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Awix (3310 KP) rated Kin-dza-dza! (1986) in Movies
Apr 4, 2020
Soviet-era comedy-SF resembles a high-speed collision between Mad Max and The Hitch-Hiker's Guide to the Galaxy as directed by Terry Gilliam. Earthling Everymen are accidentally teleported to the post-apocalyptic dystopia of Pluk, where lower-caste citizens must wear bells in their noses, social status is determined by the colour of your trousers, and most of the local language translates as 'koo!' Can they persuade a couple of dodgy locals to help them get home?
Possibly a little bit slow and overlong, and many of the jokes are probably too understated, but the desolate alien world is well-realised on a low budget (special effects are sparingly used, but look good when they are) and the intricately ridiculous society of Pluk has been worked out in impressive detail. Hard to tell whether the satire is aimed at capitalist society or communist, but perhaps this is the point: life on Pluk may be unfair, arbitrary, and often unintelligible, but then isn't that true everywhere? Well-played, solidly scripted for the most part (end comes unravelled a bit), very watchable and entertaining.
Possibly a little bit slow and overlong, and many of the jokes are probably too understated, but the desolate alien world is well-realised on a low budget (special effects are sparingly used, but look good when they are) and the intricately ridiculous society of Pluk has been worked out in impressive detail. Hard to tell whether the satire is aimed at capitalist society or communist, but perhaps this is the point: life on Pluk may be unfair, arbitrary, and often unintelligible, but then isn't that true everywhere? Well-played, solidly scripted for the most part (end comes unravelled a bit), very watchable and entertaining.
Pete Fowler recommended 6 6 6 by Aphrodite's Child in Music (curated)
Leanne Crabtree (480 KP) rated Finding You (Finding, #1) in Books
Jan 11, 2021
Contains spoilers, click to show
3.5 stars because of the ending cliff-hanger. I'm not always a fan of these and in this definitely not.
I was Team Logan from early on, he might have been a bit of a player but you could tell he really liked Neva. And it only got confirmed further through the story and Neva, being a bit weird if you ask me, is a bit mean to him with her actions, so unfortunately she went down in my books for that.
As for Angel, he might have been good looking and a really nice guy but I always felt something was wrong with him especially after the restaurant scene and after the prologue with the man in bed I figured he was somehow related to the man who killed Neva and Tate's dad based on his eye colour
Neva, as I mentioned earlier annoyed me with how she thought things through near the end she could be an undamaged, normal, person with Angel because he didn't know her secrets but not with Logan who knew everything. Doesn't really make sense to me, but oh well.
I was Team Logan from early on, he might have been a bit of a player but you could tell he really liked Neva. And it only got confirmed further through the story and Neva, being a bit weird if you ask me, is a bit mean to him with her actions, so unfortunately she went down in my books for that.
As for Angel, he might have been good looking and a really nice guy but I always felt something was wrong with him especially after the restaurant scene and after the prologue with the man in bed I figured he was somehow related to the man who killed Neva and Tate's dad based on his eye colour
Neva, as I mentioned earlier annoyed me with how she thought things through near the end she could be an undamaged, normal, person with Angel because he didn't know her secrets but not with Logan who knew everything. Doesn't really make sense to me, but oh well.
Eleanor Luhar (47 KP) rated Adventure Time Vol. 5 in Books
Jun 24, 2019
Just a quick review of this, as it's pretty similar to all the previous volumes.
Familiar characters dominate the stories as usual, including Jake, Finn, BMO, Princess Bubblegum, Ice King, Marceline and even Lemongrab. The relationships between the characters are nice in this, especially regarding PB and Marceline.
The stories are funny, weird and super enjoyable, full of humour and colour and adventure (duh). The fourth wall is, of course, practically nonexistent, as the commentary along the bottom of the pages addresses the audience directly. It really immerses you in the world of Finn and Jake, as well as adding another layer of humour. The commentary makes these comics unique from most others.
The art is awesome. I still love looking through the gallery of covers at the end. The colours are so vivid and the styles are all so wonderful. It's one of the nicest comics to just look at.
Of course, it is kinda childish. But it's an easy and relaxing read, and there are some very subtle jokes and comments that only older readers will understand.
4 stars. It's a really fun read, and I love all the characters so much!
Familiar characters dominate the stories as usual, including Jake, Finn, BMO, Princess Bubblegum, Ice King, Marceline and even Lemongrab. The relationships between the characters are nice in this, especially regarding PB and Marceline.
The stories are funny, weird and super enjoyable, full of humour and colour and adventure (duh). The fourth wall is, of course, practically nonexistent, as the commentary along the bottom of the pages addresses the audience directly. It really immerses you in the world of Finn and Jake, as well as adding another layer of humour. The commentary makes these comics unique from most others.
The art is awesome. I still love looking through the gallery of covers at the end. The colours are so vivid and the styles are all so wonderful. It's one of the nicest comics to just look at.
Of course, it is kinda childish. But it's an easy and relaxing read, and there are some very subtle jokes and comments that only older readers will understand.
4 stars. It's a really fun read, and I love all the characters so much!
ClareR (5603 KP) rated Deacon King Kong in Books
Oct 27, 2021
Deacon King Kong is a wonderful book, revolving around the alcoholic Deacon Cuffy Lambkin, aka Sportcoat, and how in an alcohol fuelled haze, he shoots the ear of the local drug dealer. His community pulls together and tries to protect him from the inevitable retribution. And so we are introduced to and learn about the different people who, in some way, touch Sportcoats life: from his blind son and dead wife (who, thanks to the alcohol he drinks, he speaks to regularly), to the women who run the church, to the police officers connected to the case, the drug ring, the local Italian crime boss and his elderly mother, and Sportcoats best friend, Hot Sausage.
They’re all such well-rounded, well-written, real characters, and it all played out in my head like a film (has this been optioned yet?!). I love it when a book does that.
They all seemed to be genuinely nice characters who are getting by as best they can in a culture where drugs are King and poor boys and men of colour are rarely given a chance in life.
Honestly, you should read it. Highly recommended.
They’re all such well-rounded, well-written, real characters, and it all played out in my head like a film (has this been optioned yet?!). I love it when a book does that.
They all seemed to be genuinely nice characters who are getting by as best they can in a culture where drugs are King and poor boys and men of colour are rarely given a chance in life.
Honestly, you should read it. Highly recommended.
LeftSideCut (3778 KP) rated Night Teeth (2021) in Movies
Nov 3, 2021
I honestly wasn't expecting a whole lot from Night Teeth, so I was suitably surprised by just how tight and entertaining it turned out to be.
Jorge Lendeborg Jr. is a charming and likable protagonist and a hero that's easy to root for, as is Debby Ryan. The two of them have great chemistry and carry the bulk of the film well. Lucy Fry and Alfie Allen are convincing in the more villanous roles, and smaller appearances by the likes of Sydney Sweeney, Megan Fox, and Alexander Ludwig ensure that the overall cast is a strong one.
The pacing is snappy and never gets boring, and the narrative is one that handles its multiple threads nicely, and avoids bogging down the plot with too much lore building.
Another plus is how visually pleasing the whole thing is. Night Teeth is draped with striking colour, sticking out against its night time LA backdrop.
It's certainly not without it's flaws - some of the dialogue doesn't land well, and the CGI, although minimal, is glaringly shit in places, but it's not enough to tarnish an entertaining vampire flick, that's often funny, and easy on the eyes.
Jorge Lendeborg Jr. is a charming and likable protagonist and a hero that's easy to root for, as is Debby Ryan. The two of them have great chemistry and carry the bulk of the film well. Lucy Fry and Alfie Allen are convincing in the more villanous roles, and smaller appearances by the likes of Sydney Sweeney, Megan Fox, and Alexander Ludwig ensure that the overall cast is a strong one.
The pacing is snappy and never gets boring, and the narrative is one that handles its multiple threads nicely, and avoids bogging down the plot with too much lore building.
Another plus is how visually pleasing the whole thing is. Night Teeth is draped with striking colour, sticking out against its night time LA backdrop.
It's certainly not without it's flaws - some of the dialogue doesn't land well, and the CGI, although minimal, is glaringly shit in places, but it's not enough to tarnish an entertaining vampire flick, that's often funny, and easy on the eyes.
David McK (3251 KP) rated Oppenheimer (2023) in Movies
Mar 14, 2024
"Today I am become death, the destroyer of worlds ..."
I meant to see this during the summer of 2023, but missed it.
Only saw it on a re-release, following loads of Oscar wins, in March 2024.
If I could compare it to a single other movie, that would probably be "Schindler's List": this (and that), I feel, is one of those movies that you can say you've seen, probably be glad you did, but wouldn't be rushing back to anytime soon.
As a Nolan movie, this is also told with lots of out-of-sequence shots, and jumping quite a bit between time: we have whole sections set in the 19402 (in colour) intercut with 1950/60s(? I'm not sure on the exact date) black and white segments.
The movie is also largely (but not exclusively) told through the eyes of Oppenheimer, following the work of a team of scientists who developed the first A-bomb, and only lightly touching on the effects of said bomb(s) being dropped on Japan.
It's a well shot and well acted movie, undeniably, but - as mentioned above - not one I'd be rushing back to see any time soon.
Only saw it on a re-release, following loads of Oscar wins, in March 2024.
If I could compare it to a single other movie, that would probably be "Schindler's List": this (and that), I feel, is one of those movies that you can say you've seen, probably be glad you did, but wouldn't be rushing back to anytime soon.
As a Nolan movie, this is also told with lots of out-of-sequence shots, and jumping quite a bit between time: we have whole sections set in the 19402 (in colour) intercut with 1950/60s(? I'm not sure on the exact date) black and white segments.
The movie is also largely (but not exclusively) told through the eyes of Oppenheimer, following the work of a team of scientists who developed the first A-bomb, and only lightly touching on the effects of said bomb(s) being dropped on Japan.
It's a well shot and well acted movie, undeniably, but - as mentioned above - not one I'd be rushing back to see any time soon.
Movie Metropolis (309 KP) rated Thor: Ragnarok (2017) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Utterly preposterous
Thor is arguably one of Marvel’s strongest characters. Played by the superb Chris Hemsworth since 2011, the God of thunder is one of the MCUs most popular assets.
It’s unfortunate then that he’s been lambasted with the weakest solo films of the entire series, the son of Odin really has deserved much better.
Thor’s inception in the first of his three solo outings was a competent if unremarkable origins story and the less said about Thor: The Dark World, which remains the poorest film of the entire MCU, the better. Now, just in time for Infinity War,Thor: Ragnarok rolls into cinemas. But does it do its leading man justice?Imprisoned on the other side of the universe, the mighty Thor (Hemsworth) finds himself in a deadly gladiatorial contest that pits him against the Hulk (Bruce Banner), his former ally and fellow Avenger. Thor’s quest for survival leads him in a race against time to prevent the all-powerful goddess of death, Hela, (Cate Blanchett) from destroying his home world and the Asgardian civilisation.
This third film for our mighty Avenger is really something. A film more akin to Guardians of the Galaxy than its overly stuffy predecessors. Director Taika Waititi in his first big-budget feature has managed what many had thought was impossible, he’s given Thor a rather brilliant movie.
But how? Well, he’s realised what no-one else has. The premise surrounding our titular hero is utterly ridiculous. Rather than shy away from that and create something serious, he’s embraced it with humour, music and my goodness, a lot of colour.
If you thought Guardians of the Galaxy used every colour on the spectrum, you ain’t seen nothing yet. Thor: Ragnarok is quite something to watch. From the gold-tipped spears of Asgard that glisten like never before, to the trash-topped planet of Sakaar, everything is dripping in colour.
“Casting Goldblum in the role of an immortal game-player really is an inspired choice.”
Speaking of Sakaar, it contains one of the MCUs best new additions: Jeff Goldbum. Sorry, I mean the Grandmaster. Casting Goldblum in the role of an immortal game-player really is an inspired choice. The 65-year-old legend has made a career on playing himself and it works exceptionally well here. His improvisation is absolutely spot on.
Ragnarok throws up a few other surprises too. One being that Chris Hemsworth is absolutely hilarious. He and Tom Hiddleston bounce off each other incredibly well and we see real chemistry – the chemistry that should have been evident from the start. Cate Blanchett also turns the cheese up to 11 as the latest throwaway Marvel villain, Hela.
She fares better than the majority of Marvel villains and is certainly more interesting than Christopher Eccelston’s, Malekith, but they never quite make the impact that the scriptwriters were clearly looking for. Nevertheless, Blanchett is excellent.
Thankfully, Thor: Ragnarok doesn’t suffer from the absence of Natalie Portman’s dull Jane Foster, and though she is referenced early on, newcomer Tessa Thompson as Valkyrie provides a fitting replacement and possible future love-interest for our intrepid hero.
Unfortunately, it’s not all good news. Surprisingly the first 30 minutes feel incredibly rushed as numerous loose storylines are brought together and the improvised nature of the script lends itself to a little too much humour. Yes, we get it, Marvel films are funny, but this should not be at the expense of the more emotional sequences that the movie tries to put across.
Nevertheless, Thor: Ragnarok is a resounding success, created by a man who clearly has a passion for this corner of the MCU. He manages to make an absolutely preposterous film – and that’s exactly how Thor should be. Take a bow Mr. Waititi.
A little tip – there are two end credit sequences waiting for you. You’re welcome.
https://moviemetropolis.net/2017/10/26/thor-ragnarok-review/
It’s unfortunate then that he’s been lambasted with the weakest solo films of the entire series, the son of Odin really has deserved much better.
Thor’s inception in the first of his three solo outings was a competent if unremarkable origins story and the less said about Thor: The Dark World, which remains the poorest film of the entire MCU, the better. Now, just in time for Infinity War,Thor: Ragnarok rolls into cinemas. But does it do its leading man justice?Imprisoned on the other side of the universe, the mighty Thor (Hemsworth) finds himself in a deadly gladiatorial contest that pits him against the Hulk (Bruce Banner), his former ally and fellow Avenger. Thor’s quest for survival leads him in a race against time to prevent the all-powerful goddess of death, Hela, (Cate Blanchett) from destroying his home world and the Asgardian civilisation.
This third film for our mighty Avenger is really something. A film more akin to Guardians of the Galaxy than its overly stuffy predecessors. Director Taika Waititi in his first big-budget feature has managed what many had thought was impossible, he’s given Thor a rather brilliant movie.
But how? Well, he’s realised what no-one else has. The premise surrounding our titular hero is utterly ridiculous. Rather than shy away from that and create something serious, he’s embraced it with humour, music and my goodness, a lot of colour.
If you thought Guardians of the Galaxy used every colour on the spectrum, you ain’t seen nothing yet. Thor: Ragnarok is quite something to watch. From the gold-tipped spears of Asgard that glisten like never before, to the trash-topped planet of Sakaar, everything is dripping in colour.
“Casting Goldblum in the role of an immortal game-player really is an inspired choice.”
Speaking of Sakaar, it contains one of the MCUs best new additions: Jeff Goldbum. Sorry, I mean the Grandmaster. Casting Goldblum in the role of an immortal game-player really is an inspired choice. The 65-year-old legend has made a career on playing himself and it works exceptionally well here. His improvisation is absolutely spot on.
Ragnarok throws up a few other surprises too. One being that Chris Hemsworth is absolutely hilarious. He and Tom Hiddleston bounce off each other incredibly well and we see real chemistry – the chemistry that should have been evident from the start. Cate Blanchett also turns the cheese up to 11 as the latest throwaway Marvel villain, Hela.
She fares better than the majority of Marvel villains and is certainly more interesting than Christopher Eccelston’s, Malekith, but they never quite make the impact that the scriptwriters were clearly looking for. Nevertheless, Blanchett is excellent.
Thankfully, Thor: Ragnarok doesn’t suffer from the absence of Natalie Portman’s dull Jane Foster, and though she is referenced early on, newcomer Tessa Thompson as Valkyrie provides a fitting replacement and possible future love-interest for our intrepid hero.
Unfortunately, it’s not all good news. Surprisingly the first 30 minutes feel incredibly rushed as numerous loose storylines are brought together and the improvised nature of the script lends itself to a little too much humour. Yes, we get it, Marvel films are funny, but this should not be at the expense of the more emotional sequences that the movie tries to put across.
Nevertheless, Thor: Ragnarok is a resounding success, created by a man who clearly has a passion for this corner of the MCU. He manages to make an absolutely preposterous film – and that’s exactly how Thor should be. Take a bow Mr. Waititi.
A little tip – there are two end credit sequences waiting for you. You’re welcome.
https://moviemetropolis.net/2017/10/26/thor-ragnarok-review/
Juliette Jackson recommended track Jimmy the Exploder by The White Stripes in White Stripes by The White Stripes in Music (curated)
7.3
Album
Favorite
LeftSideCut (3778 KP) rated Last Night in Soho (2021) in Movies
Dec 1, 2021
Straight off the bat, there is a whole lot to love about Last Night in Soho. It's a modern-London thriller with a dashing of supernatural horror. It's a modern horror with lashings of giallo. It's a giallo that is also a murder mystery. It bursting with colour, and has two exceptionally talented actors at it's helm.
I enjoy Anya Taylor-Joy in pretty much anything she's in, and the same applies here, stealing most of the scenes that she's in. Thomasin McKenzie is an infectiously likable protagonist, whether she's battling seedy-men ghosts, or the struggles of going to University in England (the scene near the beginning where she's stuck at a dorm party is a literal nightmare put straight onto the screen if you ask me). She's fantastic here as she was in Jojo Rabbit.
It boasts a strong supporting cast as well. Matt Smith plays a convincing shit-bag, and is quite clearly having a ball shouting in a cockney accent. It's always a pleasure to see Terence Stamp, and of course, Diana Rigg was one of the best in the game, and her performance here in her final role is testament to that.
LNIS is dripping with style, which is to be expected from Edgar Wright, but it's more subtle than a lot of his other works, substituting clever edits, cuts, and comedy for a film that's visual crack with a more serious tone. The vibrancy of its colour pallettes, both in the modern and 60s settings are as important as any character. Every frame feels like it's been lovingly poured over and is cinematic in every sense of the word. It also boasts a stellar soundtrack. I didn't realise how much I fucking love a bit of Cilla Black but here we are.
The only minor gripes I have is that it does drag ever so slightly during the final third. At one point it feels like a natural resolve is near, but then the narrative continues for a while longer before the twists and turns land. It also goes a little slasher-y at one point, which isn't necessarily an issue, but it feels a bit alien to the rest of the vibe (still manages to be a visually striking moment though!)
Overall though, Last Night in Soho is an incredibly engaging and enjoyable thriller, and is a proud addition to both Wright's filmography, and the modern resurgence of top quality horror.
I enjoy Anya Taylor-Joy in pretty much anything she's in, and the same applies here, stealing most of the scenes that she's in. Thomasin McKenzie is an infectiously likable protagonist, whether she's battling seedy-men ghosts, or the struggles of going to University in England (the scene near the beginning where she's stuck at a dorm party is a literal nightmare put straight onto the screen if you ask me). She's fantastic here as she was in Jojo Rabbit.
It boasts a strong supporting cast as well. Matt Smith plays a convincing shit-bag, and is quite clearly having a ball shouting in a cockney accent. It's always a pleasure to see Terence Stamp, and of course, Diana Rigg was one of the best in the game, and her performance here in her final role is testament to that.
LNIS is dripping with style, which is to be expected from Edgar Wright, but it's more subtle than a lot of his other works, substituting clever edits, cuts, and comedy for a film that's visual crack with a more serious tone. The vibrancy of its colour pallettes, both in the modern and 60s settings are as important as any character. Every frame feels like it's been lovingly poured over and is cinematic in every sense of the word. It also boasts a stellar soundtrack. I didn't realise how much I fucking love a bit of Cilla Black but here we are.
The only minor gripes I have is that it does drag ever so slightly during the final third. At one point it feels like a natural resolve is near, but then the narrative continues for a while longer before the twists and turns land. It also goes a little slasher-y at one point, which isn't necessarily an issue, but it feels a bit alien to the rest of the vibe (still manages to be a visually striking moment though!)
Overall though, Last Night in Soho is an incredibly engaging and enjoyable thriller, and is a proud addition to both Wright's filmography, and the modern resurgence of top quality horror.