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Hazel (1853 KP) rated The Water Babies in Books
Oct 9, 2017
Worryingly Controversial
This eBook was provided by the publisher via NetGalley in exchange for an honest review
This year (2017), Calla Editions are printing a new hardback version of the original 1863 children’s classic The Water Babies written by the Anglican clergyman, Charles Kingsley (1819-75). Subtitled “A Fairytale for a land-baby” the book was intended for Kingsley’s youngest son and therefore was targeted at a juvenile demographic. However, as a result of the 1800’s vernacular and particularly deep themes, it has become more appropriate for older readers. With full-colour illustrations by Jessie Wilcox Smith (1863-1935) from the height of the golden age of illustration, this edition promises to be a collector’s item.
Charles Kingsley, the founder of England’s Christian Socialist movement, was exceedingly interested in the plight of the working class, particularly of the abuse and protection of children. This is reflected in his story about Tom, the ten-year-old London chimney sweep, who suffers ill-treatment at the hands of his employer. Tom, who has known nothing but the sooty streets of London, is embarrassed after scaring a beautiful young girl with his grimy appearance. Running away through a countryside he is unfamiliar with, Tom dives into a river to wash, however, falls asleep in the water.
On awakening, Tom discovers he has been transformed into a water baby; he can live and breathe amongst all the fishes and other mystical water creatures. Forgetting his horrible past, Tom is soon frolicking with the characters he meets, teasing and provoking unsuspecting individuals. But the fairies in charge of water babies are determined to teach him many lessons about truth, mercy, justice and courage.
The Water Babies is a morality fable with fairy-tale-like qualities. It educates young readers about the consequences of their actions but also enlightens them about the cruelty of some adults. Kingsley often talks to the reader (in this instance his son), drawing them into the story and making the scenarios as relatable as possible. The magical underwater setting is merely a veil to hide the lessons Kingsley is attempting to preach.
For the adult reader, Kingsley has a much more political message. Written at the time of political and scientific advancement, particularly in respect to the concept of natural selection, Kingsley attempts to ridicule the ideas of thinkers such as Charles Darwin by producing a satirical narrative. He suggests that scientists are fools who use unnecessarily long and foreign terms, evidenced by his use of the made-up subject of Necrobioneopalæonthydrochthonanthropopithekology. He also goes as far as to mock the majority of adults and appears to be completely anti-Irish people.
In some instances, Charles Kingsley goes too far in his satire, resulting in something that would not be accepted by publishers today. In order for Tom to be the hero of the story, adults need to be viewed as less than good – people who need to be punished for their discourteous treatment of children, which in this instance, they are, and quite graphically. But the most controversial theme explored is death. The more naïve may not cotton on to the fact that Tom falling asleep in the river equates to drowning, yet that is exactly what happened. Only through death can one become a water baby. To make matters slightly more alarming, Kingsley does not see this death as a bad thing; he describes Tom’s new life as something far better than life on earth – coming from a clergyman this is understandable – which suggests that death is better than living for an abused child.
Despite these controversies, Kingsley’s prose is humorous and entertaining - far more mind-boggling than you may initially expect. With characters named Mrs Bedonebyasyoudid and Professor Ptthmllnsprts, there is plenty to make readers laugh. Some of the hilarities may go above the heads of children since the jargon is no longer used in today’s society, however, adults will be able to appreciate the comical aspect.
Over 150 years old, The Water Babies has remained a classic. It reveals the political, scientific and social situations of the mid-1800s, yet it contains wisdom that is still relevant today. As Kingsley’s daughter Rose says in the introduction, “What a fine thing it is to love truth, mercy, justice, courage, and all things noble and of good report.” No matter how peculiar this novel is, it says a lot about the virtues of our character.
This year (2017), Calla Editions are printing a new hardback version of the original 1863 children’s classic The Water Babies written by the Anglican clergyman, Charles Kingsley (1819-75). Subtitled “A Fairytale for a land-baby” the book was intended for Kingsley’s youngest son and therefore was targeted at a juvenile demographic. However, as a result of the 1800’s vernacular and particularly deep themes, it has become more appropriate for older readers. With full-colour illustrations by Jessie Wilcox Smith (1863-1935) from the height of the golden age of illustration, this edition promises to be a collector’s item.
Charles Kingsley, the founder of England’s Christian Socialist movement, was exceedingly interested in the plight of the working class, particularly of the abuse and protection of children. This is reflected in his story about Tom, the ten-year-old London chimney sweep, who suffers ill-treatment at the hands of his employer. Tom, who has known nothing but the sooty streets of London, is embarrassed after scaring a beautiful young girl with his grimy appearance. Running away through a countryside he is unfamiliar with, Tom dives into a river to wash, however, falls asleep in the water.
On awakening, Tom discovers he has been transformed into a water baby; he can live and breathe amongst all the fishes and other mystical water creatures. Forgetting his horrible past, Tom is soon frolicking with the characters he meets, teasing and provoking unsuspecting individuals. But the fairies in charge of water babies are determined to teach him many lessons about truth, mercy, justice and courage.
The Water Babies is a morality fable with fairy-tale-like qualities. It educates young readers about the consequences of their actions but also enlightens them about the cruelty of some adults. Kingsley often talks to the reader (in this instance his son), drawing them into the story and making the scenarios as relatable as possible. The magical underwater setting is merely a veil to hide the lessons Kingsley is attempting to preach.
For the adult reader, Kingsley has a much more political message. Written at the time of political and scientific advancement, particularly in respect to the concept of natural selection, Kingsley attempts to ridicule the ideas of thinkers such as Charles Darwin by producing a satirical narrative. He suggests that scientists are fools who use unnecessarily long and foreign terms, evidenced by his use of the made-up subject of Necrobioneopalæonthydrochthonanthropopithekology. He also goes as far as to mock the majority of adults and appears to be completely anti-Irish people.
In some instances, Charles Kingsley goes too far in his satire, resulting in something that would not be accepted by publishers today. In order for Tom to be the hero of the story, adults need to be viewed as less than good – people who need to be punished for their discourteous treatment of children, which in this instance, they are, and quite graphically. But the most controversial theme explored is death. The more naïve may not cotton on to the fact that Tom falling asleep in the river equates to drowning, yet that is exactly what happened. Only through death can one become a water baby. To make matters slightly more alarming, Kingsley does not see this death as a bad thing; he describes Tom’s new life as something far better than life on earth – coming from a clergyman this is understandable – which suggests that death is better than living for an abused child.
Despite these controversies, Kingsley’s prose is humorous and entertaining - far more mind-boggling than you may initially expect. With characters named Mrs Bedonebyasyoudid and Professor Ptthmllnsprts, there is plenty to make readers laugh. Some of the hilarities may go above the heads of children since the jargon is no longer used in today’s society, however, adults will be able to appreciate the comical aspect.
Over 150 years old, The Water Babies has remained a classic. It reveals the political, scientific and social situations of the mid-1800s, yet it contains wisdom that is still relevant today. As Kingsley’s daughter Rose says in the introduction, “What a fine thing it is to love truth, mercy, justice, courage, and all things noble and of good report.” No matter how peculiar this novel is, it says a lot about the virtues of our character.
Puke Flyswatter (7 KP) rated Star Wars: Episode V – The Empire Strikes Back (1980) in Movies
Sep 12, 2017
Incredible special effects for the time (1 more)
Story writing and characters
The Force is strong with this one
Contains spoilers, click to show
Most fans argue over which of its ongoing episodes, is the best in the Star Wars saga. The Empire Strikes Back took a darker approach than its predecessor in delivering the story of the Rebellion's fight to bring peace and freedom to the galaxy by destroying the Empire who now rule with far more than just iron fist, having snatched its power from the dead hands of the Old Republic. This in my opinion, is what made it not only the best of the saga, but the best science fiction movie of all time and more controversially- one of the best movies ever made; an accolade that has still to be taken by any other movie of the genre to date.
George Lucas, ("the daddy" and brains behind the series of stories of intergalactic war and oppression), had reportedly suffered from exhaustion to the point of near breakdown- even suffering a near heart attack and so decided for the sake of his health and mental well-being not to helm this project which led to Irvin Kershner taking the reins instead.
Kershner's change in approach is apparent throughout the movie and even from the opening scene on Hoth- the barren ice planet- there is a palpably hollow and sombre overall feel which is more than likely deliberate so as to reflect the apparent futility and hopelessness of the protagonists’ struggle. This cleverly generated more empathy toward the characters, meaning the viewer became more invested in the outcome of the story.
The scope and scale of each scene is also cleverly used to give the viewer insight into the characters' state of mind and the choice in lighting and colour (or lack thereof) to deliver more impact and focus on the subject matter in each scene.
As far as story writing and script go, this is also miles ahead of the first and brilliant instalment of the saga. This was apparently due to George Lucas not being happy with the direction of the original draft of the screenplay and being forced to write a further two drafts for the movie following the death of the original screenplay author- the renowned Leigh Brackett who sadly died losing her battle with cancer. Lucas felt it necessary to then bring in Lawrence Kasdan to complete the writing of the screenplay, Kasdan would also go on to pen the screenplays for Raiders Of The Lost Ark, Return Of The Jedi, Star Wars VII The Force Awakens (as co-writer) and is also currently penning the screenplay for the upcoming Han Solo...solo movie. His input and impact on Empire took the saga from the swashbuckling heroic scenes of A New Hope to the almost World War-esque style in which characters are somewhat downtrodden and clearly showing the negative psychological effects on their personalities that are associated with any and every war. This set it apart from A New Hope which, despite the deaths of countless poor and innocent Jawas, inhabitants of Alderaan and Obi-Wan Kenobi, still managed to keep an optimistic outlook which while being an immensely fun and thrilling watch, did not do much in the way of drawing the viewer in and having a connection with the characters. This did not in any way ruin my enjoyment of the movie, I was a kid after all, but upon watching Empire for the first time, I was introduced to a new concept in cinema for me- one where the heroes do not always win, but who still carry on the fight no matter how emotionally scarred or beaten they may be. As a kid, this was so much more of a compelling and exciting movie as it was near impossible to guess where the story would lead and what the future would hold for the then trilogy.
Another highly positive aspect, is that the viewer did not necessarily need to have watched the previous movie and could jump straight into the story, able to enjoy it as each of the characters and the movie’s histories are cleverly re-introduced and explained without the use of exhausting flashbacks or back stories, effectively allowing it to serve as a standalone movie.
For people- who for some reason unbeknownst to me- that are not fans of the genre, this remains as a compelling, well-written and visually stunning piece of movie-making that still stands the test of time and one that anyone of any age can enjoy.
George Lucas, ("the daddy" and brains behind the series of stories of intergalactic war and oppression), had reportedly suffered from exhaustion to the point of near breakdown- even suffering a near heart attack and so decided for the sake of his health and mental well-being not to helm this project which led to Irvin Kershner taking the reins instead.
Kershner's change in approach is apparent throughout the movie and even from the opening scene on Hoth- the barren ice planet- there is a palpably hollow and sombre overall feel which is more than likely deliberate so as to reflect the apparent futility and hopelessness of the protagonists’ struggle. This cleverly generated more empathy toward the characters, meaning the viewer became more invested in the outcome of the story.
The scope and scale of each scene is also cleverly used to give the viewer insight into the characters' state of mind and the choice in lighting and colour (or lack thereof) to deliver more impact and focus on the subject matter in each scene.
As far as story writing and script go, this is also miles ahead of the first and brilliant instalment of the saga. This was apparently due to George Lucas not being happy with the direction of the original draft of the screenplay and being forced to write a further two drafts for the movie following the death of the original screenplay author- the renowned Leigh Brackett who sadly died losing her battle with cancer. Lucas felt it necessary to then bring in Lawrence Kasdan to complete the writing of the screenplay, Kasdan would also go on to pen the screenplays for Raiders Of The Lost Ark, Return Of The Jedi, Star Wars VII The Force Awakens (as co-writer) and is also currently penning the screenplay for the upcoming Han Solo...solo movie. His input and impact on Empire took the saga from the swashbuckling heroic scenes of A New Hope to the almost World War-esque style in which characters are somewhat downtrodden and clearly showing the negative psychological effects on their personalities that are associated with any and every war. This set it apart from A New Hope which, despite the deaths of countless poor and innocent Jawas, inhabitants of Alderaan and Obi-Wan Kenobi, still managed to keep an optimistic outlook which while being an immensely fun and thrilling watch, did not do much in the way of drawing the viewer in and having a connection with the characters. This did not in any way ruin my enjoyment of the movie, I was a kid after all, but upon watching Empire for the first time, I was introduced to a new concept in cinema for me- one where the heroes do not always win, but who still carry on the fight no matter how emotionally scarred or beaten they may be. As a kid, this was so much more of a compelling and exciting movie as it was near impossible to guess where the story would lead and what the future would hold for the then trilogy.
Another highly positive aspect, is that the viewer did not necessarily need to have watched the previous movie and could jump straight into the story, able to enjoy it as each of the characters and the movie’s histories are cleverly re-introduced and explained without the use of exhausting flashbacks or back stories, effectively allowing it to serve as a standalone movie.
For people- who for some reason unbeknownst to me- that are not fans of the genre, this remains as a compelling, well-written and visually stunning piece of movie-making that still stands the test of time and one that anyone of any age can enjoy.
Lee (2222 KP) rated Godzilla: King of the Monsters (2019) in Movies
May 31, 2019 (Updated May 31, 2019)
Well, I liked it!
Before heading into Godzilla: King of the Monsters, I saw a lot of wildly mixed reviews online. People were either hating it or loving it, with nobody really feeling anything in-between. Even those cinema goers who were fully prepared for nothing more than a bunch of big monsters fighting alongside insignificant human bystanders were coming away from it fuming. Well, I’m happy to say that I’m putting myself firmly in the ‘loved it’ category, although I do understand and appreciate a lot of the issues that the haters have with it.
Since his appearance in the 2014 movie, and his involvement in the destruction of San Francisco, Godzilla has been keeping a fairly low profile beneath the ocean. He is now closely monitored by monster organisation Monarch, who were introduced to us previously, most notably in the movie Kong: Skull Island. They have a number of outposts dotted around the globe, where they are also tracking various other ‘titans’, most of which are lying dormant. Monarch is currently involved in a conflict with the military, who would rather see the titans wiped out than try and co-exist with them in the way our ancestors did.
In a Chinese outpost, we meet Dr Emma Russell (Vera Farmiga), who is working on a device called ORCA, something which will hopefully allow us to communicate with and control the titans. She’s there with daughter Madison (Millie Bobby Brown) as they test out ORCA on newly hatched titan larva Mothra. Emma’s estranged husband Mark (Kyle Chandler), who helped develop the ORCA device with her, is currently leading a much simpler life, photographing wolves out in the wild having completely distanced himself from Monarch and the titans.
Things start to go wrong though when eco-terrorist Jonah Alan (Charles Dance) kidnaps Emma and Madison, along with the ORCA device. He wants to use ORCA to wake up the remaining titans and there’s a lot of talk about cleansing the earth, restoring balance etc, something which continues to be the motivational theme throughout the movie.
Jonah and his team, with help from Emma, break free a three-headed monster called Ghidorah from within the Antarctic ice, and that’s when things really kick off. Ghidorah assumes the position of King of the Monsters and he and the other titans begin wreaking havoc on planet Earth. When word reaches Mark that his wife and daughter are in danger, not to mention the rest of the world, he returns to work with Monarch. Meanwhile, Godzilla has resurfaced and is en route to Ghidorah, looking for a fight. At the same time Mothra takes herself off to a waterfall, cocooning herself so that she can gloriously emerge a bit later on in the movie.
Godzilla takes a bit of a pounding from Ghidorah, sustaining some serious damage and leaving the fate of the world in jeopardy. But, the fact that the title of this movie declares Godzilla to be the King of Monsters, along with the promotional material for next years ‘Godzilla Vs Kong’ movie that has begun emerging online, should give you a pretty good idea as to whether or not he makes a comeback.
Unfortunately, a lot of the action takes place in murky, rainy darkness, which is disappointing considering all of the marketing artwork that depicts the monsters and their battles in bright, vibrant colour. At times, far too many quick cuts make things difficult to follow – zipping between the action, the destruction and the humans that are in danger because of it. Cutting to the human cast does help to give us a sense of scale and panic but, at this point, they’ve all just become a little irrelevant. A lot of time is spent early on in the movie, introducing us to a lot of characters, with even more to come later on, but the majority of them just have very little to do or be concerned about when the monster fighting begins.
On the flip-side to all of that though, there are more than enough occasions where we find a downtrodden and seriously pissed off Godzilla handing out a satisfying series of beatings to the pretenders to his throne. I became fully invested in the huge scale of it all and what was at stake for the world. Overall I just found the whole thing really enjoyable.
Since his appearance in the 2014 movie, and his involvement in the destruction of San Francisco, Godzilla has been keeping a fairly low profile beneath the ocean. He is now closely monitored by monster organisation Monarch, who were introduced to us previously, most notably in the movie Kong: Skull Island. They have a number of outposts dotted around the globe, where they are also tracking various other ‘titans’, most of which are lying dormant. Monarch is currently involved in a conflict with the military, who would rather see the titans wiped out than try and co-exist with them in the way our ancestors did.
In a Chinese outpost, we meet Dr Emma Russell (Vera Farmiga), who is working on a device called ORCA, something which will hopefully allow us to communicate with and control the titans. She’s there with daughter Madison (Millie Bobby Brown) as they test out ORCA on newly hatched titan larva Mothra. Emma’s estranged husband Mark (Kyle Chandler), who helped develop the ORCA device with her, is currently leading a much simpler life, photographing wolves out in the wild having completely distanced himself from Monarch and the titans.
Things start to go wrong though when eco-terrorist Jonah Alan (Charles Dance) kidnaps Emma and Madison, along with the ORCA device. He wants to use ORCA to wake up the remaining titans and there’s a lot of talk about cleansing the earth, restoring balance etc, something which continues to be the motivational theme throughout the movie.
Jonah and his team, with help from Emma, break free a three-headed monster called Ghidorah from within the Antarctic ice, and that’s when things really kick off. Ghidorah assumes the position of King of the Monsters and he and the other titans begin wreaking havoc on planet Earth. When word reaches Mark that his wife and daughter are in danger, not to mention the rest of the world, he returns to work with Monarch. Meanwhile, Godzilla has resurfaced and is en route to Ghidorah, looking for a fight. At the same time Mothra takes herself off to a waterfall, cocooning herself so that she can gloriously emerge a bit later on in the movie.
Godzilla takes a bit of a pounding from Ghidorah, sustaining some serious damage and leaving the fate of the world in jeopardy. But, the fact that the title of this movie declares Godzilla to be the King of Monsters, along with the promotional material for next years ‘Godzilla Vs Kong’ movie that has begun emerging online, should give you a pretty good idea as to whether or not he makes a comeback.
Unfortunately, a lot of the action takes place in murky, rainy darkness, which is disappointing considering all of the marketing artwork that depicts the monsters and their battles in bright, vibrant colour. At times, far too many quick cuts make things difficult to follow – zipping between the action, the destruction and the humans that are in danger because of it. Cutting to the human cast does help to give us a sense of scale and panic but, at this point, they’ve all just become a little irrelevant. A lot of time is spent early on in the movie, introducing us to a lot of characters, with even more to come later on, but the majority of them just have very little to do or be concerned about when the monster fighting begins.
On the flip-side to all of that though, there are more than enough occasions where we find a downtrodden and seriously pissed off Godzilla handing out a satisfying series of beatings to the pretenders to his throne. I became fully invested in the huge scale of it all and what was at stake for the world. Overall I just found the whole thing really enjoyable.
Movie Metropolis (309 KP) rated Venom (2018) in Movies
Jun 10, 2019
Do you like time travel
“It feels like a movie born from a different era.” That is the thought that immediately flooded my brain upon leaving the cinema after watching Venom. Now, that’s not necessarily a bad thing of course. Hundreds of amazing films have been born well before superhero films became the successful genre they are today.
Nevertheless, in Venom’s case, what we have is a film that struggles to create a consistent tone throughout its rather succinct running time. But is the film still a success for Sony?
Journalist Eddie Brock (Tom Hardy) is trying to take down Carlton Drake (Riz Ahmed), the notorious and brilliant founder of the Life Foundation. While investigating one of Drake’s experiments, Eddie’s body merges with the alien Venom – leaving him with superhuman strength and power. Twisted, dark and fuelled by rage, Venom tries to control the new and dangerous abilities that Eddie finds so intoxicating.
Director of the absolutely brilliant, Zombieland and its upcoming sequel, Ruben Fleischer seems like the perfect choice to helm a solo movie for Peter Parker’s arch nemesis, but the result is muddled – speckled with excellent moments that are lowered by frequently jarring editing techniques and a brawl for identity. Whether that’s down to studio interference or just a misunderstanding of the source material is up for debate.
Let’s start with the best bit: the cast. Venom’s cast is of such a high quality, it really needs reeling off to be believed. We’ve got Tom Hardy, Michelle Williams and Riz Ahmed all in lead parts. Hardy is his ever-charming self in a role that is vastly different from his portrayal of Bane in The Dark Knight Rises. His ‘bromance’ with Venom is by far the standout of the entire film with witty dialogue and amusing physical comedy. In particular, one scene set in an lobster restaurant had the audience in stitches.
Unfortunately, Michelle Williams, one of our most talented actresses is wasted in a thankless role as Brock’s girlfriend, Annie. She’s supposed to be a lawyer, but apart from a few lines of dialogue explaining that fact, she’s completely by-the-numbers WAG. Riz Ahmed suffers a similar fate. His Carlton Drake is so pantomime villain-esque, you half expect him to start twirling a moustache.
Then there’s the film itself. The special effects rarely rise above adequate and the cartoonish CGI used to create Venom himself is frankly, quite poor. You’re never under the illusion that the symbiote could be real, it just looks far too machine generated. With a budget of $100million, this is wholly unacceptable. It’s also noisy and pretty ugly to look at, constantly murky with a muddy colour palate that tries desperately to be edgy and cool – it fails.
Venom feels totally and unequivocally outdated and from a different age
The plot is typical origins story which is to be expected, but there’s very little to thrill or surprise and the first hour is poorly paced. It’s not until we see Venom in his full form that things get out of the gate and Venom finds its footing.
Part buddy-comedy, part superhero flick and part body horror, Venom struggles to maintain a consistent identity. Much like the titular antihero, the film feels like a parasite, latching onto different genres until it finally finds one that fits its needs.
This is a real shame as there are moments of brilliance here. The dialogue between Venom and Brock is great and while the story isn’t anything out of the ordinary, an origins plot for an antihero rather than a traditional superhero is an inspired choice. The lack of Tom Holland’s Peter Parker really doesn’t matter too much, though I can’t help but be disappointed that these two may never meet on film.
Finally, the bizarre decision to aim for a PG-13 rating in the US has inexplicably landed it with a 15 certification here in the UK. 15 rating superhero films include Deadpool and its sequel, Logan and Watchmen. If you’re hoping for gore to the standard of those, you’ll be very dissatisfied. Despite all his head-chomping glory, Venom doesn’t even have a hint of the red stuff.
In the end, despite its best efforts, Venom just comes out very ‘meh’. In a world populated by standout superhero movies like Captain America: Civil War, Spider-Man: Homecoming and Thor: Ragnarok, Venom feels totally and unequivocally outdated and from a different age. Thankfully, it’s not Catwoman levels of bad, maybe X-Men: The Last Stand levels of average.
https://moviemetropolis.net/2018/10/04/venom-review-do-you-like-time-travel/
Nevertheless, in Venom’s case, what we have is a film that struggles to create a consistent tone throughout its rather succinct running time. But is the film still a success for Sony?
Journalist Eddie Brock (Tom Hardy) is trying to take down Carlton Drake (Riz Ahmed), the notorious and brilliant founder of the Life Foundation. While investigating one of Drake’s experiments, Eddie’s body merges with the alien Venom – leaving him with superhuman strength and power. Twisted, dark and fuelled by rage, Venom tries to control the new and dangerous abilities that Eddie finds so intoxicating.
Director of the absolutely brilliant, Zombieland and its upcoming sequel, Ruben Fleischer seems like the perfect choice to helm a solo movie for Peter Parker’s arch nemesis, but the result is muddled – speckled with excellent moments that are lowered by frequently jarring editing techniques and a brawl for identity. Whether that’s down to studio interference or just a misunderstanding of the source material is up for debate.
Let’s start with the best bit: the cast. Venom’s cast is of such a high quality, it really needs reeling off to be believed. We’ve got Tom Hardy, Michelle Williams and Riz Ahmed all in lead parts. Hardy is his ever-charming self in a role that is vastly different from his portrayal of Bane in The Dark Knight Rises. His ‘bromance’ with Venom is by far the standout of the entire film with witty dialogue and amusing physical comedy. In particular, one scene set in an lobster restaurant had the audience in stitches.
Unfortunately, Michelle Williams, one of our most talented actresses is wasted in a thankless role as Brock’s girlfriend, Annie. She’s supposed to be a lawyer, but apart from a few lines of dialogue explaining that fact, she’s completely by-the-numbers WAG. Riz Ahmed suffers a similar fate. His Carlton Drake is so pantomime villain-esque, you half expect him to start twirling a moustache.
Then there’s the film itself. The special effects rarely rise above adequate and the cartoonish CGI used to create Venom himself is frankly, quite poor. You’re never under the illusion that the symbiote could be real, it just looks far too machine generated. With a budget of $100million, this is wholly unacceptable. It’s also noisy and pretty ugly to look at, constantly murky with a muddy colour palate that tries desperately to be edgy and cool – it fails.
Venom feels totally and unequivocally outdated and from a different age
The plot is typical origins story which is to be expected, but there’s very little to thrill or surprise and the first hour is poorly paced. It’s not until we see Venom in his full form that things get out of the gate and Venom finds its footing.
Part buddy-comedy, part superhero flick and part body horror, Venom struggles to maintain a consistent identity. Much like the titular antihero, the film feels like a parasite, latching onto different genres until it finally finds one that fits its needs.
This is a real shame as there are moments of brilliance here. The dialogue between Venom and Brock is great and while the story isn’t anything out of the ordinary, an origins plot for an antihero rather than a traditional superhero is an inspired choice. The lack of Tom Holland’s Peter Parker really doesn’t matter too much, though I can’t help but be disappointed that these two may never meet on film.
Finally, the bizarre decision to aim for a PG-13 rating in the US has inexplicably landed it with a 15 certification here in the UK. 15 rating superhero films include Deadpool and its sequel, Logan and Watchmen. If you’re hoping for gore to the standard of those, you’ll be very dissatisfied. Despite all his head-chomping glory, Venom doesn’t even have a hint of the red stuff.
In the end, despite its best efforts, Venom just comes out very ‘meh’. In a world populated by standout superhero movies like Captain America: Civil War, Spider-Man: Homecoming and Thor: Ragnarok, Venom feels totally and unequivocally outdated and from a different age. Thankfully, it’s not Catwoman levels of bad, maybe X-Men: The Last Stand levels of average.
https://moviemetropolis.net/2018/10/04/venom-review-do-you-like-time-travel/
Movie Metropolis (309 KP) rated The Greatest Showman (2017) in Movies
Jun 10, 2019
All the fun of the circus
Ah, the movie musical. Once the choice of matinee viewings and Saturday nights in front of the TV, they’ve evolved over the last decade into something completely mainstream. From the ridiculously good remake of Hairspray in 2007, to the vibrant Mamma Mia, which gets its very own sequel Mamma Mia: Here We Go Again this year, musicals have become the ultimate in escapism.
Following on from his exceptional role in the deeply depressing Les Miserables, everyone’s favourite Australian actor, Hugh Jackman returns to the genre with The Greatest Showman. But is it worth you warming up your vocal chords for?
Inspired (very loosely may I add) by the imagination of P. T. Barnum, The Greatest Showman is an original musical that celebrates the birth of show business & tells of a visionary (Jackman) who rose from nothing to create a spectacle that became a worldwide sensation. The story is simple as we follow Barnum and his family as they rise from the depths of debt to the glitzy world of fame and fortune.
However, looking deeper, this rather poignant tale has special resonance today. In this ever-divided world, it’s message of acceptance and equality is something the majority of us still strive for. Whether it be for those who have suffered from homophobic, racial or any other abuse for simply being ‘different’, The Greatest Showman will take on a new, more emotional meaning.
One of the strongest parts of The Greatest Showman is its cast. Alongside Jackman, we have musical expert Zac Efron, Spider-Man: Homecoming’s Zendaya, Rebecca Ferguson (Mission Impossible: Rogue Nation) and Michelle Williams (All the Money in the World). Every single one of them is outstanding, emoting beautifully over the course of the film but this very much Jackman’s baby (it took nearly 7 years to get the idea to screen) and his performance is one of the best of his career.
I’m going to dedicate this paragraph to Efron, as I feel he’s been given a bit of a rough ride by me and Movie Metropolis in general. With his recent roles in Dirty Grandpa and Baywatch, he was becoming better at taking his shirt off than acting in any great capacity, but he proves in The Greatest Showman that he still has that acting prowess that made him so popular with the High School Musical crowd.
Thankfully The Greatest Showman has some of the best pieces of music in the genre
Barnum is a complex character portrayed with a warmth by Jackman that many of his peers would’ve struggled to emulate. Elsewhere, Keala Settle wows as bearded lady, Lettie. It appears her efforts here haven’t gone unnoticed as her powerful ballad This is Me has been nominated for an Oscar at this year’s awards – and it’s well-deserving of taking the crown. She is absolutely astounding.
The brings us nicely onto the songs. A musical, as its name suggests, lives or dies on the basis of its songs and score, and thankfully The Greatest Showman has some of the best pieces of music in the genre. There isn’t a single dud in the track listing with Rewrite the Stars, performed by Zac Efron and Zendaya, and the aforementioned This is Me, sang by Keala Settle being highlights. It’s fair to say that you’ll be clapping and singing along in no time.
Pacing is also one of the film’s strongest suits. Zipping along at only 105 minutes, The Greatest Showman doesn’t mess about in throwing song after song at the audience and this is more than welcome. First-time director Michael Gracey’s shot choices are rudimentary but colour leaps off the screen throughout and the cinematography really benefits from his more static filming style.
It’s testament to the talents of Hugh Jackman and this phenomenal cast that nearly two months after the film’s theatrical release, people are still flocking to see The Greatest Showman in cinemas across the globe. And it’s easy to see why. From start to finish, it is an absolute joy to watch. With a cracking set of songs, created by La La Land’s Benj Pasek and Justin Paul, and stunning performances by each member of the cast, it’s an absolute treat for the whole family to enjoy and my first five-star film of 2018.
https://moviemetropolis.net/2018/02/17/the-greatest-showman-review-all-the-fun-of-the-circus/
Following on from his exceptional role in the deeply depressing Les Miserables, everyone’s favourite Australian actor, Hugh Jackman returns to the genre with The Greatest Showman. But is it worth you warming up your vocal chords for?
Inspired (very loosely may I add) by the imagination of P. T. Barnum, The Greatest Showman is an original musical that celebrates the birth of show business & tells of a visionary (Jackman) who rose from nothing to create a spectacle that became a worldwide sensation. The story is simple as we follow Barnum and his family as they rise from the depths of debt to the glitzy world of fame and fortune.
However, looking deeper, this rather poignant tale has special resonance today. In this ever-divided world, it’s message of acceptance and equality is something the majority of us still strive for. Whether it be for those who have suffered from homophobic, racial or any other abuse for simply being ‘different’, The Greatest Showman will take on a new, more emotional meaning.
One of the strongest parts of The Greatest Showman is its cast. Alongside Jackman, we have musical expert Zac Efron, Spider-Man: Homecoming’s Zendaya, Rebecca Ferguson (Mission Impossible: Rogue Nation) and Michelle Williams (All the Money in the World). Every single one of them is outstanding, emoting beautifully over the course of the film but this very much Jackman’s baby (it took nearly 7 years to get the idea to screen) and his performance is one of the best of his career.
I’m going to dedicate this paragraph to Efron, as I feel he’s been given a bit of a rough ride by me and Movie Metropolis in general. With his recent roles in Dirty Grandpa and Baywatch, he was becoming better at taking his shirt off than acting in any great capacity, but he proves in The Greatest Showman that he still has that acting prowess that made him so popular with the High School Musical crowd.
Thankfully The Greatest Showman has some of the best pieces of music in the genre
Barnum is a complex character portrayed with a warmth by Jackman that many of his peers would’ve struggled to emulate. Elsewhere, Keala Settle wows as bearded lady, Lettie. It appears her efforts here haven’t gone unnoticed as her powerful ballad This is Me has been nominated for an Oscar at this year’s awards – and it’s well-deserving of taking the crown. She is absolutely astounding.
The brings us nicely onto the songs. A musical, as its name suggests, lives or dies on the basis of its songs and score, and thankfully The Greatest Showman has some of the best pieces of music in the genre. There isn’t a single dud in the track listing with Rewrite the Stars, performed by Zac Efron and Zendaya, and the aforementioned This is Me, sang by Keala Settle being highlights. It’s fair to say that you’ll be clapping and singing along in no time.
Pacing is also one of the film’s strongest suits. Zipping along at only 105 minutes, The Greatest Showman doesn’t mess about in throwing song after song at the audience and this is more than welcome. First-time director Michael Gracey’s shot choices are rudimentary but colour leaps off the screen throughout and the cinematography really benefits from his more static filming style.
It’s testament to the talents of Hugh Jackman and this phenomenal cast that nearly two months after the film’s theatrical release, people are still flocking to see The Greatest Showman in cinemas across the globe. And it’s easy to see why. From start to finish, it is an absolute joy to watch. With a cracking set of songs, created by La La Land’s Benj Pasek and Justin Paul, and stunning performances by each member of the cast, it’s an absolute treat for the whole family to enjoy and my first five-star film of 2018.
https://moviemetropolis.net/2018/02/17/the-greatest-showman-review-all-the-fun-of-the-circus/
Hazel (1853 KP) rated The Water Babies in Books
Dec 7, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review </i>
This year (2017), Calla Editions are printing a new hardback version of the original 1863 children’s classic <i>The Water Babies</i> written by the Anglican clergyman, Charles Kingsley (1819-75). Subtitled “<i>A Fairytale for a land-baby</i>” the book was intended for Kingsley’s youngest son and therefore was targeted at a juvenile demographic. However, as a result of the 1800’s vernacular and particularly deep themes, it has become more appropriate for older readers. With full-colour illustrations by Jessie Wilcox Smith (1863-1935) from the height of the golden age of illustration, this edition promises to be a collector’s item.
Charles Kingsley, the founder of England’s Christian Socialist movement, was exceedingly interested in the plight of the working class, particularly of the abuse and protection of children. This is reflected in his story about Tom, the ten-year-old London chimney sweep, who suffers ill-treatment at the hands of his employer. Tom, who has known nothing but the sooty streets of London, is embarrassed after scaring a beautiful young girl with his grimy appearance. Running away through a countryside he is unfamiliar with, Tom dives into a river to wash, however, falls asleep in the water.
On awakening, Tom discovers he has been transformed into a water baby; he can live and breathe amongst all the fishes and other mystical water creatures. Forgetting his horrible past, Tom is soon frolicking with the characters he meets, teasing and provoking unsuspecting individuals. But the fairies in charge of water babies are determined to teach him many lessons about truth, mercy, justice and courage.
<i>The Water Babies</i> is a morality fable with fairy-tale-like qualities. It educates young readers about the consequences of their actions but also enlightens them about the cruelty of some adults. Kingsley often talks to the reader (in this instance his son), drawing them into the story and making the scenarios as relatable as possible. The magical underwater setting is merely a veil to hide the lessons Kingsley is attempting to preach.
For the adult reader, Kingsley has a much more political message. Written at the time of political and scientific advancement, particularly in respect to the concept of natural selection, Kingsley attempts to ridicule the ideas of thinkers such as Charles Darwin by producing a satirical narrative. He suggests that scientists are fools who use unnecessarily long and foreign terms, evidenced by his use of the made-up subject of <i>Necrobioneopalæonthydrochthonanthropopithekology</i>. He also goes as far as to mock the majority of adults and appears to be completely anti-Irish people.
In some instances, Charles Kingsley goes too far in his satire, resulting in something that would not be accepted by publishers today. In order for Tom to be the hero of the story, adults need to be viewed as less than good – people who need to be punished for their discourteous treatment of children, which in this instance, they are, and quite graphically. But the most controversial theme explored is death. The more naïve may not cotton on to the fact that Tom falling asleep in the river equates to drowning, yet that is exactly what happened. Only through death can one become a water baby. To make matters slightly more alarming, Kingsley does not see this death as a bad thing; he describes Tom’s new life as something far better than life on earth – coming from a clergyman this is understandable – which suggests that death is better than living for an abused child.
Despite these controversies, Kingsley’s prose is humorous and entertaining - far more mind-boggling than you may initially expect. With characters named Mrs Bedonebyasyoudid and Professor Ptthmllnsprts, there is plenty to make readers laugh. Some of the hilarities may go above the heads of children since the jargon is no longer used in today’s society, however, adults will be able to appreciate the comical aspect.
Over 150 years old, <i>The Water Babies</i> has remained a classic. It reveals the political, scientific and social situations of the mid-1800s, yet it contains wisdom that is still relevant today. As Kingsley’s daughter Rose says in the introduction, “What a fine thing it is to love truth, mercy, justice, courage, and all things noble and of good report.” No matter how peculiar this novel is, it says a lot about the virtues of our character.
This year (2017), Calla Editions are printing a new hardback version of the original 1863 children’s classic <i>The Water Babies</i> written by the Anglican clergyman, Charles Kingsley (1819-75). Subtitled “<i>A Fairytale for a land-baby</i>” the book was intended for Kingsley’s youngest son and therefore was targeted at a juvenile demographic. However, as a result of the 1800’s vernacular and particularly deep themes, it has become more appropriate for older readers. With full-colour illustrations by Jessie Wilcox Smith (1863-1935) from the height of the golden age of illustration, this edition promises to be a collector’s item.
Charles Kingsley, the founder of England’s Christian Socialist movement, was exceedingly interested in the plight of the working class, particularly of the abuse and protection of children. This is reflected in his story about Tom, the ten-year-old London chimney sweep, who suffers ill-treatment at the hands of his employer. Tom, who has known nothing but the sooty streets of London, is embarrassed after scaring a beautiful young girl with his grimy appearance. Running away through a countryside he is unfamiliar with, Tom dives into a river to wash, however, falls asleep in the water.
On awakening, Tom discovers he has been transformed into a water baby; he can live and breathe amongst all the fishes and other mystical water creatures. Forgetting his horrible past, Tom is soon frolicking with the characters he meets, teasing and provoking unsuspecting individuals. But the fairies in charge of water babies are determined to teach him many lessons about truth, mercy, justice and courage.
<i>The Water Babies</i> is a morality fable with fairy-tale-like qualities. It educates young readers about the consequences of their actions but also enlightens them about the cruelty of some adults. Kingsley often talks to the reader (in this instance his son), drawing them into the story and making the scenarios as relatable as possible. The magical underwater setting is merely a veil to hide the lessons Kingsley is attempting to preach.
For the adult reader, Kingsley has a much more political message. Written at the time of political and scientific advancement, particularly in respect to the concept of natural selection, Kingsley attempts to ridicule the ideas of thinkers such as Charles Darwin by producing a satirical narrative. He suggests that scientists are fools who use unnecessarily long and foreign terms, evidenced by his use of the made-up subject of <i>Necrobioneopalæonthydrochthonanthropopithekology</i>. He also goes as far as to mock the majority of adults and appears to be completely anti-Irish people.
In some instances, Charles Kingsley goes too far in his satire, resulting in something that would not be accepted by publishers today. In order for Tom to be the hero of the story, adults need to be viewed as less than good – people who need to be punished for their discourteous treatment of children, which in this instance, they are, and quite graphically. But the most controversial theme explored is death. The more naïve may not cotton on to the fact that Tom falling asleep in the river equates to drowning, yet that is exactly what happened. Only through death can one become a water baby. To make matters slightly more alarming, Kingsley does not see this death as a bad thing; he describes Tom’s new life as something far better than life on earth – coming from a clergyman this is understandable – which suggests that death is better than living for an abused child.
Despite these controversies, Kingsley’s prose is humorous and entertaining - far more mind-boggling than you may initially expect. With characters named Mrs Bedonebyasyoudid and Professor Ptthmllnsprts, there is plenty to make readers laugh. Some of the hilarities may go above the heads of children since the jargon is no longer used in today’s society, however, adults will be able to appreciate the comical aspect.
Over 150 years old, <i>The Water Babies</i> has remained a classic. It reveals the political, scientific and social situations of the mid-1800s, yet it contains wisdom that is still relevant today. As Kingsley’s daughter Rose says in the introduction, “What a fine thing it is to love truth, mercy, justice, courage, and all things noble and of good report.” No matter how peculiar this novel is, it says a lot about the virtues of our character.
Darren (1599 KP) rated A Time to Kill (1996) in Movies
Jun 20, 2019
Story: A Time to Kill starts a we see 10-year-old Tonya beaten and raped by Billy Ray Cobb (Katt) and James Louis Willard (Hutchison) and with the case taken to court it looks like they will get off the charge, her father Carl Lee Hailey (Jackson) takes matters into his own hands.
Carl Lee facing a double murder charge Jake Tyler Brigance (McConaughey) takes the case having to go up against powerful DA Rufus Buckley (Spacey) in what is a case fuelled with racial tension.
When the case brings the Ku Klux Klan back from grave Jake puts his own family in danger but thanks to young law student Ellen Roark (Bullock) and his mentor Lucien Wilbanks (D.Sutherland) to help him keep his business a float and win this case.
A Time to Kill is a racial driven courtroom crime thriller that touches on everything with the nice amount of time. We get left to question what you would do if you were in any of the position between the case which is a huge plus for the film. The idea that we get the racial tension going on because of how the case could be treated differently depending on the skin colour of a character also helps drive the story. when it comes to courtroom drama this is by fair one of the best out there.
Actor Review
Matthew McConaughey: Jake Tyler Brigance is a young lawyer who has taken over a small law firm from his mentor who struggles to keep the business afloat. When this case comes his way he wants to do the right thing because he knows how this can be a difficult decision and believe he can win the case against the odds. Matthew shows early on in his career he could handle the serious films in leading role.
Sandra Bullock: Ellen Roark is a young law student who has helped on many murder cases and wants to help Jake with this case to help clear Carl Lee from the charges. She has different political beliefs to him which they do class on but their passion together can drive the case. Sandra shines in this role in her early career showing how she can pull of the serious roles too.
Samuel L Jackson: Carl Lee Hailey is the man that finds his daughter beaten and raped and decides to take justice into his own hands by killing the men involved. He doesn’t care what happens to him just as long as he makes these men pay but not faces a double murder charge. Samuel is great in this role as a man who got pushed to his limits.
Kevin Spacey: D A Rufus Buckley is the cocky DA who thinks this case is a slam dunk as he knows he can get the white man’s vote on the jury and questions Jake ability in a courtroom. Kevin while playing a standard character for the villain of the courtroom hit it ot the park in every scene.
Support Cast: A Time to Kill has a supporting cast which is filled with stars in nearly every scene and each one gives a brilliant performance throughout the film.
Director Review: Joel Schumacher – Joel gives us one of his best films that balance the racial tension with the crime case perfectly.
Crime: A Time to Kill leaves us in the middle of a court case handle a sensitive subject which poses us questions on where you would stand on such a case.
Thriller: A Time to Kill does keep us one edge wondering where the next twist will come in the story be it in the courtroom or the tension building outside the courts.
Settings: A Time to Kill keeps nearly all the settings within the Louisiana town where racial tension is still strong and you can see the difference in both sides even with the same struggles.
Suggestion: A Time to Kill is one of the most must watch courtroom dramas out there with such a sensitive subject. (Must Watch)
Best Part: Closing speech.
Worst Part: Slightly long if you are being picky.
Believability: Parts could be.
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Budget: $40 Million
Runtime: 2 Hours 29 Minutes
Tagline: A lawyer and his assistant fighting to save a father on trial for murder. A time to question what they believe. A time to doubt what they trust. And no time for mistakes.
Overall: One of the all-time best courtroom drams out there
https://moviesreview101.com/2016/11/06/matthew-mcconaughey-weekend-a-time-to-kill-1996/
Carl Lee facing a double murder charge Jake Tyler Brigance (McConaughey) takes the case having to go up against powerful DA Rufus Buckley (Spacey) in what is a case fuelled with racial tension.
When the case brings the Ku Klux Klan back from grave Jake puts his own family in danger but thanks to young law student Ellen Roark (Bullock) and his mentor Lucien Wilbanks (D.Sutherland) to help him keep his business a float and win this case.
A Time to Kill is a racial driven courtroom crime thriller that touches on everything with the nice amount of time. We get left to question what you would do if you were in any of the position between the case which is a huge plus for the film. The idea that we get the racial tension going on because of how the case could be treated differently depending on the skin colour of a character also helps drive the story. when it comes to courtroom drama this is by fair one of the best out there.
Actor Review
Matthew McConaughey: Jake Tyler Brigance is a young lawyer who has taken over a small law firm from his mentor who struggles to keep the business afloat. When this case comes his way he wants to do the right thing because he knows how this can be a difficult decision and believe he can win the case against the odds. Matthew shows early on in his career he could handle the serious films in leading role.
Sandra Bullock: Ellen Roark is a young law student who has helped on many murder cases and wants to help Jake with this case to help clear Carl Lee from the charges. She has different political beliefs to him which they do class on but their passion together can drive the case. Sandra shines in this role in her early career showing how she can pull of the serious roles too.
Samuel L Jackson: Carl Lee Hailey is the man that finds his daughter beaten and raped and decides to take justice into his own hands by killing the men involved. He doesn’t care what happens to him just as long as he makes these men pay but not faces a double murder charge. Samuel is great in this role as a man who got pushed to his limits.
Kevin Spacey: D A Rufus Buckley is the cocky DA who thinks this case is a slam dunk as he knows he can get the white man’s vote on the jury and questions Jake ability in a courtroom. Kevin while playing a standard character for the villain of the courtroom hit it ot the park in every scene.
Support Cast: A Time to Kill has a supporting cast which is filled with stars in nearly every scene and each one gives a brilliant performance throughout the film.
Director Review: Joel Schumacher – Joel gives us one of his best films that balance the racial tension with the crime case perfectly.
Crime: A Time to Kill leaves us in the middle of a court case handle a sensitive subject which poses us questions on where you would stand on such a case.
Thriller: A Time to Kill does keep us one edge wondering where the next twist will come in the story be it in the courtroom or the tension building outside the courts.
Settings: A Time to Kill keeps nearly all the settings within the Louisiana town where racial tension is still strong and you can see the difference in both sides even with the same struggles.
Suggestion: A Time to Kill is one of the most must watch courtroom dramas out there with such a sensitive subject. (Must Watch)
Best Part: Closing speech.
Worst Part: Slightly long if you are being picky.
Believability: Parts could be.
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Budget: $40 Million
Runtime: 2 Hours 29 Minutes
Tagline: A lawyer and his assistant fighting to save a father on trial for murder. A time to question what they believe. A time to doubt what they trust. And no time for mistakes.
Overall: One of the all-time best courtroom drams out there
https://moviesreview101.com/2016/11/06/matthew-mcconaughey-weekend-a-time-to-kill-1996/
Emma @ The Movies (1786 KP) rated Little Joe (2019) in Movies
Feb 6, 2020
I managed to get a ticket to see this at the London Film Festival, it had made my long shortlist, the premise looked interesting and the graphics were extremely appealing. I was very excited to see what Little Joe had in store.
Alice is developing a new breed of flower, a beautiful crimson flower that has an incredible therapeutic value to its owner. Look after it properly, speak to it nicely, and it will make you happy.
After Alice sneaks one home to her son she soon notices that rather than a happy demeanour he starts acting strangely, and he's not the only one showing odd behaviour after being around Little Joe.
Little Joe has some very strong style choices. The colour palette is beautiful, and I wish I could find the notes I made about it from the Q&A after the film. The vibrant pastels are homely and comforting while at the same time unsettling around the normal tones of life.
That's what a lot of the film is made to do though, the music is something I noted frequently. The oriental music works directly against what's happening in the story, an intentional choice by the composer. I also wrote down the word "whistling" a lot with regards to sound. While I can understand (sort of) why the composer went that way with the music I didn't feel like it worked. I didn't dislike the music itself, but my comments were mainly exclaiming that it stuck out and felt too different from everything around it that it became distracting.
Another piece of the film that didn't sit well with me was camera work. There are some very well shot scenes, when we first encounter Little Joe in Alice's home and a scene later on inside the greenhouse (that I won't go into because of spoilers), that draw the viewer in with intrigue. But then... you know when you're doing something and you get bored and realise you've drifted off looking at a point in the distance? The camera appears to get bored too and it'll zoom to the gaps between characters. Maybe I'm just programmed to expect this sort of shot to reveal something secret to the audience that the characters haven't noticed... I found it more distracting and annoying than having any artistic benefit.
Alice (Emily Beecham) has a dual mother role, firstly with her son Joe and secondly with her plants. Little Joe appears to be more like a son to her than her own flesh and blood, her scientific mind perhaps finding it easier to interact with an inanimate object that begins to defy what she knows to be possible. The film gets across her struggle quite well with her therapy sessions and the interactions with those around her as we get deeper into the story. Beecham's performance is... relaxed? Even when there's urgency nothing ever seems to be very urgent.
That's something that is common throughout, the pace plods. You would expect a somewhat subdued pace in this sort of invasion storyline, but there are no real points of climax and that makes it more of a meander... perhaps those exciting moments happened when the camera zoned out.
There are touches here and there that do make you hopeful for the film, but overall it feels like Little Joe went for subtle and took it slightly too far. Everything felt too calm, the only one that seemed to react as you'd expect was Bella, but the nature of her part of the story meant that this was over the top because it was so far from everything else.
I like the idea behind this and we know from many different films that this sort of thing can work, but the lack of a real punch anywhere made this a struggle to watch. Oddly, I think this would have worked as a limited series without a lot of changes. The slow pace wouldn't have been so evident if it was broken down into episodes, there are small peaks in there that would give just enough intrigue to hold over to the next episode, I even feel like the ending as it is would have worked more in this style. Sadly, as it was I don't feel like there was enough reward for the time invested in watching it as a film, there's a different expectation between and film and a TV series but it's very difficult to explain it here without revealing spoilers.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/little-joe-movie-review.html
Alice is developing a new breed of flower, a beautiful crimson flower that has an incredible therapeutic value to its owner. Look after it properly, speak to it nicely, and it will make you happy.
After Alice sneaks one home to her son she soon notices that rather than a happy demeanour he starts acting strangely, and he's not the only one showing odd behaviour after being around Little Joe.
Little Joe has some very strong style choices. The colour palette is beautiful, and I wish I could find the notes I made about it from the Q&A after the film. The vibrant pastels are homely and comforting while at the same time unsettling around the normal tones of life.
That's what a lot of the film is made to do though, the music is something I noted frequently. The oriental music works directly against what's happening in the story, an intentional choice by the composer. I also wrote down the word "whistling" a lot with regards to sound. While I can understand (sort of) why the composer went that way with the music I didn't feel like it worked. I didn't dislike the music itself, but my comments were mainly exclaiming that it stuck out and felt too different from everything around it that it became distracting.
Another piece of the film that didn't sit well with me was camera work. There are some very well shot scenes, when we first encounter Little Joe in Alice's home and a scene later on inside the greenhouse (that I won't go into because of spoilers), that draw the viewer in with intrigue. But then... you know when you're doing something and you get bored and realise you've drifted off looking at a point in the distance? The camera appears to get bored too and it'll zoom to the gaps between characters. Maybe I'm just programmed to expect this sort of shot to reveal something secret to the audience that the characters haven't noticed... I found it more distracting and annoying than having any artistic benefit.
Alice (Emily Beecham) has a dual mother role, firstly with her son Joe and secondly with her plants. Little Joe appears to be more like a son to her than her own flesh and blood, her scientific mind perhaps finding it easier to interact with an inanimate object that begins to defy what she knows to be possible. The film gets across her struggle quite well with her therapy sessions and the interactions with those around her as we get deeper into the story. Beecham's performance is... relaxed? Even when there's urgency nothing ever seems to be very urgent.
That's something that is common throughout, the pace plods. You would expect a somewhat subdued pace in this sort of invasion storyline, but there are no real points of climax and that makes it more of a meander... perhaps those exciting moments happened when the camera zoned out.
There are touches here and there that do make you hopeful for the film, but overall it feels like Little Joe went for subtle and took it slightly too far. Everything felt too calm, the only one that seemed to react as you'd expect was Bella, but the nature of her part of the story meant that this was over the top because it was so far from everything else.
I like the idea behind this and we know from many different films that this sort of thing can work, but the lack of a real punch anywhere made this a struggle to watch. Oddly, I think this would have worked as a limited series without a lot of changes. The slow pace wouldn't have been so evident if it was broken down into episodes, there are small peaks in there that would give just enough intrigue to hold over to the next episode, I even feel like the ending as it is would have worked more in this style. Sadly, as it was I don't feel like there was enough reward for the time invested in watching it as a film, there's a different expectation between and film and a TV series but it's very difficult to explain it here without revealing spoilers.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/little-joe-movie-review.html
Movie Metropolis (309 KP) rated Deadpool 2 (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
More of the same
Who would have thought we would get to this? I certainly didn’t. After the right royal mess 20th Century Fox made of everyone’s favourite anti-hero, Deadpool, in X-Men Origins: Wolverine all those years ago, it felt like a solo outing would never be possible, never mind a sequel.
Deadpool senior went on to gross nearly $800million worldwide, impressive for an R-rated (15 certification) flick, and was an undisputed king of comic-book hero movies. Like Guardians of the Galaxy was for Marvel Studios, Deadpool was a huge gamble that paid off massively thanks to Ryan Reynold’s brilliant comic-timing and an origins story that wasn’t done to death. Naturally, a sequel was always on the cards. But are we looking at a sequel of Empire quality or Speed 2: Cruise Control?
Wisecracking mercenary Deadpool (Reynolds) is back, and this time he decides to joins force with three mutants – Bedlam (Terry Crews), Shatterstar (Lewis Tan) and Domino (Zazie Beets) – to protect a boy from the all-powerful Cable (Josh Brolin).
One-half of John Wick’s directing team, David Leitch, is thrust into the directing chair for Deadpool 2 after Tim Miller was unceremoniously dumped from the project due to creative differences with Ryan Reynolds (read into that what you will). Thankfully, he brings that trademark style that we again saw in Atomic Blonde to this sequel and with that comes plenty of stylised action and a neon/grey colour palate plus a Celine Dion number that’s just begging for parody status.
Surprisingly, that all works rather well for this film. Propped by another cracking performance from Ryan Reynolds who has really found his calling after years of mediocrity. I’ve said it before and I’ll say it again, he was absolutely born to play this role and his dry wit is given much more room to breathe this time around.
The rest of the cast are fine, if a little underdeveloped. Zazie Beets probably makes the most impact as mutant, Domino, but even she is a little underpowered when compared to the brilliant work the MCU has done on its heroes over the years. Josh Brolin (who must be getting paid rather handsomely this year) is great as Cable, though it is difficult to hear his voice and not immediately think of Thanos. T.J. Miller returns in a heavily reduced role as does Reynolds’ on-screen girlfriend Morena Baccarin who is criminally underused.
Story wise, it’s pretty much more of the same and that’s no bad thing. The fourth-wall breaking is as fresh as it felt two years ago and is cleverly used to hide the necessary exposition to bring the audience up-to-speed with what’s been happening in Deadpool-ville over the last couple of years.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members
The comedy hits more than it misses, though the constant quipps can be exhausting, and the action is filmed as confidently as you’d expect from the man who brought Keanu Reeves screaming into the 21st Century, but there is some incredibly poor CGI that is at odds with a movie costing over $100million. By incredibly poor, I don’t mean just a bit naff, I’m talking laughably bad.
The finale is vibrant, action-packed and as Deadpool himself says, CGI-filled, but it’s a little unoriginal and very much like its predecessor, though the inclusion of one particular character that I won’t spoil here is great fun to see.
There are also plenty of X-Men Easter eggs for fans to enjoy too. From characters showing up where you’d least expect them to a blink-and-you’ll-miss-it Stan Lee cameo, the film is full to the brim of in-references that only the most hardened of comic-book fans will notice on the first watch.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members. Reynolds, T.J. Miller, Leslie Uggams (Wade Wilson’s blind roommate Al) and Karan Soni (taxi driver Dopinder) are welcome returnees and ensure the film has a little heart, though not too much. After all, that wouldn’t be the Deadpool way.
Overall, Deadpool 2 is a confident sequel to one of the best comic-book movies there is. What it does right, it does very well indeed. The comedy, performances and action are all spot on. Unfortunately, there are some very poor special effects over the course of the film and in an effort to make everything bigger and badder, it occasionally feels like a mass of scenes put together to make a film. A worthy sequel, but not an Empire or Spider-Man 2 in this instance.
https://moviemetropolis.net/2018/05/16/deadpool-2-review-more-of-the-same/#more-6342
Deadpool senior went on to gross nearly $800million worldwide, impressive for an R-rated (15 certification) flick, and was an undisputed king of comic-book hero movies. Like Guardians of the Galaxy was for Marvel Studios, Deadpool was a huge gamble that paid off massively thanks to Ryan Reynold’s brilliant comic-timing and an origins story that wasn’t done to death. Naturally, a sequel was always on the cards. But are we looking at a sequel of Empire quality or Speed 2: Cruise Control?
Wisecracking mercenary Deadpool (Reynolds) is back, and this time he decides to joins force with three mutants – Bedlam (Terry Crews), Shatterstar (Lewis Tan) and Domino (Zazie Beets) – to protect a boy from the all-powerful Cable (Josh Brolin).
One-half of John Wick’s directing team, David Leitch, is thrust into the directing chair for Deadpool 2 after Tim Miller was unceremoniously dumped from the project due to creative differences with Ryan Reynolds (read into that what you will). Thankfully, he brings that trademark style that we again saw in Atomic Blonde to this sequel and with that comes plenty of stylised action and a neon/grey colour palate plus a Celine Dion number that’s just begging for parody status.
Surprisingly, that all works rather well for this film. Propped by another cracking performance from Ryan Reynolds who has really found his calling after years of mediocrity. I’ve said it before and I’ll say it again, he was absolutely born to play this role and his dry wit is given much more room to breathe this time around.
The rest of the cast are fine, if a little underdeveloped. Zazie Beets probably makes the most impact as mutant, Domino, but even she is a little underpowered when compared to the brilliant work the MCU has done on its heroes over the years. Josh Brolin (who must be getting paid rather handsomely this year) is great as Cable, though it is difficult to hear his voice and not immediately think of Thanos. T.J. Miller returns in a heavily reduced role as does Reynolds’ on-screen girlfriend Morena Baccarin who is criminally underused.
Story wise, it’s pretty much more of the same and that’s no bad thing. The fourth-wall breaking is as fresh as it felt two years ago and is cleverly used to hide the necessary exposition to bring the audience up-to-speed with what’s been happening in Deadpool-ville over the last couple of years.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members
The comedy hits more than it misses, though the constant quipps can be exhausting, and the action is filmed as confidently as you’d expect from the man who brought Keanu Reeves screaming into the 21st Century, but there is some incredibly poor CGI that is at odds with a movie costing over $100million. By incredibly poor, I don’t mean just a bit naff, I’m talking laughably bad.
The finale is vibrant, action-packed and as Deadpool himself says, CGI-filled, but it’s a little unoriginal and very much like its predecessor, though the inclusion of one particular character that I won’t spoil here is great fun to see.
There are also plenty of X-Men Easter eggs for fans to enjoy too. From characters showing up where you’d least expect them to a blink-and-you’ll-miss-it Stan Lee cameo, the film is full to the brim of in-references that only the most hardened of comic-book fans will notice on the first watch.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members. Reynolds, T.J. Miller, Leslie Uggams (Wade Wilson’s blind roommate Al) and Karan Soni (taxi driver Dopinder) are welcome returnees and ensure the film has a little heart, though not too much. After all, that wouldn’t be the Deadpool way.
Overall, Deadpool 2 is a confident sequel to one of the best comic-book movies there is. What it does right, it does very well indeed. The comedy, performances and action are all spot on. Unfortunately, there are some very poor special effects over the course of the film and in an effort to make everything bigger and badder, it occasionally feels like a mass of scenes put together to make a film. A worthy sequel, but not an Empire or Spider-Man 2 in this instance.
https://moviemetropolis.net/2018/05/16/deadpool-2-review-more-of-the-same/#more-6342
Movie Metropolis (309 KP) rated Aquaman (2018) in Movies
Jun 10, 2019
Bad Wigs aside it's really rather good
You could be forgiven for being rather sceptical walking into the cinema to see Aquaman, and it’s easy to see why. An uninspiring set of trailers preceded by the DCEU’s shall we say reluctance to resonate with audiences.
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/