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Matthew Krueger (10051 KP) rated Clue (1985) in Movies
Nov 3, 2020
The Multiple Endings (2 more)
The Cast
The Humor
All Time Favorites
Ive seen Clue about nine times now and it has become a tradition to watch Clue every October. I remember watching clue the first time and i laughed my ass off and i still do that. The humor is excellent, the cast is excellent, the multiple endings are excellent. Everything about Clue is excellent.
The plot: Based on the popular board game, this comedy begins at a dinner party hosted by Mr. Boddy (Lee Ving), where he admits to blackmailing his visitors. These guests, who have been given aliases, are Mrs. Peacock (Eileen Brennan), Miss Scarlet (Lesley Ann Warren), Mr. Green (Michael McKean), professor Plum (Christopher Lloyd), Mrs. White (Madeline Kahn) and Col. Mustard (Martin Mull). When Boddy turns up murdered, all are suspects, and together they try to figure out who is the killer.
The film was produced by Debra Hill and the story was by John Landis.
In keeping with the nature of the board game, the theatrical release included three possible endings, with different theaters receiving one of the three endings. In the film's home video release, all three endings were included.
The multiple-ending concept was developed by John Landis, who claimed in an interview to have invited playwright Tom Stoppard, writer and composer Stephen Sondheim, and actor Anthony Perkins to write the screenplay. The script was ultimately finished by director Jonathan Lynn.
A fourth ending was filmed, but Lynn removed it because as he later stated, "It really wasn't very good. I looked at it, and I thought, 'No, no, no, we've got to get rid of that.'" In the unused fourth ending, Wadsworth committed all of the murders. He was motivated by his desire for perfection. Having failed to be either the perfect husband or the perfect butler, he decided to be the perfect murderer instead. Wadsworth reports that he poisoned the champagne the guests had drunk earlier so they would soon die, leaving no witnesses. The police and the FBI arrive and Wadsworth is arrested. He breaks free and steals a police car, but his escape is thwarted when three police dogs lunge from the back seat. This ending is documented in Clue: The Storybook, a tie-in book released in conjunction with the film.
Carrie Fisher was originally contracted to portray Miss Scarlet, but withdrew to enter treatment for drug and alcohol addiction. Jonathan Lynn's first choice for the role of Wadsworth was Leonard Rossiter, but he died before filming commenced. The second choice was Rowan Atkinson, but it was decided that he wasn't well known enough at the time, so Tim Curry was eventually cast.
Mrs. White's famous "Flames" speech was improvised by Madeline Kahn.
A documentary about the movie is being made, including interviews already filmed with the director, writer, and several cast members including Lesley Ann Warren, Michael McKean, Colleen Camp, and Lee Ving.
I love Clue, it is one of my all time favorite films. In my top ten best films of all time at number #3 and just excellent.
Happy Halloween everybody.
The plot: Based on the popular board game, this comedy begins at a dinner party hosted by Mr. Boddy (Lee Ving), where he admits to blackmailing his visitors. These guests, who have been given aliases, are Mrs. Peacock (Eileen Brennan), Miss Scarlet (Lesley Ann Warren), Mr. Green (Michael McKean), professor Plum (Christopher Lloyd), Mrs. White (Madeline Kahn) and Col. Mustard (Martin Mull). When Boddy turns up murdered, all are suspects, and together they try to figure out who is the killer.
The film was produced by Debra Hill and the story was by John Landis.
In keeping with the nature of the board game, the theatrical release included three possible endings, with different theaters receiving one of the three endings. In the film's home video release, all three endings were included.
The multiple-ending concept was developed by John Landis, who claimed in an interview to have invited playwright Tom Stoppard, writer and composer Stephen Sondheim, and actor Anthony Perkins to write the screenplay. The script was ultimately finished by director Jonathan Lynn.
A fourth ending was filmed, but Lynn removed it because as he later stated, "It really wasn't very good. I looked at it, and I thought, 'No, no, no, we've got to get rid of that.'" In the unused fourth ending, Wadsworth committed all of the murders. He was motivated by his desire for perfection. Having failed to be either the perfect husband or the perfect butler, he decided to be the perfect murderer instead. Wadsworth reports that he poisoned the champagne the guests had drunk earlier so they would soon die, leaving no witnesses. The police and the FBI arrive and Wadsworth is arrested. He breaks free and steals a police car, but his escape is thwarted when three police dogs lunge from the back seat. This ending is documented in Clue: The Storybook, a tie-in book released in conjunction with the film.
Carrie Fisher was originally contracted to portray Miss Scarlet, but withdrew to enter treatment for drug and alcohol addiction. Jonathan Lynn's first choice for the role of Wadsworth was Leonard Rossiter, but he died before filming commenced. The second choice was Rowan Atkinson, but it was decided that he wasn't well known enough at the time, so Tim Curry was eventually cast.
Mrs. White's famous "Flames" speech was improvised by Madeline Kahn.
A documentary about the movie is being made, including interviews already filmed with the director, writer, and several cast members including Lesley Ann Warren, Michael McKean, Colleen Camp, and Lee Ving.
I love Clue, it is one of my all time favorite films. In my top ten best films of all time at number #3 and just excellent.
Happy Halloween everybody.
LeftSideCut (3778 KP) rated Howling II: Your Sister Is a Werewolf (1985) in Movies
Nov 6, 2020
One of my favourite parts is the bit where the creepy dude looks straight into the camera and say "Schnitzeeeel".
Honestly not sure if Howling II: Your Sister is a Werewolf (Stirba, Werewolf Bitch in some corners of the world) is a 5 star film, or a 1 star film.
I always have time for Christopher Lee, and here is no different, and Sybil Danning is a bonafide B-Movie icon, but everyone else is hamming it up to the max (not necessarily in a good way), spouting the terrible screenplay and making silly growling noises constantly.
The werewolf costumes look terrible (a bit of googling told me that the production was sent monkey suits by mistake, and they just had to roll with it) and the movie constantly attempts to force it's theme tune down your throat - I lost count of how many times it plays throughout the runtime, but it starts off well enough, but by the end of the film it's grating as fuck.
It's certainly a far cry from the genuinely good first movie but for all it's faults, I actually really enjoyed it.
The last review I wrote on here was for Species IV, where I commented on how it was so awful, and had no charm to it at all, which was in stark contrast to a lot of bad horror movies, especially a bunch from the 80s. Howling II is one of those movies.
It rarely gets boring, it's has some decent practical gore effects, and the terrible script is often so ludicrous, it ends up being unintentional comedy gold.
Not to mention that it's has the most unnecessarily gratuitous end credits roll I've ever seen - in fact, if you can't be bothered to watch the whole thing, just find the end credits and you'll get the vibe of this whole glorious mess of a film.
So yeah, is it a 1 star movie or 5 star movie? I still don't know but I know I low key love it, so 2 and a half stars with a love heart seems fair. I'd definitely recommend giving it a watch though, just to experience the sheer cheesy absurdity.
Honestly not sure if Howling II: Your Sister is a Werewolf (Stirba, Werewolf Bitch in some corners of the world) is a 5 star film, or a 1 star film.
I always have time for Christopher Lee, and here is no different, and Sybil Danning is a bonafide B-Movie icon, but everyone else is hamming it up to the max (not necessarily in a good way), spouting the terrible screenplay and making silly growling noises constantly.
The werewolf costumes look terrible (a bit of googling told me that the production was sent monkey suits by mistake, and they just had to roll with it) and the movie constantly attempts to force it's theme tune down your throat - I lost count of how many times it plays throughout the runtime, but it starts off well enough, but by the end of the film it's grating as fuck.
It's certainly a far cry from the genuinely good first movie but for all it's faults, I actually really enjoyed it.
The last review I wrote on here was for Species IV, where I commented on how it was so awful, and had no charm to it at all, which was in stark contrast to a lot of bad horror movies, especially a bunch from the 80s. Howling II is one of those movies.
It rarely gets boring, it's has some decent practical gore effects, and the terrible script is often so ludicrous, it ends up being unintentional comedy gold.
Not to mention that it's has the most unnecessarily gratuitous end credits roll I've ever seen - in fact, if you can't be bothered to watch the whole thing, just find the end credits and you'll get the vibe of this whole glorious mess of a film.
So yeah, is it a 1 star movie or 5 star movie? I still don't know but I know I low key love it, so 2 and a half stars with a love heart seems fair. I'd definitely recommend giving it a watch though, just to experience the sheer cheesy absurdity.
Darren (1599 KP) rated Dracula (1958) in Movies
Oct 31, 2019
Characters – Doctor Van Helsing has been trying to hunt down Dracula for years now, his latest attempt sees him anger the vampire, forcing him to defend his loved ones before he starts his own attack on the vampire. Count Dracula has lived a life where his presence has struck fear in the locals, he is a vampire with his age seemingly unknown, after his bride is taken from him, he goes after the people that took her, in search of finding his new bride. Arthur is one of the people working with Van Helsing, it is his family that has becomes the target of Dracula, with Mina being the wife of Arthur that is one of the women Dracula wants to make his brides.
Performances – Peter Cushing and Christopher Lee are the icons on the 50’s horrors, this film shows they are just wonderful in the horror performances both sides of the good and evil scale. When it comes to the supporting roles, it appears that the rest of the cast are meant to just let the lead two stars take the spotlight.
Story – The story here is the basic Dracula story, where after one of his brides is killed, Dracula targets the family that took his bride to get his own new bride and revenge. The Dracula story has been told so many times, it does become slightly boring to watch a story that doesn’t offer anything new to the tried and tested formula. If you do know the basic story, you will know everything that happens in this film which just ends up being nothing refreshing.
Horror – The horror comes the ideas of vampires with Dracula lurking in the darkness, most doesn’t come off scary though which is disappointing.
Settings – The film uses the couple of main locations, we have the castle of course which we don’t spend enough time around, the English house that shows how the family will try to hide from Dracula.
Special Effects – The effects are practical which do bring one of the most memorable scenes in the film.
Scene of the Movie – final showdown.
That Moment That Annoyed Me – It isn’t anything new.
Final Thoughts – This is a hammer horror version of Dracula, it works well enough for the basic idea, only it doesn’t reach too much new to the story idea.
Overall: Hammer Horror Dracula.
Performances – Peter Cushing and Christopher Lee are the icons on the 50’s horrors, this film shows they are just wonderful in the horror performances both sides of the good and evil scale. When it comes to the supporting roles, it appears that the rest of the cast are meant to just let the lead two stars take the spotlight.
Story – The story here is the basic Dracula story, where after one of his brides is killed, Dracula targets the family that took his bride to get his own new bride and revenge. The Dracula story has been told so many times, it does become slightly boring to watch a story that doesn’t offer anything new to the tried and tested formula. If you do know the basic story, you will know everything that happens in this film which just ends up being nothing refreshing.
Horror – The horror comes the ideas of vampires with Dracula lurking in the darkness, most doesn’t come off scary though which is disappointing.
Settings – The film uses the couple of main locations, we have the castle of course which we don’t spend enough time around, the English house that shows how the family will try to hide from Dracula.
Special Effects – The effects are practical which do bring one of the most memorable scenes in the film.
Scene of the Movie – final showdown.
That Moment That Annoyed Me – It isn’t anything new.
Final Thoughts – This is a hammer horror version of Dracula, it works well enough for the basic idea, only it doesn’t reach too much new to the story idea.
Overall: Hammer Horror Dracula.
Lee (2222 KP) rated Knives Out (2019) in Movies
Nov 26, 2019 (Updated Nov 29, 2019)
The morning after his 85th birthday party, millionaire Harlan Thrombey (Christopher Plummer) is found dead in his study. The local police find no evidence of foul play and come to the conclusion that his death was a suicide. However, an anonymous person believes otherwise and has hired celebrity detective Benoit Blanc (Daniel Craig) to try and determine 'whodunit'. When Blanc arrives at the Thrombey residence, it's been a week since Harlan's death, and all members of his large eccentric family have been assembled for further questioning by the police while Blanc looks on, quietly digesting their stories.
The family is portrayed by an impressive cast - Harlan’s daughter Linda (Jamie Lee Curtis) is the matriarch of the family, married to womanizer Richard (Don Johnson) and mother to Ransom (Chris Evans). Harlan's son Walt (Michael Shannon) works for his fathers publishing company and Joni (Toni Collette) is the wife of Harlan's late son. As they each recount their version of events, all slightly different to the others, it becomes clear that none of them is particularly honest, and that all of them had ample reason to want Harlan out of their lives.
The only person seemingly telling the truth, due to the fact that she suffers from a condition whereby she throws up if she doesn't, is Harlan's young nurse and confidante, Marta (Ana de Armas). She was the last to see Harlan the night he died, so her version of the events that took place that evening leading up to his demise are taken as the truth. It's up to Blanc to try and deduce what happened during the few hours that Marta was away from the house until the next morning.
Much of the fun of Knives Out comes from piecing together the various layers of information and working out who the hell is actually telling the truth. It's classic Agatha Christie stuff with a modern twist, a house full of characters that could easily have been lifted straight out of a game of Clue/Cluedo and twists and turns aplenty, keeping you on your toes and guessing at the truth until the very end. I felt it lagged for a while during the second half though, before gathering pace again for the finale, and I didn't find it to be the huge standout hit of the year that many reviewers have claimed it to be either. But, overall, Knives Out is just a hell of a lot of devilish fun.
The family is portrayed by an impressive cast - Harlan’s daughter Linda (Jamie Lee Curtis) is the matriarch of the family, married to womanizer Richard (Don Johnson) and mother to Ransom (Chris Evans). Harlan's son Walt (Michael Shannon) works for his fathers publishing company and Joni (Toni Collette) is the wife of Harlan's late son. As they each recount their version of events, all slightly different to the others, it becomes clear that none of them is particularly honest, and that all of them had ample reason to want Harlan out of their lives.
The only person seemingly telling the truth, due to the fact that she suffers from a condition whereby she throws up if she doesn't, is Harlan's young nurse and confidante, Marta (Ana de Armas). She was the last to see Harlan the night he died, so her version of the events that took place that evening leading up to his demise are taken as the truth. It's up to Blanc to try and deduce what happened during the few hours that Marta was away from the house until the next morning.
Much of the fun of Knives Out comes from piecing together the various layers of information and working out who the hell is actually telling the truth. It's classic Agatha Christie stuff with a modern twist, a house full of characters that could easily have been lifted straight out of a game of Clue/Cluedo and twists and turns aplenty, keeping you on your toes and guessing at the truth until the very end. I felt it lagged for a while during the second half though, before gathering pace again for the finale, and I didn't find it to be the huge standout hit of the year that many reviewers have claimed it to be either. But, overall, Knives Out is just a hell of a lot of devilish fun.
RəX Regent (349 KP) rated The Wicker Man (1973) in Movies
Feb 18, 2019
Come. It is time to keep your appointment with the Wicker Man.
Though we never even lay eyes on it until the final few moments of the film, the Wicker Man, both as pagan image and classic horror flick, has become an icon of the genre.
But if you are expecting some dimly lit, slow burn slasher movie, then you will be sorely disappointed. The Wicker Man spends most of its runtime, which varies from its various versions, Theatrical, Director’s and Final Cuts, providing us with a pretty decent, if not disturbing insight into paganism.
Or more over, Paganism verses Christianity. Both spiritual, both magical, yet one is fun and the other is boring. The virgin sacrifice by the sexually liberated heathens is played out brilliantly.
The beauty here is that the final twist is so well conceived and executed throughout the entire film that even though most of us know the ending whether we have seen the film or not, it is not spoiled by that foreknowledge.
It is a kin to the previously released Planet Of The Apes (1968) or the much later Sixth Sense (1999). Both spin out complex genre tales which culminate in “that ending”. But in this case, Edward Woodward delivers a chilling performance in the finale, as he is taken to his death, locked inside the burning Wicker Man to be sacrificed in order to restore the poor harvest of the previous year.
“Don’t you see that killing me is not going to bring back your apples?”
But Woodward’s character is a devout Christian and he has only his faith and a dogged view of the world to aide him. Unable to accept the seemingly free spirited community in which his finds himself, one where sex is commonplace as he himself is still a virgin.
On the other hand there is Lord Summerisle, Christopher Lee, who steals the show as per usual as the charismatic leader of the this pagan community and the descendant of a lord who routed Christianity from the Highland Island a century before.
But whilst on the surface it may seem like a rather academic subject, the film is a trippy 1970’s sexploitation movie in many ways. Some of the sex and violence fits in well with plot but other moments, such as the nude dance by Britt Ekland, though actually doubled by Lorraine Peters is a prime example of a needless, if not memorable sequence.
Overall, The Wicker Man is low budget British movie of the 1970’s and one which has endured to earn it’s classic status, by meeting the main criteria of being smart, engaging and visually compelling, along with several standout performances throughout.
But if you are expecting some dimly lit, slow burn slasher movie, then you will be sorely disappointed. The Wicker Man spends most of its runtime, which varies from its various versions, Theatrical, Director’s and Final Cuts, providing us with a pretty decent, if not disturbing insight into paganism.
Or more over, Paganism verses Christianity. Both spiritual, both magical, yet one is fun and the other is boring. The virgin sacrifice by the sexually liberated heathens is played out brilliantly.
The beauty here is that the final twist is so well conceived and executed throughout the entire film that even though most of us know the ending whether we have seen the film or not, it is not spoiled by that foreknowledge.
It is a kin to the previously released Planet Of The Apes (1968) or the much later Sixth Sense (1999). Both spin out complex genre tales which culminate in “that ending”. But in this case, Edward Woodward delivers a chilling performance in the finale, as he is taken to his death, locked inside the burning Wicker Man to be sacrificed in order to restore the poor harvest of the previous year.
“Don’t you see that killing me is not going to bring back your apples?”
But Woodward’s character is a devout Christian and he has only his faith and a dogged view of the world to aide him. Unable to accept the seemingly free spirited community in which his finds himself, one where sex is commonplace as he himself is still a virgin.
On the other hand there is Lord Summerisle, Christopher Lee, who steals the show as per usual as the charismatic leader of the this pagan community and the descendant of a lord who routed Christianity from the Highland Island a century before.
But whilst on the surface it may seem like a rather academic subject, the film is a trippy 1970’s sexploitation movie in many ways. Some of the sex and violence fits in well with plot but other moments, such as the nude dance by Britt Ekland, though actually doubled by Lorraine Peters is a prime example of a needless, if not memorable sequence.
Overall, The Wicker Man is low budget British movie of the 1970’s and one which has endured to earn it’s classic status, by meeting the main criteria of being smart, engaging and visually compelling, along with several standout performances throughout.
Gareth von Kallenbach (971 KP) rated Knives Out (2019) in Movies
Nov 28, 2019
Hoo boy. If you are a fan of “whodunit” movies, you are in for a real treat. Rian Johnson directs Knives Out, a film that that brings a great modern twist to the whodunit genre with an amazing all star cast.
Harlan Thrombey (Christopher Plummer) is an acclaimed mystery murder novelist who has committed suicide on the night of his birthday party. At least it seems so at first. A mysterious entity has hired the last of the southern gentlemen detectives, Benoit Blanc (Daniel Craig), to aid Lieutenant Elliot (LaKeith Stanfield) and Trooper Wagner (Noah Segan) in their investigation into what appeared to be a suicide. But soon, the stories of the party-goers starts to crumble, and you see there is something more afoot. Someone killed Mr. Thrombey, but who could it be? The list of suspects is long, and all are close to the deceased in their own way: his daughter, Linda Drysdale (Jamie Lee Curtis); her husband, Richard Drysdale (Don Johnson); or their son, Ransom Drysdale (Chris Evans)? Could it possibly be his son, Walt Thrombey (Michael Shannon); his wife Donna (Riki Lindhome); or their son Jacob (Jaeden Martell). Maybe it was Joni Thrombey (Toni Collette), his widowed daughter-in-law; or her daughter Meg (Katherine Langford). Or it could be Marta Cabrera (Ana de Armas), Mr. Thrombey’s nurse. It’s a large list of suspects who attended the party that night, and it could be any of them.
I am a huge fan of this genre of movie, and I will say that Knives Out, while predictable at some points, did have me guessing, and second-guessing, all the way to the very end. I can’t really give you a lot more without spoiling some major plot points, but the film is outstanding. It was a little slow to start, but I believe there was a purpose behind this. Each actor playing a part that is not their typical role (for the most part) ended up being the real selling point. They all did fantastic, even though it did take a little getting used to seeing James Bond with a southern accent, and Captain America as a bona fide jackass.
The movie gave us a perfect blend of humor, mystery, and even a little action in order to give us what could be a modern masterpiece in the genre. Flay me all you want if you disagree, but it’s been a while since a really good whodunit has been put out that wasn’t a period piece. There were some flaws, but the movie made you connect to these characters, as zany as they seemed. Definitely a good film to check out on a date night.
Harlan Thrombey (Christopher Plummer) is an acclaimed mystery murder novelist who has committed suicide on the night of his birthday party. At least it seems so at first. A mysterious entity has hired the last of the southern gentlemen detectives, Benoit Blanc (Daniel Craig), to aid Lieutenant Elliot (LaKeith Stanfield) and Trooper Wagner (Noah Segan) in their investigation into what appeared to be a suicide. But soon, the stories of the party-goers starts to crumble, and you see there is something more afoot. Someone killed Mr. Thrombey, but who could it be? The list of suspects is long, and all are close to the deceased in their own way: his daughter, Linda Drysdale (Jamie Lee Curtis); her husband, Richard Drysdale (Don Johnson); or their son, Ransom Drysdale (Chris Evans)? Could it possibly be his son, Walt Thrombey (Michael Shannon); his wife Donna (Riki Lindhome); or their son Jacob (Jaeden Martell). Maybe it was Joni Thrombey (Toni Collette), his widowed daughter-in-law; or her daughter Meg (Katherine Langford). Or it could be Marta Cabrera (Ana de Armas), Mr. Thrombey’s nurse. It’s a large list of suspects who attended the party that night, and it could be any of them.
I am a huge fan of this genre of movie, and I will say that Knives Out, while predictable at some points, did have me guessing, and second-guessing, all the way to the very end. I can’t really give you a lot more without spoiling some major plot points, but the film is outstanding. It was a little slow to start, but I believe there was a purpose behind this. Each actor playing a part that is not their typical role (for the most part) ended up being the real selling point. They all did fantastic, even though it did take a little getting used to seeing James Bond with a southern accent, and Captain America as a bona fide jackass.
The movie gave us a perfect blend of humor, mystery, and even a little action in order to give us what could be a modern masterpiece in the genre. Flay me all you want if you disagree, but it’s been a while since a really good whodunit has been put out that wasn’t a period piece. There were some flaws, but the movie made you connect to these characters, as zany as they seemed. Definitely a good film to check out on a date night.
Bob Mann (459 KP) rated Freaky (2021) in Movies
Jul 3, 2021
No, not like the Disney version
Some B-movies really pack a much bigger punch than you would expect. "Nobody" is a perfect recent example. But movie karma needs to be balanced with something. Ladies and gentlemen - "Freaky"!
Positives:
- If you are into your "teen slasher" movies, then this is more of the same and features some innovative ways to dispatch the victims. One is certainly no way to treat a fine wine!
- Vince Vaughn has fun mincing around as his alter-ego and Kathryn Newton (soon to be in the next "Ant-Man" movie) is personable enough as the cutie-cum-serial-killer.
- It's always good to see Ferris-actor Alan Ruck on the big screen. Here, he actually plays two parts in the film. (This joke (C) One Mann's Movies.)
Negatives:
- It's flagged as "comedy/horror" but failed to meet my personal 6-laugh test. It's just not funny enough to pass muster unless, that is, you view crude dialogue as "funny". And the dialogue does get ickily crude at some points. For example, when evil-Millie ends up alone with three jocks, there's a line of misogynist dialogue (that I won't repeat) but which sets the level.
- As a Blumhouse production, the horror is ultra-gory which will put off many viewers lacking a strong stomach. But because of the associated black comedy, the horror isn't remotely tense or scary. This might be why the film only got a UK-15 certificate. But my personal view is that, with the violence and the offensive dialogue, the BBFC under called this one, and it should have been an 18.
- There's a lot of schmaltz layered on regarding the relationship between Millie and her mum (Katie Finneran, channelling a Laura Dern look). A store cubicle exchange between Finneran and Vaughn is particularly stomach-churning.
- The movie leaves logic at the door many times. A formulaic post-finale ending assumes a superhero ability to shrug off bullets.
Summary Thoughts on "Freaky": The 'body-swap idea has gone through dozens of movie versions, with Disney's "Freaky Friday" the most well known: it's actually had two outings, once in 1976 with a young Jodie Foster and Barbara Harris and again in 2003 with Lindsay Lohan and Jamie-Lee Curtis. (The latter is a firm Mann-family favourite).
This new version tries a serial-killer twist on the story, which is a good idea. But the movie fails to execute well on the concept. The director is Christopher Landon who did the "Happy Death Day" movies. This is in a similar vein. So teens who enjoyed those flicks might get a fun Saturday night out with this. But, for me, this fell between the stools of comedy and horror and is instantly forgettable.
(For the full graphical review, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/03/freaky-no-its-not-remotely-like-the-disney-version/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies). Thanks.)
Positives:
- If you are into your "teen slasher" movies, then this is more of the same and features some innovative ways to dispatch the victims. One is certainly no way to treat a fine wine!
- Vince Vaughn has fun mincing around as his alter-ego and Kathryn Newton (soon to be in the next "Ant-Man" movie) is personable enough as the cutie-cum-serial-killer.
- It's always good to see Ferris-actor Alan Ruck on the big screen. Here, he actually plays two parts in the film. (This joke (C) One Mann's Movies.)
Negatives:
- It's flagged as "comedy/horror" but failed to meet my personal 6-laugh test. It's just not funny enough to pass muster unless, that is, you view crude dialogue as "funny". And the dialogue does get ickily crude at some points. For example, when evil-Millie ends up alone with three jocks, there's a line of misogynist dialogue (that I won't repeat) but which sets the level.
- As a Blumhouse production, the horror is ultra-gory which will put off many viewers lacking a strong stomach. But because of the associated black comedy, the horror isn't remotely tense or scary. This might be why the film only got a UK-15 certificate. But my personal view is that, with the violence and the offensive dialogue, the BBFC under called this one, and it should have been an 18.
- There's a lot of schmaltz layered on regarding the relationship between Millie and her mum (Katie Finneran, channelling a Laura Dern look). A store cubicle exchange between Finneran and Vaughn is particularly stomach-churning.
- The movie leaves logic at the door many times. A formulaic post-finale ending assumes a superhero ability to shrug off bullets.
Summary Thoughts on "Freaky": The 'body-swap idea has gone through dozens of movie versions, with Disney's "Freaky Friday" the most well known: it's actually had two outings, once in 1976 with a young Jodie Foster and Barbara Harris and again in 2003 with Lindsay Lohan and Jamie-Lee Curtis. (The latter is a firm Mann-family favourite).
This new version tries a serial-killer twist on the story, which is a good idea. But the movie fails to execute well on the concept. The director is Christopher Landon who did the "Happy Death Day" movies. This is in a similar vein. So teens who enjoyed those flicks might get a fun Saturday night out with this. But, for me, this fell between the stools of comedy and horror and is instantly forgettable.
(For the full graphical review, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/03/freaky-no-its-not-remotely-like-the-disney-version/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies). Thanks.)
TheDefunctDiva (304 KP) rated The Wicker Man (1973) in Movies
Aug 29, 2021
Something Wicker This Way Comes
Contains spoilers, click to show
Forgive me, Father, for I am about to spoil this whole film. I am a novice film reviewer, and as such, I know no other way.
This film opens up with a police officer (Sergeant Howie) flying to an island in Scotland. I knew something was up when the older gentlemen in the harbor refused to send a dinghy for him to get onto the island. The older men seemed to be in on some kind of joke. As my teenager would say, “Very sus.”
The rather uppity lawman, portrayed quite convincingly by Edward Woodward, is searching for a girl on the island. The girl, Rowan Morrison, was reported missing by way of an anonymous letter sent to the mainland.
We are then introduced to the woman who is allegedly the missing girl’s mother. She runs the most unsettling candy shop ever. There are a lot of chocolate bunnies, which I am normally all in favor of. But she corrects the officer when he refers to them as bunnies. They are rabbits, of course. Because that increases the creepiness factor by ten.
Howie’s lodging is above a righteously rollicking pub. The locals sing and play about in the pub, and all seems normal.
Forward to the next scene. Holy unexpected nudity, Batman. I am glad my son chose to stay in his room and play Roblox. There are a bunch of naked locals openly copulating in and around the churchyard. Of course, it is later explained that it is not a churchyard, because poor, very stodgy, very Puritan Sergeant Howie has stumbled upon an island of RECKLESS HEATHEN PAGANS.
The lovely Britt Ekland portrays Willow, the barmaid. In a scene early on, she does a ritualistic dance in the nude, in the room next to the very tempted police officer. My boyfriend correctly observed that Howie should stay away from this woman, as she is clearly a siren. Her dance moves were odd to me, and at one point, I asked aloud, “What is she doing?” My boyfriend responded, “She’s twerking.”
The plot thickens like a good rabbit stew. Christopher Lee aptly portrays Lord Summerisle, the leader of the island. Summerisle makes some strange claims about the island, and says the women there get pregnant asexually by way of a ritual. This claim seems counterintuitive, since there seemed to be a lot of unprotected boinking going on by various members of the island, in the open air no less. But hey, maybe these adulterated pagans missed the lecture on the birds and the bees.
As a heathen myself, I didn’t find this movie too horrific until it neared the end. I was more focused on Sergeant Howie’s unwillingness to entertain a faith other than his own. The scenery was breathtaking, as it was filmed entirely on location in Scotland.
I’m not really going to spoil every detail of the ending. But I must observe that this is the strangest version of The 40-Year-Old Virgin I have ever seen.
This film opens up with a police officer (Sergeant Howie) flying to an island in Scotland. I knew something was up when the older gentlemen in the harbor refused to send a dinghy for him to get onto the island. The older men seemed to be in on some kind of joke. As my teenager would say, “Very sus.”
The rather uppity lawman, portrayed quite convincingly by Edward Woodward, is searching for a girl on the island. The girl, Rowan Morrison, was reported missing by way of an anonymous letter sent to the mainland.
We are then introduced to the woman who is allegedly the missing girl’s mother. She runs the most unsettling candy shop ever. There are a lot of chocolate bunnies, which I am normally all in favor of. But she corrects the officer when he refers to them as bunnies. They are rabbits, of course. Because that increases the creepiness factor by ten.
Howie’s lodging is above a righteously rollicking pub. The locals sing and play about in the pub, and all seems normal.
Forward to the next scene. Holy unexpected nudity, Batman. I am glad my son chose to stay in his room and play Roblox. There are a bunch of naked locals openly copulating in and around the churchyard. Of course, it is later explained that it is not a churchyard, because poor, very stodgy, very Puritan Sergeant Howie has stumbled upon an island of RECKLESS HEATHEN PAGANS.
The lovely Britt Ekland portrays Willow, the barmaid. In a scene early on, she does a ritualistic dance in the nude, in the room next to the very tempted police officer. My boyfriend correctly observed that Howie should stay away from this woman, as she is clearly a siren. Her dance moves were odd to me, and at one point, I asked aloud, “What is she doing?” My boyfriend responded, “She’s twerking.”
The plot thickens like a good rabbit stew. Christopher Lee aptly portrays Lord Summerisle, the leader of the island. Summerisle makes some strange claims about the island, and says the women there get pregnant asexually by way of a ritual. This claim seems counterintuitive, since there seemed to be a lot of unprotected boinking going on by various members of the island, in the open air no less. But hey, maybe these adulterated pagans missed the lecture on the birds and the bees.
As a heathen myself, I didn’t find this movie too horrific until it neared the end. I was more focused on Sergeant Howie’s unwillingness to entertain a faith other than his own. The scenery was breathtaking, as it was filmed entirely on location in Scotland.
I’m not really going to spoil every detail of the ending. But I must observe that this is the strangest version of The 40-Year-Old Virgin I have ever seen.
Bob Mann (459 KP) rated A Quiet Place (2018) in Movies
Sep 29, 2021
“There’s a kind of hush, all over the world tonight”.
What a masterpiece this is! The most novel, the most tense, the most exhilarating, the most edge-of-your-seat Indie horror movie I could hope to see this year.
It’s 2020 and 89 days after “it” happens, the world is a very different place. Making any noise at all becomes a death sentence…. that bad cold could kill you and nothing seems to be able to prevent mankind from being annihilated one sneeze at a time.
In what could be a nice “Cloverfield”-style series, the action here focuses in on the resourceful Abbott family: the father Lee (John Krasinski, “Away We Go”) is handy with electronics and back-woods skills; the mother Evelyn (Emily Blunt, “The Girl on the Train“; “Edge of Tomorrow“) has medical training. So they are well suited then to take care of their offspring: the profoundly deaf Regan (Millicent Simmonds); Marcus (Noah Jupe); and their youngest Beau (a cute Cade Woodward). It’s a battle of brains against vicious, relentless and malevolent alien brawn: how far will Lee and Evelyn go to keep their family safe?
Man, this is a tense film! It doesn’t pull its punches from the get-go and thereafter there is an air of brooding and ever-building menace that gets right under your skin. This is certainly not helped by the fact that there is a ticking clock of an oncoming ‘event’ – no spoilers here – to worry about. As incessantly and inevitably as the rising tide in “The Shallows” a clock ticks down. Thank heavens then that the ‘event’ and the outcome of that ‘event’ are both traditionally such quiet affairs!
While all of the buzz at the moment is on the 80’s Easter Eggs in “Ready Player One”, here is a movie packed with delights for movie lovers. There are recognisable elements here from such classics as “The Road”, “Signs”, “Witness”, “Alien”, “Jurassic Park”, “Jaws”…. even (traumatically) “Home Alone”! So is it then just a rag-bag collection of stolen moments from other films? No – not at all. This stands tall and proud as a master work in its own right, the standout and unique quality of the movie being its use (or rather absence) of sound… something that works so magnificently as a concept in a movie-theatre.
I was lucky enough in the late September of 1979 to see (at 10 am in the morning as I remember!) in the Odeon Leicester Square in London, the first ever UK (and probably worldwide) showing of a little film called “Alien”. The cinema was pretty empty, but I have never sat through such an electric viewing. This had some of the same aura about it: a hushed audience, totally gripped. (I agree with Simon Mayo and Ali Plumb on this though that all snacks, and especially popcorn in scrapy SCRAPY cardboard boxes, should be banned from these screenings… I had to physically move seats away a noisy muncher as the film started!). But for sure, distractions accepted, this is a classic communal movie experience and so is a movie you should most DEFINITELY see in the cinema.
If there is one Oscar for February 2019 that I think should already be a shoe-in for a nomination, if not a win, it is the sound team led by Erik Aadahl and Ethan Van der Ryn: breathtakingly spectacular. This is assisted enormously by the musical score of Marco Beltrami (“Logan“, “The Shallows“) which helps augment and annotate the action jump-scares brilliantly.
Another critical member of the crew for a film like this is the editor, and here Christopher Tellefsen (“Joy“) delivers the goods with tight and effective execution of those cuts (the film sort!) that made me vertically leave my seat at least a couple of times.
Real life couple Krasinski and Blunt share such obvious and tender chemistry that it is impossible to not get emotionally involved. A shared iPhone listening moment, as a lull in the action, is very moving. Millicent Simmonds, who is actually deaf from childhood in an inspired piece of storytelling/casting, is also an acting force to be reckoned with: her only other movie is last year’s “Wonderstruck” that I have yet to see.
Writers Bryan Woods and Scott Beck (with contribution to the screenplay from Krasinski) also deserve praise for an intelligent and highly satisfying plot that never fails to disappoint to the last drop. Every detail, down to the painted footsteps on the un-squeaky floorboards, is just pitch-perfect. It’s also a film that very wisely doesn’t outstay its welcome: 90 minutes of such adrenaline is almost too much for anyone to stand! Krasinski as director keeps everything deliciously tight during that running time with no time to breath, particularly in the frenetic final reel.
I’ve gushed enough. This is a must see for sci-fi and horror fans of all ages. And with a “BvS quotient” of just 6.8%, it’s enormously good value for money. Go see it!
It’s 2020 and 89 days after “it” happens, the world is a very different place. Making any noise at all becomes a death sentence…. that bad cold could kill you and nothing seems to be able to prevent mankind from being annihilated one sneeze at a time.
In what could be a nice “Cloverfield”-style series, the action here focuses in on the resourceful Abbott family: the father Lee (John Krasinski, “Away We Go”) is handy with electronics and back-woods skills; the mother Evelyn (Emily Blunt, “The Girl on the Train“; “Edge of Tomorrow“) has medical training. So they are well suited then to take care of their offspring: the profoundly deaf Regan (Millicent Simmonds); Marcus (Noah Jupe); and their youngest Beau (a cute Cade Woodward). It’s a battle of brains against vicious, relentless and malevolent alien brawn: how far will Lee and Evelyn go to keep their family safe?
Man, this is a tense film! It doesn’t pull its punches from the get-go and thereafter there is an air of brooding and ever-building menace that gets right under your skin. This is certainly not helped by the fact that there is a ticking clock of an oncoming ‘event’ – no spoilers here – to worry about. As incessantly and inevitably as the rising tide in “The Shallows” a clock ticks down. Thank heavens then that the ‘event’ and the outcome of that ‘event’ are both traditionally such quiet affairs!
While all of the buzz at the moment is on the 80’s Easter Eggs in “Ready Player One”, here is a movie packed with delights for movie lovers. There are recognisable elements here from such classics as “The Road”, “Signs”, “Witness”, “Alien”, “Jurassic Park”, “Jaws”…. even (traumatically) “Home Alone”! So is it then just a rag-bag collection of stolen moments from other films? No – not at all. This stands tall and proud as a master work in its own right, the standout and unique quality of the movie being its use (or rather absence) of sound… something that works so magnificently as a concept in a movie-theatre.
I was lucky enough in the late September of 1979 to see (at 10 am in the morning as I remember!) in the Odeon Leicester Square in London, the first ever UK (and probably worldwide) showing of a little film called “Alien”. The cinema was pretty empty, but I have never sat through such an electric viewing. This had some of the same aura about it: a hushed audience, totally gripped. (I agree with Simon Mayo and Ali Plumb on this though that all snacks, and especially popcorn in scrapy SCRAPY cardboard boxes, should be banned from these screenings… I had to physically move seats away a noisy muncher as the film started!). But for sure, distractions accepted, this is a classic communal movie experience and so is a movie you should most DEFINITELY see in the cinema.
If there is one Oscar for February 2019 that I think should already be a shoe-in for a nomination, if not a win, it is the sound team led by Erik Aadahl and Ethan Van der Ryn: breathtakingly spectacular. This is assisted enormously by the musical score of Marco Beltrami (“Logan“, “The Shallows“) which helps augment and annotate the action jump-scares brilliantly.
Another critical member of the crew for a film like this is the editor, and here Christopher Tellefsen (“Joy“) delivers the goods with tight and effective execution of those cuts (the film sort!) that made me vertically leave my seat at least a couple of times.
Real life couple Krasinski and Blunt share such obvious and tender chemistry that it is impossible to not get emotionally involved. A shared iPhone listening moment, as a lull in the action, is very moving. Millicent Simmonds, who is actually deaf from childhood in an inspired piece of storytelling/casting, is also an acting force to be reckoned with: her only other movie is last year’s “Wonderstruck” that I have yet to see.
Writers Bryan Woods and Scott Beck (with contribution to the screenplay from Krasinski) also deserve praise for an intelligent and highly satisfying plot that never fails to disappoint to the last drop. Every detail, down to the painted footsteps on the un-squeaky floorboards, is just pitch-perfect. It’s also a film that very wisely doesn’t outstay its welcome: 90 minutes of such adrenaline is almost too much for anyone to stand! Krasinski as director keeps everything deliciously tight during that running time with no time to breath, particularly in the frenetic final reel.
I’ve gushed enough. This is a must see for sci-fi and horror fans of all ages. And with a “BvS quotient” of just 6.8%, it’s enormously good value for money. Go see it!
Phillip McSween (751 KP) rated Knives Out (2019) in Movies
Mar 6, 2020
Consistent Blast
In the Whodunit drama, detective Benoit Blanc (Daniel Craig) has to uncover who killed famous author Harlan Thrombey (Christopher Plummer).
Acting: 10
I can’t speak enough about the amazing performances that made this movie come alive. I honestly don’t know where to start or who had the best chops because they were all so wonderful. Jamie Lee Curtis has always been one of my favorite actresses and her role didn’t disappoint here. She’s Linda Robinson who serves as somewhat of a matriarch in the family. She delivers her lines with such perfect timing and such fluid grace that it’s hard not to love her character. I also appreciated Jaeden Martell’s role in the movie. I can only imagine how hard it is as the youngest cast member when you have all these heavy-hitting stars beside you, but he definitely held his own by putting on a performance here that was even better than his role in It, in my opinion.
Beginning: 10
You are immediately thrown into this story from jump like you are springboarding into the sky. The intrigue is immediate which gave me an instant feeling that I was going to like this movie. It’s a perfect setup for what is to come.
Characters: 10
Nothing short of spectacular. Again, where do I start? I love that every single one of these characters in the movie have a rich story that’s connected to the deceased. There is also some kind of growth (whether negative or positive) with each character which is hard to juggle when you’re talking about managing runtime as well as screentime. I could pinpoint one specific role, but I loved each and every single one of them. That’s not a very common thing to say.
Cinematography/Visuals: 10
Director Rian Johnson really hits home on the visuals with an interesting blend of vivid colors and bleak imagery. I have a great appreciation with how the movie was ultimately cut. It’s a film that doesn’t rush, but takes its time, really capturing special dramatic moments. It almost feels like a Wes Anderson meets Stephen King type of cinematic adventure.
Conflict: 10
Entertainment Value: 10
From shock value to mystery, Knives Out keeps you on your toes start to finish. It’s funny, it’s smart, and, most importantly, it’s original. This kind of movie has been done dozens of times before and this one is, by far, the most unique of the bunch. It truly is in a class of its own.
Memorability: 10
Pace: 9
With a 130-minute runtime, it’s only natural that there would be a slip-up in pace here and there. Fortunately, the slowdowns are very brief and barely noticeable. I can only think of one or two moments where I thought, “They could’ve cut that.” The momentum is pretty incredible otherwise.
Plot: 10
Resolution: 10
Ends strongly, yet smoothly with a finite resolution. I found it funny that the ending was actually a subtle knife into the hearts of the antagonists. The conclusion is a beautiful whisper.
Overall: 99
Knives Out is hilarious yet touching at the same time. With an original storyline, consistent pace, and brilliant characters the movie succeeds on just about every level. It was both refreshing and unexpected to watch a movie this grand.
Acting: 10
I can’t speak enough about the amazing performances that made this movie come alive. I honestly don’t know where to start or who had the best chops because they were all so wonderful. Jamie Lee Curtis has always been one of my favorite actresses and her role didn’t disappoint here. She’s Linda Robinson who serves as somewhat of a matriarch in the family. She delivers her lines with such perfect timing and such fluid grace that it’s hard not to love her character. I also appreciated Jaeden Martell’s role in the movie. I can only imagine how hard it is as the youngest cast member when you have all these heavy-hitting stars beside you, but he definitely held his own by putting on a performance here that was even better than his role in It, in my opinion.
Beginning: 10
You are immediately thrown into this story from jump like you are springboarding into the sky. The intrigue is immediate which gave me an instant feeling that I was going to like this movie. It’s a perfect setup for what is to come.
Characters: 10
Nothing short of spectacular. Again, where do I start? I love that every single one of these characters in the movie have a rich story that’s connected to the deceased. There is also some kind of growth (whether negative or positive) with each character which is hard to juggle when you’re talking about managing runtime as well as screentime. I could pinpoint one specific role, but I loved each and every single one of them. That’s not a very common thing to say.
Cinematography/Visuals: 10
Director Rian Johnson really hits home on the visuals with an interesting blend of vivid colors and bleak imagery. I have a great appreciation with how the movie was ultimately cut. It’s a film that doesn’t rush, but takes its time, really capturing special dramatic moments. It almost feels like a Wes Anderson meets Stephen King type of cinematic adventure.
Conflict: 10
Entertainment Value: 10
From shock value to mystery, Knives Out keeps you on your toes start to finish. It’s funny, it’s smart, and, most importantly, it’s original. This kind of movie has been done dozens of times before and this one is, by far, the most unique of the bunch. It truly is in a class of its own.
Memorability: 10
Pace: 9
With a 130-minute runtime, it’s only natural that there would be a slip-up in pace here and there. Fortunately, the slowdowns are very brief and barely noticeable. I can only think of one or two moments where I thought, “They could’ve cut that.” The momentum is pretty incredible otherwise.
Plot: 10
Resolution: 10
Ends strongly, yet smoothly with a finite resolution. I found it funny that the ending was actually a subtle knife into the hearts of the antagonists. The conclusion is a beautiful whisper.
Overall: 99
Knives Out is hilarious yet touching at the same time. With an original storyline, consistent pace, and brilliant characters the movie succeeds on just about every level. It was both refreshing and unexpected to watch a movie this grand.