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The Craggus (360 KP) rated The Mule (2018) in Movies
Jan 30, 2019 (Updated Jan 30, 2019)
The law may be an ass, but The Mule (2019) is a real donkey. #Review
It’s someone disingenuous for something this uninspired to proclaim it's ‘inspired by a true story’ but that doesn’t seem to discourage notorious empty chair haranguer Clint Eastwood from making a film for reactionary old men who like to yell at clouds. It’s a wannabe “Sicario – The Greatest Generation”, or the demographic antithesis of “Black Panther”: white fossil...
FULL REVIEW: http://bit.ly/CraggusTheMule
FULL REVIEW: http://bit.ly/CraggusTheMule
Joe Goodhart (27 KP) rated Hawkeye vs. Deadpool in Books
Nov 30, 2020
HAWKEYE VS DEADPOOL. Hmm.. Features The Merc with the Mouth, Hawkeye and Kate Bishop. Written by Gerry Duggan, whom I am told has written a number of DP stories. Okay, sounds like a recipe for fun, right? [Cue the buzzer sound] NOPE!
What followed was a train wreck, the kind that there is no accident insurance in the world that could've helped this mess! Sophmoric writing, humor that wasn't humorous enough to call it "humor" (!), and characterizations that, if owned the characters of Clint Barton and Kate Bishop, should have made Matt Fraction unbelievably disappointed!
And dear God, when did Black Cat become such a lame-ass character? Okay, granted she was bat-**** crazy, but here? She was acting like some criminal mastermind (with two scoops of crazy!).
The only thing that helped me give this drek at least one star? The art talent of Matteo Lolli! That was about the only this book got right: the way the characters are supposed to look!
Look, when it went up for the sale price of $2.99 on Comixology, I thought it would be justokay, but not this bad! One of those rare situations where I should've heeded the negative reviews I'd seen for this book!
*** NOT Recommended! ***
What followed was a train wreck, the kind that there is no accident insurance in the world that could've helped this mess! Sophmoric writing, humor that wasn't humorous enough to call it "humor" (!), and characterizations that, if owned the characters of Clint Barton and Kate Bishop, should have made Matt Fraction unbelievably disappointed!
And dear God, when did Black Cat become such a lame-ass character? Okay, granted she was bat-**** crazy, but here? She was acting like some criminal mastermind (with two scoops of crazy!).
The only thing that helped me give this drek at least one star? The art talent of Matteo Lolli! That was about the only this book got right: the way the characters are supposed to look!
Look, when it went up for the sale price of $2.99 on Comixology, I thought it would be justokay, but not this bad! One of those rare situations where I should've heeded the negative reviews I'd seen for this book!
*** NOT Recommended! ***
Matthew Krueger (10051 KP) rated Maverick (1994) in Movies
Jul 14, 2020 (Updated Jul 14, 2020)
Play Your Cards Right
Maverick- is a funny entertaining western with action, poker and adventure. Richard Donner does it once again.
The plot: This film update of the "Maverick" TV series finds the title cardsharp (Mel Gibson) hoping to join a poker contest with an impressive payoff. In order to enter, Maverick must first put up a large cash sum. He scams hopeful contestants Annabelle (Jodie Foster) and Angel (Alfred Molina) in a preliminary card game to win the money he needs, making enemies of both players. While trying to evade Annabelle and Angel, the crafty Maverick realizes a cunning marshal (James Garner) is also on his tail.
Many cameo appearances by Western film actors, country music stars and other actors. Including Danny Glover, Hal Ketchum, Corey Feldman, Read Morgan, Steve Kahan, Art LaFleur, Leo Gordon, Denver Pyle, Robert Fuller, Doug McClure, Henry Darrow, William Smith, Charles Dierkop, William Marshall, Dennis Fimple, Bert Remsen and Margot Kidder.
Danny Glover's cameo appearance references Donner's Lethal Weapon film series starring Glover and Gibson as cop partners. Their meeting in Maverick sees them share a moment of recognition, complete with Lethal Weapon music, and as he leaves, Glover says Roger Murtaugh's catchphrase: "I'm getting too old for this shit."
Country singers also cameo including Carlene Carter, Waylon Jennings, Kathy Mattea, Reba McEntire, Clint Black, Vince Gill and Janis Gill.
Its a funny entertaining western. A must watch.
The plot: This film update of the "Maverick" TV series finds the title cardsharp (Mel Gibson) hoping to join a poker contest with an impressive payoff. In order to enter, Maverick must first put up a large cash sum. He scams hopeful contestants Annabelle (Jodie Foster) and Angel (Alfred Molina) in a preliminary card game to win the money he needs, making enemies of both players. While trying to evade Annabelle and Angel, the crafty Maverick realizes a cunning marshal (James Garner) is also on his tail.
Many cameo appearances by Western film actors, country music stars and other actors. Including Danny Glover, Hal Ketchum, Corey Feldman, Read Morgan, Steve Kahan, Art LaFleur, Leo Gordon, Denver Pyle, Robert Fuller, Doug McClure, Henry Darrow, William Smith, Charles Dierkop, William Marshall, Dennis Fimple, Bert Remsen and Margot Kidder.
Danny Glover's cameo appearance references Donner's Lethal Weapon film series starring Glover and Gibson as cop partners. Their meeting in Maverick sees them share a moment of recognition, complete with Lethal Weapon music, and as he leaves, Glover says Roger Murtaugh's catchphrase: "I'm getting too old for this shit."
Country singers also cameo including Carlene Carter, Waylon Jennings, Kathy Mattea, Reba McEntire, Clint Black, Vince Gill and Janis Gill.
Its a funny entertaining western. A must watch.
Sassy Brit (97 KP) rated The Beguiled in Books
Jun 5, 2019
“A classic slice of Southern Gothic, shot through with psychological suspense, which is the basis for Sofia Coppola’s (winner of Best Director at Cannes) 2017 film of the same name starring Nicola Kidman, Colin Farrell and Kirsten Dunst”. Source: wiki/The_Beguiled_(2017_film).
The book was originally written with the title A Painted Devil and some of you eagle-eyed readers and film fanatics may also remember this was a film starring Clint Eastwood and Geraldine Page in the ’70s. The maid in the latter film and this 1966 novel, was black and there was also another bi-racial character, too. However, in the new film, mentioned above, this bi-racial character was played by Kirsten Dunst. This totally ruined the whole point of the book that the black woman was really a slave in their household and the bi-racial woman (who was a free woman) could not seem to see that she herself was not truly white. And that, dear readers, is a very relevant part of the original book, why change it? (Rolls eyes). Is it so wrong to portray this black woman exactly how the author intended her to be? The way I see it, what she did in that house was her way of surviving. It’s an integral part of the story. Why hide it?
After all, if you look at the underage sex and the way the main male character acts by taking advantage of his position in a household full of young girls who are basically shut away from society, should he also be seen as wrong? These young girls are easy prey, but some, are also very willing to learn… Incidentally, I must say the heat and sexual tension within the book is superbly done.
I found parts of the way this was written to be a little repetitive and confusing in style, despite this, it was still a great story. It’s only told from the girls’ perspective, which in many ways adds to this atmospheric, hothouse of lies and deceit the further into the story you delve.
The Beguiled is chock full with a Gothic sense of foreboding and unease, set against a backdrop of the Civil War, which made for some serious, ghostly tension. Who is this injured solider who turns up on their doorstep? How can these girls protect themselves from this seductive man when they have no idea what life is like outside the four walls of the house they live in?
If you read right to the end you’ll find out the brilliant twist of fate this story has in store for you. A devious surprise!
The book was originally written with the title A Painted Devil and some of you eagle-eyed readers and film fanatics may also remember this was a film starring Clint Eastwood and Geraldine Page in the ’70s. The maid in the latter film and this 1966 novel, was black and there was also another bi-racial character, too. However, in the new film, mentioned above, this bi-racial character was played by Kirsten Dunst. This totally ruined the whole point of the book that the black woman was really a slave in their household and the bi-racial woman (who was a free woman) could not seem to see that she herself was not truly white. And that, dear readers, is a very relevant part of the original book, why change it? (Rolls eyes). Is it so wrong to portray this black woman exactly how the author intended her to be? The way I see it, what she did in that house was her way of surviving. It’s an integral part of the story. Why hide it?
After all, if you look at the underage sex and the way the main male character acts by taking advantage of his position in a household full of young girls who are basically shut away from society, should he also be seen as wrong? These young girls are easy prey, but some, are also very willing to learn… Incidentally, I must say the heat and sexual tension within the book is superbly done.
I found parts of the way this was written to be a little repetitive and confusing in style, despite this, it was still a great story. It’s only told from the girls’ perspective, which in many ways adds to this atmospheric, hothouse of lies and deceit the further into the story you delve.
The Beguiled is chock full with a Gothic sense of foreboding and unease, set against a backdrop of the Civil War, which made for some serious, ghostly tension. Who is this injured solider who turns up on their doorstep? How can these girls protect themselves from this seductive man when they have no idea what life is like outside the four walls of the house they live in?
If you read right to the end you’ll find out the brilliant twist of fate this story has in store for you. A devious surprise!
Darren (64 KP) rated Any Which Way You Can (1980) in Movies
Nov 1, 2019
Right Turn Clyde
Contains spoilers, click to show
This was the first film i ever rented as a kid from the video shop. I was 5 at the time and the cover just drew me to it. My mum bless her let me have this and The Snowman. That was way back in 1985 and i have never lost any love for it.
Clint stars as Philo Bedo a bare knuckle brawler who has decided after his last fight (Which he easily wins) Enough is enough and he no longer wants to fight as, He is getting to enjoy the pain a little too much. When he is offered $25,000 by Patrick Scarfe ( Michael Cavanaugh) to fight Jack Wilson played by B movie great William Smith, Philo finds the offer to tempting to resist and accepts. Meanwhile, Lynn Halsey Taylor (Sondra Locke) returns to town and plays at the local bar in an attempt to reconcile with Philo, who she betrayed in the first film. Add to this, The Black Widows, the notorious and bumbling local biker gang, plan revenge on Philo for previous misdeeds from the first film.
When circumstances lead Philo to reconcile with Lynn, She and Philo's half brother Orville (Geoffrey Lewis) find out that Jack has killed a guy in his previous fight leading no one wanting to fight him. After much pressure, Philo decides not to fight and attempts to give the money back but Scarfe and his partner James Beekman ( Harry Guardino) won't take no for an answer and have Lynn kidnapped so that Philo has no choice but to fight.
Wilson finds out about this and helps Philo get Lynn back with both of them taking down a Beekmans mob guys.. When the fight is called off again because of the under handed tactics of Scarfe and Beekman, Pride between Philo and Wilson makes them wonder who would of won the fight?
Knowing it can't end how it is, Bedo and Wilson have a wild fight through the streets of Jackson to find out, Just who is the best between them.
Clint stars as Philo Bedo a bare knuckle brawler who has decided after his last fight (Which he easily wins) Enough is enough and he no longer wants to fight as, He is getting to enjoy the pain a little too much. When he is offered $25,000 by Patrick Scarfe ( Michael Cavanaugh) to fight Jack Wilson played by B movie great William Smith, Philo finds the offer to tempting to resist and accepts. Meanwhile, Lynn Halsey Taylor (Sondra Locke) returns to town and plays at the local bar in an attempt to reconcile with Philo, who she betrayed in the first film. Add to this, The Black Widows, the notorious and bumbling local biker gang, plan revenge on Philo for previous misdeeds from the first film.
When circumstances lead Philo to reconcile with Lynn, She and Philo's half brother Orville (Geoffrey Lewis) find out that Jack has killed a guy in his previous fight leading no one wanting to fight him. After much pressure, Philo decides not to fight and attempts to give the money back but Scarfe and his partner James Beekman ( Harry Guardino) won't take no for an answer and have Lynn kidnapped so that Philo has no choice but to fight.
Wilson finds out about this and helps Philo get Lynn back with both of them taking down a Beekmans mob guys.. When the fight is called off again because of the under handed tactics of Scarfe and Beekman, Pride between Philo and Wilson makes them wonder who would of won the fight?
Knowing it can't end how it is, Bedo and Wilson have a wild fight through the streets of Jackson to find out, Just who is the best between them.
JT (287 KP) rated Richard Jewell (2019) in Movies
Mar 10, 2020
Richard Jewell (Paul Walter Hauser) is a softly spoken, overzealous university campus security guard whose heart is in the right place and is dedicated to his job – maybe a little too much.
When he discovers a backpack containing a pipe bomb at a celebratory music concert at the 1996 Summer Olympics in Atlanta, his quick thinking saves countless lives. Unfortunately for Richard, he becomes the prime suspect in the investigation and with it, his life is turned upside down as he’s thrust into the media spotlight.
Directed by Clint Eastwood Richard Jewell follows in similar vein to films like American Sniper and The 15:17 to Paris where the central characters struggle with the media attention they receive in the aftermath of events.
The scene during the concert is recreated with meticulous precision and attention to detail and there is genuine tension as you realise that at any point the bomb is going to explode. The investigation is led by FBI agent Tom Shaw (Jon Hamm) who with little to go on places Richard in the spotlight and will stop at nothing to prove his guilt, using every trick in the book to get Richard to confess.
Atlanta Journal-Constitution journalist Kathy Scruggs played by Olivia Wilde was portrayed unfairly for implying that she traded sex for stories. Having died in 2001 she was not around to defend herself, which is a black mark for Eastwood on an otherwise very well directed film.
The journal ran the story much to the delight of Scruggs, but it painted Jewell as the villain causing considerable pain to him and his mother Bobi (Kathy Bates) who delivers another acting masterclass in her supporting role. Scruggs realised her error later on but it was too little too late as the damage to Jewell’s reputation had already been done.
One of the highlights of the film is the relationship between Richard and attorney Watson Bryant (Sam Rockwell). It’s very heartwarming as Watson stood by him until the end even right up to the point of passing on that the real bomber, Eric Rudolph, had confessed to the crime. Richard Jewell is not a gripping film outside of the first half but it’s a powerful watch heightened by excellent acting.
When he discovers a backpack containing a pipe bomb at a celebratory music concert at the 1996 Summer Olympics in Atlanta, his quick thinking saves countless lives. Unfortunately for Richard, he becomes the prime suspect in the investigation and with it, his life is turned upside down as he’s thrust into the media spotlight.
Directed by Clint Eastwood Richard Jewell follows in similar vein to films like American Sniper and The 15:17 to Paris where the central characters struggle with the media attention they receive in the aftermath of events.
The scene during the concert is recreated with meticulous precision and attention to detail and there is genuine tension as you realise that at any point the bomb is going to explode. The investigation is led by FBI agent Tom Shaw (Jon Hamm) who with little to go on places Richard in the spotlight and will stop at nothing to prove his guilt, using every trick in the book to get Richard to confess.
Atlanta Journal-Constitution journalist Kathy Scruggs played by Olivia Wilde was portrayed unfairly for implying that she traded sex for stories. Having died in 2001 she was not around to defend herself, which is a black mark for Eastwood on an otherwise very well directed film.
The journal ran the story much to the delight of Scruggs, but it painted Jewell as the villain causing considerable pain to him and his mother Bobi (Kathy Bates) who delivers another acting masterclass in her supporting role. Scruggs realised her error later on but it was too little too late as the damage to Jewell’s reputation had already been done.
One of the highlights of the film is the relationship between Richard and attorney Watson Bryant (Sam Rockwell). It’s very heartwarming as Watson stood by him until the end even right up to the point of passing on that the real bomber, Eric Rudolph, had confessed to the crime. Richard Jewell is not a gripping film outside of the first half but it’s a powerful watch heightened by excellent acting.
JT (287 KP) rated The Avengers (2012) in Movies
Mar 10, 2020
As the dust settles on a film that has seriously ‘hulk smashed’ the box office its clear to see why this film has been met with such high acclaim from critics and fans alike. There is no getting away from the fact that this is one hell of a blockbuster, with more superheroes than you can cram into a S.H.I.E.L.D. meeting room and a villain that almost stole the whole show, it had pretty much everything.
The film opens as S.H.I.E.L.D. is mid evacuation after The Tesseract, an energy source of unknown potential, has activated. Loki (Tom Hiddleston) has plans to take over the world with a strong army and have everyone kneel before him, he’s cunning but “lacks conviction” as is pointed out by cult fan favourite Agent Coulson (Clark Gregg).
So, Nick Fury activates the Avengers initiative, pulling resource from Thor, Captain America, Iron Man, Black Widow, Hawkeye and of course Bruce Banner in order to stop the impending attack. The good thing about the Avengers is that no time needs to be spent setting the characters up, as given the previous films we know all about them and their powers. However, this gives more time for them to decipher each others egos.
Tony Stark feels like the team’s unofficial leader, brash and bold he has to contend with a number of personalities, remember he doesn’t play well with others. A great scene sees Thor, Captain America and Iron Man all come to blows but its hard to say if there was any clear winner.
Natasha Romanoff aka Black Widow and Clint ‘Hawkeye’ Barton who have popped up in previous films but neither had their own title struggle at times to fit in, but they are integral to the group and plot. However if there were not part of the assemble you wouldn’t miss them too much.
As for Bruce Banner, Weadon’s Hulk is probably the most realistic CGI transformation to date. Ang Lee’s looked ridiculous and Louis Leterrier’s Hulk looked liked he’d been pumped full of steroids as opposed to gamma radiation.
Weadon though achieved a great balance and with Mark Ruffalo stepping in as the green monster the Hulk had a lot of charisma in this, even having time for some humour. T.V. original big man Lou Ferrigno provided the voice so it all seemed like the Hulk was back.
The perfect villain – Loki
Hiddleston for me though was the stand-out here, as comic book villains go he brought so much to the role. It was a dark, composed and at times sinister portrayal of a man desperate for revenge and to be worshipped like the god he feels he deserves to be.
The films action sequences are second to none, with everything from the initial opening evacuation at S.H.I.E.L.D. to the climactic ending all choreographed to perfection. The only gripe is that it boarder lines on Transformers styled destruction, in which some parts are drawn out. I mean just how many Chitauri can one group of superheroes fend off?
Another post credits scene certainly would pave the way for a sequel, and given the film’s massive haul which is well in excess of $450m no one would stand in the way. It should pretty much be a forgone conclusion that the team will at some point reunite.
The film opens as S.H.I.E.L.D. is mid evacuation after The Tesseract, an energy source of unknown potential, has activated. Loki (Tom Hiddleston) has plans to take over the world with a strong army and have everyone kneel before him, he’s cunning but “lacks conviction” as is pointed out by cult fan favourite Agent Coulson (Clark Gregg).
So, Nick Fury activates the Avengers initiative, pulling resource from Thor, Captain America, Iron Man, Black Widow, Hawkeye and of course Bruce Banner in order to stop the impending attack. The good thing about the Avengers is that no time needs to be spent setting the characters up, as given the previous films we know all about them and their powers. However, this gives more time for them to decipher each others egos.
Tony Stark feels like the team’s unofficial leader, brash and bold he has to contend with a number of personalities, remember he doesn’t play well with others. A great scene sees Thor, Captain America and Iron Man all come to blows but its hard to say if there was any clear winner.
Natasha Romanoff aka Black Widow and Clint ‘Hawkeye’ Barton who have popped up in previous films but neither had their own title struggle at times to fit in, but they are integral to the group and plot. However if there were not part of the assemble you wouldn’t miss them too much.
As for Bruce Banner, Weadon’s Hulk is probably the most realistic CGI transformation to date. Ang Lee’s looked ridiculous and Louis Leterrier’s Hulk looked liked he’d been pumped full of steroids as opposed to gamma radiation.
Weadon though achieved a great balance and with Mark Ruffalo stepping in as the green monster the Hulk had a lot of charisma in this, even having time for some humour. T.V. original big man Lou Ferrigno provided the voice so it all seemed like the Hulk was back.
The perfect villain – Loki
Hiddleston for me though was the stand-out here, as comic book villains go he brought so much to the role. It was a dark, composed and at times sinister portrayal of a man desperate for revenge and to be worshipped like the god he feels he deserves to be.
The films action sequences are second to none, with everything from the initial opening evacuation at S.H.I.E.L.D. to the climactic ending all choreographed to perfection. The only gripe is that it boarder lines on Transformers styled destruction, in which some parts are drawn out. I mean just how many Chitauri can one group of superheroes fend off?
Another post credits scene certainly would pave the way for a sequel, and given the film’s massive haul which is well in excess of $450m no one would stand in the way. It should pretty much be a forgone conclusion that the team will at some point reunite.
LeftSideCut (3778 KP) rated Hawkeye in TV
Dec 23, 2021
Contains spoilers, click to show
Marvel Studios continue their streak of enjoyable mini-series with Hawkeye, a series that was met with a fair amount of indifference upon its announcement, which is understandable. On the surface , Clint Barton isn't the most exciting Avenger to build a series around, but Hawkeye surprises with a team of decent writers, and a story adapted from Matt Fraction and David Aja's acclaimed comic book run.
Most of Barton's specific plot beats revolve around his family, and his loss of hearing. The human elements ensure that he remains a relatable, street level character. The "Hawkeye" that this series is really about of course is MCU newcomer Kate Bishop, a fan favourite comic character who is portrayed wonderfully by Hailee Steinfeld. The series is essentially her origin story, and I for one can't wait to see her in future projects. The chemistry between Steinfeld and Jeremy Renner is great, and provides a huge amount of heart to the overall story.
Florence Pugh has a welcome return as Yelena, and her involvement ensures that Hawkeye is as much of a tribute to Black Widow as anything else, and serves some much needed closure for her concluded story arc that has been frustratingly absent since the events of Avengers: Endgame.
Elsewhere, the likes of Vera Farmiga, Tony Dalton, and Alaqua Cox make up a strong supporting cast, and sets up an upcoming series for Echo, a deeper cut from the Marvel vaults, but one that I'm intrigued to see develop.
And then of course, there's motherfucking Kingpin. Arguably the most popular character from the Netflix shows, the decision to bring Vincent Donofrio back as Wilson Fisk is a smart one. His presence in the MCU is incredibly exciting to me, and Donofrio does and excellent job once again, at filling the boots of one of Marvel's most intimidating villains. Welcome back sir.
There are plenty of exciting action set pieces sprinkled throughout (a car chase involving various trick arrows is a particular highlight) and the decision to keep Hawkeye firmly street level in its execution is a wise one. It allows New York City to feel like a character in it's own right, and the Christmas setting adds to that. It does feel like a proper holiday watch at times, and this is probably why the show feels so goofy on more than one occasion. I know that the MCU likes to keep the mood light for the most part, and is often found guilty of undercutting serious or epic moments with jokes. Hawkeye occasionally goes overboard with these moments, especially in the finale. It's not enough to derail what is an incredibly entertaining series, but it's a little frustrating.
Overall though, Hawkeye is another decent and fleshed out mini series in this sprawling franchise. The extra runtime of a season has ensured that all of the MCU shows this year have been high quality and worth watching. I just hope it's not too long until we get a Kate Bishop/Yelena reunion!
Most of Barton's specific plot beats revolve around his family, and his loss of hearing. The human elements ensure that he remains a relatable, street level character. The "Hawkeye" that this series is really about of course is MCU newcomer Kate Bishop, a fan favourite comic character who is portrayed wonderfully by Hailee Steinfeld. The series is essentially her origin story, and I for one can't wait to see her in future projects. The chemistry between Steinfeld and Jeremy Renner is great, and provides a huge amount of heart to the overall story.
Florence Pugh has a welcome return as Yelena, and her involvement ensures that Hawkeye is as much of a tribute to Black Widow as anything else, and serves some much needed closure for her concluded story arc that has been frustratingly absent since the events of Avengers: Endgame.
Elsewhere, the likes of Vera Farmiga, Tony Dalton, and Alaqua Cox make up a strong supporting cast, and sets up an upcoming series for Echo, a deeper cut from the Marvel vaults, but one that I'm intrigued to see develop.
And then of course, there's motherfucking Kingpin. Arguably the most popular character from the Netflix shows, the decision to bring Vincent Donofrio back as Wilson Fisk is a smart one. His presence in the MCU is incredibly exciting to me, and Donofrio does and excellent job once again, at filling the boots of one of Marvel's most intimidating villains. Welcome back sir.
There are plenty of exciting action set pieces sprinkled throughout (a car chase involving various trick arrows is a particular highlight) and the decision to keep Hawkeye firmly street level in its execution is a wise one. It allows New York City to feel like a character in it's own right, and the Christmas setting adds to that. It does feel like a proper holiday watch at times, and this is probably why the show feels so goofy on more than one occasion. I know that the MCU likes to keep the mood light for the most part, and is often found guilty of undercutting serious or epic moments with jokes. Hawkeye occasionally goes overboard with these moments, especially in the finale. It's not enough to derail what is an incredibly entertaining series, but it's a little frustrating.
Overall though, Hawkeye is another decent and fleshed out mini series in this sprawling franchise. The extra runtime of a season has ensured that all of the MCU shows this year have been high quality and worth watching. I just hope it's not too long until we get a Kate Bishop/Yelena reunion!
BankofMarquis (1832 KP) rated Avengers: Endgame (2019) in Movies
Apr 29, 2019
It has "all the feels"
***There will be NO SPOILERS in this review***
AVENGERS: ENDGAME is an emotionally and artistically satisfying conclusion to 11 years and 22 films of the MARVEL CINEMATIC UNIVERSE.
Closing out "Phase III" in the MCU, the concluding chapter for most of the "original" MCU characters/actors, ENDGAME picks up the Avengers story right after the conclusion of AVENGERS: INFINITY WAR - a film which saw our heroes lose the battle to Thanos, who snapped his fingers and half the living beings in the Universe vanished.
Instead of downplaying the grief that a survivor would feel, Directors Joe and Anthony Russo (veterans of many MCU films) wisely decide to "lean into" this grief which gives this film something that is surprising for a SuperHero film - emotional resonance. You grieve with these characters that you have come to know - and love - and share their pain and sorrow.
It's a wise choice for it adds a layer to this film that many Superhero films fail to achieve. Along with action, fun characters that you want to root for, interesting visuals and (are you listening DC?) - HUMOR, this film has "all the feels" (to steal a phrase) and will leave the MCU fan (both hardcore and casual) satisfied with the experience.
Also...interestingly enough...this film stands on it's own quite well. The guy next to me in the theater was a "newbie" to the MCU, dragged to the theater with his friends to be "part of the crowd" in this experience. Over the first 5 minutes he was asking his buddy a million questions about who is who and what is what...but after that he just settled into his chair and enjoyed the ride for what it is - even jumping up and cheering at a spot late in the film where EVERYONE in the sold out IMAX showing I was in was tempted to jump out of their chair and cheer (yes - there is THAT kind of moment in this film).
There is also sorrow...loss...joy...relief...tension...excitement...as I said..."all the feels". I don't usually tear up at movies, but I felt some glistening in the corners of my eyes and a lump in my throat on more than 1 occasion - sometimes with sadness, but, sometimes, with joy and exuberance. Yes! I had tears of JOY jumping out of my eyes at a few moments in this film.
But, if it is Special Effects spectacle you are looking for - no worries. There are PLENTY including a finale that is worthy of being the Final Battle in the Final Film for this Phase of the series.
And...the humor...this film has a surprisingly large amount of light, happy moments as well. I give the Russo Brothers - and the MCU - credit for realizing that humor is a good counterbalance to sorrow, action and suspense. I also give them credit for what character they decided to use as the "comic relief" in this film. It's a good choice - and the performer tapped to play the humor is equal to the task.
But, of course, none of this matters if the characters aren't interesting enough to root for - and this film has it in spades. We've watched these characters grow, develop, bond and tear apart over the course of these past 11 years, so there is quite a bit of emotional investment in the characters - and this investment pays of handsomely (again...if you are a "casual" fan or a "newbie", you'll be fine). But...if you are like me and are "into" the MCU then there is payoff after payoff in this film that is extremely satisfying.
The actors in ENDGAME are, of course, at the top of their game. They know they are capping a special moment in their careers and they "bring it". Starting, of course, with Robert Downey, Jr. as Tony Stark/Iron Man. His character goes through a wide variety of emotions through the course of this film and - if this is his last MCU film - he's going out in style. As is Chris Evans as Steve Rogers/Captain America. These two are at the heart of this film - and at the heart of the MCU - and they take center stage with aplomb, tweaking their characters while respecting all that came before. To be honest, I never really bought into the Iron Man vs. Captain America "Civil War" storyline, but they tie that up nicely.
Of course the other 4 "Original 6 Avengers" - Chris Hemsworth's THOR, Scarlett Johansson's BLACK WIDOW, Mark Ruffalo's BRUCE BANNER and Jeremy Renner's CLINT/HAWKEYE/RONIN - are on hand and they all have their moments and take their bows as appropriate throughout. I also have to give some "props" to Don Cheadle's James "Rhodey" Rhodes/WAR MACHINE - kind of an unsung performer in these films and is a welcome sight who would have been missed had he not been there.
The other "survivors of the snap" - Bradley Cooper's ROCKET RACOON, Karen Gillan's NEBULA and Paul Rudd's SCOTT LANG/ANT MAN - fit in with the "original" Avengers quite well. This group of 10 is fun to watch. Add to them Brie Larson's CAPTAIN MARVEL to mix the drink and the concoction was intoxicating to me. A small "quibble" and I do mean a "quibble" - Danai Gurira and her character OKOYE is underutlized/underused for my tastes, but...that is just a "quibble".
Oh...and James Brolin is back as "big bad" Thanos - a worthy adversary, both emotionally, intellectually and physically for this group of SuperHero's to outwit/outlast/outplay.
Finally...without giving away any plot points...this story figured out a way to reflect on/pay homage to previous films in this Universe. It was a clever way to bring back stories/characters/moments from the past and to give some of these performers and moments a nice "cameo" curtain call.
I better stop now before I give away plot points - needless to say I LOVED THIS FILM - it was a very satisfying way to say "thank you and goodbye" to 11 years (and 22 films) of marvelous film making.
I'm looking forward to what the next 11 years in the Marvel Cinematic Universe has to offer - the bar has been set at the highest level.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
AVENGERS: ENDGAME is an emotionally and artistically satisfying conclusion to 11 years and 22 films of the MARVEL CINEMATIC UNIVERSE.
Closing out "Phase III" in the MCU, the concluding chapter for most of the "original" MCU characters/actors, ENDGAME picks up the Avengers story right after the conclusion of AVENGERS: INFINITY WAR - a film which saw our heroes lose the battle to Thanos, who snapped his fingers and half the living beings in the Universe vanished.
Instead of downplaying the grief that a survivor would feel, Directors Joe and Anthony Russo (veterans of many MCU films) wisely decide to "lean into" this grief which gives this film something that is surprising for a SuperHero film - emotional resonance. You grieve with these characters that you have come to know - and love - and share their pain and sorrow.
It's a wise choice for it adds a layer to this film that many Superhero films fail to achieve. Along with action, fun characters that you want to root for, interesting visuals and (are you listening DC?) - HUMOR, this film has "all the feels" (to steal a phrase) and will leave the MCU fan (both hardcore and casual) satisfied with the experience.
Also...interestingly enough...this film stands on it's own quite well. The guy next to me in the theater was a "newbie" to the MCU, dragged to the theater with his friends to be "part of the crowd" in this experience. Over the first 5 minutes he was asking his buddy a million questions about who is who and what is what...but after that he just settled into his chair and enjoyed the ride for what it is - even jumping up and cheering at a spot late in the film where EVERYONE in the sold out IMAX showing I was in was tempted to jump out of their chair and cheer (yes - there is THAT kind of moment in this film).
There is also sorrow...loss...joy...relief...tension...excitement...as I said..."all the feels". I don't usually tear up at movies, but I felt some glistening in the corners of my eyes and a lump in my throat on more than 1 occasion - sometimes with sadness, but, sometimes, with joy and exuberance. Yes! I had tears of JOY jumping out of my eyes at a few moments in this film.
But, if it is Special Effects spectacle you are looking for - no worries. There are PLENTY including a finale that is worthy of being the Final Battle in the Final Film for this Phase of the series.
And...the humor...this film has a surprisingly large amount of light, happy moments as well. I give the Russo Brothers - and the MCU - credit for realizing that humor is a good counterbalance to sorrow, action and suspense. I also give them credit for what character they decided to use as the "comic relief" in this film. It's a good choice - and the performer tapped to play the humor is equal to the task.
But, of course, none of this matters if the characters aren't interesting enough to root for - and this film has it in spades. We've watched these characters grow, develop, bond and tear apart over the course of these past 11 years, so there is quite a bit of emotional investment in the characters - and this investment pays of handsomely (again...if you are a "casual" fan or a "newbie", you'll be fine). But...if you are like me and are "into" the MCU then there is payoff after payoff in this film that is extremely satisfying.
The actors in ENDGAME are, of course, at the top of their game. They know they are capping a special moment in their careers and they "bring it". Starting, of course, with Robert Downey, Jr. as Tony Stark/Iron Man. His character goes through a wide variety of emotions through the course of this film and - if this is his last MCU film - he's going out in style. As is Chris Evans as Steve Rogers/Captain America. These two are at the heart of this film - and at the heart of the MCU - and they take center stage with aplomb, tweaking their characters while respecting all that came before. To be honest, I never really bought into the Iron Man vs. Captain America "Civil War" storyline, but they tie that up nicely.
Of course the other 4 "Original 6 Avengers" - Chris Hemsworth's THOR, Scarlett Johansson's BLACK WIDOW, Mark Ruffalo's BRUCE BANNER and Jeremy Renner's CLINT/HAWKEYE/RONIN - are on hand and they all have their moments and take their bows as appropriate throughout. I also have to give some "props" to Don Cheadle's James "Rhodey" Rhodes/WAR MACHINE - kind of an unsung performer in these films and is a welcome sight who would have been missed had he not been there.
The other "survivors of the snap" - Bradley Cooper's ROCKET RACOON, Karen Gillan's NEBULA and Paul Rudd's SCOTT LANG/ANT MAN - fit in with the "original" Avengers quite well. This group of 10 is fun to watch. Add to them Brie Larson's CAPTAIN MARVEL to mix the drink and the concoction was intoxicating to me. A small "quibble" and I do mean a "quibble" - Danai Gurira and her character OKOYE is underutlized/underused for my tastes, but...that is just a "quibble".
Oh...and James Brolin is back as "big bad" Thanos - a worthy adversary, both emotionally, intellectually and physically for this group of SuperHero's to outwit/outlast/outplay.
Finally...without giving away any plot points...this story figured out a way to reflect on/pay homage to previous films in this Universe. It was a clever way to bring back stories/characters/moments from the past and to give some of these performers and moments a nice "cameo" curtain call.
I better stop now before I give away plot points - needless to say I LOVED THIS FILM - it was a very satisfying way to say "thank you and goodbye" to 11 years (and 22 films) of marvelous film making.
I'm looking forward to what the next 11 years in the Marvel Cinematic Universe has to offer - the bar has been set at the highest level.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated First Man (2018) in Movies
Sep 28, 2021
He captured a feeling. Sky with no ceiling.
A memorable event
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?