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RəX Regent (349 KP) rated The Prestige (2006) in Movies
Mar 7, 2019
Are you watching closely?
Contains spoilers, click to show
Are you watching closely? Christopher Nolan is shaping up to be one of this century's most successful directors, delivering hit after hit, quality upon quality. The only exception to that would be the tedious "Insomnia", but at his best he is a movie making genius, at his worst, an efficient director.
"The Prestige" was produced between projects, those being numbers three and four in my all time top ten, "Batman Begins" and "The Dark Knight". He claimed that he was making a small movie to tide him over but ended up with an all start blockbuster, and whist touching of a subject which had been dealt with before, I don't recall it ever having being done quite like this.
And that is the magic of a top director; That is to give the audience what they want but not on their terms, not quite what they are expecting. This film follows the obsession of two 19th century magicians, one of whom, Christian Bale, arrives at the conclusion that it takes total commitment to achieve the perfect trick, whilst Hugh Jackman takes a little longer to see that obsession will lead him down the same path.
This is a dark, Gothic thriller, lifting the lid of the magic of the day, whilst in true Nolan fashion delving deeper into the psyche of the protagonists, and the destructive nature of their respective obsessive battles, and those it hurts and destroys along the way.
But more than this, the film its self is effectively a mirror of the plot, told and presented as one long trick, with deception, red herrings and ultimately, eponymous the prestige. The only real problem I have with this film is that it thinks that it has everything so well wrapped up, that we, the audience, can't see the twists coming, which I felt a little insulted by as they were almost telegraphed.
But, this was a methodically well presented film, with a clear time and excellent performances throughout. Highly recommended.
"The Prestige" was produced between projects, those being numbers three and four in my all time top ten, "Batman Begins" and "The Dark Knight". He claimed that he was making a small movie to tide him over but ended up with an all start blockbuster, and whist touching of a subject which had been dealt with before, I don't recall it ever having being done quite like this.
And that is the magic of a top director; That is to give the audience what they want but not on their terms, not quite what they are expecting. This film follows the obsession of two 19th century magicians, one of whom, Christian Bale, arrives at the conclusion that it takes total commitment to achieve the perfect trick, whilst Hugh Jackman takes a little longer to see that obsession will lead him down the same path.
This is a dark, Gothic thriller, lifting the lid of the magic of the day, whilst in true Nolan fashion delving deeper into the psyche of the protagonists, and the destructive nature of their respective obsessive battles, and those it hurts and destroys along the way.
But more than this, the film its self is effectively a mirror of the plot, told and presented as one long trick, with deception, red herrings and ultimately, eponymous the prestige. The only real problem I have with this film is that it thinks that it has everything so well wrapped up, that we, the audience, can't see the twists coming, which I felt a little insulted by as they were almost telegraphed.
But, this was a methodically well presented film, with a clear time and excellent performances throughout. Highly recommended.
David McK (3194 KP) rated The Dark Knight Rises (2012) in Movies
Jun 30, 2019
The final part of Christopher Nolan's Christian Bale starring Batman trilogy (after both Batman Begins and The Dark Knight) that takes a large part of its inspiration from the 1990s Knightfall series of graphic novels in introducing the character of Bane: the man who (quote unquote) 'Breaks the Bat'.
As portrayed by Tom Hardy, this version of the character is nothing at all like you might remember from the Batman and Robin abomination: there's no mention of venom (the drug) in this movie, nor is it overstuffed with villains like that earlier movie/portrayal of the character was.
Instead, we have Bane as the primary antagonist throughout, although - in the tradition of Batman Begins - he is later revealed to be but a pawn, with deliberate call-backs to that first movie. While Jonathan Crane/Scarecrow does make a return (in what largely amounts as a camoe) alongside Ra's Al-Ghul (again, largely as a cameo in flashbacks), there's no Joker this time round - probably as a result of the real-world death of Heath Ledger (although I might have preferred even a throw-away line saying why the character wasn't in this!)
We also have Anne Hathaway's take on Catwoman/Selina Kyle, here portrayed more as a cat burglar than the Michelle Pfeiffer version from Batman Returns, and the 'passing on' of the mantle of Gotham's protector to another very-familiar character (who doesn't use his given name until the very end).
As portrayed by Tom Hardy, this version of the character is nothing at all like you might remember from the Batman and Robin abomination: there's no mention of venom (the drug) in this movie, nor is it overstuffed with villains like that earlier movie/portrayal of the character was.
Instead, we have Bane as the primary antagonist throughout, although - in the tradition of Batman Begins - he is later revealed to be but a pawn, with deliberate call-backs to that first movie. While Jonathan Crane/Scarecrow does make a return (in what largely amounts as a camoe) alongside Ra's Al-Ghul (again, largely as a cameo in flashbacks), there's no Joker this time round - probably as a result of the real-world death of Heath Ledger (although I might have preferred even a throw-away line saying why the character wasn't in this!)
We also have Anne Hathaway's take on Catwoman/Selina Kyle, here portrayed more as a cat burglar than the Michelle Pfeiffer version from Batman Returns, and the 'passing on' of the mantle of Gotham's protector to another very-familiar character (who doesn't use his given name until the very end).
BankofMarquis (1832 KP) rated The Dark Knight (2008) in Movies
Apr 16, 2018
Not a Masterpiece, but has a Masterful performance
With the DARK KNIGHT, Christopher Nolan kicks his movie's up a notch. His previous films were critical - but not necessarily commercial - successes. With the 2nd of his Batman trilogy, Nolan swings for the seats and in more ways than one, hits a home run.
THE DARK KNIGHT continues the "dark, realistic" Batman story line (based on the Frank Miller Graphic Novels of the same name) that Nolan started with BATMAN BEGINS. This film starts off simply enough - a "James Bond" type of opening action sequence that has Batman tying up some loose ends (specifically regarding the villain Scarecrow), but Nolan (and his brother, the Screenwriter Jonathan Nolan) do a clever thing, they interweave the introduction of a new villain, The Joker, into this universe.
While The Joker commits crime after crime, his real purpose is to bring chaos and anarchy to Gotham City - and he succeeds wonderfully well, despite the attempts of Batman, Alfred, Lucious Fox and Detective Jim Gordon to stop him.
As is befitting a criminal such as The Joker - and also, as befitting a big budget summer tent pole blockbuster film - the stunts of this film are amazing, over-the-top, explosive and LOUD. There are death defying stunts, breathlessly captured, long, screeching car chases (that's a good thing) and fight scenes that are well choreographed and are, by the most part, done "practically" (not with the aid of CGI), including a wonderful stunt of flipping a semi-truck and trailer up in the air and onto it's back by the nose of the truck.
These stunts would mean nothing if there wasn't some folks to root for and get behind - and this film has those characters - and performances - in spades with continued good work from Nolan "Dark Knight Trilogy" regulars Christian Bale (Batman/Bruce Wayne), Detective Jim Gordon (Gary Oldman), Alfred the Butler (Michael Caine, really shining here) and Lucious Fox (Morgan Freeman - a nice character add to this universe for this trilogy). This core really brings the goods, which is good, for the newcomers to this series - Aaron Eckhart's District Attorney Harvey Dent and Maggie Gillenhall taking over the role of Rachel Dawes (from Katie Holmes) are pretty bland in comparison.
But...all of them pale in comparison to the once-in-a-lifetime performance and character of Heath Ledger as The Joker. Ledger, as most of you know, rightfully won the Oscar for Best Supporting Actor for this role - a rare feat for a "comic book" movie. This is not only the Best Supporting Actor turn for 2008, but I would argue it is one of the best Supporting Actor turns of all-time. Anytime that Ledger is on the screen, your eye goes to him and you lose all sense of anything else that is going on. His look, his tics, his pauses, his vocal patterns, his mannerisms, his walk, ALL convey a sense of the character and added all up, it is quite something to behold.
Many, many have called this their favorite "comic book" film of all time, but I don't think I share that idea. While Nolan spent much of his time on the characters, the "look" of the film and the effects and stunts, he left the story a little too thin and the length of this film is a bit too long, for my tastes. I was most certainly looking at my watch during the "thrilling conclusion" of this film waiting for it to be done.
Now...to be fair...most of the reason for that is that I was exhausted watching Ledger's performance. He wore me out. But...that's a compliment, not a complaint.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
THE DARK KNIGHT continues the "dark, realistic" Batman story line (based on the Frank Miller Graphic Novels of the same name) that Nolan started with BATMAN BEGINS. This film starts off simply enough - a "James Bond" type of opening action sequence that has Batman tying up some loose ends (specifically regarding the villain Scarecrow), but Nolan (and his brother, the Screenwriter Jonathan Nolan) do a clever thing, they interweave the introduction of a new villain, The Joker, into this universe.
While The Joker commits crime after crime, his real purpose is to bring chaos and anarchy to Gotham City - and he succeeds wonderfully well, despite the attempts of Batman, Alfred, Lucious Fox and Detective Jim Gordon to stop him.
As is befitting a criminal such as The Joker - and also, as befitting a big budget summer tent pole blockbuster film - the stunts of this film are amazing, over-the-top, explosive and LOUD. There are death defying stunts, breathlessly captured, long, screeching car chases (that's a good thing) and fight scenes that are well choreographed and are, by the most part, done "practically" (not with the aid of CGI), including a wonderful stunt of flipping a semi-truck and trailer up in the air and onto it's back by the nose of the truck.
These stunts would mean nothing if there wasn't some folks to root for and get behind - and this film has those characters - and performances - in spades with continued good work from Nolan "Dark Knight Trilogy" regulars Christian Bale (Batman/Bruce Wayne), Detective Jim Gordon (Gary Oldman), Alfred the Butler (Michael Caine, really shining here) and Lucious Fox (Morgan Freeman - a nice character add to this universe for this trilogy). This core really brings the goods, which is good, for the newcomers to this series - Aaron Eckhart's District Attorney Harvey Dent and Maggie Gillenhall taking over the role of Rachel Dawes (from Katie Holmes) are pretty bland in comparison.
But...all of them pale in comparison to the once-in-a-lifetime performance and character of Heath Ledger as The Joker. Ledger, as most of you know, rightfully won the Oscar for Best Supporting Actor for this role - a rare feat for a "comic book" movie. This is not only the Best Supporting Actor turn for 2008, but I would argue it is one of the best Supporting Actor turns of all-time. Anytime that Ledger is on the screen, your eye goes to him and you lose all sense of anything else that is going on. His look, his tics, his pauses, his vocal patterns, his mannerisms, his walk, ALL convey a sense of the character and added all up, it is quite something to behold.
Many, many have called this their favorite "comic book" film of all time, but I don't think I share that idea. While Nolan spent much of his time on the characters, the "look" of the film and the effects and stunts, he left the story a little too thin and the length of this film is a bit too long, for my tastes. I was most certainly looking at my watch during the "thrilling conclusion" of this film waiting for it to be done.
Now...to be fair...most of the reason for that is that I was exhausted watching Ledger's performance. He wore me out. But...that's a compliment, not a complaint.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
RəX Regent (349 KP) rated The Dark Knight (2008) in Movies
Feb 19, 2019
Batman Begins‘ ending was a brilliant nod towards the things that were to come, as Gary Oldman’s, newly promoted Lieutenant Jim Gordon flashes The Joker’s calling card, Batman’s revival had now well and truly begun. A film with lesser known villains was about to retread more familiar ground with the introduction of The Joker and Harvey Dent/Two Face.
But this was Christopher Nolan’s more grounded take on the superhero, and his villains needed to be much more than the hammy caricatures that we’d seen before. The late Heath Ledger made the role of The Joker his own in ways that no-one could have imagined. This was a dark, evil and terrifying take on the character with an evil sense if humour but he is in keeping with the villain that we know so well.
The origins of the Dark Knight were covered expertly in the first film, and now it is time to take that story one step further, so consequently this is now more about crime in Gotham City. The criminal underworld is now in turmoil as Batman, Gordon and the new District Attorney, Harvey Dent are leaning on them, but when things turn ugly, they turn ugly!
The beauty of this film is that it takes off pretty much from where the first left off, but the tone has changed a bit. This owes a lot to Michael Mann’s, Heat, and focuses much more on Wayne/Batman’s attempts to rid the city of crime, whilst his opposite and nemesis, The Joker, is proving himself to be nothing less than a pure anarchist, unreasonable and nonnegotiable.
Is this better than Batman Begins? Yes, but only fractionally. It’s slightly tighter and more complex, with every set piece seamlessly moving on to the next complex sequence, where the grand plan is rarely what it appears to be. The film’s narrative is deceptive, playing with its characters and the audience alike. This is film-making at it’s very best. The perfect blend of grand direction, passionate character development and performance and writing, with a narrative and structure designed to engage and enthrall the viewer without patronising or insulting their intelligence.
I believe that this film is a masterpiece and genuinely the best movie of this genre ever made. There are so many examples of how to do a comic adaptation and many great examples to boot, but I feel that this blends them all so well. It’s a franchise film without falling into the trap of being part of franchise. Each film is a real film its own right, with a plot, arch and tone.
The narrative continues, but the feel evolves to suit the film, and though Begins and Knight seamlessly work together, either could also be taken as a film by themselves, each with the integrity to hold their own. But as a franchise movie, it is still littered with nods to the future, or in some cases, more subtle entries into the lore.
Take Mr. Reese for example. This was a name used by The Riddler and many suspected at the time that it was linked to the third film, but so far, there’s no talk of The Riddler’s involvement, in fact there has been an outright denial. But I believe that in effect, he has already appeared, though in a much muted manner. Mr. Coleman Reese, or Mister-REES (mysteries anyone?), threatens to out Wayne as Batman but is stopped by The Joker, but maybe the fact that he worked for a consultancy employed by Wayne Enterprises and threatened Wayne with blackmail etc… was a mild acknowledgment of The Riddler’s character.
This is what we’re talking about when we look at Nolan’s work. He spares nothing, but delivers the film in ways that doesn’t always conform to your expectations. And don’t forget th line about the Cats line either…
Overall, The Dark Knight is the epitome of the reboot genre, taking so much from the original source without copying, but bringing a genuinely deep, thoughtful and emotional take on a comic book character who dresses like a bat and solves crime… May the genius of Christopher Nolan and his team carry on for years to come, but I do fear that he’s heading for a fall, purely on the basis that no-one can produce films of this outstanding quality for ever… can they?
But this was Christopher Nolan’s more grounded take on the superhero, and his villains needed to be much more than the hammy caricatures that we’d seen before. The late Heath Ledger made the role of The Joker his own in ways that no-one could have imagined. This was a dark, evil and terrifying take on the character with an evil sense if humour but he is in keeping with the villain that we know so well.
The origins of the Dark Knight were covered expertly in the first film, and now it is time to take that story one step further, so consequently this is now more about crime in Gotham City. The criminal underworld is now in turmoil as Batman, Gordon and the new District Attorney, Harvey Dent are leaning on them, but when things turn ugly, they turn ugly!
The beauty of this film is that it takes off pretty much from where the first left off, but the tone has changed a bit. This owes a lot to Michael Mann’s, Heat, and focuses much more on Wayne/Batman’s attempts to rid the city of crime, whilst his opposite and nemesis, The Joker, is proving himself to be nothing less than a pure anarchist, unreasonable and nonnegotiable.
Is this better than Batman Begins? Yes, but only fractionally. It’s slightly tighter and more complex, with every set piece seamlessly moving on to the next complex sequence, where the grand plan is rarely what it appears to be. The film’s narrative is deceptive, playing with its characters and the audience alike. This is film-making at it’s very best. The perfect blend of grand direction, passionate character development and performance and writing, with a narrative and structure designed to engage and enthrall the viewer without patronising or insulting their intelligence.
I believe that this film is a masterpiece and genuinely the best movie of this genre ever made. There are so many examples of how to do a comic adaptation and many great examples to boot, but I feel that this blends them all so well. It’s a franchise film without falling into the trap of being part of franchise. Each film is a real film its own right, with a plot, arch and tone.
The narrative continues, but the feel evolves to suit the film, and though Begins and Knight seamlessly work together, either could also be taken as a film by themselves, each with the integrity to hold their own. But as a franchise movie, it is still littered with nods to the future, or in some cases, more subtle entries into the lore.
Take Mr. Reese for example. This was a name used by The Riddler and many suspected at the time that it was linked to the third film, but so far, there’s no talk of The Riddler’s involvement, in fact there has been an outright denial. But I believe that in effect, he has already appeared, though in a much muted manner. Mr. Coleman Reese, or Mister-REES (mysteries anyone?), threatens to out Wayne as Batman but is stopped by The Joker, but maybe the fact that he worked for a consultancy employed by Wayne Enterprises and threatened Wayne with blackmail etc… was a mild acknowledgment of The Riddler’s character.
This is what we’re talking about when we look at Nolan’s work. He spares nothing, but delivers the film in ways that doesn’t always conform to your expectations. And don’t forget th line about the Cats line either…
Overall, The Dark Knight is the epitome of the reboot genre, taking so much from the original source without copying, but bringing a genuinely deep, thoughtful and emotional take on a comic book character who dresses like a bat and solves crime… May the genius of Christopher Nolan and his team carry on for years to come, but I do fear that he’s heading for a fall, purely on the basis that no-one can produce films of this outstanding quality for ever… can they?
Gareth von Kallenbach (968 KP) rated Batman Begins (2005) in Movies
Aug 14, 2019
In the dark of night, a young man’s life is about to be forever changed. Young Bruce Wayne, son of wealthy industrialist Dr. Thomas Wayne (Linus Roache), is about to be orphaned in a random act of street violence.
The act will forever scar the younger Wayne, and will install and fuel a dark fire to stop crime and corruption wherever they may be. Fast forward years later and Bruce (Christian Bale), is interned in and Asian prison as a result of his desire to stop crime and an unfortunate series of events that made him flee Gotham City to find himself. Hope arrives one day in the form of a visitor named Henri Ducard (Liam Neeson), who arranges not only to free Bruce, but to train him for his destiny.
High atop a rocky, snow-covered peak, Bruce undergoes rigorous physical and mental training to hone his body and mind into the ultimate tool to combat crime. As time passes, Bruce eventually is ready to go out into the world. That is until an unexpected situation arises that forces him to decide which path he wishes to select.
The aftermath of this decision has Bruce returning home to Gotham City, where he is again under the care of the trusted family servant Alfred (Michael Caine), who informs him that crime and corruption is rampant in Gotham because the crime leader Carmine Falcone (Tom Wilkinson), has many members of the police force and judicial system under his influence.
While touring his father’s company, Bruce meets Lucius Fox (Morgan Freeman), who makes all manners of high-end experimental military weaponry and armor available to Bruce. Inspired, Bruce begins to craft his alter ego Batman, and takes to the nights to disrupt Falcone and the criminal activities in Gotham.
Unknown to Bruce/Batman, an evil villain known as the Scarecrow (Cillian Murphy), is plotting to destroy Gotham, and with Batman being wanted by the police as a vigilante his attempts to cleanse the city are hindered as Bruce/Batman must fight a war on different fronts.
For most films this would be more than enough plot to carry a summer action film, but for Batman Begins, it is only the setup as the depth of the story is surpassed only by the depth of the intensity and emotion of the film as this is not Tim Burton or Joel Schumacher’s campy takes on the tale of the Dark Knight.
Director Christopher Nolan takes the gloves off and shows that his triumphant work in “Memento” was not a fluke. He has crafted a complex, dark, and emotional film that is more of a drama than a comic book caper. Bale does a masterful job portraying the angst and anger of his character without ever being hammy or over the top. He portrays Wayne as a very normal, yet disturbed soul, who clearly has a method to his madness and is not a shallow once dimensional character. When Bruce is not out fighting crime, he is not above cracking jokes, squiring the ladies about town, and spending time with long time friend (and the one who got away) Rachael Dawes (Katie Holmes).
The film takes many twists and never gets sappy as far too many comic based films do. In fact, the intensity of the film keeps going up until the town literally explodes into frenzy of violence and chaos. Parents should note that this Batman is a very intense film filled with dark images and as such may be too intense for younger viewers as this is a film that is aimed towards a more mature audience.
As I sat through the films nearly two and a half hour running time, I was captivated as the film holds your attention throughout, and is filled with great performances and action. The chase scene with the new Batmobile is one of the best car chase sequences in recent memory and the action scenes move with a crisp and steady pacing. Bale, as I mentioned, does great work, but so do Neeson, Caine and Gary Oldman in a supporting role as Police Officer Gordon. They take supporting characters and infuse them with a touch of humanity that enables them to come across as real people rather than the thin constructs that are far too often passed on as characters in films of this type.
The only real quibble I had with the film, and it is very minor, would be that Holmes was not given a chance to show more to her character other than the duality of the damsel in distress and the passionate Assistant D.A. Her scenes with Bale seem to lack the spark and chemistry of someone who is supposed to have been a close friend of Bruce since they were children.
That being said, the mature nature and gripping and deep storyline, as well as the standout performances and action, make this film a true classic and rivals “Spider-Man” as the best and most faithful adaptation of a comic book.
The act will forever scar the younger Wayne, and will install and fuel a dark fire to stop crime and corruption wherever they may be. Fast forward years later and Bruce (Christian Bale), is interned in and Asian prison as a result of his desire to stop crime and an unfortunate series of events that made him flee Gotham City to find himself. Hope arrives one day in the form of a visitor named Henri Ducard (Liam Neeson), who arranges not only to free Bruce, but to train him for his destiny.
High atop a rocky, snow-covered peak, Bruce undergoes rigorous physical and mental training to hone his body and mind into the ultimate tool to combat crime. As time passes, Bruce eventually is ready to go out into the world. That is until an unexpected situation arises that forces him to decide which path he wishes to select.
The aftermath of this decision has Bruce returning home to Gotham City, where he is again under the care of the trusted family servant Alfred (Michael Caine), who informs him that crime and corruption is rampant in Gotham because the crime leader Carmine Falcone (Tom Wilkinson), has many members of the police force and judicial system under his influence.
While touring his father’s company, Bruce meets Lucius Fox (Morgan Freeman), who makes all manners of high-end experimental military weaponry and armor available to Bruce. Inspired, Bruce begins to craft his alter ego Batman, and takes to the nights to disrupt Falcone and the criminal activities in Gotham.
Unknown to Bruce/Batman, an evil villain known as the Scarecrow (Cillian Murphy), is plotting to destroy Gotham, and with Batman being wanted by the police as a vigilante his attempts to cleanse the city are hindered as Bruce/Batman must fight a war on different fronts.
For most films this would be more than enough plot to carry a summer action film, but for Batman Begins, it is only the setup as the depth of the story is surpassed only by the depth of the intensity and emotion of the film as this is not Tim Burton or Joel Schumacher’s campy takes on the tale of the Dark Knight.
Director Christopher Nolan takes the gloves off and shows that his triumphant work in “Memento” was not a fluke. He has crafted a complex, dark, and emotional film that is more of a drama than a comic book caper. Bale does a masterful job portraying the angst and anger of his character without ever being hammy or over the top. He portrays Wayne as a very normal, yet disturbed soul, who clearly has a method to his madness and is not a shallow once dimensional character. When Bruce is not out fighting crime, he is not above cracking jokes, squiring the ladies about town, and spending time with long time friend (and the one who got away) Rachael Dawes (Katie Holmes).
The film takes many twists and never gets sappy as far too many comic based films do. In fact, the intensity of the film keeps going up until the town literally explodes into frenzy of violence and chaos. Parents should note that this Batman is a very intense film filled with dark images and as such may be too intense for younger viewers as this is a film that is aimed towards a more mature audience.
As I sat through the films nearly two and a half hour running time, I was captivated as the film holds your attention throughout, and is filled with great performances and action. The chase scene with the new Batmobile is one of the best car chase sequences in recent memory and the action scenes move with a crisp and steady pacing. Bale, as I mentioned, does great work, but so do Neeson, Caine and Gary Oldman in a supporting role as Police Officer Gordon. They take supporting characters and infuse them with a touch of humanity that enables them to come across as real people rather than the thin constructs that are far too often passed on as characters in films of this type.
The only real quibble I had with the film, and it is very minor, would be that Holmes was not given a chance to show more to her character other than the duality of the damsel in distress and the passionate Assistant D.A. Her scenes with Bale seem to lack the spark and chemistry of someone who is supposed to have been a close friend of Bruce since they were children.
That being said, the mature nature and gripping and deep storyline, as well as the standout performances and action, make this film a true classic and rivals “Spider-Man” as the best and most faithful adaptation of a comic book.
Matthew Krueger (10051 KP) rated Gremlins 2: The New Batch (1990) in Movies
Dec 22, 2020
Gremlins Take Over The Big Apple
Gremlins 2: The New Batch- is a good sequel. Its still has its dark humor, comedy, horror and of course many gremlins. And you cant not forgot about Hulk Hogan, yes you read that right Hulk Hogan is in this. And the horror legend and icon Christopher Lee is also in this.
The plot: The magical collectibles store that Gizmo calls home has just been destroyed, and the tiny monster finds his way into a newly erected skyscraper. Billy Peltzer (Zach Galligan) and his bride-to-be, Kate (Phoebe Cates), who have previously dealt with Gremlins run amok, discover that Gizmo and an impish legion of reptilian pals are inhabiting the downtown building. The couple tries to stop the creatures from escaping into New York City, but this new batch of beasts might be uncontrollable.
Like the first film, Gremlins 2: The New Batch is a live-action horror comedy film; however, Dante put effort into taking the sequel in new anarchistic directions. The film is meant to be more cartoon-like and less dark than the original, with slapstick violence, so the film received a PG-13 rating by the Motion Picture Association of America (MPAA). There are also a number of parodies of other films and stories, including Gremlins itself, the Rambo films, The Wizard of Oz, Marathon Man and The Phantom of the Opera.
Along with the main plot, there is animation by Chuck Jones in the film featuring the Looney Tunes characters Bugs Bunny, Daffy Duck and Porky Pig. Jones had actually quit animation before returning to work on Gremlins 2: The New Batch.Dante explained the animation at the beginning of the film was meant to "set the anarchic tone."
The first scene appears at the very beginning of the movie, and features the classic Looney Tunes opening card, causing people to assume it is the short cartoon that usually plays before a movie begins; however, when Bugs appears through the rings on top of the Warner Bros. shield, Daffy interrupts the intro, and steals the shield from Bugs. Daffy attempts to recreate the opening with himself in Bugs' place, but the shield overshoots, causing the entire title card to fall apart. Daffy surrenders the stardom, claiming that since he will not star in the cartoon, they might as well just skip straight to the movie. Bugs is willing to do so, and spins Daffy off screen like a spinning top for the movie title to appear.
The DVD and Blu-ray include a longer version of the cartoon short. In it, Daffy is informed by Bugs that he has been promoted to executive and is subsequently put in charge writing the title of the movie. When Daffy mistakenly writes the title Gremlins 2 as "Gremlin Stew", Bugs corrects the error. Daffy then attempts to rename the film The Return of Super-Daffy Meets Gremlins 2 Part 6: The Movie, but Bugs rejects this for being too long, changing it back to Gremlins 2 (rendered in the font of the official logo). Daffy then quits his new job and Bugs decides to add in the subtitle, saying it looks "a little skimpy". This material was removed from the film because early audiences expected a live-action film and were bewildered by the lengthy animated sequence.
Throughout the film's closing credits, Daffy pops into frame sporadically and spouts off sarcastic comments. The last scene appears after the credits, and again features the Looney Tunes rings. This time, Porky comes out of the rings and tries to say his usual "Th-th-th-that's all, folks!" However, Daffy interrupts again and takes over. After Daffy says the slogan, the back of the Warner Bros. shield, with the words, "Title Animation Written & Directed by Chuck Jones (with Chuck Jones' signature)", smashes him. He peeks his head out to the left side and says, "Fade out," and the segment ends.
Its a good film.
The plot: The magical collectibles store that Gizmo calls home has just been destroyed, and the tiny monster finds his way into a newly erected skyscraper. Billy Peltzer (Zach Galligan) and his bride-to-be, Kate (Phoebe Cates), who have previously dealt with Gremlins run amok, discover that Gizmo and an impish legion of reptilian pals are inhabiting the downtown building. The couple tries to stop the creatures from escaping into New York City, but this new batch of beasts might be uncontrollable.
Like the first film, Gremlins 2: The New Batch is a live-action horror comedy film; however, Dante put effort into taking the sequel in new anarchistic directions. The film is meant to be more cartoon-like and less dark than the original, with slapstick violence, so the film received a PG-13 rating by the Motion Picture Association of America (MPAA). There are also a number of parodies of other films and stories, including Gremlins itself, the Rambo films, The Wizard of Oz, Marathon Man and The Phantom of the Opera.
Along with the main plot, there is animation by Chuck Jones in the film featuring the Looney Tunes characters Bugs Bunny, Daffy Duck and Porky Pig. Jones had actually quit animation before returning to work on Gremlins 2: The New Batch.Dante explained the animation at the beginning of the film was meant to "set the anarchic tone."
The first scene appears at the very beginning of the movie, and features the classic Looney Tunes opening card, causing people to assume it is the short cartoon that usually plays before a movie begins; however, when Bugs appears through the rings on top of the Warner Bros. shield, Daffy interrupts the intro, and steals the shield from Bugs. Daffy attempts to recreate the opening with himself in Bugs' place, but the shield overshoots, causing the entire title card to fall apart. Daffy surrenders the stardom, claiming that since he will not star in the cartoon, they might as well just skip straight to the movie. Bugs is willing to do so, and spins Daffy off screen like a spinning top for the movie title to appear.
The DVD and Blu-ray include a longer version of the cartoon short. In it, Daffy is informed by Bugs that he has been promoted to executive and is subsequently put in charge writing the title of the movie. When Daffy mistakenly writes the title Gremlins 2 as "Gremlin Stew", Bugs corrects the error. Daffy then attempts to rename the film The Return of Super-Daffy Meets Gremlins 2 Part 6: The Movie, but Bugs rejects this for being too long, changing it back to Gremlins 2 (rendered in the font of the official logo). Daffy then quits his new job and Bugs decides to add in the subtitle, saying it looks "a little skimpy". This material was removed from the film because early audiences expected a live-action film and were bewildered by the lengthy animated sequence.
Throughout the film's closing credits, Daffy pops into frame sporadically and spouts off sarcastic comments. The last scene appears after the credits, and again features the Looney Tunes rings. This time, Porky comes out of the rings and tries to say his usual "Th-th-th-that's all, folks!" However, Daffy interrupts again and takes over. After Daffy says the slogan, the back of the Warner Bros. shield, with the words, "Title Animation Written & Directed by Chuck Jones (with Chuck Jones' signature)", smashes him. He peeks his head out to the left side and says, "Fade out," and the segment ends.
Its a good film.
RəX Regent (349 KP) rated The Dark Knight Rises (2012) in Movies
Feb 19, 2019
Contains spoilers, click to show
After four years, since The Dark Knight ended, leaving us wanting more and seven years since Christopher Nolan reinvented the comic book adaptation with Batman Begins, The final chapter of The Dark Knight Trilogy has arrived.
With this much hype, would it possible live up to potentially bloated expectations? The first reviews hit last monday, with 4 to 5 stars being the consensus. Well, it did! The Dark Knight returns one last time, after eight years have passed since the events of The Dark Knight and Batman had retreated into the rebuilt Wayne Manor as Commissioner Gordon (Gary Oldman), maintaining the lie that Harvey Dent was Gotham’s The White Knight, and not the maniacal Two-Face, had managed to clean up Gotham City.
Batman was no longer needed but in the meantime, Bane has arrived in the city with grand plans for its destruction. I won’t go much further into the plot that this, though I will probably write a more spoiler heavy review for the Blu-ray later in the year. But for now, I will try to maintain the film’s integrity.
When we first meet Bruce Wayne after almost a decade of seclusion, he is a broken man, both physically and mentally following the murder of his childhood sweetheart, Rachel Dawes in the previous film and the toll of nightly combat. So the first port of call is to bring Batman back to the streets of Gotham. The sense of excitement is palpable and very much a part of what makes Nolan’s films tick.
He draws his audience into the narrative as if we are part of the events and the universe as it unfolds, leaving us not just wanting Batman to return for the sake of the action but for Gotham’s sake as well. Bane, played so excellently by Tom Hardy, was a little difficult to understand from behind his mask, but still conveyed an enormous amount of presence and power, as he lays siege to the city but not as Terrorist per say, but as a freedom fighter or revolutionary, with many visual references to the French Revolution to keep us going.
Anne Hathaway’s Catwoman, though not named as anyone other than Selina Kyle, was a credit to her character as well as the actress. Dark, sultry, seductive and agile, her feline credibly was intact, whilst still being a very human character. Her duplicity was bread from desperation rather than evil and her motives convincingly drive her in both good and more dubious endeavours.
*** MAJOR SPOILER***
The less said about Talia Al Ghul the better, but the for those aware of her role, it was well-played, though her final scene was the hammiest in the film, possibly the entire trilogy.
Then there’s the supporting cast, such as Mathew Modene, who does a great job as Dept. Commissioner Foley and Cillian Murphy’s back again, as the subtly unrecognisable Scarecrow, who besides some frayed shoulder’s on his jacket, could have been anyone,and that’s the beauty of Nolan’s Batman universe. It’s fluid and you can’t count on anything on anyone for too long.
But this franchise would be nothing without Hans Zimmer percussive score, pounding as much as it was gentle, it works well among with Nolan’s direction to craft the near perfect conclusion to the Trilogy. Both riff on earlier films and supe it up accordingly whilst maintaining the film’s integrity.
In the end, my expectations were met and exceeded. Nolan has crowned his trilogy with a film which is of the same calabar as the two which preceded it, filling in many of the blanks, choosing the right characters to take on and doing so a variety of ways, touching this time on the flamboyant Bain, though scrapping the “Venom” plot from the comics, creating an intriguing Catwoman and building another major character in the form of R. John Blake (Joseph Gordon-Lovett).
The ending of the film is just perfect, not only for this but for the entire Trilogy. With nods to Inception though I believe that it is just a nod and not as similar as some would protest, but this is epic in the way that The Dark Knight never tried to be and Batman Begins didn’t need to be. The threat is apocalyptic, in keeping with the genre, but believable in keeping with Nolan.
The same can be said for the action, though I must admit, the sentimentalist in me wanted to see the Batmoble/Tumber back, though it was there in triplicate, as Bane steels three prototype Tumbers from Wayne Enterprises, for his private army, but the Bat (Batwing) was stunning, and the Batpod made a reappearance. The Final showdown will leave you breathless, the perfect blend of direction, Zimmer’s score and some of the most intense and meaningful action you’ll see on the big screen.
The only real faults with The Dark Knight Rises stem from its scale and change in direction. It’s more about Batman’s evolution from crime fighter to savour. Less intense on a personal level, but much grander in its ideals and horror as Gotham is destroyed on scale never seen in a film of this type. But it’s not as far-fetched as one may think, as it grounds itself with historical references, such as the French Revolution, which was hardly far-fetched, though it was hard-hitting and is well translated here.
Bruce Wayne completes his journey from the boy who witnessed his parents murder, to a young man who could not grow beyond it, to a man who lost himself in a journey to understand the criminal mind. Finally returning as Batman, who defied his mentor to protect his beloved city, to a master detective. But here, he returns to his roots.
The billionaire who never cared about his wealth as much as he cared for the people of Gotham, he ends up exactly where he needed to be. Decide for yourself, whether it’s a happy ending, sad or satisfying, but either way, it was not only the best way to advance the saga, but the best way to end the series as a whole. Thanks to Nolan and his crew, we now have the most definitively brilliant Batman series EVER committed to celluloid, (or digital), and no matter what is to follow, whether it is to be the Justice League mash-up or another reboot, I suspect that it will be a long, long time before anyone can beat these.
With this much hype, would it possible live up to potentially bloated expectations? The first reviews hit last monday, with 4 to 5 stars being the consensus. Well, it did! The Dark Knight returns one last time, after eight years have passed since the events of The Dark Knight and Batman had retreated into the rebuilt Wayne Manor as Commissioner Gordon (Gary Oldman), maintaining the lie that Harvey Dent was Gotham’s The White Knight, and not the maniacal Two-Face, had managed to clean up Gotham City.
Batman was no longer needed but in the meantime, Bane has arrived in the city with grand plans for its destruction. I won’t go much further into the plot that this, though I will probably write a more spoiler heavy review for the Blu-ray later in the year. But for now, I will try to maintain the film’s integrity.
When we first meet Bruce Wayne after almost a decade of seclusion, he is a broken man, both physically and mentally following the murder of his childhood sweetheart, Rachel Dawes in the previous film and the toll of nightly combat. So the first port of call is to bring Batman back to the streets of Gotham. The sense of excitement is palpable and very much a part of what makes Nolan’s films tick.
He draws his audience into the narrative as if we are part of the events and the universe as it unfolds, leaving us not just wanting Batman to return for the sake of the action but for Gotham’s sake as well. Bane, played so excellently by Tom Hardy, was a little difficult to understand from behind his mask, but still conveyed an enormous amount of presence and power, as he lays siege to the city but not as Terrorist per say, but as a freedom fighter or revolutionary, with many visual references to the French Revolution to keep us going.
Anne Hathaway’s Catwoman, though not named as anyone other than Selina Kyle, was a credit to her character as well as the actress. Dark, sultry, seductive and agile, her feline credibly was intact, whilst still being a very human character. Her duplicity was bread from desperation rather than evil and her motives convincingly drive her in both good and more dubious endeavours.
*** MAJOR SPOILER***
The less said about Talia Al Ghul the better, but the for those aware of her role, it was well-played, though her final scene was the hammiest in the film, possibly the entire trilogy.
Then there’s the supporting cast, such as Mathew Modene, who does a great job as Dept. Commissioner Foley and Cillian Murphy’s back again, as the subtly unrecognisable Scarecrow, who besides some frayed shoulder’s on his jacket, could have been anyone,and that’s the beauty of Nolan’s Batman universe. It’s fluid and you can’t count on anything on anyone for too long.
But this franchise would be nothing without Hans Zimmer percussive score, pounding as much as it was gentle, it works well among with Nolan’s direction to craft the near perfect conclusion to the Trilogy. Both riff on earlier films and supe it up accordingly whilst maintaining the film’s integrity.
In the end, my expectations were met and exceeded. Nolan has crowned his trilogy with a film which is of the same calabar as the two which preceded it, filling in many of the blanks, choosing the right characters to take on and doing so a variety of ways, touching this time on the flamboyant Bain, though scrapping the “Venom” plot from the comics, creating an intriguing Catwoman and building another major character in the form of R. John Blake (Joseph Gordon-Lovett).
The ending of the film is just perfect, not only for this but for the entire Trilogy. With nods to Inception though I believe that it is just a nod and not as similar as some would protest, but this is epic in the way that The Dark Knight never tried to be and Batman Begins didn’t need to be. The threat is apocalyptic, in keeping with the genre, but believable in keeping with Nolan.
The same can be said for the action, though I must admit, the sentimentalist in me wanted to see the Batmoble/Tumber back, though it was there in triplicate, as Bane steels three prototype Tumbers from Wayne Enterprises, for his private army, but the Bat (Batwing) was stunning, and the Batpod made a reappearance. The Final showdown will leave you breathless, the perfect blend of direction, Zimmer’s score and some of the most intense and meaningful action you’ll see on the big screen.
The only real faults with The Dark Knight Rises stem from its scale and change in direction. It’s more about Batman’s evolution from crime fighter to savour. Less intense on a personal level, but much grander in its ideals and horror as Gotham is destroyed on scale never seen in a film of this type. But it’s not as far-fetched as one may think, as it grounds itself with historical references, such as the French Revolution, which was hardly far-fetched, though it was hard-hitting and is well translated here.
Bruce Wayne completes his journey from the boy who witnessed his parents murder, to a young man who could not grow beyond it, to a man who lost himself in a journey to understand the criminal mind. Finally returning as Batman, who defied his mentor to protect his beloved city, to a master detective. But here, he returns to his roots.
The billionaire who never cared about his wealth as much as he cared for the people of Gotham, he ends up exactly where he needed to be. Decide for yourself, whether it’s a happy ending, sad or satisfying, but either way, it was not only the best way to advance the saga, but the best way to end the series as a whole. Thanks to Nolan and his crew, we now have the most definitively brilliant Batman series EVER committed to celluloid, (or digital), and no matter what is to follow, whether it is to be the Justice League mash-up or another reboot, I suspect that it will be a long, long time before anyone can beat these.
Andy K (10821 KP) rated Life After Flash (2017) in Movies
Jul 5, 2019
Flash! Ah Ah!
To say the film Flash Gordon shaped me as a child would be a gross understatement. I worship the film as a screen classic and as one of my favorite films of all time. Ok, I know it's not Citizen Kane; however, it is the Citizen Kane of campy 80s rock operas.
As much as I would love to have an 8 hour conversation with someone about the merits of Flash Gordon, I should be talking about the 2017 film Life After Flash which I don't think I had any choice but to enjoy.
The film itself is kind of divided into to parts. The first half talking to all the surviving principles about how they were cast, the production itself, their interactions with epic producer Dino De Laurentiis and the film's legacy in their eyes. The second half was devoted to star Sam J. Jones himself and his personal journey before, during and after the film was completed and released in 1980.
He talked about how his ego got in the way of production so much so that his voice isn't even used in the film and was dubbed by another actor. He also expounded on his life since talking about dark times when the work dried up and how he even thought of suicide.
Thankfully after many years, Seth MacFarlane and asked him to cameo his most famous role in "Ted" and how that has reignited his film and public appearance career. (As a side note, since I am just a huge Flash Gordon fan, the Sam Jones scenes in Ted are about the funniest scenes ever in a motion picture for me).
Others mention the effects of typecasting in Hollywood. Even director Richard Donner mentions the fate Christopher Reeve has after Superman.
I should watch more documentaries as I always learn things I didn't know before and this great film was no exception.
As much as I would love to have an 8 hour conversation with someone about the merits of Flash Gordon, I should be talking about the 2017 film Life After Flash which I don't think I had any choice but to enjoy.
The film itself is kind of divided into to parts. The first half talking to all the surviving principles about how they were cast, the production itself, their interactions with epic producer Dino De Laurentiis and the film's legacy in their eyes. The second half was devoted to star Sam J. Jones himself and his personal journey before, during and after the film was completed and released in 1980.
He talked about how his ego got in the way of production so much so that his voice isn't even used in the film and was dubbed by another actor. He also expounded on his life since talking about dark times when the work dried up and how he even thought of suicide.
Thankfully after many years, Seth MacFarlane and asked him to cameo his most famous role in "Ted" and how that has reignited his film and public appearance career. (As a side note, since I am just a huge Flash Gordon fan, the Sam Jones scenes in Ted are about the funniest scenes ever in a motion picture for me).
Others mention the effects of typecasting in Hollywood. Even director Richard Donner mentions the fate Christopher Reeve has after Superman.
I should watch more documentaries as I always learn things I didn't know before and this great film was no exception.
Gareth von Kallenbach (968 KP) rated Thor: The Dark World (2013) in Movies
Jun 19, 2019
Marvel Studios has certainly been on a roll in recent years with a string of successful film adaptations of their popular comic book series. The recent overwhelming worldwide successes for “The Avengers”, and “Iron Man 3”, which topped $1 billion each globally has certainly raised the bar for their next cinematic offerings.
“Thor: The Dark World”, is poised to carry on the success of the Marvel film franchise as it successfully mixes action and character form the rare sequel that is better than the film that spawned it.
Chris Hemsworth once again stars as the title character who has been spending his time clearing up discord on the planets of the Nine Realms following his outing with The Avengers.
With peace at hand, his father Odin, (Sir Anthony Hopkins), believes the time is right for Thor to prepare for his reign as king of Asgard and protector of the realms.
Thor is not ready to embrace his destiny as his mind and heart are focused on Jane Foster (Natalie Portman), we has not seen since the events of the first film. His father warns him that a mortal is not suited to be his future queen and suggest that his fellow warrior Sif (Jaimie Alexander), would be far more suitable.
To further complicate matters Thor’s treacherous brother Loki (Tom Hiddleston), is seething at the prospect of spending eternity in captivity for his past crimes which only furthers his desire for power and revenge.
While all of this would be enough to keep Thor very busy, a new threat has arisen from the past that threatens to destroy the known universe. A powerful force known as the Aether which had been hidden by Thor’s grandfather has emerged and is drawn the attention of a Dark Elf named Malekith (Christopher Eccleston), who has been hiding away for centuries from those who believed him to be dead.
Malekith wants to take advantage of a pending convergence of the realms to use the supernatural power for his own purposes and in doing so destroy and subjugate all those who are before him. Fate intervenes and brings Jane and Thor together again just as the enemy forces arrived to ransack Asgard.
Faced with a battle against time not only to protect his beloved homeland but to save the known universe, Thor must work with his treacherous brother Loki in a race against time to save the day.
There are plenty of action sequences that follow and the visual effects are quite good even though the film is presented in converted 3-D after being shot in a standard format. The leads are fantastic and truly seem to have a grasp of their characters and the supporting work especially that of Kat Dennings much-needed comic relief is a very nice mix.
The only issue I had with the film other than the converted 3-D, was that the enemy while menacing did not seem to be one of the larger-than-life enemies that one has come to expect from a Marvel film. While certainly dangerous and menacing, there almost seemed to be an air of and confidence about the character as it was clear that he was simply biting off more than he could handle with the forces that were available to him.
That being said the film was extremely enjoyable as were the two bonus scenes that play during the middle of and the end of the credits.
While it may not went over box offices to the level of the two previous Marvel outings, Director Alan Taylor keeps things moving at a steady clip and the film nor the characters do not overstay their welcome.
With another Avengers movie on the horizon and a promise that Thor will return, fans can definitely enjoy this latest offering and look forward to the future for this promising series.
http://sknr.net/2013/11/08/thor-the-dark-world/
“Thor: The Dark World”, is poised to carry on the success of the Marvel film franchise as it successfully mixes action and character form the rare sequel that is better than the film that spawned it.
Chris Hemsworth once again stars as the title character who has been spending his time clearing up discord on the planets of the Nine Realms following his outing with The Avengers.
With peace at hand, his father Odin, (Sir Anthony Hopkins), believes the time is right for Thor to prepare for his reign as king of Asgard and protector of the realms.
Thor is not ready to embrace his destiny as his mind and heart are focused on Jane Foster (Natalie Portman), we has not seen since the events of the first film. His father warns him that a mortal is not suited to be his future queen and suggest that his fellow warrior Sif (Jaimie Alexander), would be far more suitable.
To further complicate matters Thor’s treacherous brother Loki (Tom Hiddleston), is seething at the prospect of spending eternity in captivity for his past crimes which only furthers his desire for power and revenge.
While all of this would be enough to keep Thor very busy, a new threat has arisen from the past that threatens to destroy the known universe. A powerful force known as the Aether which had been hidden by Thor’s grandfather has emerged and is drawn the attention of a Dark Elf named Malekith (Christopher Eccleston), who has been hiding away for centuries from those who believed him to be dead.
Malekith wants to take advantage of a pending convergence of the realms to use the supernatural power for his own purposes and in doing so destroy and subjugate all those who are before him. Fate intervenes and brings Jane and Thor together again just as the enemy forces arrived to ransack Asgard.
Faced with a battle against time not only to protect his beloved homeland but to save the known universe, Thor must work with his treacherous brother Loki in a race against time to save the day.
There are plenty of action sequences that follow and the visual effects are quite good even though the film is presented in converted 3-D after being shot in a standard format. The leads are fantastic and truly seem to have a grasp of their characters and the supporting work especially that of Kat Dennings much-needed comic relief is a very nice mix.
The only issue I had with the film other than the converted 3-D, was that the enemy while menacing did not seem to be one of the larger-than-life enemies that one has come to expect from a Marvel film. While certainly dangerous and menacing, there almost seemed to be an air of and confidence about the character as it was clear that he was simply biting off more than he could handle with the forces that were available to him.
That being said the film was extremely enjoyable as were the two bonus scenes that play during the middle of and the end of the credits.
While it may not went over box offices to the level of the two previous Marvel outings, Director Alan Taylor keeps things moving at a steady clip and the film nor the characters do not overstay their welcome.
With another Avengers movie on the horizon and a promise that Thor will return, fans can definitely enjoy this latest offering and look forward to the future for this promising series.
http://sknr.net/2013/11/08/thor-the-dark-world/
Lucy Buglass (45 KP) rated Dead In A Week (Or Your Money Back) (2018) in Movies
Jun 20, 2019
Dark comedy at its finest
This review discusses dark topics such as death and suicide. Reader discretion advised.
Getting comedy right is difficult enough, let alone trying to do it with sensitive topics. But Dead In A Week (or your money back) hits the nail on the head. After several failed suicide attempts, William (Aneurin Barnard) signs a contract with veteran assassin Leslie (Tom Wilkinson), who promises he’ll be dead within the week. This simple concept results in 1 hour and 30 mins of pure entertainment.
Though explicit in the way it discusses suicide, there is a reason for this. Right from the start, William is positioned as an incredibly depressed, isolated failed writer, who is struggling to see the point in living. He is very open about this fact, and spends a lot of time planning ways he could do it, accompanied by a darkly funny montage of the ways he’s tried. He is a troubled character that you can’t help but feel sorry for.
What makes this film even more interesting is the way it makes you sympathise with both target and killer. Leslie is trying his best to avoid retirement, and sees William as an answer to his prayers. If he kills him, he’ll fill his quota, and all will be well. This creates a paradox where you want both men to succeed, but you know that’s impossible.
William changes his mind about the contract when a publisher takes interest in his novel, and he begins to fall in love with Ellie (Freya Mavor), the assistant who called him regarding his latest story. This encounter comes with some rather frank and heartwarming messages about life, reminding us how precious life can be if you give it a chance.
Of course, the film doesn’t just end there. After William’s 360, Leslie is having none of it, and for the rest of the film we see this young writer trying to outrun a seasoned assassin. Leslie’s boss Harvey (Christopher Eccleston) is hot on his tail as well, tired of giving the old man too many chances. It’s a classic tale of a failed assassin, flipped entirely on its head.
Filled with some brilliant twists and turns, the script is formulaic yet hugely entertaining, with some laugh out loud moments throughout. It will certainly appeal to those who like their humour a little darker, with its use of comedic timing and deadpan delivery. It addresses so much in a short space of time, adding depth where needed.
Leslie’s wife Penny (Marion Bailey) adds her own comic relief to the situation, with a delightful satire on middle-class culture. Whilst her husband is trying to keep a dangerous job he loves so much, she’s more concerned about beating her church rivals in a cushion competition. The parallels between the couple are simultaneously heartwarming and awkward, and I enjoyed the way they bounced off each other throughout.
This was a thoroughly enjoyable film, with some unexpectedly touching moments. I really connected with certain characters and loathed others, allowing me to become fully invested in the film. The encounter between these two men should have ended one way, but the two embark on a journey that changes their lives for the better. Underneath all the humour comes an understanding of mental health issues, and sympathy for those who struggle.
This was Tom Edmund’s feature length debut, after directing a few short films. It’s an impressive first film with good pacing, solid characters, and a well-polished look throughout. It was an ambitious first feature length, but it certainly delivered.
https://lucygoestohollywood.com/2019/05/06/dark-comedy-at-its-finest-my-thoughts-on-dead-in-a-week-or-your-money-back/
Getting comedy right is difficult enough, let alone trying to do it with sensitive topics. But Dead In A Week (or your money back) hits the nail on the head. After several failed suicide attempts, William (Aneurin Barnard) signs a contract with veteran assassin Leslie (Tom Wilkinson), who promises he’ll be dead within the week. This simple concept results in 1 hour and 30 mins of pure entertainment.
Though explicit in the way it discusses suicide, there is a reason for this. Right from the start, William is positioned as an incredibly depressed, isolated failed writer, who is struggling to see the point in living. He is very open about this fact, and spends a lot of time planning ways he could do it, accompanied by a darkly funny montage of the ways he’s tried. He is a troubled character that you can’t help but feel sorry for.
What makes this film even more interesting is the way it makes you sympathise with both target and killer. Leslie is trying his best to avoid retirement, and sees William as an answer to his prayers. If he kills him, he’ll fill his quota, and all will be well. This creates a paradox where you want both men to succeed, but you know that’s impossible.
William changes his mind about the contract when a publisher takes interest in his novel, and he begins to fall in love with Ellie (Freya Mavor), the assistant who called him regarding his latest story. This encounter comes with some rather frank and heartwarming messages about life, reminding us how precious life can be if you give it a chance.
Of course, the film doesn’t just end there. After William’s 360, Leslie is having none of it, and for the rest of the film we see this young writer trying to outrun a seasoned assassin. Leslie’s boss Harvey (Christopher Eccleston) is hot on his tail as well, tired of giving the old man too many chances. It’s a classic tale of a failed assassin, flipped entirely on its head.
Filled with some brilliant twists and turns, the script is formulaic yet hugely entertaining, with some laugh out loud moments throughout. It will certainly appeal to those who like their humour a little darker, with its use of comedic timing and deadpan delivery. It addresses so much in a short space of time, adding depth where needed.
Leslie’s wife Penny (Marion Bailey) adds her own comic relief to the situation, with a delightful satire on middle-class culture. Whilst her husband is trying to keep a dangerous job he loves so much, she’s more concerned about beating her church rivals in a cushion competition. The parallels between the couple are simultaneously heartwarming and awkward, and I enjoyed the way they bounced off each other throughout.
This was a thoroughly enjoyable film, with some unexpectedly touching moments. I really connected with certain characters and loathed others, allowing me to become fully invested in the film. The encounter between these two men should have ended one way, but the two embark on a journey that changes their lives for the better. Underneath all the humour comes an understanding of mental health issues, and sympathy for those who struggle.
This was Tom Edmund’s feature length debut, after directing a few short films. It’s an impressive first film with good pacing, solid characters, and a well-polished look throughout. It was an ambitious first feature length, but it certainly delivered.
https://lucygoestohollywood.com/2019/05/06/dark-comedy-at-its-finest-my-thoughts-on-dead-in-a-week-or-your-money-back/