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Phillip McSween (751 KP) rated Shazam! (2019) in Movies
Oct 1, 2019
Another DC Win
When a foster kid runs into an ancient wizard, he suddenly finds that he can turn himself into a superhero by uttering a simple word: Shazam! DC has run into a fair share of buzz saws when it comes to making quality movies, but chalk one up on the positive side with this one.
Acting: 10
Beginning: 8
Characters: 7
I loved all the characters for the most part. Billy Batson (Asher Angel) is a cool kid with attitude merely trying to find his place in the world. You don’t feel sorry for him; even though he is definitely mistreated, he’s also a bit of a butthead as most kids that age are. He’s met in his new foster home by a fun group of kids that will give you a number of reasons to laugh. His roommate Freddy (Jack Dylan Grazer) had me cracking up throughout. He wasn’t just there for comic relief though as I appreciated the more sensitive moments. Big shout-out to Zachary Levi as well playing the role of the superhero Shazam. It’s fun watching Shazam learn his powers just like a kid would because, well, he’s a kid.
Yes, these characters are great. You know who wasn’t great? Dr. Thaddeus Sivana (Mark Strong). Felt way too over-the-top for me. I didn’t really understand his motivation either or, rather, I understood but just didn’t think it was enough for him to go as bonkers as he did. He honestly almost ruined the movie for me singlehandedly but I got ahold of myself and remembered I was having a good time.
Cinematography/Visuals: 8
While I was mostly impressed with the quality of the visuals, I felt like they took a shortcut in a handful of spots, particularly with the opposition. The villain and his henchmen didn’t quite look as up to par as Shazam. The man of the hour, however, was on point. Shift changes were smooth and fluid. I enjoyed watching him steadily come into his own as a superhero as the camera captured each new ability one-by-one.
Conflict: 8
The action was steady but uneven. You’re watching Shazam slowly develop his powers and it’s great at times, but it’s not without a bit of lag. Things definitely heat up more towards the back half of the movie than in the beginning. When the action does go down, the battles that unfold are solid and entertaining.
Entertainment Value: 8
While the action isn’t always at its strongest, the movie makes up for it with some solid comedic moments. We go to movies to have a good time and, I gotta say, I had a blast watching Shazam! With a heartfelt story that gives you a reason to root for the protagonist and delightful side characters, entertaining is beyond a fair word for this movie.
Memorability: 10
Pace: 10
Plot: 5
A few issues here I can’t overlook. My biggest problem were the coincidental occurrences that happened for the sake of advancing the story. For this movie to be mostly great, I think it cheated its way through some parts, parts which definitely could have been handled better. I am never a fan of that as it’s just lazy. Definitely could have been better.
Resolution: 10
Couldn’t have asked for a better ending. If the entirety of the movie had been more like this, we might have a classic on our hands. It ties up everything in a great bow and gives you yet another reason to love the movie.
Overall: 84
Because of my past experience with DC, I went in with low expectations. I was pleasantly surprised and happy with how much I enjoyed this movie. If DC can continue to make quality movies like Shazam!, they may be due for a comeback!
Acting: 10
Beginning: 8
Characters: 7
I loved all the characters for the most part. Billy Batson (Asher Angel) is a cool kid with attitude merely trying to find his place in the world. You don’t feel sorry for him; even though he is definitely mistreated, he’s also a bit of a butthead as most kids that age are. He’s met in his new foster home by a fun group of kids that will give you a number of reasons to laugh. His roommate Freddy (Jack Dylan Grazer) had me cracking up throughout. He wasn’t just there for comic relief though as I appreciated the more sensitive moments. Big shout-out to Zachary Levi as well playing the role of the superhero Shazam. It’s fun watching Shazam learn his powers just like a kid would because, well, he’s a kid.
Yes, these characters are great. You know who wasn’t great? Dr. Thaddeus Sivana (Mark Strong). Felt way too over-the-top for me. I didn’t really understand his motivation either or, rather, I understood but just didn’t think it was enough for him to go as bonkers as he did. He honestly almost ruined the movie for me singlehandedly but I got ahold of myself and remembered I was having a good time.
Cinematography/Visuals: 8
While I was mostly impressed with the quality of the visuals, I felt like they took a shortcut in a handful of spots, particularly with the opposition. The villain and his henchmen didn’t quite look as up to par as Shazam. The man of the hour, however, was on point. Shift changes were smooth and fluid. I enjoyed watching him steadily come into his own as a superhero as the camera captured each new ability one-by-one.
Conflict: 8
The action was steady but uneven. You’re watching Shazam slowly develop his powers and it’s great at times, but it’s not without a bit of lag. Things definitely heat up more towards the back half of the movie than in the beginning. When the action does go down, the battles that unfold are solid and entertaining.
Entertainment Value: 8
While the action isn’t always at its strongest, the movie makes up for it with some solid comedic moments. We go to movies to have a good time and, I gotta say, I had a blast watching Shazam! With a heartfelt story that gives you a reason to root for the protagonist and delightful side characters, entertaining is beyond a fair word for this movie.
Memorability: 10
Pace: 10
Plot: 5
A few issues here I can’t overlook. My biggest problem were the coincidental occurrences that happened for the sake of advancing the story. For this movie to be mostly great, I think it cheated its way through some parts, parts which definitely could have been handled better. I am never a fan of that as it’s just lazy. Definitely could have been better.
Resolution: 10
Couldn’t have asked for a better ending. If the entirety of the movie had been more like this, we might have a classic on our hands. It ties up everything in a great bow and gives you yet another reason to love the movie.
Overall: 84
Because of my past experience with DC, I went in with low expectations. I was pleasantly surprised and happy with how much I enjoyed this movie. If DC can continue to make quality movies like Shazam!, they may be due for a comeback!
Bob Mann (459 KP) rated Babyteeth (2019) in Movies
Aug 25, 2020
I've had more fun at the orthodontist's
Now, before I start, I know I'm likely to be at odds with a lot of viewers on this one. Having had a glance at the IMDB ratings, I can see a lot of arthouse love for this Australian movie. But this really was not for me.
Eliza Scanlen plays Australian schoolgirl Milla, displaying typically rebellious symptoms of adolescence but hampered by a crippling medical issue. She meets a 23-year old drug addict, Moses (Toby Wallace), and the pair feel an immediate pull towards each other, much to the horror of her parents Henry (Ben Mendelsohn) and Anna (Essie Davis). The kids are dysfunctional (for different reasons); the parents are not much better. Adding to the drama is a strange violin teacher (Eugene Gilfedder) and a pregnant (MILF-to-be) next door neighbour (Emily Barclay). We follow the life and love of Milla as she struggles with her circumstances... and the last of her Babyteeth.
I can draw parallels here to the movie "Animals" from last year. Indeed to the Oscar-winner "Moonlight" from four year's ago. I could readily perceive it to be intelligent and artfully produced. But I'm afraid I felt zero empathy or pull from any of the characters. Given that, and the slow burn of writer Rita Kalnejais's screenplay, I found myself constantly looking at my watch for the last half-hour of the movie.
The movie's not without its merits though. Babyteeth has picked up a number of nominations, and as many wins, on the international film-festival circuit, mostly for the direction of Shannon Murphy. This is a first-time feature for TV-director Murphy (she directed two episodes from this year's series of "Killing Eve" for example). Awards have also gone to Toby Wallace for his portrayal of the slightly unhinged and unpredictable Moses. But for me, it was Eliza Scanlen's performance as Milla that appealed to me most and kept my attention. Other-worldly and slightly ethereal, she pulls off the role well. Scanlen was of course Beth March in the recent superb version of "Little Woman". (She's a young lady with great potential, but she needs to be careful not to get typecast as sickly waifs!)
Babyteeth was for me a curate's egg in the photography department. Cinematography was by Andrew Commis, and I found it both breathtaking and frustrating in almost equal measure. There's a scene towards the end of the movie with Milla's face half-lit in the moonlight that was reminiscent to me of the star-child in "2001: A Space Odyssey". Simply gorgeous. And scenes in a nightclub are both strangely and effectively shot. But - and art-house movies seem to mandate this approach - the movie is shot on handheld cameras. This makes a lot of the shots drift in and out of focus. Moreover - and most frustratingly for me - it makes the multitude of scene titles, employed in the telling, float ever-so-slightly against the backgrounds, with a generally nauseating effect.
I'll no doubt feel a right Charlie if Babyteeth gets into the Oscars nominations short-list. But for me, it just wasn't engaging enough to be entertaining. It's billed as a "Comedy Drama". While there were a few good comic lines, it rarely made me do more than smile. And as for the drama, I'm afraid tears were far from being spilled. It's in no way a "bad film": it just personally wasn't for me.
(For the full graphical review please check out One Mann's Movie on https://bob-the-movie-man.com/2020/08/25/babyteeth-you-might-have-more-fun-at-the-orthodontists/.)
Eliza Scanlen plays Australian schoolgirl Milla, displaying typically rebellious symptoms of adolescence but hampered by a crippling medical issue. She meets a 23-year old drug addict, Moses (Toby Wallace), and the pair feel an immediate pull towards each other, much to the horror of her parents Henry (Ben Mendelsohn) and Anna (Essie Davis). The kids are dysfunctional (for different reasons); the parents are not much better. Adding to the drama is a strange violin teacher (Eugene Gilfedder) and a pregnant (MILF-to-be) next door neighbour (Emily Barclay). We follow the life and love of Milla as she struggles with her circumstances... and the last of her Babyteeth.
I can draw parallels here to the movie "Animals" from last year. Indeed to the Oscar-winner "Moonlight" from four year's ago. I could readily perceive it to be intelligent and artfully produced. But I'm afraid I felt zero empathy or pull from any of the characters. Given that, and the slow burn of writer Rita Kalnejais's screenplay, I found myself constantly looking at my watch for the last half-hour of the movie.
The movie's not without its merits though. Babyteeth has picked up a number of nominations, and as many wins, on the international film-festival circuit, mostly for the direction of Shannon Murphy. This is a first-time feature for TV-director Murphy (she directed two episodes from this year's series of "Killing Eve" for example). Awards have also gone to Toby Wallace for his portrayal of the slightly unhinged and unpredictable Moses. But for me, it was Eliza Scanlen's performance as Milla that appealed to me most and kept my attention. Other-worldly and slightly ethereal, she pulls off the role well. Scanlen was of course Beth March in the recent superb version of "Little Woman". (She's a young lady with great potential, but she needs to be careful not to get typecast as sickly waifs!)
Babyteeth was for me a curate's egg in the photography department. Cinematography was by Andrew Commis, and I found it both breathtaking and frustrating in almost equal measure. There's a scene towards the end of the movie with Milla's face half-lit in the moonlight that was reminiscent to me of the star-child in "2001: A Space Odyssey". Simply gorgeous. And scenes in a nightclub are both strangely and effectively shot. But - and art-house movies seem to mandate this approach - the movie is shot on handheld cameras. This makes a lot of the shots drift in and out of focus. Moreover - and most frustratingly for me - it makes the multitude of scene titles, employed in the telling, float ever-so-slightly against the backgrounds, with a generally nauseating effect.
I'll no doubt feel a right Charlie if Babyteeth gets into the Oscars nominations short-list. But for me, it just wasn't engaging enough to be entertaining. It's billed as a "Comedy Drama". While there were a few good comic lines, it rarely made me do more than smile. And as for the drama, I'm afraid tears were far from being spilled. It's in no way a "bad film": it just personally wasn't for me.
(For the full graphical review please check out One Mann's Movie on https://bob-the-movie-man.com/2020/08/25/babyteeth-you-might-have-more-fun-at-the-orthodontists/.)
Ross (3282 KP) rated Foundryside in Books
Aug 31, 2020
Great world-building, good story
The world the author has created is very impressive. I hate to do it, but the magic system is very Brandon Sanderson-esque. Over time, symbols used by ancient civilisations to make contraptions and control objects have been deciphered and are now used in everyday life. Self-driven carts, guns, machinery: all are controlled by this clever magic system, but there is a feeling this is just the tip of the iceberg. The city of Tevanne is controlled by a council of the main merchant families, and each of those families is striving for the next big innovation in the use of these symbols. And with any major corporate hierarchy, there is a black market: a set of individuals striving to make things more cost effective, though of lower quality than the merchant houses.
Sancia is a key customer for some of this black market. She is a mercenary who will, for a fee, steal things. Not much of Sancia's past work is given, whether she is just a thief for hire, or has killed. She is a good strong, complicated character. Sancia has the ability to sense the thoughts of inanimate objects. For example, she can touch a wall and find out where the wall joins to other walls, whether there are gaps, whether someone is leaning on the other side, etc. This comes in handy when she successfully steals a box from a storage facility that contains a magical key that she can speak to.
There then follows a gripping plot to dethrone the merchant houses by seeking to stop them achieving more than just market share.
As with all the best fantasy worlds, the nature of things is revealed gradually over the course of the book. At times this verges on deus ex machina, but never quite goes over that line, things being mostly plausible given what we already know.
The dialogue of the book is where I have most of my issues with it. As with a number of recent books, the author is clearly an American and puts a number of Americanisms into the prose. While I am no language snob and can happily accept these in general, it is harder to do so in a fantasy book, especially one where other aspects of the language are clearly supposed to be more British English. The combination of a character saying "you all" or "most always" or "goddamn" and then using the word "arse" rather than "ass" just really ground my gears. It would have been much better to have been consistent and stick with "ass" and closer to the author's true voice.
Additionally, as with a number of fantasy books, new swear words are invented. These are partly explained and linked to the world, but it just comes across as a means of swearing without saying the actual "f" word. The word "scrumming" is far too twee a word to convey the same emotion as the word it is trying to replace and takes me right out of the book.
The pacing of the book was mostly fine, a few times it did seem to grind to a halt or there were long chapters of gradual exposition, but the action sequences, of which there were plenty, were thrilling and well told.
Overall, I did really enjoy this book, but the language used at times took me out of it and spoilt the mood a little. I can always tell how much I am enjoying a book by how quickly I read it and the number of comics I read simultaneously. My comic reading did go up a notch while reading this book.
Sancia is a key customer for some of this black market. She is a mercenary who will, for a fee, steal things. Not much of Sancia's past work is given, whether she is just a thief for hire, or has killed. She is a good strong, complicated character. Sancia has the ability to sense the thoughts of inanimate objects. For example, she can touch a wall and find out where the wall joins to other walls, whether there are gaps, whether someone is leaning on the other side, etc. This comes in handy when she successfully steals a box from a storage facility that contains a magical key that she can speak to.
There then follows a gripping plot to dethrone the merchant houses by seeking to stop them achieving more than just market share.
As with all the best fantasy worlds, the nature of things is revealed gradually over the course of the book. At times this verges on deus ex machina, but never quite goes over that line, things being mostly plausible given what we already know.
The dialogue of the book is where I have most of my issues with it. As with a number of recent books, the author is clearly an American and puts a number of Americanisms into the prose. While I am no language snob and can happily accept these in general, it is harder to do so in a fantasy book, especially one where other aspects of the language are clearly supposed to be more British English. The combination of a character saying "you all" or "most always" or "goddamn" and then using the word "arse" rather than "ass" just really ground my gears. It would have been much better to have been consistent and stick with "ass" and closer to the author's true voice.
Additionally, as with a number of fantasy books, new swear words are invented. These are partly explained and linked to the world, but it just comes across as a means of swearing without saying the actual "f" word. The word "scrumming" is far too twee a word to convey the same emotion as the word it is trying to replace and takes me right out of the book.
The pacing of the book was mostly fine, a few times it did seem to grind to a halt or there were long chapters of gradual exposition, but the action sequences, of which there were plenty, were thrilling and well told.
Overall, I did really enjoy this book, but the language used at times took me out of it and spoilt the mood a little. I can always tell how much I am enjoying a book by how quickly I read it and the number of comics I read simultaneously. My comic reading did go up a notch while reading this book.
DOOM II RPG
Games and Entertainment
App
Hell has returned! Prepare yourself for DOOM II RPG for the iPhone, the sequel to id Software’s...
Bob Mann (459 KP) rated Booksmart (2019) in Movies
Sep 28, 2021
A raunchy but extremely funny teen-sex comedy.
A panda’s eye view of teenage life.
I tend to struggle to find a really good comedy to add to my top 10 of the year. Last year it was “Game Night” that made my list. One that is definitely heading there this year is “Booksmart”.
A retread on a well-travelled tyre.
The coming of age school comedy has been rehashed multiple times. These include films as varied as “Napoleon Dynamite”, “Superbad”, “Easy A”, “Mean Girls”, “Never Been Kissed” and “10 Things I Hate About You”. In tone, “Booksmart” is probably closest to “Superbad”, but it manages – under the direction of actress Olivia Wilde, in her debut feature – to establish a quirky likeability all of its own. An instant classic in the making.
Not for the prudish.
The story concerns two BFF’s – Molly (Beanie Feldstein, sister of Jonah Hill) and Amy (Kaitlyn Dever). They have both spent their young lives trying to score A’s at school in lieu of all other distractions. On the eve of their graduation, Molly realises that this was not a binary option. Her school companions have managed to get all of the success without any of the self-sacrifice! She calls “Malala”! And the duo proceed on a drink and drug-fuelled night to catch up on all the school social life they have missed out on!
Part of this catching up includes sex, and with Amy as a naive wannabe lesbian, in awe of tom-boy skateboarder Ryan (Victoria Ruesga), coming out has never seemed so painful.
I first saw this on a plane and guffawed so much that I went out to buy the DVD for a family viewing. Watching it again though, it is really very, very rude. If you were to categorize it, I think “sex comedy” would be a primary tag. A clumsy but realistic scene between Amy and the “hot girl” Hope (Diana Silvers… who really is) is excruciatingly hard to watch. This can therefore prove an uncomfortable co-watch for ‘young folks’ who – despite all the obvious evidence! – assume their parents / in-laws have done nothing in the past other than hold hands!! 🙂
In a great ensemble cast, Kaitlyn Dever is a revelation.
Kaitlyn Dever has cut her teeth with supporting roles on a few B-grade movies this year including “Beautiful Boy” and “The Front Runner“. But here she takes centre stage and is an absolute revelation as the sexually bemused teen. While Beanie Feldstein has the more obvious comic lead role, it is Dever who continually grabbed my attention with her acting skills. This young lady is added to my “one to watch” list.
This is not to decry the rest of the cast. For this is a great ensemble performance from a pretty unknown cast. The only familiar faces are Lisa Kudrow and Jason Sudeikis, but they only have bit parts.
The only role that didn’t quite work for me was that of the kooky drugged out hippie Gigi (Billie Lourd). It was all a bit too over-the-top for me in a movie that didn’t really need that sort of manic angle. (However, this did set up a Marwen-style drug scene that made me snort… with laughter).
As a comedy, will this by the whole you think it is?
I think this will prove to be a firm young person’s favourite for many years to come. Whether you will find it funny or not will probably depend on the setting of your ‘crudometer’ and your resilience to bad language on screen.
For me, personally, I am clearly still 17 on the inside! I loved it. Not only do I think it a good comedy. It is also a feel-good movie about best friends; a coming of age lesbian adventure; and a film that treats the multi-coloured spectrum of modern sexual variety as something entirely normal and to be celebrated.
I tend to struggle to find a really good comedy to add to my top 10 of the year. Last year it was “Game Night” that made my list. One that is definitely heading there this year is “Booksmart”.
A retread on a well-travelled tyre.
The coming of age school comedy has been rehashed multiple times. These include films as varied as “Napoleon Dynamite”, “Superbad”, “Easy A”, “Mean Girls”, “Never Been Kissed” and “10 Things I Hate About You”. In tone, “Booksmart” is probably closest to “Superbad”, but it manages – under the direction of actress Olivia Wilde, in her debut feature – to establish a quirky likeability all of its own. An instant classic in the making.
Not for the prudish.
The story concerns two BFF’s – Molly (Beanie Feldstein, sister of Jonah Hill) and Amy (Kaitlyn Dever). They have both spent their young lives trying to score A’s at school in lieu of all other distractions. On the eve of their graduation, Molly realises that this was not a binary option. Her school companions have managed to get all of the success without any of the self-sacrifice! She calls “Malala”! And the duo proceed on a drink and drug-fuelled night to catch up on all the school social life they have missed out on!
Part of this catching up includes sex, and with Amy as a naive wannabe lesbian, in awe of tom-boy skateboarder Ryan (Victoria Ruesga), coming out has never seemed so painful.
I first saw this on a plane and guffawed so much that I went out to buy the DVD for a family viewing. Watching it again though, it is really very, very rude. If you were to categorize it, I think “sex comedy” would be a primary tag. A clumsy but realistic scene between Amy and the “hot girl” Hope (Diana Silvers… who really is) is excruciatingly hard to watch. This can therefore prove an uncomfortable co-watch for ‘young folks’ who – despite all the obvious evidence! – assume their parents / in-laws have done nothing in the past other than hold hands!! 🙂
In a great ensemble cast, Kaitlyn Dever is a revelation.
Kaitlyn Dever has cut her teeth with supporting roles on a few B-grade movies this year including “Beautiful Boy” and “The Front Runner“. But here she takes centre stage and is an absolute revelation as the sexually bemused teen. While Beanie Feldstein has the more obvious comic lead role, it is Dever who continually grabbed my attention with her acting skills. This young lady is added to my “one to watch” list.
This is not to decry the rest of the cast. For this is a great ensemble performance from a pretty unknown cast. The only familiar faces are Lisa Kudrow and Jason Sudeikis, but they only have bit parts.
The only role that didn’t quite work for me was that of the kooky drugged out hippie Gigi (Billie Lourd). It was all a bit too over-the-top for me in a movie that didn’t really need that sort of manic angle. (However, this did set up a Marwen-style drug scene that made me snort… with laughter).
As a comedy, will this by the whole you think it is?
I think this will prove to be a firm young person’s favourite for many years to come. Whether you will find it funny or not will probably depend on the setting of your ‘crudometer’ and your resilience to bad language on screen.
For me, personally, I am clearly still 17 on the inside! I loved it. Not only do I think it a good comedy. It is also a feel-good movie about best friends; a coming of age lesbian adventure; and a film that treats the multi-coloured spectrum of modern sexual variety as something entirely normal and to be celebrated.
Bob Mann (459 KP) rated Deadpool 2 (2018) in Movies
Sep 29, 2021
Insanely violent… insanely funny.
It’s a pretty good bet that the cinema-going public will be pretty evenly divided between those that think films like “Deadpool“, “Kingsman: The Secret Service” and “Kingsman: The Golden Circle” are enormous fun and those that think they are crass, puerile and appealing to all the basest instincts of human beings. I happen to fall into the first category, and “Deadpool 2” lives up to – and in some cases surpasses – the quality of the first film.
It’s a “family film” (LoL). Ryan Reynolds is back again as the eponymous superhero (aka Wade Wilson) and we start the film with him in a state of romantic bliss with Vanessa (Morena Baccarin). But things quickly go south, and what follows is a convoluted plot involving a local gangster, an Arnie-type character from the future (Josh Brolin) and an potentially dark X-powered child Firefist (Julian Dennison, “Hunt for the Wilderpeople”). Deadpool has to use all his powers to restore order to the planet. Given that his “power” is the ability to rejuvenate himself after surviving the most catastrophic injuries, you can predict that things will get messy!
Yes guys, it’s violent… very, very violent! But it’s done in such a “Tom and Jerry” style that it always comes out as a “Bluuugggghhhhaaaaa!” (* that’s supposed to be the noise of a huge guffaw) rather than an “Ugggh” (retch).
A particular high point for me was the assembly of the ‘X-Men-Lite’ team called “X-force”. The ‘interviews’ for this are hilarious, but the first sortie of the team to intercept a convoy moving prisoners** is even better. It’s just snort-your-Ben-and-Jerry’s-out-of-the-nose funny. This scene also includes precisely 1.8 seconds of a splendid cameo in the part of “Vanisher”!
There are many scenes, supported by numerous snide one-liners, that reference movie classics. A subliminal cameo(s) shot in the X-Men house is just brilliant. Equally brilliant but much more disturbing is a variant on that most famous scene from “Basic Instinct”…. this falls into the “can’t unsee” category of movie clips!
But the film rather over-eggs the comic asides, with a scattergun approach to the comedy that works 70% of the time but not for the other 30%. The best ones are Deadpool’s snide aside to camera. Where the script over-reaches is where the joke gets spread across the cast: one ensemble scene in particular in the flat of blind Al (Leslie Uggams) is: a) delivered so fast as to be practically unintelligible and b) falls as flat as a pancake as a result.
Josh Brolin must have signed a three-film baddie deal, since here he pops up again just weeks after his brilliant Thanos-turn in “Avengers: Infinity War“. And as for that performance, here he is superbly nuanced, with scenes that are truly touching (and with less CGI) .
Across the superhero ensemble, Zazie Beetz stands out as “Domino”. She really should be called “Lucky” though (and yes Andrea ‘Van Helsing’ Ware… I know you have the trademark on that character name! 🙂 ). Domino is my favourite character in the film… just so cool and stylish.
And credit where credit’s due, Ryan Reynolds (“Life“, “The Hitman’s Bodyguard“) is again outstanding as Deadpool. Given he is such a dish (not speaking personally here you understand) he is very brave to portray his character in such an self-deprecating and downbeat way. The final scene in the film (following some brilliant “tidying up the timeline” scenes) is so gloriously self-mocking that I LoLed myself all the way home. Outstanding.
As Marvel films go, it’s another corking comedy. But so close to the knuckle in places, I suspect this is not a character that will feature in the Infinity War sequel!
It’s a “family film” (LoL). Ryan Reynolds is back again as the eponymous superhero (aka Wade Wilson) and we start the film with him in a state of romantic bliss with Vanessa (Morena Baccarin). But things quickly go south, and what follows is a convoluted plot involving a local gangster, an Arnie-type character from the future (Josh Brolin) and an potentially dark X-powered child Firefist (Julian Dennison, “Hunt for the Wilderpeople”). Deadpool has to use all his powers to restore order to the planet. Given that his “power” is the ability to rejuvenate himself after surviving the most catastrophic injuries, you can predict that things will get messy!
Yes guys, it’s violent… very, very violent! But it’s done in such a “Tom and Jerry” style that it always comes out as a “Bluuugggghhhhaaaaa!” (* that’s supposed to be the noise of a huge guffaw) rather than an “Ugggh” (retch).
A particular high point for me was the assembly of the ‘X-Men-Lite’ team called “X-force”. The ‘interviews’ for this are hilarious, but the first sortie of the team to intercept a convoy moving prisoners** is even better. It’s just snort-your-Ben-and-Jerry’s-out-of-the-nose funny. This scene also includes precisely 1.8 seconds of a splendid cameo in the part of “Vanisher”!
There are many scenes, supported by numerous snide one-liners, that reference movie classics. A subliminal cameo(s) shot in the X-Men house is just brilliant. Equally brilliant but much more disturbing is a variant on that most famous scene from “Basic Instinct”…. this falls into the “can’t unsee” category of movie clips!
But the film rather over-eggs the comic asides, with a scattergun approach to the comedy that works 70% of the time but not for the other 30%. The best ones are Deadpool’s snide aside to camera. Where the script over-reaches is where the joke gets spread across the cast: one ensemble scene in particular in the flat of blind Al (Leslie Uggams) is: a) delivered so fast as to be practically unintelligible and b) falls as flat as a pancake as a result.
Josh Brolin must have signed a three-film baddie deal, since here he pops up again just weeks after his brilliant Thanos-turn in “Avengers: Infinity War“. And as for that performance, here he is superbly nuanced, with scenes that are truly touching (and with less CGI) .
Across the superhero ensemble, Zazie Beetz stands out as “Domino”. She really should be called “Lucky” though (and yes Andrea ‘Van Helsing’ Ware… I know you have the trademark on that character name! 🙂 ). Domino is my favourite character in the film… just so cool and stylish.
And credit where credit’s due, Ryan Reynolds (“Life“, “The Hitman’s Bodyguard“) is again outstanding as Deadpool. Given he is such a dish (not speaking personally here you understand) he is very brave to portray his character in such an self-deprecating and downbeat way. The final scene in the film (following some brilliant “tidying up the timeline” scenes) is so gloriously self-mocking that I LoLed myself all the way home. Outstanding.
As Marvel films go, it’s another corking comedy. But so close to the knuckle in places, I suspect this is not a character that will feature in the Infinity War sequel!
Bob Mann (459 KP) rated Guardians of the Galaxy Vol. 2 (2017) in Movies
Sep 29, 2021
Groot Expectations.
James Gunn is back writing and directing the sequel to his surprise 2014 summer hit. And it might be a fresh mix tape slammed into the Walkman, but it’s much of the same again. Not that that’s necessarily a bad thing.
In terms of the story, it’s almost a remake of the worst Star Trek film ever made! However, this time its all done for ‘laffs’ and so works much, much better. We join Quill (Chris Pratt, “Jurassic World“), Gamora (Zoe Saldana, “Star Trek Beyond“), Drax (Dave Bautista, “Spectre“) and Rocket (the voice of Bradley Cooper) ‘ever ready’ (LOL) to save the priceless Anulax batteries of their current employees, the Sovereigns, from the ravages of some multi-dimensional being. ‘Helping’ them is Baby Groot, a twig off the old branch from the first film, again voiced (in what must be the easiest money in Hollywood) by Vin Diesel (“Fast and Furious 8“).
The Sovereign’s High Priestess (Elizabeth Debicki, “The Man From U.N.C.L.E.“) provides payment to Gamora in the form of her chained-up evil sister Nebula (a deliciously sulky Karen Gillen, “Dr Who”, “Oculus”) but is then less than impressed when the mercenary Rocket pockets a knapsack full of the batteries. So starts a chase across the galaxy leading Quill to meet Ego (Kurt Russell, “The Hateful 8“) on the planet Ego (LOL) at the very base of his family tree.
The great thing about these films is that they don’t even TRY to be realistic. Characters get towed behind crashing spaceships and – literally- dragged through a wood backwards; others fall hundreds of feet to certain death… no, sorry, a “superhero landing”; and planets and characters are painted with a garishness never ever to be found in nature. You’ll even believe Kurt Russell is 18 again – oh that these effects were available on the NHS!
But the other saving grace for this film is the soundtrack, put together by Tyler Bates as an ode to the 80’s, with wonderful tracks by ELO, Fleetwood Mac, Cat Stevens and a host of others. The film matches the music with the action superbly.
I won’t bother commenting on the acting… who cares with this sort of film! But everyone seems to have fun with Michael Rooker (“Cliffhanger”) being particularly good in reprising his role of Yondu. There are also a wealth of memorable cameos, some of them being laugh out loud moments. While some of the pop culture references might go over a younger audience’s heads, there are still enough great one-liners and comic moments to provide general appeal. Bad guys silhouetted against the moon, ET style, was particularly memorable.
One criticism I would have though is that it’s just too darn long for an “action comedy”. The original film just about scraped into my good books by coming in under the two hour curfew. The sequel however adds another 15 minutes, which should have found its way either onto the cutting room floor or onto the “Blu Ray collector’s edition”. In particular, the final never-ending showdown of CGI manicness went on too long for my liking.
Looking back at the original 2014 review, I gave it a rather stingy FFF rating, which in retrospect I think was a bit mean given its novelty. This time the novelty has worn off, but if anything this is an even more enjoyable romp that the first outing.
James Gunn be warned though: I am unlikely to be so generous with “Guardians of the Galaxy Vol 3” (as threatened) which in my view might be a trip too far for this franchise. My advice would be to take a leaf out of Peter Kay’s “Car Share” book and quit while you’re ahead.
By the way, for those who are interested, the film had a reported budget of $200 million (an impressive “BvS quotient” of 80%!) and the end titles have four “monkeys“, with a humorous reprise of Stan Lee’s astronaut.
In terms of the story, it’s almost a remake of the worst Star Trek film ever made! However, this time its all done for ‘laffs’ and so works much, much better. We join Quill (Chris Pratt, “Jurassic World“), Gamora (Zoe Saldana, “Star Trek Beyond“), Drax (Dave Bautista, “Spectre“) and Rocket (the voice of Bradley Cooper) ‘ever ready’ (LOL) to save the priceless Anulax batteries of their current employees, the Sovereigns, from the ravages of some multi-dimensional being. ‘Helping’ them is Baby Groot, a twig off the old branch from the first film, again voiced (in what must be the easiest money in Hollywood) by Vin Diesel (“Fast and Furious 8“).
The Sovereign’s High Priestess (Elizabeth Debicki, “The Man From U.N.C.L.E.“) provides payment to Gamora in the form of her chained-up evil sister Nebula (a deliciously sulky Karen Gillen, “Dr Who”, “Oculus”) but is then less than impressed when the mercenary Rocket pockets a knapsack full of the batteries. So starts a chase across the galaxy leading Quill to meet Ego (Kurt Russell, “The Hateful 8“) on the planet Ego (LOL) at the very base of his family tree.
The great thing about these films is that they don’t even TRY to be realistic. Characters get towed behind crashing spaceships and – literally- dragged through a wood backwards; others fall hundreds of feet to certain death… no, sorry, a “superhero landing”; and planets and characters are painted with a garishness never ever to be found in nature. You’ll even believe Kurt Russell is 18 again – oh that these effects were available on the NHS!
But the other saving grace for this film is the soundtrack, put together by Tyler Bates as an ode to the 80’s, with wonderful tracks by ELO, Fleetwood Mac, Cat Stevens and a host of others. The film matches the music with the action superbly.
I won’t bother commenting on the acting… who cares with this sort of film! But everyone seems to have fun with Michael Rooker (“Cliffhanger”) being particularly good in reprising his role of Yondu. There are also a wealth of memorable cameos, some of them being laugh out loud moments. While some of the pop culture references might go over a younger audience’s heads, there are still enough great one-liners and comic moments to provide general appeal. Bad guys silhouetted against the moon, ET style, was particularly memorable.
One criticism I would have though is that it’s just too darn long for an “action comedy”. The original film just about scraped into my good books by coming in under the two hour curfew. The sequel however adds another 15 minutes, which should have found its way either onto the cutting room floor or onto the “Blu Ray collector’s edition”. In particular, the final never-ending showdown of CGI manicness went on too long for my liking.
Looking back at the original 2014 review, I gave it a rather stingy FFF rating, which in retrospect I think was a bit mean given its novelty. This time the novelty has worn off, but if anything this is an even more enjoyable romp that the first outing.
James Gunn be warned though: I am unlikely to be so generous with “Guardians of the Galaxy Vol 3” (as threatened) which in my view might be a trip too far for this franchise. My advice would be to take a leaf out of Peter Kay’s “Car Share” book and quit while you’re ahead.
By the way, for those who are interested, the film had a reported budget of $200 million (an impressive “BvS quotient” of 80%!) and the end titles have four “monkeys“, with a humorous reprise of Stan Lee’s astronaut.
Gareth von Kallenbach (971 KP) rated The Amazing Spider-Man (2012) in Movies
Aug 7, 2019
Initially when a franchise reboots a series not five years from its last installment this can often be seen as a sign that they’ve run out of ideas. It was reportedly the inability to find a suitable script that drove director-producer Sam Raimi and the stars of the Spider-man series away from a possible fourth outing and forced Sony/Columbia start fresh.
Selecting the relatively new Marc Webb who, outside of “500 Days of Summer”, had worked on music videos and most recently directed episode of The Office and the pilot for Lone Star, seemed like a very odd choice to turn over the billion-dollar franchise. The selection of American-born English actor Andrew Garfield also seemed to be an interesting choice to don the tights of the wall crawler.
Thankfully this is exactly the fresh start that the series needed. Even though I went into the film with guarded and reserved expectations I must say that I’m absolutely delighted with how the final product came out as this is a very fresh and faithful adaptation of the beloved comic book character that, in my opinion is the best adaptation to date on film.
The screenplay by James Vanderbilt was based on a story credited to three other writers all of whom clearly understand the character and the source material and are focused first and foremost with being respectful to it rather than putting their own unique stamp and take on the franchise.
The film does take a little bit of liberty by showing Peter Parker’s parents as they place young Peter in the custody of Ben and May Parker (Martin Sheen and Sally Fields) as they flee into a rainy night from implied danger, never to be seen again.
The film continues with teenage Peter (Andrew Garfield), plodding his way through high school. As brilliant as Peter is academically, he is extremely awkward around girls especially the lovely Gwen Stacy (Emma Stone), who never fails to catch his eye. When a clue from his father’s past arises, Peter finds himself at Oscorp where Gwen works as an intern. Peter also finds himself on the radar of his dad’s former partner Dr. Curt Connors (Rhys Ifans), who becomes intrigued by young Peter’s scientific theories and even more so in his abilities when he learns that he is the offspring of his former partner.
Dr. Connors is working on cross species genetics and hopes that not only will it someday replaces missing arm, but will also pave a bold new direction for humanity. During a visit to the lab Peter, is bitten by a radioactive spider, and as any fan of the series knows, begins to exhibit amazing strength, agility, and perception, as well as the ability to walk on walls and cling to ceilings. In a very refreshing return to form, Peter fashions his famous web slingers rather than have them be organic as the previous film series did.
When a twist of fate puts Peter on the path of vengeance, he becomes a masked vigilante who uses his newfound abilities to rid New York some of its less pleasant citizens. These activities do not sit well with Captain Stacy (Denis Leary), who also happens to be Gwen’s father. As Peter and Gwen become closer, the duality of hiding his new identity from Capt. Stacy and Aunt May becomes even more imperative.
Naturally, it would not be much of a superhero film without a super villain, and Dr. Connors is more than willing to step up to this. Faced with pressure from his bosses he decides to use an experimental serum on himself. At first he is delighted as he seems to regrow his lost limb, but then in a Jekyll & Hyde-like transformation he transforms into a gigantic lizard creature bent on revenge and destruction as he attempts to complete a plan that will devastate millions of New York citizens.
Since Peter helped provide the equation that led to the formula that transform Dr. Connors, he feels obligated to stop the raging creature and to save his mentor no matter the cost. What follows are some truly spectacular action sequences including sewer battles in an extremely memorable finale across the Manhattan skyline.
While the film did take its time getting started as it established its back story and introduced the characters, once it got rolling it was an extremely fun and exhilarating ride. Garfield and Stone have a very good chemistry with one another and the reports of them recently dating off screen further solidifies their on-screen bond. Garfield wonderfully captures the conflicted emotions of Peter Parker as well as the brilliantly awkward genius that he is.
He runs the gamut of emotions from showing his anger and frustration to the dopey awkwardness of his interactions with Gwen and very believable manner. When he becomes infused with his new abilities you can almost share the glee that he has as he swings and flips around the landscape. The sheltered, socially awkward young man disappears when he dons the mask. He’s free to let himself go and Garfield does this with a childlike delight as well as the trademark quips and wisecracks that made the character such a beloved icon.
Garfield handles the physical duties of the role quite well and shines both in and out of the costume. I thought Tobey Maguire did a fantastic job bringing the character to life previously, but in my opinion Garfield has captured the essence of Peter Parker/ Spider-man and made it his own with a truly wonderful performance all around.
Stone does a great job as the love interest in the film as she is more than just eye candy and the typical damsel in distress far too common with this type of film. She challenges Peter and you can see some gleeful delight in her eyes when Peter awkwardly stumbles around her in an attempt to ask her out. Because she clearly enjoys the situation Gwen is not about to make it any easier on Peter, even though she’s been waiting for him to muster the courage for ages. She’s a strong and determined woman who gives a good range of emotions in her scenes and complements Garfield exceptionally well.
The supporting cast was very good especially Leary and Fields and Ifans does a good job as the quietly restrained Connors. In what could’ve easily been a scenery chewing, over-the-top Machiavellian bad guy, Ifans portrays Connors as a very sympathetic and understandable figure. He is a scientist first and foremost who is trying to do what he believes is right. He is not suited for the political machinations of a large corporation and when he begins this transformation and the animal side takes over there is still a hint of humanity amongst all the CGI work for the re-imagined Lizard.
While it did take me a while to get used to the look of The Lizard having become accustomed to his portrayal in comics and cartoons, I have to say it was a good updating it still stayed faithful to the essence of the original character.
Webb wisely decided to shoot in 3-D and not do a post filming conversion. It is the visually captivating and at times stunning cinema photography that really sets the tone for the film. You can truly get an idea of what it is like to be Spider-man as he swings and flips through the city and the point of view shots of his web firing out to latch onto objects and take down opponents are a lot of fun. Webb clearly knows the subject matter and gets the most out of his very talented cast and tells a very entertaining yet human action story and lets the effects support the film rather than carry it.
The film was much better than “Spider-man 3”. I am so happy that the franchise is in good hands and is moving forward in the right direction. Although the movie did take a while to get up to speed once it got rolling I did not want it to end, and I commented to my wife that I don’t want to have to wait 2 to 3 years for the next installment of the film I’m ready for more now. As a lifelong fan of comic I can honestly say I am beyond delighted with the new film, cast, director, and direction for the series.
Selecting the relatively new Marc Webb who, outside of “500 Days of Summer”, had worked on music videos and most recently directed episode of The Office and the pilot for Lone Star, seemed like a very odd choice to turn over the billion-dollar franchise. The selection of American-born English actor Andrew Garfield also seemed to be an interesting choice to don the tights of the wall crawler.
Thankfully this is exactly the fresh start that the series needed. Even though I went into the film with guarded and reserved expectations I must say that I’m absolutely delighted with how the final product came out as this is a very fresh and faithful adaptation of the beloved comic book character that, in my opinion is the best adaptation to date on film.
The screenplay by James Vanderbilt was based on a story credited to three other writers all of whom clearly understand the character and the source material and are focused first and foremost with being respectful to it rather than putting their own unique stamp and take on the franchise.
The film does take a little bit of liberty by showing Peter Parker’s parents as they place young Peter in the custody of Ben and May Parker (Martin Sheen and Sally Fields) as they flee into a rainy night from implied danger, never to be seen again.
The film continues with teenage Peter (Andrew Garfield), plodding his way through high school. As brilliant as Peter is academically, he is extremely awkward around girls especially the lovely Gwen Stacy (Emma Stone), who never fails to catch his eye. When a clue from his father’s past arises, Peter finds himself at Oscorp where Gwen works as an intern. Peter also finds himself on the radar of his dad’s former partner Dr. Curt Connors (Rhys Ifans), who becomes intrigued by young Peter’s scientific theories and even more so in his abilities when he learns that he is the offspring of his former partner.
Dr. Connors is working on cross species genetics and hopes that not only will it someday replaces missing arm, but will also pave a bold new direction for humanity. During a visit to the lab Peter, is bitten by a radioactive spider, and as any fan of the series knows, begins to exhibit amazing strength, agility, and perception, as well as the ability to walk on walls and cling to ceilings. In a very refreshing return to form, Peter fashions his famous web slingers rather than have them be organic as the previous film series did.
When a twist of fate puts Peter on the path of vengeance, he becomes a masked vigilante who uses his newfound abilities to rid New York some of its less pleasant citizens. These activities do not sit well with Captain Stacy (Denis Leary), who also happens to be Gwen’s father. As Peter and Gwen become closer, the duality of hiding his new identity from Capt. Stacy and Aunt May becomes even more imperative.
Naturally, it would not be much of a superhero film without a super villain, and Dr. Connors is more than willing to step up to this. Faced with pressure from his bosses he decides to use an experimental serum on himself. At first he is delighted as he seems to regrow his lost limb, but then in a Jekyll & Hyde-like transformation he transforms into a gigantic lizard creature bent on revenge and destruction as he attempts to complete a plan that will devastate millions of New York citizens.
Since Peter helped provide the equation that led to the formula that transform Dr. Connors, he feels obligated to stop the raging creature and to save his mentor no matter the cost. What follows are some truly spectacular action sequences including sewer battles in an extremely memorable finale across the Manhattan skyline.
While the film did take its time getting started as it established its back story and introduced the characters, once it got rolling it was an extremely fun and exhilarating ride. Garfield and Stone have a very good chemistry with one another and the reports of them recently dating off screen further solidifies their on-screen bond. Garfield wonderfully captures the conflicted emotions of Peter Parker as well as the brilliantly awkward genius that he is.
He runs the gamut of emotions from showing his anger and frustration to the dopey awkwardness of his interactions with Gwen and very believable manner. When he becomes infused with his new abilities you can almost share the glee that he has as he swings and flips around the landscape. The sheltered, socially awkward young man disappears when he dons the mask. He’s free to let himself go and Garfield does this with a childlike delight as well as the trademark quips and wisecracks that made the character such a beloved icon.
Garfield handles the physical duties of the role quite well and shines both in and out of the costume. I thought Tobey Maguire did a fantastic job bringing the character to life previously, but in my opinion Garfield has captured the essence of Peter Parker/ Spider-man and made it his own with a truly wonderful performance all around.
Stone does a great job as the love interest in the film as she is more than just eye candy and the typical damsel in distress far too common with this type of film. She challenges Peter and you can see some gleeful delight in her eyes when Peter awkwardly stumbles around her in an attempt to ask her out. Because she clearly enjoys the situation Gwen is not about to make it any easier on Peter, even though she’s been waiting for him to muster the courage for ages. She’s a strong and determined woman who gives a good range of emotions in her scenes and complements Garfield exceptionally well.
The supporting cast was very good especially Leary and Fields and Ifans does a good job as the quietly restrained Connors. In what could’ve easily been a scenery chewing, over-the-top Machiavellian bad guy, Ifans portrays Connors as a very sympathetic and understandable figure. He is a scientist first and foremost who is trying to do what he believes is right. He is not suited for the political machinations of a large corporation and when he begins this transformation and the animal side takes over there is still a hint of humanity amongst all the CGI work for the re-imagined Lizard.
While it did take me a while to get used to the look of The Lizard having become accustomed to his portrayal in comics and cartoons, I have to say it was a good updating it still stayed faithful to the essence of the original character.
Webb wisely decided to shoot in 3-D and not do a post filming conversion. It is the visually captivating and at times stunning cinema photography that really sets the tone for the film. You can truly get an idea of what it is like to be Spider-man as he swings and flips through the city and the point of view shots of his web firing out to latch onto objects and take down opponents are a lot of fun. Webb clearly knows the subject matter and gets the most out of his very talented cast and tells a very entertaining yet human action story and lets the effects support the film rather than carry it.
The film was much better than “Spider-man 3”. I am so happy that the franchise is in good hands and is moving forward in the right direction. Although the movie did take a while to get up to speed once it got rolling I did not want it to end, and I commented to my wife that I don’t want to have to wait 2 to 3 years for the next installment of the film I’m ready for more now. As a lifelong fan of comic I can honestly say I am beyond delighted with the new film, cast, director, and direction for the series.
Kirk Bage (1775 KP) rated The Umbrella Academy in TV
Sep 19, 2020 (Updated Jan 22, 2021)
I came to this gloriously colourful, energetic and super smart comic book adaptation in August (when Netflix advertised season 2), at a time of lockdown where I really needed something cheerful and fun to keep me going. It worked so well I watched both full seasons twice over, back to back, and key episodes 3 times! A rare thing indeed for me and a TV show.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Lee (2222 KP) rated Okja (2017) in Movies
Jul 14, 2017
Seo-Hyun Ahn (1 more)
Seamless, beautiful effects
Should have stuck at being a family movie (1 more)
Jake Gyllenhaal
Plays as though it should be a family movie, but it definitely isn't
Okja created a fair bit of buzz at Cannes recently, when it was revealed that it had been picked up by Netflix, resulting in boos from some of the snobby traditionalists that were present for its screening. Okja was written and directed by Bong Joon Ho, a Korean filmmaker who also wrote and directed one of my favourite movies of recent years, Snowpiercer. That movie failed to receive a UK release, despite starring Chris Evans in-between his Captain America/Avengers duties, so I’m more than happy if a movie that’s just a little bit different from the norm manages to find an audience through modern, ‘non-traditional’ routes.
And Okja certainly is a bit different. We’re first introduced to CEO of Mirando Corporation, Lucy Mirando (Tilda Swinton) who has ‘bred’ superpigs, in an effort to help with world hunger. 26 of these superpigs are being sent to farmers at various locations around the world and in 10 years time a competition is planned to determine who has raised the largest superpig. Lucy is clearly a bit strange (the perfect role for Tilda Swinton), and her company spokesperson, TV zoologist Johnny Wilcox (Jake Gyllenhaal) is even stranger. They’re determined to put a friendly, happy gloss over the fact that these animals have been genetically modified for slaughter and profit. So, time for us to get to know, and fall in love with one of them…
It’s now 10 years later and we’re with Mija, a young girl living in the mountains of Korea with her grandfather and Okja, the large hippo-like superpig who has become her close friend. They spend their time together out in the forest, with Okja helping to catch fish for dinner, and proving to be a faithful companion for Mija. And when disaster strikes, Okja even demonstrates the intelligence required to work out how to save Mija’s life. Okja is beautifully rendered in CGI, interacting perfectly with the surroundings and actors and is thoroughly convincing. It’s an enchanting and beautiful half hour or so – but we know it’s not going to last.
A small team from the Miranda Corporation arrives, along with Johnny Wilcox, who is just hugely annoying. They’re here to check up on how Okja is doing and, unbeknown to Mija, take her back to New York as the winner of the superpig contest. While Mija is in the forest with her grandfather she discovers what they’re planning and heads off to rescue Okja. What follows is an entertaining and thrilling chase to get Okja before she heads onto a plane. Mija is fearless and determined, a strong young heroine and probably the best thing about this movie. Along the way she is joined by the Animal Liberation Front, a young team that includes Steven Yeun, Paul Dano and Lily Collins. They know where Okja is headed and what her fate will be and they plan to stop it, with the help of Mija.
Much of Okja plays as though it should be a family movie and I wish that’s how they’d made it. With a large, friendly creature companion that needs to be rescued from the bad guys, much of this reminded me of the 2016 live action remake of Pete’s Dragon, which I enjoyed a lot. However, the final hour or so turns distinctly dark as we venture into the slaughterhouse and that, along with regular use of bad language, has given this movie a 15 certificate. It’s a strange variation of styles that just didn’t sit right with me overall. As mentioned before, Gyllenhaals character is seriously annoying and would have been much better suited as the wacky comic relief if this were a family movie. Tilda Swinton soon becomes boring too and it’s left to Mija and Okja to save the movie from becoming a total disaster.
Entertaining and enjoyable at times, but the wild variation of styles and characters just made the latter half of the movie drag.
And Okja certainly is a bit different. We’re first introduced to CEO of Mirando Corporation, Lucy Mirando (Tilda Swinton) who has ‘bred’ superpigs, in an effort to help with world hunger. 26 of these superpigs are being sent to farmers at various locations around the world and in 10 years time a competition is planned to determine who has raised the largest superpig. Lucy is clearly a bit strange (the perfect role for Tilda Swinton), and her company spokesperson, TV zoologist Johnny Wilcox (Jake Gyllenhaal) is even stranger. They’re determined to put a friendly, happy gloss over the fact that these animals have been genetically modified for slaughter and profit. So, time for us to get to know, and fall in love with one of them…
It’s now 10 years later and we’re with Mija, a young girl living in the mountains of Korea with her grandfather and Okja, the large hippo-like superpig who has become her close friend. They spend their time together out in the forest, with Okja helping to catch fish for dinner, and proving to be a faithful companion for Mija. And when disaster strikes, Okja even demonstrates the intelligence required to work out how to save Mija’s life. Okja is beautifully rendered in CGI, interacting perfectly with the surroundings and actors and is thoroughly convincing. It’s an enchanting and beautiful half hour or so – but we know it’s not going to last.
A small team from the Miranda Corporation arrives, along with Johnny Wilcox, who is just hugely annoying. They’re here to check up on how Okja is doing and, unbeknown to Mija, take her back to New York as the winner of the superpig contest. While Mija is in the forest with her grandfather she discovers what they’re planning and heads off to rescue Okja. What follows is an entertaining and thrilling chase to get Okja before she heads onto a plane. Mija is fearless and determined, a strong young heroine and probably the best thing about this movie. Along the way she is joined by the Animal Liberation Front, a young team that includes Steven Yeun, Paul Dano and Lily Collins. They know where Okja is headed and what her fate will be and they plan to stop it, with the help of Mija.
Much of Okja plays as though it should be a family movie and I wish that’s how they’d made it. With a large, friendly creature companion that needs to be rescued from the bad guys, much of this reminded me of the 2016 live action remake of Pete’s Dragon, which I enjoyed a lot. However, the final hour or so turns distinctly dark as we venture into the slaughterhouse and that, along with regular use of bad language, has given this movie a 15 certificate. It’s a strange variation of styles that just didn’t sit right with me overall. As mentioned before, Gyllenhaals character is seriously annoying and would have been much better suited as the wacky comic relief if this were a family movie. Tilda Swinton soon becomes boring too and it’s left to Mija and Okja to save the movie from becoming a total disaster.
Entertaining and enjoyable at times, but the wild variation of styles and characters just made the latter half of the movie drag.