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Laura Doe (1350 KP) rated Black Widow (2021) in Movies
Oct 27, 2021
Florence Pugh (1 more)
Good one liners
Not much backstory as I anticipated (1 more)
Confused me a little bit with the timeline at first
Not my favourite marvel movie at all. It wasn’t a bad movie, but I expected much more of a backstory rather than it just being mentioned and seen through a few flashbacks.
The majority of the other avengers have all had their own standalone movie and that has included more of a backstory than this, so I was quite disappointed.
I did love Florence Pugh and felt like she sort of stole the show for a lot of the movie, she had a lot more of the comedic lines and didn’t take herself too seriously which is the thing I love about more recent marvel films (with the exception of infinity war and endgame which weren’t as funny for obvious reasons).
Not a bad attempt, just a little bit of a disappointment after all the hype. I’m just glad I didn’t go to see it in the cinema.
The majority of the other avengers have all had their own standalone movie and that has included more of a backstory than this, so I was quite disappointed.
I did love Florence Pugh and felt like she sort of stole the show for a lot of the movie, she had a lot more of the comedic lines and didn’t take herself too seriously which is the thing I love about more recent marvel films (with the exception of infinity war and endgame which weren’t as funny for obvious reasons).
Not a bad attempt, just a little bit of a disappointment after all the hype. I’m just glad I didn’t go to see it in the cinema.
Blazing Minds (92 KP) rated Back to the Future (1985) in Movies
Nov 1, 2021 (Updated Nov 3, 2021)
OK, I’ve seen the film over and over again at home on Blu-ray, but nothing can match the feeling you get from seeing it on the big screen, even the opening sequence with the clocks ticking from all around you in the cinema, being able to read the newspaper clippings on the walls and so much more detail that you don’t really pick up on at home.
So by now, you all know the story of Back to the Future if you don’t where the heck have you been! But it all comes down to Doc Brown inventing the time machine from a DeLorean, even Marty is shocked by that one, “Wait a minute, Doc. Ah… Are you telling me you built a time machine… out of a DeLorean?”, in a twist of fate Marty is sent back to 1955 where he has to find the Doc to get back to the future, but things go wrong when Marty changes the outcome of time by accidentally coming between his mother and fathers first meeting.
So by now, you all know the story of Back to the Future if you don’t where the heck have you been! But it all comes down to Doc Brown inventing the time machine from a DeLorean, even Marty is shocked by that one, “Wait a minute, Doc. Ah… Are you telling me you built a time machine… out of a DeLorean?”, in a twist of fate Marty is sent back to 1955 where he has to find the Doc to get back to the future, but things go wrong when Marty changes the outcome of time by accidentally coming between his mother and fathers first meeting.
Dean (6926 KP) rated Don't Breathe 2 (2021) in Movies
Mar 27, 2022
Average Sequel
Well I'm surprised it took 5 years for a follow up to the surprise hit original. This did seem to creep up out of no where. It didn't get a long cinema run so just watched it on Sky.
Set a few years after the events of the original our blindman is now looking after a young child. Something from the past has caught up with him again. This time a group of military trained men attack his home can he outwit them?
Loses the claustrophobic, thriller feeling of the first film for more of an action packed with gory violence tone. Being even more far fetched in plot at times. The action is good and gore effects are decent. Though it does seem odd being on the blindman side this time.
An OK sequel but losing out on the elements that made the first film so good with a different direction and style of film this time.
Set a few years after the events of the original our blindman is now looking after a young child. Something from the past has caught up with him again. This time a group of military trained men attack his home can he outwit them?
Loses the claustrophobic, thriller feeling of the first film for more of an action packed with gory violence tone. Being even more far fetched in plot at times. The action is good and gore effects are decent. Though it does seem odd being on the blindman side this time.
An OK sequel but losing out on the elements that made the first film so good with a different direction and style of film this time.
Otway93 (567 KP) rated Asteroid City (2023) in Movies
Jun 24, 2023
Cast (3 more)
Story
Cinematography
Soundtrack
Flow (1 more)
Pointlessly random
Only the second time I've walked out of the cinema.
I had very high hopes for this film, with an outstanding cast, and cast, and the usually brilliant Wes Anderson behind the wheel.
But it doesn't matter how good a cast is, it needs to be a good film.
Asteroid City is a play within a film, but unfortunately it tells the story of the play, and of the lead up to its opening night. Unfortunately the dynamic of switching between the two different stories really disrupts the flow of what would likely be a an enjoyable story.
Secondly, I know his films can be quite random at points, but a lot of scenes seem to be random for the sake of being random, adding nothing to the film or the story.
Also, only a nitpicky thing, but some of the songs featured during the 1955 scenes (Last Train to San Fernando, Freight Train) were songs that weren't released until 1957.
Overall, a great idea but poorly executed.
But it doesn't matter how good a cast is, it needs to be a good film.
Asteroid City is a play within a film, but unfortunately it tells the story of the play, and of the lead up to its opening night. Unfortunately the dynamic of switching between the two different stories really disrupts the flow of what would likely be a an enjoyable story.
Secondly, I know his films can be quite random at points, but a lot of scenes seem to be random for the sake of being random, adding nothing to the film or the story.
Also, only a nitpicky thing, but some of the songs featured during the 1955 scenes (Last Train to San Fernando, Freight Train) were songs that weren't released until 1957.
Overall, a great idea but poorly executed.
Daniel Boyd (1066 KP) rated The Beatles: Eight Days A Week - The Touring Years (2016) in Movies
Oct 24, 2017
Four Lads Who Shook The World
Last night the Ron Howard directed Beatles documentary, Eight Days A Week: The Touring Years, premiered in London. As much as I would have loved to attend the premier, I have just started a new year at university and couldn’t afford to go both financially and educationally. Therefore I had to settle for going to see it in my local cinema, but it was still an awesome experience. From six o’clock, the cinema streamed the premier in London, hosted by John Bishop and Edith Bowman and featuring interviews from Ron Howard, Paul and Ringo. Then the cinema auctioned off a poster for the film for charity, (which went for £100 if you are curious,) then finally the film started.
It is a fantastic insight into what went on during the years of Beatlemania while the Beatles were on tour and what they were like as people in those more innocent days. The music is of course fantastic, but even for someone who isn’t a massive Beatles fan I think that this documentary is still relevant and tells of an important piece of recent history in an exciting, stylish way.
There are some gripes I have with the movie though, the first one being a case of some revisionist history. The only talk about the group taking any form of drugs was a blink and you’ll miss it mention of them smoking dope on the set of Help, there was no mention of them smoking a joint in the toilets in Buckingham Palace while waiting to receive their MBE’s, there was also no mention of the fact that John returned his MBE and they didn’t even mention the amount of acid they took whilst in India and in the later days. Also, all of John’s more offensive behaviour has been vastly censored and toned down. There is footage of the Beatles first American concert at the Coliseum in Washington D.C, where Paul introduces the band and asks the audience to ‘clap their hands and stomp their feet,’ as Paul is saying this John appears to be impersonating a handicapped person doing exaggerated clapping and stomping movements, which is something he did repeatedly during their first American tour, but in the film they cut away to the audience during this to avoid showing John being offensive. We also never see the footage from their Royal Variety performance, when John told the people in the poor seats to clap their hands and the rich people, including the Royal family, to just rattle their jewellery. I don’t know why they are trying to make John look like an innocent saint when he was never like that, he was always rebellious and cheeky and was never afraid to say what was on his mind. The second gripe I have is more of a personal one in that us hardcore Beatles fans were promised a story that had never been told and while there was some footage that I hadn’t seen before, I wasn’t exactly mind blown by the story that the footage told as there was very little in the film that I didn’t already know about. However despite these minor gripes the movie is fantastic, an immense story told by a master filmmaker about the greatest band in history, what’s not to love?
It is a fantastic insight into what went on during the years of Beatlemania while the Beatles were on tour and what they were like as people in those more innocent days. The music is of course fantastic, but even for someone who isn’t a massive Beatles fan I think that this documentary is still relevant and tells of an important piece of recent history in an exciting, stylish way.
There are some gripes I have with the movie though, the first one being a case of some revisionist history. The only talk about the group taking any form of drugs was a blink and you’ll miss it mention of them smoking dope on the set of Help, there was no mention of them smoking a joint in the toilets in Buckingham Palace while waiting to receive their MBE’s, there was also no mention of the fact that John returned his MBE and they didn’t even mention the amount of acid they took whilst in India and in the later days. Also, all of John’s more offensive behaviour has been vastly censored and toned down. There is footage of the Beatles first American concert at the Coliseum in Washington D.C, where Paul introduces the band and asks the audience to ‘clap their hands and stomp their feet,’ as Paul is saying this John appears to be impersonating a handicapped person doing exaggerated clapping and stomping movements, which is something he did repeatedly during their first American tour, but in the film they cut away to the audience during this to avoid showing John being offensive. We also never see the footage from their Royal Variety performance, when John told the people in the poor seats to clap their hands and the rich people, including the Royal family, to just rattle their jewellery. I don’t know why they are trying to make John look like an innocent saint when he was never like that, he was always rebellious and cheeky and was never afraid to say what was on his mind. The second gripe I have is more of a personal one in that us hardcore Beatles fans were promised a story that had never been told and while there was some footage that I hadn’t seen before, I wasn’t exactly mind blown by the story that the footage told as there was very little in the film that I didn’t already know about. However despite these minor gripes the movie is fantastic, an immense story told by a master filmmaker about the greatest band in history, what’s not to love?
RəX Regent (349 KP) rated Pandora's Box (1929) in Movies
Feb 18, 2019
Pandora’s Box was one of the last films of the silent era, a period of transition to sound which I believe set the art of cinematography back a decade.
In short. Pandora’s Box looks stunning! Using the frame to its fullest, with a combination of wide framing and exploiting the art of the close up as Lulu herself, would the men around her, as well as driven by brilliant performances by most of the cast. But kudos needs to go to the star, Louise Brooks, as she portrays Lulu, the alluring flapper girl who can work her innocent, secutive magic on anyone, men and women alike.
But this is not limited to the narrative’s characters as her performance is subtle and underplayed, oozing out the silver screen and seducing the audience with same allure. If looks could kill, then this movie has them all.
With a sparse use of inter-titles, the film relies on both the physicality of the cast and imaginative cinematography to convey the seductive and danger of the events as they unfold over the two and bit hour runtime. Fritz Korner in particular rivals Brooks with the intensity of his performance as the ill fated husband of the girl about town.
And then there’s Alice Roberts, the Countess, who is widely thought to have the first lesbian to be seen on screen. Only Belgian actress’s second film in her short career, is played very Germanic, yet sympathetic as she too, has been drawn under Lulu’s spell.
This was made during the period in which German cinema was ruling, driving the art form from the nickelodeon to the theatre, but this was about to change in the 1930’s with advent of the sound and the golden age of American cinema. But as this film proves, you do not need sound to tell or show a good story.
Granted, the central story is pretty mediocre; a simple tale of a damaged woman who instinctively uses her allure to get her own way yet not as a diva, just an instinctive manipulator, casting her spell far and wide until that spell leads her into the hands London serial killer, Jack The Ripper (Gustav Diessl). But she is never portrayed as evil or scheming, just as herself as those around her are drawn to her aide.
There is little of the pantamine action or motives that you can expect from this genre even now, 90 years on.
But German director G.W. Pabst manages to create a multi-layered tale, deepened by psychological and social subtext, achieved as much because of the relationship he garnered with the star, Brookes, as he played on her natural talents to bring one of cinemas most defining roles to the screen. This would be the first of two collaborations between the director and the wayward starlet that year.
Pandora’s Box is yet another example of how German Cinema was leading the world back in the 1920’s; and even though the second world war may have brought this golden era to an abrupt end, it’s legacy lives on today with the styles, both in front and behind the camera, still being honoured by entire film industry now and hopefully for decades to come.
In short. Pandora’s Box looks stunning! Using the frame to its fullest, with a combination of wide framing and exploiting the art of the close up as Lulu herself, would the men around her, as well as driven by brilliant performances by most of the cast. But kudos needs to go to the star, Louise Brooks, as she portrays Lulu, the alluring flapper girl who can work her innocent, secutive magic on anyone, men and women alike.
But this is not limited to the narrative’s characters as her performance is subtle and underplayed, oozing out the silver screen and seducing the audience with same allure. If looks could kill, then this movie has them all.
With a sparse use of inter-titles, the film relies on both the physicality of the cast and imaginative cinematography to convey the seductive and danger of the events as they unfold over the two and bit hour runtime. Fritz Korner in particular rivals Brooks with the intensity of his performance as the ill fated husband of the girl about town.
And then there’s Alice Roberts, the Countess, who is widely thought to have the first lesbian to be seen on screen. Only Belgian actress’s second film in her short career, is played very Germanic, yet sympathetic as she too, has been drawn under Lulu’s spell.
This was made during the period in which German cinema was ruling, driving the art form from the nickelodeon to the theatre, but this was about to change in the 1930’s with advent of the sound and the golden age of American cinema. But as this film proves, you do not need sound to tell or show a good story.
Granted, the central story is pretty mediocre; a simple tale of a damaged woman who instinctively uses her allure to get her own way yet not as a diva, just an instinctive manipulator, casting her spell far and wide until that spell leads her into the hands London serial killer, Jack The Ripper (Gustav Diessl). But she is never portrayed as evil or scheming, just as herself as those around her are drawn to her aide.
There is little of the pantamine action or motives that you can expect from this genre even now, 90 years on.
But German director G.W. Pabst manages to create a multi-layered tale, deepened by psychological and social subtext, achieved as much because of the relationship he garnered with the star, Brookes, as he played on her natural talents to bring one of cinemas most defining roles to the screen. This would be the first of two collaborations between the director and the wayward starlet that year.
Pandora’s Box is yet another example of how German Cinema was leading the world back in the 1920’s; and even though the second world war may have brought this golden era to an abrupt end, it’s legacy lives on today with the styles, both in front and behind the camera, still being honoured by entire film industry now and hopefully for decades to come.
Lee (2222 KP) rated Queen & Slim (2019) in Movies
Dec 4, 2019
Usually when my local cinema chain hosts a secret screening, it's for a lesser known film that they're hoping to drum up interest and support for. They do occasionally show something a bit more mainstream though (the last one I went to was for an advance showing of Le Mans '66) and a lot of people in the run up to last nights secret screening were actually expecting it to be Little Women. It turned out to be Queen & Slim, a film that I knew very little about, and probably wouldn't have ventured to see at the cinema if I'm honest. Which is obviously the whole idea behind the secret screenings and why they urge you on social media beforehand to stick with it when you discover what it is!
Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) are at a diner for their first Tinder date and they seem to be getting along, although a second date isn't exactly a definite just yet. As they drive home afterwards, they are pulled over by a white cop for driving erratically (Slim was quickly reaching to grab his phone back from Queen at the time) and for failure to execute a turn signal. There are clearly some racial motives behind the actions of the police officer though, not helped by Slim's impatience as the officer checks through the contents of his car, and the questioning coming from Queen, who works as a defense attorney and knows their rights. Following a heated exchange, a shot is fired and Queen is left with a flesh wound to her leg. An angered Slim then brawls with the cop and, in what is clearly self defense, shoots and kills the officer. Fearing what will happen to them next and the likelihood of further injustice, they decide to go on the run.
What follows is around 40 minutes of pretty tense drama, unexpectedly peppered with some moments of real humour when as the pair find themselves getting into even more difficult situations. As dash-cam footage from the vehicle of the deceased police officer goes viral, there's a real sense of urgency and intensity to their predicament, making for a really intense and gripping roller-coaster of a ride. They make it to New Orleans, and a brief stopover at the home of Queen's Uncle Earl (Bokeem Woodbine), and it's around this point in the movie that momentum gets lost somewhat, never really recovering until the finale.
Written by Lena Waithe (Master of None and Ready Player One), Queen & Slim is clearly a relevant and important movie, boasting a great look and style from director Melina Matsoukas. Daniel Kaluuya is a great choice for Slim too, no stranger to portraying strong emotions with his eyes and facial expressions, as he did so perfectly in his iconic Get Out role. While I wasn't so keen on Jodie Turner-Smith, the pair did work well together, despite making some questionable character choices at times. When a photo of the pair goes viral, they become a kind of modern day Bonnie & Clyde, hailed as heroes and legends by many as they make their way down towards Florida, where they hope to be able catch a flight to freedom in Cuba. Along the way, their relationship develops and they occasionally find support among the black community in each town they stop at.
But, following that stopover in New Orleans, Queen & Slim becomes much more of a slow meander towards the finish line, and it's a real noticeable tonal shift and change of pacing from those first 40 minutes or so. People in the cinema became fidgety (including me), some gave up on the movie completely and left the cinema (I've done that before, vowed never to do it again though) and all I could think about when they get help from some old friends of Queen's Uncle was "Is that Needles, from Back to the Future?" (it was).
All of this shouldn't detract from how important this movie is though, highlighting racial injustice and delving into real issues unashamedly. While Queen & Slim didn't quite work for me overall, it is certainly a story which deserves to be told and seen by many, getting people talking and hopefully instigating some real change. I'm glad I had the chance to see it, and glad I stuck with it right until the end.
Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) are at a diner for their first Tinder date and they seem to be getting along, although a second date isn't exactly a definite just yet. As they drive home afterwards, they are pulled over by a white cop for driving erratically (Slim was quickly reaching to grab his phone back from Queen at the time) and for failure to execute a turn signal. There are clearly some racial motives behind the actions of the police officer though, not helped by Slim's impatience as the officer checks through the contents of his car, and the questioning coming from Queen, who works as a defense attorney and knows their rights. Following a heated exchange, a shot is fired and Queen is left with a flesh wound to her leg. An angered Slim then brawls with the cop and, in what is clearly self defense, shoots and kills the officer. Fearing what will happen to them next and the likelihood of further injustice, they decide to go on the run.
What follows is around 40 minutes of pretty tense drama, unexpectedly peppered with some moments of real humour when as the pair find themselves getting into even more difficult situations. As dash-cam footage from the vehicle of the deceased police officer goes viral, there's a real sense of urgency and intensity to their predicament, making for a really intense and gripping roller-coaster of a ride. They make it to New Orleans, and a brief stopover at the home of Queen's Uncle Earl (Bokeem Woodbine), and it's around this point in the movie that momentum gets lost somewhat, never really recovering until the finale.
Written by Lena Waithe (Master of None and Ready Player One), Queen & Slim is clearly a relevant and important movie, boasting a great look and style from director Melina Matsoukas. Daniel Kaluuya is a great choice for Slim too, no stranger to portraying strong emotions with his eyes and facial expressions, as he did so perfectly in his iconic Get Out role. While I wasn't so keen on Jodie Turner-Smith, the pair did work well together, despite making some questionable character choices at times. When a photo of the pair goes viral, they become a kind of modern day Bonnie & Clyde, hailed as heroes and legends by many as they make their way down towards Florida, where they hope to be able catch a flight to freedom in Cuba. Along the way, their relationship develops and they occasionally find support among the black community in each town they stop at.
But, following that stopover in New Orleans, Queen & Slim becomes much more of a slow meander towards the finish line, and it's a real noticeable tonal shift and change of pacing from those first 40 minutes or so. People in the cinema became fidgety (including me), some gave up on the movie completely and left the cinema (I've done that before, vowed never to do it again though) and all I could think about when they get help from some old friends of Queen's Uncle was "Is that Needles, from Back to the Future?" (it was).
All of this shouldn't detract from how important this movie is though, highlighting racial injustice and delving into real issues unashamedly. While Queen & Slim didn't quite work for me overall, it is certainly a story which deserves to be told and seen by many, getting people talking and hopefully instigating some real change. I'm glad I had the chance to see it, and glad I stuck with it right until the end.
London Uncovered: Sixty Unusual Places to Explore
Book
London Uncovered opens the doors to sixty of the capital's most intriguing places, all visitable but...
Bob Mann (459 KP) rated Wonder Woman 1984 (2020) in Movies
Dec 16, 2020
Gal Gadot: stunning (2 more)
Movie with real heart
Excellent cinematography
WW dot Well Worth Waiting for Gadot
The long delayed release of the Wonder Woman sequel has finally happened, and it is well worth waiting for.
Gal Gadot is fabulous as the Amazonian beauty (and then some) with Chris Pine reprising his role from the first thing. (Of all the WTF moments of 2020 trailers, this was top of the list.... just HOW? A McGuffin is involved, but no spoilers here!).
In brief, Patty Jenkins delivers a popcorn blockbuster than has legs (over and above Gadot's perfect specimens!): the Goblet-of-Fire-Potteresque pre-title sequence is thrilling and engaging. And the story builds cleverly through the first half of the movie. Above all, there is a heap of HEART involved here.... this is not your run of the mill supervillain showdown flick. In fact, it's a movie with TWO villain (normally a doom-laden premise for this reviewer... "Spider Man 3".... shudder), but here it really works well.
Sure, there is a requirement for a suspension of belief, but - hey - it's a DC movie. On a slight downside, the second half of the movie - for me -unfortunately doesn't quite live up to the promise of first half, blending "Bruce Almighty" with "Superman 2" and rather over-egging the pudding.
But in a morass of B-pics, this sequel is one that is gorgeous to look at (Matthew Jensen's cinematography is superb), gorgeous to listen to (an epic score by Hans Zimmer) and is genuinely engaging. There's also a nice vein of humour running through it... when Kristen Wiig is in a park, a rough sleeper on a bench is reading "Waiting for Godot".... or is it "Waiting for Gadot"??
It's such a brief scene, I wasn't sure!
Although I DEPLORE the Warner Brother's decision to release their material in parallel to streaming, here is a movie that is WELL WORTH you getting out to the cinema to see... assuming that you can find a UK cinema open (I saw this in the excellent Showcase De Luxe in Southampton).
Oh, and if you are someone who dives for the exit at the first title... resist... there is an excellent mid-title sequence featuring a wonderful cameo for us older folks!
(Please check out the full graphical review on bob-the-movie-man, which will be going live shortly. Thanks).
Gal Gadot is fabulous as the Amazonian beauty (and then some) with Chris Pine reprising his role from the first thing. (Of all the WTF moments of 2020 trailers, this was top of the list.... just HOW? A McGuffin is involved, but no spoilers here!).
In brief, Patty Jenkins delivers a popcorn blockbuster than has legs (over and above Gadot's perfect specimens!): the Goblet-of-Fire-Potteresque pre-title sequence is thrilling and engaging. And the story builds cleverly through the first half of the movie. Above all, there is a heap of HEART involved here.... this is not your run of the mill supervillain showdown flick. In fact, it's a movie with TWO villain (normally a doom-laden premise for this reviewer... "Spider Man 3".... shudder), but here it really works well.
Sure, there is a requirement for a suspension of belief, but - hey - it's a DC movie. On a slight downside, the second half of the movie - for me -unfortunately doesn't quite live up to the promise of first half, blending "Bruce Almighty" with "Superman 2" and rather over-egging the pudding.
But in a morass of B-pics, this sequel is one that is gorgeous to look at (Matthew Jensen's cinematography is superb), gorgeous to listen to (an epic score by Hans Zimmer) and is genuinely engaging. There's also a nice vein of humour running through it... when Kristen Wiig is in a park, a rough sleeper on a bench is reading "Waiting for Godot".... or is it "Waiting for Gadot"??
It's such a brief scene, I wasn't sure!
Although I DEPLORE the Warner Brother's decision to release their material in parallel to streaming, here is a movie that is WELL WORTH you getting out to the cinema to see... assuming that you can find a UK cinema open (I saw this in the excellent Showcase De Luxe in Southampton).
Oh, and if you are someone who dives for the exit at the first title... resist... there is an excellent mid-title sequence featuring a wonderful cameo for us older folks!
(Please check out the full graphical review on bob-the-movie-man, which will be going live shortly. Thanks).
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Ứng dụng FPT Play – TV Online đa nền tảng với hàng ngàn nội dung truyền hình,...