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Andy K (10821 KP) created a video about Kick-Ass (2010) in Movies
Mar 9, 2018 (Updated Mar 9, 2018)
Entertainment Editor (1988 KP) created a video about November Criminals (2017) in Movies
Nov 27, 2017
Entertainment Editor (1988 KP) created a video about I Love You, Daddy (2017) in Movies
Nov 6, 2017
Matthew Krueger (10051 KP) rated The Equalizer (2014) in Movies
Jun 22, 2020
Guts Over Fear
The Equalizer- i love this movie. I remember when i saw this back in 2014 and i loved it. The acting, the drama, the suspense, the violence and Denzel. A good guy gone rogue. A good guy gone bad. Who knows his skills and will use his skills to the test to kill bad guys.
The plot: Robert McCall (Denzel Washington), a man of mysterious origin who believes he has put the past behind him, dedicates himself to creating a quiet new life. However, when he meets Teri (Chloë Grace Moretz), a teenager who has been manhandled by violent Russian mobsters, he simply cannot walk away. With his set of formidable skills, McCall comes out of self-imposed retirement and emerges as an avenging angel, ready to take down anyone who brutalizes the helpless.
Its a excellent movie and a must watch film.
The plot: Robert McCall (Denzel Washington), a man of mysterious origin who believes he has put the past behind him, dedicates himself to creating a quiet new life. However, when he meets Teri (Chloë Grace Moretz), a teenager who has been manhandled by violent Russian mobsters, he simply cannot walk away. With his set of formidable skills, McCall comes out of self-imposed retirement and emerges as an avenging angel, ready to take down anyone who brutalizes the helpless.
Its a excellent movie and a must watch film.
Hari Nef recommended Clouds of Sils Maria (2015) in Movies (curated)
Gareth von Kallenbach (980 KP) rated Kick-Ass (2010) in Movies
Aug 8, 2019
Kick-Ass starts out as a clever action movie with good humor interspersed throughout the first half, but by the second half the jokes trail off as the movie takes a blacker turn toward a mindless and confusing tale of morality.
Viewing this movie as a mindless action flick, it is impressive and at times humorous, albeit that humor, in the immersive first half, is deadened by the much darker scenes toward the end of the film. But if you’re trying to find a deeper message hidden behind the motivations and actions of the characters on screen, you perhaps would be better served by reading the comic first. The violence was surprisingly graphic for what started out as a clever and somewhat endearing highschool drama about not fitting in and trying to change the world for the better.
As the director of Layer Cake and Stardust, Matthew Vaughn has shown before that he knows how to do action and fantasy, and in this movie, the action scenes are tight and gripping and slightly surreal. You may even recognize a few cameos if you’re familiar with Guy Ritchie films.
Aaron Johnson, as the title character, brings a smart vulnerability to his part. As an overly ambitious, but well meaning comic book fan, his stabs at super-heroics were quite believable.
This movie may be titled Kick-Ass, but the most interesting character is Hit-Girl, played by Chloë Grace Moretz. Quite a few child actors come across as precocious, and Moretz is a welcome change. She shares some great scenes with Nicolas Cage, a vengeful father who has turned his 11 year-old daughter into a killing machine. Cage’s deadpan humor as Big Daddy matches surprisingly well with the giddy, foul-mouthed, black humor of Hit-Girl.
In a way, I may be doing the movie a disservice if I were to dwell on the plot holes, morality, and thematic elements of this movie which are clearly not the focused intent of the director. Not every movie is intended to be a deep and meaningful reflection on life, so in that regard, this movie is simply a blood-drenched charmer.
Viewing this movie as a mindless action flick, it is impressive and at times humorous, albeit that humor, in the immersive first half, is deadened by the much darker scenes toward the end of the film. But if you’re trying to find a deeper message hidden behind the motivations and actions of the characters on screen, you perhaps would be better served by reading the comic first. The violence was surprisingly graphic for what started out as a clever and somewhat endearing highschool drama about not fitting in and trying to change the world for the better.
As the director of Layer Cake and Stardust, Matthew Vaughn has shown before that he knows how to do action and fantasy, and in this movie, the action scenes are tight and gripping and slightly surreal. You may even recognize a few cameos if you’re familiar with Guy Ritchie films.
Aaron Johnson, as the title character, brings a smart vulnerability to his part. As an overly ambitious, but well meaning comic book fan, his stabs at super-heroics were quite believable.
This movie may be titled Kick-Ass, but the most interesting character is Hit-Girl, played by Chloë Grace Moretz. Quite a few child actors come across as precocious, and Moretz is a welcome change. She shares some great scenes with Nicolas Cage, a vengeful father who has turned his 11 year-old daughter into a killing machine. Cage’s deadpan humor as Big Daddy matches surprisingly well with the giddy, foul-mouthed, black humor of Hit-Girl.
In a way, I may be doing the movie a disservice if I were to dwell on the plot holes, morality, and thematic elements of this movie which are clearly not the focused intent of the director. Not every movie is intended to be a deep and meaningful reflection on life, so in that regard, this movie is simply a blood-drenched charmer.
JT (287 KP) rated Greta (2019) in Movies
Mar 10, 2020
Psychological thrillers come without much surprise these days. After the initial character introductions and back stories have bee laid out, the tension is ramped up until a climactic ending, which often falls flat – unless there is a clever twist.
With Greta, director Neil Jordan (Crying Game) uses an expensive green handbag to connect two lonely individuals together. One recovering from the death of her mother, while the other lives alone, longing for company and for someone to share meaningful conversation with.
While riding the subway after work one night Frances (Chloë Grace Moretz) comes across the green handbag and after being coerced into keeping the contents by her flatmate (Maika Monroe) her conscious tells her to return it. There she meets Greta, a softly spoken woman with a seemingly kind heart.
A revelation at dinner one night Frances confronts Greta and after an unnerving exchange, Frances leaves, in the hope that she will never see her again – but Greta is not about to let go of her that easily. French actress Isabelle Huppert gives a sinister performance – not many can stand still and look menacing without really trying, but she gets it spot on. It certainly put the fear in me.
Despite her quirky and innocent advances Frances is not fooled and does all she can to push back, without success. Even a private investigator intent on uncovering the truth about Greta is no match for the softly spoken malevolent loner.
There is some tense moments and the film is at the higher end of the psychological scale, but more could have been done with the writing to elevate it to one of sheer terror.
With Greta, director Neil Jordan (Crying Game) uses an expensive green handbag to connect two lonely individuals together. One recovering from the death of her mother, while the other lives alone, longing for company and for someone to share meaningful conversation with.
While riding the subway after work one night Frances (Chloë Grace Moretz) comes across the green handbag and after being coerced into keeping the contents by her flatmate (Maika Monroe) her conscious tells her to return it. There she meets Greta, a softly spoken woman with a seemingly kind heart.
A revelation at dinner one night Frances confronts Greta and after an unnerving exchange, Frances leaves, in the hope that she will never see her again – but Greta is not about to let go of her that easily. French actress Isabelle Huppert gives a sinister performance – not many can stand still and look menacing without really trying, but she gets it spot on. It certainly put the fear in me.
Despite her quirky and innocent advances Frances is not fooled and does all she can to push back, without success. Even a private investigator intent on uncovering the truth about Greta is no match for the softly spoken malevolent loner.
There is some tense moments and the film is at the higher end of the psychological scale, but more could have been done with the writing to elevate it to one of sheer terror.
LeftSideCut (3778 KP) rated Shadow in the Cloud (2020) in Movies
Sep 7, 2021
Contains spoilers, click to show
In short, Shadow in the Cloud is a whole load of silly, but entertaining nonsense. In all honesty, the opening 30 or so minutes completely grabbed me - it has a foreboding synth heavy soundtrack that's completely at odds with its WWII time period but still works, it has a sort of gothic aesthetic in it's cloudy night sky setting that boasts some wonderful shots, it has a well built up sense of dread, and then, when the penny drops that there's something not quite right, there's a shot that is legitimately chilling. I was hooked and found myself thinking "this is going to be one of my new favourite films", but alas, it wasn't to last.
From the moment the gremlin creature is fully revealed, proceedings get sillier and sillier - there is one bit in particular that is so mind numbingly dumb, I felt some brain cells die off (but it still made me audibly laugh so, every cloud). The silliness isn't even the main problem, it's actually a plus, but it does highlight how shoddy most of the writing is. Chloë Grace Moretz does the best with what she's given, but honestly, Max Landis' claims that 95% of the finished product is still his work despite re-writes isn't something to be proud of. There's just a lot of iffy dialogue, and some narrative twists later down the line that feel forced and unnecessary.
However, all the silliness that I mentioned makes up for it, if that's your kind of thing. I really can't hate on a film too much when it has its lead beating the shit out of a CGI monkey-bat thing that's trying to eat her baby after all.
From the moment the gremlin creature is fully revealed, proceedings get sillier and sillier - there is one bit in particular that is so mind numbingly dumb, I felt some brain cells die off (but it still made me audibly laugh so, every cloud). The silliness isn't even the main problem, it's actually a plus, but it does highlight how shoddy most of the writing is. Chloë Grace Moretz does the best with what she's given, but honestly, Max Landis' claims that 95% of the finished product is still his work despite re-writes isn't something to be proud of. There's just a lot of iffy dialogue, and some narrative twists later down the line that feel forced and unnecessary.
However, all the silliness that I mentioned makes up for it, if that's your kind of thing. I really can't hate on a film too much when it has its lead beating the shit out of a CGI monkey-bat thing that's trying to eat her baby after all.
LeftSideCut (3778 KP) rated Mother/Android (2021) in Movies
Jan 14, 2022
Whilst there are a handful of positives about Mother/Android, they are woefully overshadowed by just how unoriginal the overall movie is.
Starting with said positives - Chloë Grace Moretz is always trying her best and here is no different. It's also nice to see Raúl Castillo popping up more and more at the moment and here is no different. There's a scene fairly late on, set in a house full of androids that is genuinely quite tense and is an obvious highlight.
Other than that, it's pretty dire. The dialogue is shoddy, and the writing is all over the place. None of the characters are particularly likable and there's not really anyone to root for (started rooting for the androids by the end). The opening scene is one of intrigue, promising something vaguely resembling Detroit: Become Human, but the story is rushed along so quickly that we're thrown straight into 9 months later, following a pregnant lady through some woods in America, whilst trying to stay silent. Very A Quiet Place. The android designs do nothing to differentiate from the designs seen in Terminator.
However, the most insulting moment of plagiarism comes during the climax, the events of which are quite bleak, and aim for the heartstrings. This moment is intercut with flashes of a happier time, whilst chaos unfolds in the distance, set to some somber music. All of which would have landed way better if it wasn't ripped straight from the undead hands of Train to Busan!
I'm sure that there will be plenty of people out there who find something to like when it comes to Mother/Android but for me, it just came across as plain lazy, lifting ideas from far superior movies left, right, and centre.
Starting with said positives - Chloë Grace Moretz is always trying her best and here is no different. It's also nice to see Raúl Castillo popping up more and more at the moment and here is no different. There's a scene fairly late on, set in a house full of androids that is genuinely quite tense and is an obvious highlight.
Other than that, it's pretty dire. The dialogue is shoddy, and the writing is all over the place. None of the characters are particularly likable and there's not really anyone to root for (started rooting for the androids by the end). The opening scene is one of intrigue, promising something vaguely resembling Detroit: Become Human, but the story is rushed along so quickly that we're thrown straight into 9 months later, following a pregnant lady through some woods in America, whilst trying to stay silent. Very A Quiet Place. The android designs do nothing to differentiate from the designs seen in Terminator.
However, the most insulting moment of plagiarism comes during the climax, the events of which are quite bleak, and aim for the heartstrings. This moment is intercut with flashes of a happier time, whilst chaos unfolds in the distance, set to some somber music. All of which would have landed way better if it wasn't ripped straight from the undead hands of Train to Busan!
I'm sure that there will be plenty of people out there who find something to like when it comes to Mother/Android but for me, it just came across as plain lazy, lifting ideas from far superior movies left, right, and centre.
JT (287 KP) rated Let Me In (2010) in Movies
Mar 10, 2020
t’s a hard thing remaking or rebooting a classic, whatever you want to call it, you have to make sure of one thing…don’t balls it up! Thankfully director Matt Reeves doesn’t do that, in fact he takes a brilliant original and puts his own spin on it.
The story of course is very much the same, Owen (Kodi Smit-McPhee) is a shy and slightly reclusive young boy who is struggling to come to terms with his parents impending divorce. On top of that he is viciously bullied at school and has no one to turn to but the imaginations of his own doing and personality.
When he befriends Abby (Chloë Grace Moretz) who is equally as shy as him a friendship blossoms between them against the backdrop of a cold and at times sinister winter. Abby is not quite what she seems deep down, that much is clear from the outset as her father (Richard Jenkins) goes out on nightly rampages to forage for the one thing that will keep her alive, blood.
Reeves does well to take the story in some new subtle directions such as the revelation that her so called father might well have started out as a mere boy himself and is purely by Abby’s side through need rather than wanting.
It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity
There are some scenes however that stay true to Let the Right One In which of course would be lost if not included, but also the addition of new ones that are very much welcomed.
The acting is exceptional from the young leading man and woman. Smit-McPhee whose run out in the apocalyptic journey The Road only showcased his acting stature, and Moretz proves that she has a great future, if not already, having made her mark.
Reeves keeps this film focused on the young pairing with Owen’s mother being reduced to a mere blur even when she stands only a few feet away, his Dad just a voice on the end of the phone. Unlike the original Let Me In is very much a horror flick for the blood thirsty millennial generation, and the gore is well used and timed to perfection. It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity.
There is no reason to compare this film with the original, despite the story and protagonists all being the same Reeves conducts his approach with originality that makes this equally brilliant.
We should all applaud Reeves for doing something that is incredibly hard in a fast changing industry that craves money from remaking or rebooting films to satisfy a new generation of film goers. He’s made a remake that was actually good!
The story of course is very much the same, Owen (Kodi Smit-McPhee) is a shy and slightly reclusive young boy who is struggling to come to terms with his parents impending divorce. On top of that he is viciously bullied at school and has no one to turn to but the imaginations of his own doing and personality.
When he befriends Abby (Chloë Grace Moretz) who is equally as shy as him a friendship blossoms between them against the backdrop of a cold and at times sinister winter. Abby is not quite what she seems deep down, that much is clear from the outset as her father (Richard Jenkins) goes out on nightly rampages to forage for the one thing that will keep her alive, blood.
Reeves does well to take the story in some new subtle directions such as the revelation that her so called father might well have started out as a mere boy himself and is purely by Abby’s side through need rather than wanting.
It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity
There are some scenes however that stay true to Let the Right One In which of course would be lost if not included, but also the addition of new ones that are very much welcomed.
The acting is exceptional from the young leading man and woman. Smit-McPhee whose run out in the apocalyptic journey The Road only showcased his acting stature, and Moretz proves that she has a great future, if not already, having made her mark.
Reeves keeps this film focused on the young pairing with Owen’s mother being reduced to a mere blur even when she stands only a few feet away, his Dad just a voice on the end of the phone. Unlike the original Let Me In is very much a horror flick for the blood thirsty millennial generation, and the gore is well used and timed to perfection. It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity.
There is no reason to compare this film with the original, despite the story and protagonists all being the same Reeves conducts his approach with originality that makes this equally brilliant.
We should all applaud Reeves for doing something that is incredibly hard in a fast changing industry that craves money from remaking or rebooting films to satisfy a new generation of film goers. He’s made a remake that was actually good!