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Emma @ The Movies (1786 KP) rated What Men Want (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Who wouldn't want to know what goes through a man's mind on occasion? Actually, you know what... I'm fine, I'm not sure I really want to hear everything... *shudder*
Ali is looking for the recognition she deserves for the hard work she puts in. She's successful, but in an office full of men she might not get out of her lane and be equal with the men around her. Without the supernatural twist the outcome could have eventually been the same, but that wouldn't have made for such an entertaining movie.
What Men Want is entirely predictable, after all we saw it all before in What Women Want but it's also like a whole bunch of romcoms out there. Character encounters an obstacle, character finds romance, character finds a way to fix the obstacle and in the process of that mucks up romance, obstacle gets fixed, character realises that none of it is worthwhile without romance and gets them back with big gesture, The End.
Taraji P. Henson is right up near the top of my favourite actresses, she's got so many great performances under her belt. Ali isn't going to appear very near the top of that list. Everything in Ali, as well as the film, seems to be at opposite ends of the scale. When we have comedy it sometimes feels over the top, when we have real life it's serious. Had there been more of a balance I think we could have had a better result. That being said, I thought she was great, she's very good at visual acting.
When it comes to the supporting cast it doesn't quite hit the spot. Again, this is partly due to the Jekyll and Hyde nature of everything. You've got characters who are serious, textbook romcomers, some for comedy and a handful of sports stars doing cameos, it's difficult to make them all gel. Pete Davidson and Tracy Morgan in both stick out from the rest because they bring quite a harsh comedy which I didn't find all that entertaining.
On the flip side though I was pleased to see Aldis Hodge make an appearance, he's got just the right amount of humour and serious in there and against Henson in scenes he works particularly well. Josh Brener also brought something fun to the mix, and possibly had the best part overall. Getting to sit on both sides of the storyline allows him to interact in fun ways with Ali when she's discovering her abilities as well as later on when he's trying to hide his inner thoughts.
Speaking of which, men's inner thoughts throughout aren't badly done, though there's the occasional over the top effort. Jamal Barry/Shane Paul McGhie had the winner for me when he was meeting his sporting hero though.
Looking back at this film I think I'm actually talking it out of stars in my head. I enjoyed it a lot at the cinema, it was funny (if a little excessive at times) and it eventually shows Ali being able to empower herself even if she does cock it up along the way. It flowed well and I wasn't finding myself urging it along... but... it's not a massively consistent film. The storyline with her female friends in obviously essential to the beginning but its addition later on holds little impact apart from giving her multiple points to claim some redemption.
I can honestly say that on first viewing I was amused and entertained, but I'm not sure how well it would hold up to a second.
What you should do
When talking to people who have seen What Men Want it is fairly consistent, men tend not to like it while women say they found it entertaining (admittedly that's somewhere between 2.5 and 4 stars). I think it's worth watching, and it would probably make a good film for a girls night.
Movie thing you wish you could take home
I've completely talked myself out of hearing men's thoughts so maybe box seats instead?
Ali is looking for the recognition she deserves for the hard work she puts in. She's successful, but in an office full of men she might not get out of her lane and be equal with the men around her. Without the supernatural twist the outcome could have eventually been the same, but that wouldn't have made for such an entertaining movie.
What Men Want is entirely predictable, after all we saw it all before in What Women Want but it's also like a whole bunch of romcoms out there. Character encounters an obstacle, character finds romance, character finds a way to fix the obstacle and in the process of that mucks up romance, obstacle gets fixed, character realises that none of it is worthwhile without romance and gets them back with big gesture, The End.
Taraji P. Henson is right up near the top of my favourite actresses, she's got so many great performances under her belt. Ali isn't going to appear very near the top of that list. Everything in Ali, as well as the film, seems to be at opposite ends of the scale. When we have comedy it sometimes feels over the top, when we have real life it's serious. Had there been more of a balance I think we could have had a better result. That being said, I thought she was great, she's very good at visual acting.
When it comes to the supporting cast it doesn't quite hit the spot. Again, this is partly due to the Jekyll and Hyde nature of everything. You've got characters who are serious, textbook romcomers, some for comedy and a handful of sports stars doing cameos, it's difficult to make them all gel. Pete Davidson and Tracy Morgan in both stick out from the rest because they bring quite a harsh comedy which I didn't find all that entertaining.
On the flip side though I was pleased to see Aldis Hodge make an appearance, he's got just the right amount of humour and serious in there and against Henson in scenes he works particularly well. Josh Brener also brought something fun to the mix, and possibly had the best part overall. Getting to sit on both sides of the storyline allows him to interact in fun ways with Ali when she's discovering her abilities as well as later on when he's trying to hide his inner thoughts.
Speaking of which, men's inner thoughts throughout aren't badly done, though there's the occasional over the top effort. Jamal Barry/Shane Paul McGhie had the winner for me when he was meeting his sporting hero though.
Looking back at this film I think I'm actually talking it out of stars in my head. I enjoyed it a lot at the cinema, it was funny (if a little excessive at times) and it eventually shows Ali being able to empower herself even if she does cock it up along the way. It flowed well and I wasn't finding myself urging it along... but... it's not a massively consistent film. The storyline with her female friends in obviously essential to the beginning but its addition later on holds little impact apart from giving her multiple points to claim some redemption.
I can honestly say that on first viewing I was amused and entertained, but I'm not sure how well it would hold up to a second.
What you should do
When talking to people who have seen What Men Want it is fairly consistent, men tend not to like it while women say they found it entertaining (admittedly that's somewhere between 2.5 and 4 stars). I think it's worth watching, and it would probably make a good film for a girls night.
Movie thing you wish you could take home
I've completely talked myself out of hearing men's thoughts so maybe box seats instead?
Emma @ The Movies (1786 KP) rated Shazam! (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
This was a massive turn out for an Unlimited Screening, the last time it was this busy was when we had the secret screening for The Incredibles 2. I guess everyone loves a bit of action, I know I do, so thank you very much, Cineworld.
Captain Sparkle Fingers amused and entertained, and it produced some of those goosebump moments you get from the anticipation. This is going to be a winner of the East period with the schools being out, I think that means I'll be avoiding the cinema for a bit.
I was concerned early on as it was a rather slow start and the tone was nothing like what we'd been seeing in the promotional material, but once that stumbling block was out of the way we started down a very fun path.
Billy Batson's search for his birth mother lands him with a new foster situation after his antics are no longer tolerated by his previous home. There he meets his new family who have a spectacular amount of alliterative name. Freddy Freeman, Darla Dudley, Victor Vasquez, Pedro Peña, (I really do think that alliteration should be mandatory in super movies) and the rather less rhythmic Rosa Vasquez, Mary Bromfield and Eugene Choi.
Billy is set on not being part of the family until two bullies set upon Freddy outside school, his instincts kick in and he wades in to protect him. This act catches the attention of The Wizard, Shazam, and knowing that the world needs a saviour he bestows his power on Billy.
The fact that Billy probably would have failed to be worthy of the power, or declined it, does sit a little heavy when you see it in the film. But we know that it eventually comes good so I let it slide.
Shazam is a massive departure for DC, it's very Marvel meets Teen Titans GO! To The Movies. It feels a little like the film is fighting with the brand's roots though, there's obviously a darkness around our villain but when you compare it to the goofy nature of the hero side it begins to feel like two different films. Had either of those films been made on their own I don't think we'd have been in for something quite so entertaining.
By far the most entertaining bits of Shazam are when we see Billy and Freddy exploring what superpowers Captain Sparkle Fingers has. Keep an eye out for the teleportation test, that was my favourite. I could quite happily have watched an entire film of these scenes.
I don't think there are many people out there that could have played this role, Zachary Levi is certainly the right fit. The childlike glee is so good that I can't help but think he was channelling Chuck Bartowski. I think there's something even more appealing about characters when the character gets to be a little wacky and act outside the expected. Jack Black in Jumanji, Tom Hanks in Big, Paul Rudd briefly in Ant-Man And The Wasp, they all produced some really amusing moments.
Mark Strong is brilliant, in general as well as in this film. I love him being menacing. He does a superb job with what he's given but I would have loved him to have had a few humorous moments in the whole lolfest. Being the serious thing in a film with so much humour wasn't a great situation to be in.
The family aspect in the movie is a strong theme throughout and our band of actors all work well as a team. I'm sad to say that individually I'm not a real fan of any of the characters apart from perhaps Eugene and his video games, but when they're together it's a great dynamic.
Shazam manages to be both brilliant and terrible all at the same time. Despite its identity crisis it is still a great film, I came out feeling happy and entertained, and that's all you really ask for in a movie.
What you should do
If you love superhero movies then definitely fit it into your schedule, you'll definitely be entertained.
Movie thing you wish you could take home
I've said Shazam a lot over the last week and I've been hoping for some superpowers but nothing is happening... yet... SHAZAM!
Captain Sparkle Fingers amused and entertained, and it produced some of those goosebump moments you get from the anticipation. This is going to be a winner of the East period with the schools being out, I think that means I'll be avoiding the cinema for a bit.
I was concerned early on as it was a rather slow start and the tone was nothing like what we'd been seeing in the promotional material, but once that stumbling block was out of the way we started down a very fun path.
Billy Batson's search for his birth mother lands him with a new foster situation after his antics are no longer tolerated by his previous home. There he meets his new family who have a spectacular amount of alliterative name. Freddy Freeman, Darla Dudley, Victor Vasquez, Pedro Peña, (I really do think that alliteration should be mandatory in super movies) and the rather less rhythmic Rosa Vasquez, Mary Bromfield and Eugene Choi.
Billy is set on not being part of the family until two bullies set upon Freddy outside school, his instincts kick in and he wades in to protect him. This act catches the attention of The Wizard, Shazam, and knowing that the world needs a saviour he bestows his power on Billy.
The fact that Billy probably would have failed to be worthy of the power, or declined it, does sit a little heavy when you see it in the film. But we know that it eventually comes good so I let it slide.
Shazam is a massive departure for DC, it's very Marvel meets Teen Titans GO! To The Movies. It feels a little like the film is fighting with the brand's roots though, there's obviously a darkness around our villain but when you compare it to the goofy nature of the hero side it begins to feel like two different films. Had either of those films been made on their own I don't think we'd have been in for something quite so entertaining.
By far the most entertaining bits of Shazam are when we see Billy and Freddy exploring what superpowers Captain Sparkle Fingers has. Keep an eye out for the teleportation test, that was my favourite. I could quite happily have watched an entire film of these scenes.
I don't think there are many people out there that could have played this role, Zachary Levi is certainly the right fit. The childlike glee is so good that I can't help but think he was channelling Chuck Bartowski. I think there's something even more appealing about characters when the character gets to be a little wacky and act outside the expected. Jack Black in Jumanji, Tom Hanks in Big, Paul Rudd briefly in Ant-Man And The Wasp, they all produced some really amusing moments.
Mark Strong is brilliant, in general as well as in this film. I love him being menacing. He does a superb job with what he's given but I would have loved him to have had a few humorous moments in the whole lolfest. Being the serious thing in a film with so much humour wasn't a great situation to be in.
The family aspect in the movie is a strong theme throughout and our band of actors all work well as a team. I'm sad to say that individually I'm not a real fan of any of the characters apart from perhaps Eugene and his video games, but when they're together it's a great dynamic.
Shazam manages to be both brilliant and terrible all at the same time. Despite its identity crisis it is still a great film, I came out feeling happy and entertained, and that's all you really ask for in a movie.
What you should do
If you love superhero movies then definitely fit it into your schedule, you'll definitely be entertained.
Movie thing you wish you could take home
I've said Shazam a lot over the last week and I've been hoping for some superpowers but nothing is happening... yet... SHAZAM!
Emma @ The Movies (1786 KP) rated Lords of Chaos (2018) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
I saw one trailer for this and at that point I instantly assumed that it wouldn't show at my local Cineworld, but it did, with a surprising amount of showings. The gentleman and I who attended this particular screening really did not look like your typical black metal fans, but then it's always the quiet ones...
In my non-fan status I can't say anything to its accuracy. From what I understand there are disagreements over some of it, the trailer does state "based on truth and lies" so somewhere along the line they know they've taken some necessary artistic license.
Lords Of Chaos is a pretty honest movie, and by that I mean it doesn't sugarcoat anything. There are violent and horrific scenes that any movie looking for a 15 certificate would have looked away at the last minute or done something artistic with the camera angle, but LOC just went "F*** it, zoom in." and I think that was a great benefit to it. I actually found it less shocking for that exact reason. If you can stomach it then seeing what actually happens is a lot less affecting than being left to imagine it. I'm aware that that probably says something horrific about me personally.
I was... put off? by the casting of Rory Culkin as the lead in this. I couldn't honestly tell you why, I've only really seen him in Scream 4 and I love that. His performance from start to finish was incredible, including the voiceovers which were placed in exactly the right places throughout. I was blown away by him when I'd expected to dislike his character. Culkin seems to know exactly where Euronymous is going, he adapts to the changes in him and you see the schemer, the worrier and all the associated emotions that go with them.
Emory Cohen gave an interesting performance as Varg, but I wasn't particularly fond of the character. To see his transformation from almost puppy dog longing to connect before he spirals into paranoia and his ever-expanding need to be the best was intriguing, it ultimately left me with an awkward feeling that I wasn't particularly fond of.
The two of them together made for a good contrast with both characters progressing in opposite directions yet never meeting and being able to connect in the middle. I liked that they both seemed to underestimate the other and that impact brought out very different characteristics in them both. That ultimately led to a strong conclusion to the film and allowed Culkin to really end it with a bang.
The film itself was beautifully shot and many of the shots seemed frivolous at the time but actually allowed for some respite from the carnage and allowed you to take in the gravity of some of the actions.
While Lords Of Chaos is probably not a film I would have ever seen in the past I was actually pleased that I saw it. This regime of seeing (almost) everything that comes out at my cinema has its ups and downs but this was a pretty interesting watch. Culkin performed his socks off and it was a very entertaining surprise. This is a topic that will definitely need some further reading beyond what is portrayed here as I'm certain that to make a film of this suitable for a movie-going audience it would have needed a lot of tweaking from the truth.
What you should do
This is definitely not for the faint hearted, I would absolutely not recommend it to you if you don't like blood, violence or are susceptible to self-harm on screen. If you can stomach all of those things and have an interest in music then I'd say it's worth giving a go.
Movie thing you wish you could take home
Running my own record store looks like it migt be fun, but I don't think that my music taste would make it a very popular shop.
In my non-fan status I can't say anything to its accuracy. From what I understand there are disagreements over some of it, the trailer does state "based on truth and lies" so somewhere along the line they know they've taken some necessary artistic license.
Lords Of Chaos is a pretty honest movie, and by that I mean it doesn't sugarcoat anything. There are violent and horrific scenes that any movie looking for a 15 certificate would have looked away at the last minute or done something artistic with the camera angle, but LOC just went "F*** it, zoom in." and I think that was a great benefit to it. I actually found it less shocking for that exact reason. If you can stomach it then seeing what actually happens is a lot less affecting than being left to imagine it. I'm aware that that probably says something horrific about me personally.
I was... put off? by the casting of Rory Culkin as the lead in this. I couldn't honestly tell you why, I've only really seen him in Scream 4 and I love that. His performance from start to finish was incredible, including the voiceovers which were placed in exactly the right places throughout. I was blown away by him when I'd expected to dislike his character. Culkin seems to know exactly where Euronymous is going, he adapts to the changes in him and you see the schemer, the worrier and all the associated emotions that go with them.
Emory Cohen gave an interesting performance as Varg, but I wasn't particularly fond of the character. To see his transformation from almost puppy dog longing to connect before he spirals into paranoia and his ever-expanding need to be the best was intriguing, it ultimately left me with an awkward feeling that I wasn't particularly fond of.
The two of them together made for a good contrast with both characters progressing in opposite directions yet never meeting and being able to connect in the middle. I liked that they both seemed to underestimate the other and that impact brought out very different characteristics in them both. That ultimately led to a strong conclusion to the film and allowed Culkin to really end it with a bang.
The film itself was beautifully shot and many of the shots seemed frivolous at the time but actually allowed for some respite from the carnage and allowed you to take in the gravity of some of the actions.
While Lords Of Chaos is probably not a film I would have ever seen in the past I was actually pleased that I saw it. This regime of seeing (almost) everything that comes out at my cinema has its ups and downs but this was a pretty interesting watch. Culkin performed his socks off and it was a very entertaining surprise. This is a topic that will definitely need some further reading beyond what is portrayed here as I'm certain that to make a film of this suitable for a movie-going audience it would have needed a lot of tweaking from the truth.
What you should do
This is definitely not for the faint hearted, I would absolutely not recommend it to you if you don't like blood, violence or are susceptible to self-harm on screen. If you can stomach all of those things and have an interest in music then I'd say it's worth giving a go.
Movie thing you wish you could take home
Running my own record store looks like it migt be fun, but I don't think that my music taste would make it a very popular shop.
Movie Metropolis (309 KP) rated Zombieland: Double Tap (2019) in Movies
Oct 24, 2019
Ten years is a long time in Hollywood. Ten years ago, to this day Avatar was yet to be released to the unsuspecting masses, with Titanic still reigning supreme over the global box-office and debutant director Ruben Fleischer surprised the cinema-going public with Zombieland.
Made on a tiny budget of just over $20million, it went on to gross over $100million globally and received unanimous praise. A sequel was widely expected in the years that followed but never materialised. That’s probably down to a few things; one being Emma Stone’s meteoric rise to fame, Jesse Eisenberg starring in some of the biggest and most celebrated films of the decade that followed and Woody Harrelson, well, being Woody Harrelson (that’s not a dig, we love you Woody).
Fleischer meanwhile went on to direct 30 Minutes or Less, Gangster Squad and Venom among a couple of other projects. The time for a Zombieland sequel came and went with the film’s core fanbase hoping that one day they’d get what they desired.
That day is now here with the release of Zombieland: Double Tap. With a cast of returning characters and the original director at the helm, things certainly look promising from a technical point of view, but has the ship sailed on getting this franchise off the ground?
Zombie slayers Tallahassee (Harrelson), Columbus (Eisenberg), Wichita (Stone), and Little Rock (Abigail Breslin) square off against a newly evolved strain of the undead as well as combatting their own personal demons in an effort to survive the ongoing zombie apocalypse.
Despite the popularity of the film’s actors since its predecessor, it’s nice to see all of the lead cast slot back into their roles seamlessly. Granted they’re a little older than we last remember them, and a little wiser too, but these characters still retain the charm and humour that made the last movie such a success.
Harrelson remains the standout and that’s mainly down to a nicely written script, penned by Rhett Reese, Paul Wernick and Dave Callaham. Between them they’ve worked on films like Gareth Edwards’ Godzilla, Ant-Man, Deadpool and its sequel and Life. That’s a pretty impressive roster of films it has to be said.
Eisenberg and Stone are also nicely written with a good character arc that means we get to see opposing sides to their roles. Unfortunately, Breslin is underused throughout, reduced to a part that feels much more like a support role. Of the new characters introduced, Rosario Dawson and Zoey Deutch are thinly written but reasonably entertaining.
The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them
Thankfully, the script remains a real highlight over the brisk 99-minute run-time with some genuine hilarity. The screenplay’s attempts at emotion work reasonably well but fall flat on a couple of occasions – the basis of the previous film was its humour and no surprises, this is where the sequel excels.
It’s a nice film to look at too. While some of the landscapes look a little too artificial, the sweeping shots of desolate buildings and roads add a sense of scale that was sometimes lacking last time around. The opening sequence inside the White House is great to watch and sets up the rest of the film well.
Zombieland: Double Tap works best when our band of characters is bouncing off each other and it’s a good job as the zombie action is fleeting. Some action pieces are well choregraphed but for a film about the world being overrun by the undead, there’s a distinct lack of them. The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them until the final act and that’s a bit of a shame.
Nevertheless, Zombieland: Double Tap remains easy-to-watch and likeable throughout with a cracking cast of characters. Unfortunately, the world has moved on from 2009 and zombie films, TV shows and books are ten-a-penny nowadays (something nicely referenced at the beginning of the film) and while Zombieland 2 does an awful lot right, in the end it’s a decent sequel to a great film, and nothing more than that.
Stick around for a post-credits sequence that follows on from the predecessors “greatest cameo ever”.
Made on a tiny budget of just over $20million, it went on to gross over $100million globally and received unanimous praise. A sequel was widely expected in the years that followed but never materialised. That’s probably down to a few things; one being Emma Stone’s meteoric rise to fame, Jesse Eisenberg starring in some of the biggest and most celebrated films of the decade that followed and Woody Harrelson, well, being Woody Harrelson (that’s not a dig, we love you Woody).
Fleischer meanwhile went on to direct 30 Minutes or Less, Gangster Squad and Venom among a couple of other projects. The time for a Zombieland sequel came and went with the film’s core fanbase hoping that one day they’d get what they desired.
That day is now here with the release of Zombieland: Double Tap. With a cast of returning characters and the original director at the helm, things certainly look promising from a technical point of view, but has the ship sailed on getting this franchise off the ground?
Zombie slayers Tallahassee (Harrelson), Columbus (Eisenberg), Wichita (Stone), and Little Rock (Abigail Breslin) square off against a newly evolved strain of the undead as well as combatting their own personal demons in an effort to survive the ongoing zombie apocalypse.
Despite the popularity of the film’s actors since its predecessor, it’s nice to see all of the lead cast slot back into their roles seamlessly. Granted they’re a little older than we last remember them, and a little wiser too, but these characters still retain the charm and humour that made the last movie such a success.
Harrelson remains the standout and that’s mainly down to a nicely written script, penned by Rhett Reese, Paul Wernick and Dave Callaham. Between them they’ve worked on films like Gareth Edwards’ Godzilla, Ant-Man, Deadpool and its sequel and Life. That’s a pretty impressive roster of films it has to be said.
Eisenberg and Stone are also nicely written with a good character arc that means we get to see opposing sides to their roles. Unfortunately, Breslin is underused throughout, reduced to a part that feels much more like a support role. Of the new characters introduced, Rosario Dawson and Zoey Deutch are thinly written but reasonably entertaining.
The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them
Thankfully, the script remains a real highlight over the brisk 99-minute run-time with some genuine hilarity. The screenplay’s attempts at emotion work reasonably well but fall flat on a couple of occasions – the basis of the previous film was its humour and no surprises, this is where the sequel excels.
It’s a nice film to look at too. While some of the landscapes look a little too artificial, the sweeping shots of desolate buildings and roads add a sense of scale that was sometimes lacking last time around. The opening sequence inside the White House is great to watch and sets up the rest of the film well.
Zombieland: Double Tap works best when our band of characters is bouncing off each other and it’s a good job as the zombie action is fleeting. Some action pieces are well choregraphed but for a film about the world being overrun by the undead, there’s a distinct lack of them. The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them until the final act and that’s a bit of a shame.
Nevertheless, Zombieland: Double Tap remains easy-to-watch and likeable throughout with a cracking cast of characters. Unfortunately, the world has moved on from 2009 and zombie films, TV shows and books are ten-a-penny nowadays (something nicely referenced at the beginning of the film) and while Zombieland 2 does an awful lot right, in the end it’s a decent sequel to a great film, and nothing more than that.
Stick around for a post-credits sequence that follows on from the predecessors “greatest cameo ever”.
Gareth von Kallenbach (980 KP) rated Avatar (2009) in Movies
Aug 8, 2019
With a budget reported to be around $400 million dollars and a four year production cycle, “Avatar” by James Cameron is poised to usher in a new age in digital fx and 3d.
The film is set in 2154 and involves a disabled vet named Jake (Sam Worthington), who is sent to the distant moon of Pandora following the death of his brother.
It is learned that Pandora possesses a highly valuable resource that sells on the resource ravaged earth for $200 million a kilo and, which naturally sets off a frenzy of mining on the moon.
With the cultivation of the resource at a premium a facility has been established to ensure a constant mining operation and protect those on the base from the hostile wildlife that is everywhere.
While the wildlife on Pandora is a big issue, it pales in comparison to the issues poised by the native Na’vi who are a blue-skinned race who live in the forests of the moon and are in harmony with the nature of the planet which have caused them to hamper the mining efforts of the humans.
Anxious to keep the mining operations going, and limit the use of brute force to avoid any p.r. issues, a program known as “Avatar” is put into motion which allows select individuals to pilot a surrogate made from Na’vi and human D.N.A. in an effort to get the Na’vi to move and end their opposition to the mining.
It is hoped that the pilots will in time find a way to force the cooperation of the Na’vi after spending time amongst them.
Jake is thrilled with the program as once his remote link is established, he is free to run and jump again and in time finds himself absorbed by the Na’vi who wish to show him their ways as a test of his worthiness after he is separated from his fellow humans.
At this point Jake leads a double life as his surrogate learns what it is to be Na’vi and when the surrogate is asleep, Jake unhooks himself from his control bed, and is back on the base with his fellow humans. Jake is approached by Colonel Quaritch (Stephen Lang), who tasks the Marine to obtain tactical data on the Na’vi should his forces be called into action to force their cooperation. Jake is promised a costly procedure in return which would allow him to regain the use of his legs and live a life outside of his wheelchair.
As time passes, Jake grows closer to his Na’vi mentor Neytire (Zoe Saldana), who aside from being the daughter of the chief is a skilled hunter for her people. At this point Jake begins to question the motives and methods of his people and sees the exploitation and possible massacre of the Na’vi as something he can no longer accept. Jake puts a plan in motion to protect his human and Na’vi friends and what follows is an epic confrontation that is awash in visual splendor and action as James Cameron once again pushes the boundaries of technology.
Some may cite the story as resembling “Dances with Wolves’; and other films that deal with the exploitation of the native races, but the true magic of the film is that it is not limited to the lavish visuals but is instead powered by the compelling characters.
The 3d fx shine as Cameron has created another world with a thriving ecosystem that is as much a character in the film as the flesh and blood and digital creations that power the story.
The film has good supporting work from Sigourney Weaver, and Michelle Rodriquez as well as the fine ensemble cast. The amazing blend of story, digital splendor, and characters all combine to make “Avatar” a truly amazing visual film with a strong message of love, hope, and unity. James Cameron has once again proved that he is one of the true masters of cinema and has crafted a magical experience that enchants and informs.
The film is set in 2154 and involves a disabled vet named Jake (Sam Worthington), who is sent to the distant moon of Pandora following the death of his brother.
It is learned that Pandora possesses a highly valuable resource that sells on the resource ravaged earth for $200 million a kilo and, which naturally sets off a frenzy of mining on the moon.
With the cultivation of the resource at a premium a facility has been established to ensure a constant mining operation and protect those on the base from the hostile wildlife that is everywhere.
While the wildlife on Pandora is a big issue, it pales in comparison to the issues poised by the native Na’vi who are a blue-skinned race who live in the forests of the moon and are in harmony with the nature of the planet which have caused them to hamper the mining efforts of the humans.
Anxious to keep the mining operations going, and limit the use of brute force to avoid any p.r. issues, a program known as “Avatar” is put into motion which allows select individuals to pilot a surrogate made from Na’vi and human D.N.A. in an effort to get the Na’vi to move and end their opposition to the mining.
It is hoped that the pilots will in time find a way to force the cooperation of the Na’vi after spending time amongst them.
Jake is thrilled with the program as once his remote link is established, he is free to run and jump again and in time finds himself absorbed by the Na’vi who wish to show him their ways as a test of his worthiness after he is separated from his fellow humans.
At this point Jake leads a double life as his surrogate learns what it is to be Na’vi and when the surrogate is asleep, Jake unhooks himself from his control bed, and is back on the base with his fellow humans. Jake is approached by Colonel Quaritch (Stephen Lang), who tasks the Marine to obtain tactical data on the Na’vi should his forces be called into action to force their cooperation. Jake is promised a costly procedure in return which would allow him to regain the use of his legs and live a life outside of his wheelchair.
As time passes, Jake grows closer to his Na’vi mentor Neytire (Zoe Saldana), who aside from being the daughter of the chief is a skilled hunter for her people. At this point Jake begins to question the motives and methods of his people and sees the exploitation and possible massacre of the Na’vi as something he can no longer accept. Jake puts a plan in motion to protect his human and Na’vi friends and what follows is an epic confrontation that is awash in visual splendor and action as James Cameron once again pushes the boundaries of technology.
Some may cite the story as resembling “Dances with Wolves’; and other films that deal with the exploitation of the native races, but the true magic of the film is that it is not limited to the lavish visuals but is instead powered by the compelling characters.
The 3d fx shine as Cameron has created another world with a thriving ecosystem that is as much a character in the film as the flesh and blood and digital creations that power the story.
The film has good supporting work from Sigourney Weaver, and Michelle Rodriquez as well as the fine ensemble cast. The amazing blend of story, digital splendor, and characters all combine to make “Avatar” a truly amazing visual film with a strong message of love, hope, and unity. James Cameron has once again proved that he is one of the true masters of cinema and has crafted a magical experience that enchants and informs.
Emma @ The Movies (1786 KP) rated Joker (2019) in Movies
Dec 8, 2019
Contains spoilers, click to show
Had this been released on any regular week I'd have seen Joker the day it came out and not been overly bothered by the Twitter frenzy that happened in the aftermath of the opening... but, Joker came out two days into the London Film Festival and that meant I couldn't see it straight away. I ended up taking a day off in the middle of it and going out to have a regular cinema outing, it was only 6 days after release but the barrage of feedback online was enough to make me bored at the thought of seeing it.
I do not know how to do this review. It's not that I don't have things to say about it, because I do, but there's a lot of grumbling. I'm going to try bullet pointing it as it covers things that cross audience feedback with moaning.
• What is real? We see the Sophie shots replayed without her in them and we realise he imagined it but we also know that he's imagined other things... everything could be a twist on reality.
• I did not assume that the man with Bruce at home was Alfred.
• I would not have found it unbelievable had Arthur and Sophie been a couple.
• This film could easily have been a pre-origin story for the Joker character.
• I know Arthur needs every push to make the story progress but I don't see that Thomas Wayne needed to be that aggressive.
• Wouldn't it have been good if this film made no reference to anything Batman/Joker related and the first time we're actually shown the connection is in that iconic alley scene?
So there are the things I had thoughts, they all have me waffling on for ages when I voice them out loud.
Joaquin Phoenix really commits to the journey of Arthur and it's an incredible depiction. I'm not so bothered about the violence in the movie, what disturbed me more was how Phoenix manages to laugh without it showing on his face... that was chilling. Everything crafted around him really shows his life, the way he's captured in the shots, the way you see the darker side taking over him, you can see it in every scene. It's uncomfortable to watch him sometimes, but that's the way it needs to be.
As an environment you can feel the dirt and the story of the city really comes through in everything you see. There's a very clear divide between rich and poor and I really thought the sets and costumes worked perfectly.
I'm going to mention the song... it worked perfectly in the scene, it had the right tone for it and I thought it was very effective. As you look down the rest of the tracklisting it was nice to see that everything had a very theatrical leaning.
When we get to the point where Arthur, now under the guise of Joker, appears on Murray's talk show there's an element of uncertainty about what's going to happen. The escalation is chilling and when he starts his speech you can feel the change in him. That speech had a moment of understanding in it before you remember everything we've just seen. I would happily have seen the film end with that test card.
What happens after this is a big piece that feels like hallucination moments rather than real ones. I really didn't need that... BUT... it did bring us to that iconic alleyway scene. It was perfectly captured and would have been amazing if we saw the clown slip into the alleyway and then... no pearls. I groaned when I saw that. I'm fed up with it, it took that tense moment and could have left you with that sense of knowing without hitting you with that now rather common slap in the face of an image.
Unlike other films I still don't have a very clear idea of how I feel about this film, there are lots of issues I had with it but then there's that brilliant performance from Joaquin Phoenix. I'm sure this needs another viewing, but even then I'm not sure I'd be totally certain about how I felt.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/joker-spoilers-movie-review.html
I do not know how to do this review. It's not that I don't have things to say about it, because I do, but there's a lot of grumbling. I'm going to try bullet pointing it as it covers things that cross audience feedback with moaning.
• What is real? We see the Sophie shots replayed without her in them and we realise he imagined it but we also know that he's imagined other things... everything could be a twist on reality.
• I did not assume that the man with Bruce at home was Alfred.
• I would not have found it unbelievable had Arthur and Sophie been a couple.
• This film could easily have been a pre-origin story for the Joker character.
• I know Arthur needs every push to make the story progress but I don't see that Thomas Wayne needed to be that aggressive.
• Wouldn't it have been good if this film made no reference to anything Batman/Joker related and the first time we're actually shown the connection is in that iconic alley scene?
So there are the things I had thoughts, they all have me waffling on for ages when I voice them out loud.
Joaquin Phoenix really commits to the journey of Arthur and it's an incredible depiction. I'm not so bothered about the violence in the movie, what disturbed me more was how Phoenix manages to laugh without it showing on his face... that was chilling. Everything crafted around him really shows his life, the way he's captured in the shots, the way you see the darker side taking over him, you can see it in every scene. It's uncomfortable to watch him sometimes, but that's the way it needs to be.
As an environment you can feel the dirt and the story of the city really comes through in everything you see. There's a very clear divide between rich and poor and I really thought the sets and costumes worked perfectly.
I'm going to mention the song... it worked perfectly in the scene, it had the right tone for it and I thought it was very effective. As you look down the rest of the tracklisting it was nice to see that everything had a very theatrical leaning.
When we get to the point where Arthur, now under the guise of Joker, appears on Murray's talk show there's an element of uncertainty about what's going to happen. The escalation is chilling and when he starts his speech you can feel the change in him. That speech had a moment of understanding in it before you remember everything we've just seen. I would happily have seen the film end with that test card.
What happens after this is a big piece that feels like hallucination moments rather than real ones. I really didn't need that... BUT... it did bring us to that iconic alleyway scene. It was perfectly captured and would have been amazing if we saw the clown slip into the alleyway and then... no pearls. I groaned when I saw that. I'm fed up with it, it took that tense moment and could have left you with that sense of knowing without hitting you with that now rather common slap in the face of an image.
Unlike other films I still don't have a very clear idea of how I feel about this film, there are lots of issues I had with it but then there's that brilliant performance from Joaquin Phoenix. I'm sure this needs another viewing, but even then I'm not sure I'd be totally certain about how I felt.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/joker-spoilers-movie-review.html
Emma @ The Movies (1786 KP) rated The Gentlemen (2020) in Movies
Jan 12, 2020
I checked up on the BBFC about language allowed in the different rated films. A 15 may have frequent strong language, "the strongest terms may be acceptable if justified by the context", it also says that "aggressive or repeated use of the strongest language is unlikely to be acceptable."
Language has never really been something to bother me unless it's used in a malicious way, and even then the "standard" words still don't have much of an effect, but I had reports back from friends that there was a lot to deal with in it... so I decided to try and keep count. I can't guarantee that I caught them all (or that I managed to add them up properly) but I think the count for f*** was 56 and c*** was 21, I'm fairly certain that half of C was saved specifically for Colin Farrell in one scene.
Mickey is looking to get out of the drug business, he's built a thriving empire, well hidden, well connected, and now he just needs to find an interested party to take it all off his hands. After a couple of meetings one of Mickey's labs takes a hit, it can't be a coincidence. Luckily there's a lead, but it might be a bit more complicated than they'd hoped.
I had some fun watching this but I don't feel like it was quite what I'd been hoping for. There were some bits that I frustrating and some that were just plain annoying. The highlight for me was the relatively small part of Colin Farrell as Coach. When we first meet him it's a great scene and gets across the sort of man he is. A significant portion of the swearing is saved especially for him and it sits quite easily with his parts of the script.
Ask yourselves this, was this sort of role suited to Henry Golding? I'm not sure. In the trailer he looked a little on the cartoonish side and that didn't work for me, sadly the full performance didn't work for me either. At moments I was almost on board, it felt believable and a comfortable bit of acting, but then the over the top characteristics would come back and I'd be lost again.
Matthew McConaughey is a very good actor, I still think that after seeing Serenity, and this is definitely a role he took in his stride. I thought it suited him well and he was very comfortable with everything from love to hate. Good job Mr M.
*deep sigh* Hugh Grant. Fletcher is quite a character and there's no denying that Grant filled out the role well, his happy-go-lucky demeanour combined with the strange hybrid accent began to grate just a little, it was at least broken up by the rest of the story... some days you just don't need peppy, you know? The main issue I had with Fletcher is the strand of storyline that he brought that capped either end of the film, it didn't quite make sense to me and felt entirely dispensable, its only purpose seemed to be getting viewers to use the word "meta" when talking about it.
I don't know how I feel about the 18 rating here. The violence definitely could have had it at a 15 and while the language was all "okay" and jokey in its use it wasn't really needed, I imagine that's where the 18 came from. My screening was very busy, and lots of people were telling me the same thing about theirs too, I think this plugged a gap in cinema offerings and while I'm sure it could easily have been toned down to fit a 15 I'm not sure that would have been much of a boost to it.
While there was a lot that was enjoyable about The Gentlemen (the only thing I excluded from the review that I loved was the music video in the middle) I didn't come out with a desire to see it again instantly. If it was on I'd probably watch it but I wasn't hyped enough for this to be an instant win.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/the-gentlemen-movie-review.html
Language has never really been something to bother me unless it's used in a malicious way, and even then the "standard" words still don't have much of an effect, but I had reports back from friends that there was a lot to deal with in it... so I decided to try and keep count. I can't guarantee that I caught them all (or that I managed to add them up properly) but I think the count for f*** was 56 and c*** was 21, I'm fairly certain that half of C was saved specifically for Colin Farrell in one scene.
Mickey is looking to get out of the drug business, he's built a thriving empire, well hidden, well connected, and now he just needs to find an interested party to take it all off his hands. After a couple of meetings one of Mickey's labs takes a hit, it can't be a coincidence. Luckily there's a lead, but it might be a bit more complicated than they'd hoped.
I had some fun watching this but I don't feel like it was quite what I'd been hoping for. There were some bits that I frustrating and some that were just plain annoying. The highlight for me was the relatively small part of Colin Farrell as Coach. When we first meet him it's a great scene and gets across the sort of man he is. A significant portion of the swearing is saved especially for him and it sits quite easily with his parts of the script.
Ask yourselves this, was this sort of role suited to Henry Golding? I'm not sure. In the trailer he looked a little on the cartoonish side and that didn't work for me, sadly the full performance didn't work for me either. At moments I was almost on board, it felt believable and a comfortable bit of acting, but then the over the top characteristics would come back and I'd be lost again.
Matthew McConaughey is a very good actor, I still think that after seeing Serenity, and this is definitely a role he took in his stride. I thought it suited him well and he was very comfortable with everything from love to hate. Good job Mr M.
*deep sigh* Hugh Grant. Fletcher is quite a character and there's no denying that Grant filled out the role well, his happy-go-lucky demeanour combined with the strange hybrid accent began to grate just a little, it was at least broken up by the rest of the story... some days you just don't need peppy, you know? The main issue I had with Fletcher is the strand of storyline that he brought that capped either end of the film, it didn't quite make sense to me and felt entirely dispensable, its only purpose seemed to be getting viewers to use the word "meta" when talking about it.
I don't know how I feel about the 18 rating here. The violence definitely could have had it at a 15 and while the language was all "okay" and jokey in its use it wasn't really needed, I imagine that's where the 18 came from. My screening was very busy, and lots of people were telling me the same thing about theirs too, I think this plugged a gap in cinema offerings and while I'm sure it could easily have been toned down to fit a 15 I'm not sure that would have been much of a boost to it.
While there was a lot that was enjoyable about The Gentlemen (the only thing I excluded from the review that I loved was the music video in the middle) I didn't come out with a desire to see it again instantly. If it was on I'd probably watch it but I wasn't hyped enough for this to be an instant win.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/the-gentlemen-movie-review.html
BankofMarquis (1832 KP) rated The Cider House Rules (1999) in Movies
Apr 26, 2020
Great acting, great writing, great directing
When we do our "Secret Cinema" adventures at our house (one person picks the film and the rest of the family doesn't know what it is until it starts running), we try to give clues. This film was nominated for 7 Oscars for the 1999 season, winning 2 - including a 2nd BEST SUPPORTING ACTOR OSCAR for a veteran actor. It is based on a wonderful novel and features 3 young actors well before they became stars.
Sound interesting? Then check out THE CIDER HOUSE RULES.
Based on the novel by John Irving, THE CIDER HOUSE RULES follows the life of Homer Wells (a pre-SPIDERMAN Tobey Maguire), a young orphan who is raised/mentored by the head of his Orphanage, Dr. Wilbur Larch (Michael Caine). When Homer decides to leave the orphanage and experience the world, he learns quite a bit about life including THE CIDER HOUSE RULES.
This is one of those "coming of age/follow a person through their life"-type films that relies heavily on style, substance and the performance of the actors on the screen. And under the Direction of Swedish Director Lasse Hallstrom and with words of the Screenplay by the author of the novel, John Irving, and with terrific actors like Maguire and Caine (amongst others) speaking those lines - a spell is cast and a heartwarming, life-affirming experience unfolds.
Caine won his 2nd Oscar for his role as Dr. Larch. This is a complex character who has his own, very certain, views on the world and is uncompromising in his care for others. It is a wonderful performance - even taking into account the peculiar Maine/United States accent Caine puts on. His character's empathy, strength and vulnerability are at play throughout this performance and he is a very deserving recipient of the Oscar.
A very young Charlize Theron and a (then) unknown Paul Rudd are engaging, charming and extremely photogenic as a young couple that Homer leaves the orphanage to see the world with. Rudd is the embodiment of the "nice guy" in this film - you can see the seeds of a career of playing "the nice guy" in this performance. Theron radiates beauty, power and a self-reliance that shows the strong actress she will become. While Homer's relationship with Dr. Larch is the heart and conflict of this film, the trio of McGuire/Theron/Rudd are the soul. The film also features a bevy of strong character actors in smaller roles that prop this film up. Jane Alexander, Kathy Baker, J.K. Simmons, Kate Nelligan and Delroy Lindo all shine in smaller roles - as do some of the child actors that portray other orphans like Keiran Caulkin and (especially) Per Erik Sullivan as the physically compromised Fuzzy.
But...none of this works if Maguire doesn't hold this film together (for we see this world/film through his eyes and he is in every scene) and he brings it. He has a quiet charm and innocence that helps bring us into his world in a welcoming way. Certainly, the awkwardness that Homer shows around Theron will be in evidence when he plays Peter Parker years later, but it is the inner strength that Maguire shows that really makes this character shine.
John Irving wrote the screen play based on his novel - and the results are satisfying, both to those who've never read the book (or have encountered an Irving novel/book before) or veteran readers/lovers of Irving's work (like myself).
All of this is wrapped in a package by Director Lasse Hallstrom (MY LIFE AS A DOG) in a charming, loving way that show the people, events and times through a lens that amplifies the proceedings in a way that is welcoming and engaging.
It is always a bit of a concern of mine to revisit a film that I remember fondly, but in this case, I am glad I jumped at the chance to revisit this charming film.
And you'll be glad you did, too.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Sound interesting? Then check out THE CIDER HOUSE RULES.
Based on the novel by John Irving, THE CIDER HOUSE RULES follows the life of Homer Wells (a pre-SPIDERMAN Tobey Maguire), a young orphan who is raised/mentored by the head of his Orphanage, Dr. Wilbur Larch (Michael Caine). When Homer decides to leave the orphanage and experience the world, he learns quite a bit about life including THE CIDER HOUSE RULES.
This is one of those "coming of age/follow a person through their life"-type films that relies heavily on style, substance and the performance of the actors on the screen. And under the Direction of Swedish Director Lasse Hallstrom and with words of the Screenplay by the author of the novel, John Irving, and with terrific actors like Maguire and Caine (amongst others) speaking those lines - a spell is cast and a heartwarming, life-affirming experience unfolds.
Caine won his 2nd Oscar for his role as Dr. Larch. This is a complex character who has his own, very certain, views on the world and is uncompromising in his care for others. It is a wonderful performance - even taking into account the peculiar Maine/United States accent Caine puts on. His character's empathy, strength and vulnerability are at play throughout this performance and he is a very deserving recipient of the Oscar.
A very young Charlize Theron and a (then) unknown Paul Rudd are engaging, charming and extremely photogenic as a young couple that Homer leaves the orphanage to see the world with. Rudd is the embodiment of the "nice guy" in this film - you can see the seeds of a career of playing "the nice guy" in this performance. Theron radiates beauty, power and a self-reliance that shows the strong actress she will become. While Homer's relationship with Dr. Larch is the heart and conflict of this film, the trio of McGuire/Theron/Rudd are the soul. The film also features a bevy of strong character actors in smaller roles that prop this film up. Jane Alexander, Kathy Baker, J.K. Simmons, Kate Nelligan and Delroy Lindo all shine in smaller roles - as do some of the child actors that portray other orphans like Keiran Caulkin and (especially) Per Erik Sullivan as the physically compromised Fuzzy.
But...none of this works if Maguire doesn't hold this film together (for we see this world/film through his eyes and he is in every scene) and he brings it. He has a quiet charm and innocence that helps bring us into his world in a welcoming way. Certainly, the awkwardness that Homer shows around Theron will be in evidence when he plays Peter Parker years later, but it is the inner strength that Maguire shows that really makes this character shine.
John Irving wrote the screen play based on his novel - and the results are satisfying, both to those who've never read the book (or have encountered an Irving novel/book before) or veteran readers/lovers of Irving's work (like myself).
All of this is wrapped in a package by Director Lasse Hallstrom (MY LIFE AS A DOG) in a charming, loving way that show the people, events and times through a lens that amplifies the proceedings in a way that is welcoming and engaging.
It is always a bit of a concern of mine to revisit a film that I remember fondly, but in this case, I am glad I jumped at the chance to revisit this charming film.
And you'll be glad you did, too.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Matthew Krueger (10051 KP) rated A Nightmare on Elm Street 3: Dream Warriors (1987) in Movies
Jul 3, 2020 (Updated Jul 3, 2020)
The introduction of funny Freddy (2 more)
Welcome to primetime, bitch!
Death Scene's
Welcome to primetime, bitch!
Contains spoilers, click to show
A Nightmare on Elm Street 3: Dream Warriors- is a excellent movie, coming off the disappointed Freedy's Revenge, Dream Warriors goes back to the oringal formula, Scary, twisted, dramatic and excellent deaths. Dream Warriors adds more like taking place psychiatric ward, a excellent line that was on the spot, "Welcome to primetime, bitch!". Also Heather Langenkamp and John Saxton return. Also you new charcters that will return in later sequels like Kristen, Kincaid and Joey. A great cast of charcters, a great story and also introduces Freddy's mom and her back story and adds more to Freddy's back story.
Lets talk more: production and deaths.
Production:
Craven's very first concept for the film was to have Freddy Krueger invade the real world: Krueger would haunt the actors filming a new Nightmare on Elm Street sequel. New Line Cinema rejected the metacinematic idea, but years later, Craven's concept was brought to the screen in Wes Craven's New Nightmare.
Before it was decided what script would be used for the film's story, both John Saxon and Robert Englund wrote their own scripts for a third Nightmare film; in Saxon's script called How the Nightmare on Elm Street All Began, which would have been a prequel story, Freddy would ultimately turn out to have been innocent, or at least set up for the murders by Charles Manson, who along with his followers would have been the main culprit of the murders; Freddy would be forced by the mob of angry parents to make a confession of the crimes, which would enrage them further. After they lynch Freddy, he comes back to avenge his wrongful death by targeting the parent's children.
In Englund's treatment called Freddy's Funhouse, the protagonist would have been Tina Gray's older sister, who would have been in college by the time Tina was murdered, and ends up coming back to Springwood to investigate how she died. In the script, Freddy had claimed the 1428 Elm Street house for his own in the dreamworld, setting up booby traps like Nancy did against him.
The death scenes: I love the death scene's in this film. Their are both memorable and excellent and probley my favorite out of all the franchise. You have Phillip's death: Veins pulled out/manipulated into falling off high ledge by Krueger, Jennifer's death: Head smashed into TV screen, Taryn death: Leg slashed with bladed glove, massive amounts of heroin injected into veins and Freddy saying "let's get high", William's death: Lifted, chest impaled with bladed glove and Freddy saying " Sorry kid, but I don't believe in fairy tales", Donald's death: Thrown/impaled through back on car's tail fin by a skeleton verison of krueger and Nancy's death: Stomach impaled twice/gutted with bladed glove/bled out, in dream world cause she sees her dad but its krueger. Also you have the Freddy worm that attacks Kristen.
The plot: During a hallucinatory incident, young Kristen Parker (Patricia Arquette) has her wrists slashed by dream-stalking monster Freddy Krueger (Robert Englund). Her mother, mistaking the wounds for a suicide attempt, sends Kristen to a psychiatric ward, where she joins a group of similarly troubled teens. One of the doctors there is Nancy Thompson (Heather Langenkamp), who had battled Freddy some years before. Nancy senses a potential in Kristen to rid the world of Freddy once and for all.
Dream Warriors: is a return to the oringal formula, and adds more. Adds memorable lines, better deaths, intoduction of comedy side of Freddy and above all a excellent movie.
The ending is sad cause Nancy and John doe die by freedy but it ends their story for now and starts a new story with Kristen, Kincaid and Joey. Its a percent, but sad ending. Ending the oringal maim charcters arc/story, while senting up a new trio of charcters.
Also you can't forget about that excellent theme song, "Dream Warrors" by Dokken.
Lets talk more: production and deaths.
Production:
Craven's very first concept for the film was to have Freddy Krueger invade the real world: Krueger would haunt the actors filming a new Nightmare on Elm Street sequel. New Line Cinema rejected the metacinematic idea, but years later, Craven's concept was brought to the screen in Wes Craven's New Nightmare.
Before it was decided what script would be used for the film's story, both John Saxon and Robert Englund wrote their own scripts for a third Nightmare film; in Saxon's script called How the Nightmare on Elm Street All Began, which would have been a prequel story, Freddy would ultimately turn out to have been innocent, or at least set up for the murders by Charles Manson, who along with his followers would have been the main culprit of the murders; Freddy would be forced by the mob of angry parents to make a confession of the crimes, which would enrage them further. After they lynch Freddy, he comes back to avenge his wrongful death by targeting the parent's children.
In Englund's treatment called Freddy's Funhouse, the protagonist would have been Tina Gray's older sister, who would have been in college by the time Tina was murdered, and ends up coming back to Springwood to investigate how she died. In the script, Freddy had claimed the 1428 Elm Street house for his own in the dreamworld, setting up booby traps like Nancy did against him.
The death scenes: I love the death scene's in this film. Their are both memorable and excellent and probley my favorite out of all the franchise. You have Phillip's death: Veins pulled out/manipulated into falling off high ledge by Krueger, Jennifer's death: Head smashed into TV screen, Taryn death: Leg slashed with bladed glove, massive amounts of heroin injected into veins and Freddy saying "let's get high", William's death: Lifted, chest impaled with bladed glove and Freddy saying " Sorry kid, but I don't believe in fairy tales", Donald's death: Thrown/impaled through back on car's tail fin by a skeleton verison of krueger and Nancy's death: Stomach impaled twice/gutted with bladed glove/bled out, in dream world cause she sees her dad but its krueger. Also you have the Freddy worm that attacks Kristen.
The plot: During a hallucinatory incident, young Kristen Parker (Patricia Arquette) has her wrists slashed by dream-stalking monster Freddy Krueger (Robert Englund). Her mother, mistaking the wounds for a suicide attempt, sends Kristen to a psychiatric ward, where she joins a group of similarly troubled teens. One of the doctors there is Nancy Thompson (Heather Langenkamp), who had battled Freddy some years before. Nancy senses a potential in Kristen to rid the world of Freddy once and for all.
Dream Warriors: is a return to the oringal formula, and adds more. Adds memorable lines, better deaths, intoduction of comedy side of Freddy and above all a excellent movie.
The ending is sad cause Nancy and John doe die by freedy but it ends their story for now and starts a new story with Kristen, Kincaid and Joey. Its a percent, but sad ending. Ending the oringal maim charcters arc/story, while senting up a new trio of charcters.
Also you can't forget about that excellent theme song, "Dream Warrors" by Dokken.
Bob Mann (459 KP) rated Black Widow (2021) in Movies
Jul 8, 2021
An entertaining pose-struck by Johansson and Pugh
A long time in the waiting (again) but "Black Widow" is an excellent addition to the Marvel canon: almost a "Rogue One" in the series, taking us back to fill in some gaps after "Captain America: Civil War". It's just great to have ANY Marvel back in the cinema.... that Michael Giacchino Marvel tune set the hairs going on the back of my neck!
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
