Search
Search results
Belle, Book and Christmas candle
8.0
Rate It
Book
Sky St Clair doesn't, and growing up in Castle Clair, a small town renowned for its mystical past...
The Best of Miranda: Favourite Episodes Plus Added Treats - Such Fun!
4.0
Rate It
Book
Well hello to you, Dear Book Peruser and thank you for your kind interest in my book o'Miranda. Here...
Ryan Hill (152 KP) rated Shazam! (2019) in Movies
Jun 22, 2019
"i'd like to purchase some of your finest beer please"
Shout "Shazam!" into the sky and you're struck by a bolt of lightning from the heavens; blessed with the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles and the speed of Mercury. Instantly elevated from whatever you were into your peak self; reborn with a crack of thunder, a flash of light and a cloud of smoke. It's a wonderfully novel and simple idea for a comic book character. Something that allows for a spectacular hero moment right before each conflict or feat; an epic bit of imagery to light up the night sky and electrify the frame. This transformation also perfectly captures the spirit of both this film and it's hero; a belief in the idea that even the most forgotten, marginalized and seemingly powerless person can change the world.
Shazam! distinguishes itself as DC's first true crack at a comedy; also it's lightest and most modest effort yet. There's a really nice commitment to the lofty, somewhat ridiculously mythological source material here. There's little liberty taken with Shazam's campy world of wizards, demons and magic; the attitude towards these elements can best be described as self-aware without being self-conscious. The jokes almost all land and there's charm oozing out of every frame. Loads of heart, tons of humor and a true fidelity to childhood joy make this such a uniquely enjoyable flick; and an impressively confident approach to a hero that soars due to it's big personality and earnest attitude.
Our hero's journey here boils down to a kid learning to care about a world that has never bothered to care about him. Abandoned as a child and shuttled through the foster system; the explanation and depiction of Billy Batson's unenviable situation is irreverent and laced with sarcasm, true to how teens often confront traumas that imply vulnerability. The film allows these kids to be kids; meaning they're impulsive and ill-equipped for the situation they're in; and often crude and frustratingly ignorant to a seemingly obvious truth. The premise lends itself to a close look at responsibility and purpose; basically a feature length look at a lost kid reclaiming his identity and finding a family. The point at which Billy truly becomes a hero with something to fight for is powerful; a simple but big-hearted affirmation of the importance of connection and love, especially to a kid who's never allowed himself to know either.
Superhero stories can impart lessons in a variety of ways. Both on the page and on the screen; there's a wide array of films that all excel in their own specific way; shaping themselves in the image of their hero, and what he/she means to readers around the world. Shazam! distinguishes itself spectacularly as a film about what constitutes a family, and how that family reflects who we are. There's a powerful yearning in Billy for a connection; someone or something to fight for. A desperate desire for love and support; to feel like a part of something in some way. There's a meaningful, deeply human core to that concept; something universal and immediately affecting. Shazam! understands this from the start; setting aside the punchsplosians and skybeams for a moment, to remind us that sometimes a kid looking for his mom can be as compelling than the threat of planetary destruction. So bring on Joker, Birds of Prey, Wonder Woman 1984 and whatever else DC has in it's chaotic, ever-changing slate of planned superhero flicks; they're on a roll right now.
Shazam! distinguishes itself as DC's first true crack at a comedy; also it's lightest and most modest effort yet. There's a really nice commitment to the lofty, somewhat ridiculously mythological source material here. There's little liberty taken with Shazam's campy world of wizards, demons and magic; the attitude towards these elements can best be described as self-aware without being self-conscious. The jokes almost all land and there's charm oozing out of every frame. Loads of heart, tons of humor and a true fidelity to childhood joy make this such a uniquely enjoyable flick; and an impressively confident approach to a hero that soars due to it's big personality and earnest attitude.
Our hero's journey here boils down to a kid learning to care about a world that has never bothered to care about him. Abandoned as a child and shuttled through the foster system; the explanation and depiction of Billy Batson's unenviable situation is irreverent and laced with sarcasm, true to how teens often confront traumas that imply vulnerability. The film allows these kids to be kids; meaning they're impulsive and ill-equipped for the situation they're in; and often crude and frustratingly ignorant to a seemingly obvious truth. The premise lends itself to a close look at responsibility and purpose; basically a feature length look at a lost kid reclaiming his identity and finding a family. The point at which Billy truly becomes a hero with something to fight for is powerful; a simple but big-hearted affirmation of the importance of connection and love, especially to a kid who's never allowed himself to know either.
Superhero stories can impart lessons in a variety of ways. Both on the page and on the screen; there's a wide array of films that all excel in their own specific way; shaping themselves in the image of their hero, and what he/she means to readers around the world. Shazam! distinguishes itself spectacularly as a film about what constitutes a family, and how that family reflects who we are. There's a powerful yearning in Billy for a connection; someone or something to fight for. A desperate desire for love and support; to feel like a part of something in some way. There's a meaningful, deeply human core to that concept; something universal and immediately affecting. Shazam! understands this from the start; setting aside the punchsplosians and skybeams for a moment, to remind us that sometimes a kid looking for his mom can be as compelling than the threat of planetary destruction. So bring on Joker, Birds of Prey, Wonder Woman 1984 and whatever else DC has in it's chaotic, ever-changing slate of planned superhero flicks; they're on a roll right now.
Gareth von Kallenbach (980 KP) rated Get Out (2017) in Movies
Jul 12, 2019
ritten and directed by Jordan Peele, “Get Out” is not so much an actual horror film but more of a dark comedy. The plot is filled with political undertones, spotlighting awkward racial interactions that are shadowed by systemic inequality.
Chris Washington (Daniel Kaluuya) and Rose Armitage (Allison Williams) are a vibrant young couple living in the city. He’s a photographer. Not sure what she does. He’s black. She’s white. After dating for four months, Rose convinces Chris to go on a trip to meet her parents. Chris is apprehensive at first and skeptical about how her parents will react to meeting their daughter’s black boyfriend. Rose laughs that off and everything seems fine as they head to the country.
From this point forward the film starts to build in creepiness. It almost has the feel of an M. Night Shayamalan movie like “The Village.” As the plot develops, the audience knows they are supposed to be suspecting something creepy and sinister hiding behind images of normalcy. So everything begins to take on this feel. Rose’s family lives in a creepily perfect mansion in the country. They have a creepily quiet black groundskeeper and a creepily happy black maid.
Fortunately, two things save this film from becoming a hokey Shyamalan style disappointment. The plot is executed in a comedic fashion and it isn’t completely predictable.
The entire film balances a creepy-funny style. Moments of white people awkwardly trying to appear not-racist also build a suspenseful feeling that something darker is behind the surface.
Rose’s mom Missy (Catherine Keener) specializes in hypnosis. It quickly becomes clear that Missy is using mind control tactics to basically enslave black people. Under her spell, her victims take a psychological fall into a dark abyss and are left in a robotic state. It would have been nice if this aspect of the plot was given more screen time.
The film picks up pace when Rose’s parents host a “family” get together that actually turns out to be essentially a “slave” auction. It almost takes too much time to get to this point in the plot. A few more moments, and it would begin to feel like trudging through a repetitious build up. From here forward, it becomes pretty fast paced as Chris desperately tries to escape a horrific fate.
“Get Out” probably won’t actually scare anyone, but it is highly entertaining in a very dark way.
Chris Washington (Daniel Kaluuya) and Rose Armitage (Allison Williams) are a vibrant young couple living in the city. He’s a photographer. Not sure what she does. He’s black. She’s white. After dating for four months, Rose convinces Chris to go on a trip to meet her parents. Chris is apprehensive at first and skeptical about how her parents will react to meeting their daughter’s black boyfriend. Rose laughs that off and everything seems fine as they head to the country.
From this point forward the film starts to build in creepiness. It almost has the feel of an M. Night Shayamalan movie like “The Village.” As the plot develops, the audience knows they are supposed to be suspecting something creepy and sinister hiding behind images of normalcy. So everything begins to take on this feel. Rose’s family lives in a creepily perfect mansion in the country. They have a creepily quiet black groundskeeper and a creepily happy black maid.
Fortunately, two things save this film from becoming a hokey Shyamalan style disappointment. The plot is executed in a comedic fashion and it isn’t completely predictable.
The entire film balances a creepy-funny style. Moments of white people awkwardly trying to appear not-racist also build a suspenseful feeling that something darker is behind the surface.
Rose’s mom Missy (Catherine Keener) specializes in hypnosis. It quickly becomes clear that Missy is using mind control tactics to basically enslave black people. Under her spell, her victims take a psychological fall into a dark abyss and are left in a robotic state. It would have been nice if this aspect of the plot was given more screen time.
The film picks up pace when Rose’s parents host a “family” get together that actually turns out to be essentially a “slave” auction. It almost takes too much time to get to this point in the plot. A few more moments, and it would begin to feel like trudging through a repetitious build up. From here forward, it becomes pretty fast paced as Chris desperately tries to escape a horrific fate.
“Get Out” probably won’t actually scare anyone, but it is highly entertaining in a very dark way.
Natalia (73 KP) rated Spider-Man: Into the Spider-Verse (2018) in Movies
Dec 19, 2018
Character Development (5 more)
Story
Art Direction
Soundtrack + Effects
Comedy, Action and Emotions
True to the Source
I've just recently come home from the cinema, and I can gladly say this was an amazing film. I may be looking at it through rose-coloured glasses, with how excited I was when we got the first trailer, but I can say with all sincerity that this film made me laugh, cry and blew away my expectations.
The film crosses over some iconic and some more obscure Spider-Man universes and manages to do it in a unique and palatable way. Each iteration of Spider-Man has a specific animation/art style, along with a specific soundtrack and extremely talented voice actors (or at least actors whose voices were made for the role: this meaning John Mulaney). Seeing all of this creative work come together in one film truly is an experience that I don't want people to miss out on.
A key part I really want to go into more is the use of colour and focus. It visuals of the film are vivid and attune to the tone of what scene is playing out. You can see how saturation and the palettes themselves are used the highlight characters or actions and are especially useful with emotional scenes. These emotions though are presented more with the composition which is consistently used to call back previous scenes in a subtle way that I absolutely adore.
The characters are very much real, most specifically in Miles and his family relationships. We see a real family dynamic that works - if I could point out a scene from a few trailers as an example, when Miles' father takes him to school and asks for him to say 'I love you' back really shows this realistic family that you could picture actually existing in the real world. The lack of a really existing romantic subplot is also something I love - the focus is on coming to terms with the fact that Miles isn't alone, that no one is. Without this romance, the film is just as good as any other, possibly even better with the fact that our potential romantic interest actually doesn't turn out to be.
The next thing that is certainly huge for any die-hard Marvel fans is the fact that it's very much true to the comic books. In the way its told, the way it's presented, and the actual story, the characters are all recognizable both by appearance and by their personalities/behaviours.
The only negative I can find for the film isn't even part of the film itself: Though the cinema gave warning for epilepsy, the film itself does not. While I'm sure theatres are required to give warning, it may be a good idea to give an on-screen warning, especially when the opening logo itself could easily trigger epilepsy.
Overall, I wish I could go back and watch it over and over, so I think most people will enjoy this film, no matter what their knowledge of the MCU is. An engaging story told in a creative way and with an incredibly hilarious after credits scene - worth a watch from everyone.
The film crosses over some iconic and some more obscure Spider-Man universes and manages to do it in a unique and palatable way. Each iteration of Spider-Man has a specific animation/art style, along with a specific soundtrack and extremely talented voice actors (or at least actors whose voices were made for the role: this meaning John Mulaney). Seeing all of this creative work come together in one film truly is an experience that I don't want people to miss out on.
A key part I really want to go into more is the use of colour and focus. It visuals of the film are vivid and attune to the tone of what scene is playing out. You can see how saturation and the palettes themselves are used the highlight characters or actions and are especially useful with emotional scenes. These emotions though are presented more with the composition which is consistently used to call back previous scenes in a subtle way that I absolutely adore.
The characters are very much real, most specifically in Miles and his family relationships. We see a real family dynamic that works - if I could point out a scene from a few trailers as an example, when Miles' father takes him to school and asks for him to say 'I love you' back really shows this realistic family that you could picture actually existing in the real world. The lack of a really existing romantic subplot is also something I love - the focus is on coming to terms with the fact that Miles isn't alone, that no one is. Without this romance, the film is just as good as any other, possibly even better with the fact that our potential romantic interest actually doesn't turn out to be.
The next thing that is certainly huge for any die-hard Marvel fans is the fact that it's very much true to the comic books. In the way its told, the way it's presented, and the actual story, the characters are all recognizable both by appearance and by their personalities/behaviours.
The only negative I can find for the film isn't even part of the film itself: Though the cinema gave warning for epilepsy, the film itself does not. While I'm sure theatres are required to give warning, it may be a good idea to give an on-screen warning, especially when the opening logo itself could easily trigger epilepsy.
Overall, I wish I could go back and watch it over and over, so I think most people will enjoy this film, no matter what their knowledge of the MCU is. An engaging story told in a creative way and with an incredibly hilarious after credits scene - worth a watch from everyone.
Movie Metropolis (309 KP) rated Love, Simon (2018) in Movies
Jun 10, 2019
One of the most important films in a generation
I don’t think anyone will have any qualms in me saying that the LGBT community is one of the most vastly underrepresented parts of society when it comes to mainstream Hollywood movies.
Sure, we’ve had indie hits like Call Me by Your Name and Moonlight that have also performed well at the Oscars, but the closest we’ve ever gotten to a mass-market crowd pleaser has been Ang Lee’s 2005 flick Brokeback Mountain and if we’re being honest, that wasn’t marketed in a way that made it particularly mainstream.
Aiming to change all that is Love, Simon. Based on the novel Simon vs. the Homo Sapiens Agenda by Becky Albertalli, Love, Simon is the first truly mainstream rom-com that features a lead gay character. But is the film a beacon of hope for a massively underrepresented LGBT community or a movie that daren’t go too far?
Everyone deserves a great love story, but for 17-year-old Simon Spier (Nick Robinson), it’s a little more complicated. He hasn’t told his family or friends that he’s gay, and he doesn’t know the identity of the anonymous classmate that he’s fallen for online. Resolving both issues proves hilarious, terrifying and life-changing.
Love, Simon is one of the most important films in a generation. Aiming to please both everyday movie-goers and be sensitive to the issues that gay people face on a daily basis, it needs to tread a very careful line, and I’m pleased to say, it does so beautifully. From the exceptional performances of the entire cast, to the warming attempts at humour, it succeeds on almost every level.
Jurassic World’s Nick Robinson is outstanding as Simon. A 17-year-old who consistently struggles to accept who he truly is would be an incredibly difficult role for even the most seasoned actors to take on, but he really is wonderful to watch. As we journey across his troubled story, the audience feels fully immersed in his actions, even those that are, shall we say, questionable.
The supporting cast too, is excellent. Jennifer Garner and Josh Duhamel are a great, if slightly underused presence, as Simon’s parents and along with his sister Nora (played by Talitha Bateman), they make an entirely believable family unit and it’s lovely to see them rallying around him when the inevitable ‘outing’ occurs. One touching scene in particular featuring Garner speaking to her son is sure to turn on the waterworks for many.
Love, Simon is a film with a massive heart anchored by a beautifully raw performance by Nick Robinson
Director Greg Berlanti is a relative newcomer to the world of romantic comedy, but he leads with a confidence that makes him appear seasoned at this game. Touching scenes of emotion are nicely interspersed with sequences of genuinely funny comedy – the sign of a great rom-com.
Special mention must go to Natasha Rothwell as drama teacher Ms. Albright, who manages to garner most of the laughs throughout. All of this culminates in a sweet finale that ties together everything that’s happened over the previous 110 minutes very well indeed.
If we’re to look at some of the flaws then it’s fair to say that the story outside of it featuring a gay lead is completely unoriginal. It’s been done before, but that’s kind of its charm. Flipping the classic rom-com story on its head by allowing audiences across the world to see that being gay really isn’t easy is a really nice thing to see.
In a nutshell, Love, Simon is a film with a massive heart anchored by a beautifully raw performance by Nick Robinson. It’ll make you laugh and it’ll make you cry, but this is a touching romantic comedy that will absolutely go down in the history books of film. Like Brokeback Mountain did for the older gay man, Love, Simon can be a shining light for young men who are struggling to accept who they truly are.
Is this a turning point for Hollywood? Well, let’s hope so.
https://moviemetropolis.net/2018/04/07/love-simon-review-one-of-the-most-important-films-in-a-generation/
Sure, we’ve had indie hits like Call Me by Your Name and Moonlight that have also performed well at the Oscars, but the closest we’ve ever gotten to a mass-market crowd pleaser has been Ang Lee’s 2005 flick Brokeback Mountain and if we’re being honest, that wasn’t marketed in a way that made it particularly mainstream.
Aiming to change all that is Love, Simon. Based on the novel Simon vs. the Homo Sapiens Agenda by Becky Albertalli, Love, Simon is the first truly mainstream rom-com that features a lead gay character. But is the film a beacon of hope for a massively underrepresented LGBT community or a movie that daren’t go too far?
Everyone deserves a great love story, but for 17-year-old Simon Spier (Nick Robinson), it’s a little more complicated. He hasn’t told his family or friends that he’s gay, and he doesn’t know the identity of the anonymous classmate that he’s fallen for online. Resolving both issues proves hilarious, terrifying and life-changing.
Love, Simon is one of the most important films in a generation. Aiming to please both everyday movie-goers and be sensitive to the issues that gay people face on a daily basis, it needs to tread a very careful line, and I’m pleased to say, it does so beautifully. From the exceptional performances of the entire cast, to the warming attempts at humour, it succeeds on almost every level.
Jurassic World’s Nick Robinson is outstanding as Simon. A 17-year-old who consistently struggles to accept who he truly is would be an incredibly difficult role for even the most seasoned actors to take on, but he really is wonderful to watch. As we journey across his troubled story, the audience feels fully immersed in his actions, even those that are, shall we say, questionable.
The supporting cast too, is excellent. Jennifer Garner and Josh Duhamel are a great, if slightly underused presence, as Simon’s parents and along with his sister Nora (played by Talitha Bateman), they make an entirely believable family unit and it’s lovely to see them rallying around him when the inevitable ‘outing’ occurs. One touching scene in particular featuring Garner speaking to her son is sure to turn on the waterworks for many.
Love, Simon is a film with a massive heart anchored by a beautifully raw performance by Nick Robinson
Director Greg Berlanti is a relative newcomer to the world of romantic comedy, but he leads with a confidence that makes him appear seasoned at this game. Touching scenes of emotion are nicely interspersed with sequences of genuinely funny comedy – the sign of a great rom-com.
Special mention must go to Natasha Rothwell as drama teacher Ms. Albright, who manages to garner most of the laughs throughout. All of this culminates in a sweet finale that ties together everything that’s happened over the previous 110 minutes very well indeed.
If we’re to look at some of the flaws then it’s fair to say that the story outside of it featuring a gay lead is completely unoriginal. It’s been done before, but that’s kind of its charm. Flipping the classic rom-com story on its head by allowing audiences across the world to see that being gay really isn’t easy is a really nice thing to see.
In a nutshell, Love, Simon is a film with a massive heart anchored by a beautifully raw performance by Nick Robinson. It’ll make you laugh and it’ll make you cry, but this is a touching romantic comedy that will absolutely go down in the history books of film. Like Brokeback Mountain did for the older gay man, Love, Simon can be a shining light for young men who are struggling to accept who they truly are.
Is this a turning point for Hollywood? Well, let’s hope so.
https://moviemetropolis.net/2018/04/07/love-simon-review-one-of-the-most-important-films-in-a-generation/
Bob Mann (459 KP) rated The Mitchells vs The Machines (2021) in Movies
May 16, 2021
Brilliantly original animation (1 more)
Fantastic laugh-out-loud gags throughout, many with a movie nerd bias
Dog-Pig-Dog-Pig-Loaf of Bread… KERBOOM!
Katie Mitchell (voiced by Abbi Jacobson) dreams of being a great film director (joining her icons on her version of Mount Rushmore!). She's about to travel to a west-coast film college when her dad Rick (Danny Mcbride) decides to cancel her air ticket and try to re-engage with her through one last epic road trip. Together with wife Linda (Maya Rudolph), dinosaur-mad son Aaron (director Michael Rianda) and cross-eyed pug Monchi (Doug the Pug!) they set off on their journey.
But the world is set to change forever, as sentient operating system PAL (Olivia Colman) and her army of robots take over the world and prepare to launch human-kind into deep dark space. The Mitchell's, as the world's unlikeliest Avengers, appear to be the only ones available to prevent the evil plan!
Positives:
- In my review of the lamentable "Thunder Force", I commented that it failed my "six laughs test" for a comedy. I only laughed 3 times in the whole film. In contrast, this movie hammered home guffaw-generating lines and scenes about six times a minute! It's hilarious. It's one of those films (like the best Pixar ones) with so much hidden detail buried in every shot. You could watch it a dozen times and still find new hidden gags.
- This is a movie that is the perfect family film. A film that kids will love for the knockabout comedy and a film that adults will also fall in love with. This comes from three different angles:
-- Excellent character development of the whole family. Katie feels like a fully rounded stroppy teen: she seems to be struggling with her identity (lesbian? - "It took me a while to figure myself out"); and she is struggling towards her personal goals despite the well-intentioned but destructive doubts that her rough-and-ready father keeps sowing. This feels like a journey that the family is on towards enlightenment, before it's too late.
-- This is also a film with considerable emotional heft. It channels at times some of the best elements of the Toy Story films (most notably "Toy Story 3" with Andy's departure for college). (Any parents who have never experienced that joyous yet dreadful day when you drive your chicks to university or college for the first time: brace yourselves!)
-- It's a dream for film fans. Like "Ready Player One", it's populated with lots of fun movie easter-eggs scattered throughout. Katie's 'Mount Rushmore' by the way has Greta Gerwig, Céline Sciamma (from "Portrait of a Lady on Fire"), Lynne Ramsey and Hal Ashby as her directorial inspirations.
- And finally, it's a film for adults appreciative of some truly great satirical one-liners, including some razor-sharp zingers at 'big tech'. For example:
"It's almost like stealing people's data and giving it to a hyper-intelligent AI as part of an unregulated tech monopoly was a bad thing"
Negatives:
- My only minor criticism - and its a debatable one - might be the running time of 113 minutes. It might be a little too long for younger kids' attention spans. A 90 minute, more condensed, movie might have ticked the 'perfection' box.
Summary Thoughts: I don't normally "go" for animated films much. But this one is a different breed. An instant classic. It knocks you round the chops and forces your respect by being like no animated feature you've seen before. Witty, irreverent, gloriously entertaining it's a no-brainer that this gets 5-stars from me.
I said in my review of "Nomadland" that although that wasn't a 5* film for me, I could see why its brave and different slant at film-making earned it the Best Film Oscar. Well, almost regardless of what epically beautiful production Pixar might bring out before the end of the year, if the Academy doesn't vote this Best Animated Feature at next year's Oscars, then some sort of crime might have been committed.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/16/the-mitchells-vs-the-machines-dog-pig-dog-pig-loaf-of-bread-kerboom/. Thanks.)
But the world is set to change forever, as sentient operating system PAL (Olivia Colman) and her army of robots take over the world and prepare to launch human-kind into deep dark space. The Mitchell's, as the world's unlikeliest Avengers, appear to be the only ones available to prevent the evil plan!
Positives:
- In my review of the lamentable "Thunder Force", I commented that it failed my "six laughs test" for a comedy. I only laughed 3 times in the whole film. In contrast, this movie hammered home guffaw-generating lines and scenes about six times a minute! It's hilarious. It's one of those films (like the best Pixar ones) with so much hidden detail buried in every shot. You could watch it a dozen times and still find new hidden gags.
- This is a movie that is the perfect family film. A film that kids will love for the knockabout comedy and a film that adults will also fall in love with. This comes from three different angles:
-- Excellent character development of the whole family. Katie feels like a fully rounded stroppy teen: she seems to be struggling with her identity (lesbian? - "It took me a while to figure myself out"); and she is struggling towards her personal goals despite the well-intentioned but destructive doubts that her rough-and-ready father keeps sowing. This feels like a journey that the family is on towards enlightenment, before it's too late.
-- This is also a film with considerable emotional heft. It channels at times some of the best elements of the Toy Story films (most notably "Toy Story 3" with Andy's departure for college). (Any parents who have never experienced that joyous yet dreadful day when you drive your chicks to university or college for the first time: brace yourselves!)
-- It's a dream for film fans. Like "Ready Player One", it's populated with lots of fun movie easter-eggs scattered throughout. Katie's 'Mount Rushmore' by the way has Greta Gerwig, Céline Sciamma (from "Portrait of a Lady on Fire"), Lynne Ramsey and Hal Ashby as her directorial inspirations.
- And finally, it's a film for adults appreciative of some truly great satirical one-liners, including some razor-sharp zingers at 'big tech'. For example:
"It's almost like stealing people's data and giving it to a hyper-intelligent AI as part of an unregulated tech monopoly was a bad thing"
Negatives:
- My only minor criticism - and its a debatable one - might be the running time of 113 minutes. It might be a little too long for younger kids' attention spans. A 90 minute, more condensed, movie might have ticked the 'perfection' box.
Summary Thoughts: I don't normally "go" for animated films much. But this one is a different breed. An instant classic. It knocks you round the chops and forces your respect by being like no animated feature you've seen before. Witty, irreverent, gloriously entertaining it's a no-brainer that this gets 5-stars from me.
I said in my review of "Nomadland" that although that wasn't a 5* film for me, I could see why its brave and different slant at film-making earned it the Best Film Oscar. Well, almost regardless of what epically beautiful production Pixar might bring out before the end of the year, if the Academy doesn't vote this Best Animated Feature at next year's Oscars, then some sort of crime might have been committed.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/16/the-mitchells-vs-the-machines-dog-pig-dog-pig-loaf-of-bread-kerboom/. Thanks.)
Gareth von Kallenbach (980 KP) rated Kevin Hart: What Now? (2016) in Movies
Jul 15, 2019
Kevin Hart returns to theaters with his latest concert movie What Now The film features his concert held in Philadelphia, PA where over 50,000 adoring fans sold out Lincoln Financial Field.
Kevin Hart does more than answer the question as to “What Now?” He brings forth new material about his family, pop culture, relationships, and the quirky interaction that we all engage in during our daily lives. His routine offers fans and comedy lovers the opportunity to sit back and let the laughs take over.
Hart demonstrates with the turnout, material, and ability to keep a full house entertained that he is stand-up comedy’s rock star.
No one else is even close right now in being able to bring audiences of different cultures, races, lifestyles, professions, and backgrounds together in order to laugh at all of the things that make us uncomfortable or what we probably shouldn’t laugh at under normal circumstances. For Hart, nothing is out of bounds or considered safe.
Fans and newcomers will not be disappointed with Hart’s newest performance. The presentation of the act incorporates an interactive stage and special effects that allow the jokes to come to life.
At times, I found myself more interested in the technological aspects than the jokes. They were able to build off of each other and enhance the performance, even for the few jokes that miss the mark.
This film however, does not. There are more than enough quotes and lines that audiences will find themselves repeating or using in casual conversation. The performance is fresh and ensures that we will continue to see Kevin Hart for years to come.
Kevin Hart does more than answer the question as to “What Now?” He brings forth new material about his family, pop culture, relationships, and the quirky interaction that we all engage in during our daily lives. His routine offers fans and comedy lovers the opportunity to sit back and let the laughs take over.
Hart demonstrates with the turnout, material, and ability to keep a full house entertained that he is stand-up comedy’s rock star.
No one else is even close right now in being able to bring audiences of different cultures, races, lifestyles, professions, and backgrounds together in order to laugh at all of the things that make us uncomfortable or what we probably shouldn’t laugh at under normal circumstances. For Hart, nothing is out of bounds or considered safe.
Fans and newcomers will not be disappointed with Hart’s newest performance. The presentation of the act incorporates an interactive stage and special effects that allow the jokes to come to life.
At times, I found myself more interested in the technological aspects than the jokes. They were able to build off of each other and enhance the performance, even for the few jokes that miss the mark.
This film however, does not. There are more than enough quotes and lines that audiences will find themselves repeating or using in casual conversation. The performance is fresh and ensures that we will continue to see Kevin Hart for years to come.
Frasier: A Cultural History
Book
After America's most pompous barhound left the Cheer's gang in Boston, he returned to Seattle and...
Laura & Emma
Book
A tender, witty debut novel about a single mother raising her daughter among the upper crust of New...