thoroughly enjoyed!
The scenes between these three as they learn to have a relationship with each other, and how it changes, are very well-written. There is a lot to read and it is written in a way that draws you in, letting you see events from every perspective. The bedroom scenes are smokin' and will leave you wanting more.
With an intricate love story, action and suspense, this is a brilliant story that I would definitely recommend. Brilliant.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Feb 25, 2016
Mark Halpern (153 KP) rated Pacific Rim (2013) in Movies
Jan 30, 2018
From the deep
Monsters called Kiaju came out of the seas once upon a time ago, We built huge robots that were controlled by two people by using each of there brain power by syncing them together. Then they went away but guess what they have come back even stronger and in the first sequence we see Nate Lambert and his partner get recked by a big ass Kiaju by disobeying orders. Then they think that building huge walls will keep them out (hmm wonder what trump was watching when he thought of his wall) Then we see mor machines brought together by some of the best drivers of all time and go up against these whuge things.
Effects and action sequences and CHarlie Day make the movie worth watching once
Effects and action sequences and CHarlie Day make the movie worth watching once