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Bob Mann (459 KP) rated A Simple Favor (2018) in Movies
Sep 28, 2021
A Dangerous Liaison.
Wow, this one starts spectacularly well! Who’s not to love some “Thomas Crown” style titles over a French language version of “Music to watch girls by”? Brilliant!
We are then introduced to the hyper-annoying single mum Stephanie Smothers (Anna Kendrick): someone so perky and goodie-two-shoes as a school helper that every other parent loathes her. What she does seem to have a talent for is filming cheesy “mom’s hints and tips” videos in her kitchen that she posts to her video blog.
Enter the polar opposite of Stephanie: the stylish, sophisticated, amoral and highly intimidating she-wolf called Emily (Blake Lively). On the excuse of play-dates between their sons, she seduces Stephanie with her swanky 5* lifestyle that she lives with her husband Sean (Henry Golding), a struggling writer. Given the oddness of the couple, there are more than a few hints – in line with the title of my review – that this is some kind of subtle grooming. But to what end?
How can someone so beautiful be so camera-shy? Anna Kendrick going for a cheeky snap of Blake Lively (and failing). (Source: GEM Entertainment).
When Emily suddenly goes missing without explanation, Sergeant Malloy (Andrew Moodie) has no shortage of suspects to investigate as Stephanie finds that she actually knew very little about the ghost-like Emily.
There is a surfeit of glossy style in Paul Feig‘s film. I’ve already enthused about the opening titles. But the stylish french-language music – coordinated by Theodore Shapiro – continues throughout, reaching a peak with Serge Gainsbourg’s sublime “Laisse Tomber Les Filles” over the equally entertaining end-titles.
Sharing confessions. A “BF” moment (and no… not “Best Friends”!). (Source: GEM Entertainment
But as a comedy thriller ther….
“HANG ON A MINUTE DR BOB! WHAT DID YOU JUST SAY? COMEDY THRILLER? I watched the trailer for this one, and it’s “Gone Girl” remade isn’t it? It wasn’t comedy! Even IMDB describe it as “Crime, Drama, Mystery”!”
Yes, quite, and therein lies the problem with this film. I found the trailers (the full trailer as well as the teaser trailer attached below) to be highly misleading about the “feel” of the film. The comedy is distributed throughout with some great comic put-downs (“Prudes are people too” coos Emily to Stephanie) and generally laugh-out-loud dialogue. So yes, it IS a “Gone Girl” or “The Girl on the Train” wannabe… but it’s with added ‘laffs’. Now this revelation might make the film appeal to you much more than the trailer did. But in my book, ‘thriller’ and ‘comedy’ are not genres to comfortably share a bed and for me the film became increasingly inconsistent. This inconsistency built to a finale where all semblance of plot and reality seemed to go right out of the window… it could have been an improv episode or “Who’s Line Is It Anyway?”.
The writer is Jessica Sharzer (who did the screenplay for “Nerve” which I very much liked). But I suspect the issue lies more with Paul Feig‘s background in comedies (“Bridesmaids”, “The Heat”, “Spy”) and he couldn’t resist spicing up the thriller with some out-of-place comedy. Which was a shame, since I really liked the overall thriller plot, and the dynamic built up between Kendrick and Lively.
Coming clean…ing. Anna Kendrick as an undercover mopper. (Source: GEM Entertainment).
Blake Lively (Mrs Deadpool of course) is actually staggeringly good as the unfathomable and slightly deranged Emily, and even Kendrick – who seems to have had a run of very so-so movies recently – is entertainingly quirky in this one.
I also enjoyed the performance of Rupert Friend (probably best known as Peter Quinn in “Homeland”) playing a vain and ego-centric fashion designer Dennis Nylon. Great fun.
Never trust a redhead. Emily being a-muse-ing. (Source: GEM Entertainment).
Was I entertained? Yes I was, so I am tempted to recommend you seeing this rather than not. But I was also irritated in equal measure…. I really felt from the opening scenes that this one had legs to make my Top 10 for the year. But no.
Please comment and let me know which side of the fence you sit on!
We are then introduced to the hyper-annoying single mum Stephanie Smothers (Anna Kendrick): someone so perky and goodie-two-shoes as a school helper that every other parent loathes her. What she does seem to have a talent for is filming cheesy “mom’s hints and tips” videos in her kitchen that she posts to her video blog.
Enter the polar opposite of Stephanie: the stylish, sophisticated, amoral and highly intimidating she-wolf called Emily (Blake Lively). On the excuse of play-dates between their sons, she seduces Stephanie with her swanky 5* lifestyle that she lives with her husband Sean (Henry Golding), a struggling writer. Given the oddness of the couple, there are more than a few hints – in line with the title of my review – that this is some kind of subtle grooming. But to what end?
How can someone so beautiful be so camera-shy? Anna Kendrick going for a cheeky snap of Blake Lively (and failing). (Source: GEM Entertainment).
When Emily suddenly goes missing without explanation, Sergeant Malloy (Andrew Moodie) has no shortage of suspects to investigate as Stephanie finds that she actually knew very little about the ghost-like Emily.
There is a surfeit of glossy style in Paul Feig‘s film. I’ve already enthused about the opening titles. But the stylish french-language music – coordinated by Theodore Shapiro – continues throughout, reaching a peak with Serge Gainsbourg’s sublime “Laisse Tomber Les Filles” over the equally entertaining end-titles.
Sharing confessions. A “BF” moment (and no… not “Best Friends”!). (Source: GEM Entertainment
But as a comedy thriller ther….
“HANG ON A MINUTE DR BOB! WHAT DID YOU JUST SAY? COMEDY THRILLER? I watched the trailer for this one, and it’s “Gone Girl” remade isn’t it? It wasn’t comedy! Even IMDB describe it as “Crime, Drama, Mystery”!”
Yes, quite, and therein lies the problem with this film. I found the trailers (the full trailer as well as the teaser trailer attached below) to be highly misleading about the “feel” of the film. The comedy is distributed throughout with some great comic put-downs (“Prudes are people too” coos Emily to Stephanie) and generally laugh-out-loud dialogue. So yes, it IS a “Gone Girl” or “The Girl on the Train” wannabe… but it’s with added ‘laffs’. Now this revelation might make the film appeal to you much more than the trailer did. But in my book, ‘thriller’ and ‘comedy’ are not genres to comfortably share a bed and for me the film became increasingly inconsistent. This inconsistency built to a finale where all semblance of plot and reality seemed to go right out of the window… it could have been an improv episode or “Who’s Line Is It Anyway?”.
The writer is Jessica Sharzer (who did the screenplay for “Nerve” which I very much liked). But I suspect the issue lies more with Paul Feig‘s background in comedies (“Bridesmaids”, “The Heat”, “Spy”) and he couldn’t resist spicing up the thriller with some out-of-place comedy. Which was a shame, since I really liked the overall thriller plot, and the dynamic built up between Kendrick and Lively.
Coming clean…ing. Anna Kendrick as an undercover mopper. (Source: GEM Entertainment).
Blake Lively (Mrs Deadpool of course) is actually staggeringly good as the unfathomable and slightly deranged Emily, and even Kendrick – who seems to have had a run of very so-so movies recently – is entertainingly quirky in this one.
I also enjoyed the performance of Rupert Friend (probably best known as Peter Quinn in “Homeland”) playing a vain and ego-centric fashion designer Dennis Nylon. Great fun.
Never trust a redhead. Emily being a-muse-ing. (Source: GEM Entertainment).
Was I entertained? Yes I was, so I am tempted to recommend you seeing this rather than not. But I was also irritated in equal measure…. I really felt from the opening scenes that this one had legs to make my Top 10 for the year. But no.
Please comment and let me know which side of the fence you sit on!
Bob Mann (459 KP) rated Book Club (2018) in Movies
Sep 29, 2021
A book club without a spine.
Let’s be clear before we start; I am NOT in the demographic that this film is aimed at. And judging from the general reactions of the cinema audience I shared this with – 90%+ of who were women aged over 50 – my views are NOT going to necessarily reflect the general view, since there seemed to be quite a few satisfied customers in the audience. But my personal view would be, if you’re going to make a light-hearted comedy aimed at the lucrative silver pound, then at least make it a good one. For this – for me – felt like 50 shades of lame.
The action – if we can stretch the use of English that far – revolves around the four middle-class white ladies (this film challenges neither class nor racial divides) who meet periodically with copious quantities of wine and goat-cheese stuffed tomatoes to discuss a book. Hotel owner Vivian (Jane Fonda, “Klute”, “On Golden Pond”) is making lots of love but is reluctant to commit to it herself; Diane (Diane Keaton, “”Annie Hall”, “Something’s Gotta Give”) is recently widowed and struggling against being pigeon-holed as an ‘old duffer’ by her two daughters; Sharon (Candice Bergen, “Soldier Blue”, “Miss Congeniality”) has devoted her life to her career as a high court judge at the expense of a physical relationship (“What happens to a vagina that hasn’t been used in 18 years?!”); and Carol (Mary Steenburgen (“Back to the Future Part III”) is in a sexless marriage with her recently retired husband Bruce (Craig T Nelson, “Get Hard“, “Poltergeist”).
Vivian introduces the book club to “50 Shades of Grey” and the book influences everyone’s lives in different ways.
What ensues is 100 minutes of double entendres (“You have a lethargic pussy” says a veterinarian… you get the level) as the four separate stories (bump and) grind towards their separate conclusions. There are one or too laugh-out-loud moments but the majority of the screenplay is merely smile-worthy: “Mostly harmless” as Douglas Adams would have said.
What IS good, which is the reason my rating won’t have a “1” in it, is that it does give a reason to see some of our more senior actors and actresses strut their stuff again on the main stage.
In terms of the lead performances, while Steenburgen is good, it is Candice Bergen who impresses most as a fine comic actress. More please! Fonda and Don Johnson (“Miami Vice”) were supposed to be a hot couple, but their acting to me appeared false and their chemistry non-existent: did they have a fight outside the trailer every morning? And Diane Keaton was… well… Diane Keaton: the ditzy old hippy shtick wore a bit thin for me by the end.
We also have appearances from the great Andy Garcia (“The Godfather Part III”, “Oceans 11”), Wallace Shawn (just SOOooo good as the sleazy mob lawyer in “The Good Wife/Fight”) and (best of all) Richard Dreyfuss (“Jaws”, “Close Encounters of the Third Kind”). Dreyfuss has merely a cameo, but I was just longing for more of his character.
Alicia Silverstone (“Clueless”, “Batman & Robin”) even turns up, but her character (together with her sister played by Katie Aselton) is so annoying and vacuous that it’s not easy to warm to her.
A standout – but not in a good way – is the special effects, with some of the dodgiest green screen work I’ve seen in many a year. Think “North by Northwest” quality….. but that’s nearly 60 years old!
So, it’s not a film I would run to see again, but I’m not going to pan it completely, since if you are of the demographic that enjoys such films, you may really enjoy this one. It reminds me somewhat of “It’s Complicated” – and that’s one of my wife’s personal favourites! It also addresses some key topics that will be of relevance to a senior audience, not normally addressed by movies: male impotence resulting from self-doubt; the need to keep a young and ever-inquiring mind; and the good times to be had by getting out and back in the game again after bereavement (yes, you know who you are and you know I’m addressing YOU here!).
The action – if we can stretch the use of English that far – revolves around the four middle-class white ladies (this film challenges neither class nor racial divides) who meet periodically with copious quantities of wine and goat-cheese stuffed tomatoes to discuss a book. Hotel owner Vivian (Jane Fonda, “Klute”, “On Golden Pond”) is making lots of love but is reluctant to commit to it herself; Diane (Diane Keaton, “”Annie Hall”, “Something’s Gotta Give”) is recently widowed and struggling against being pigeon-holed as an ‘old duffer’ by her two daughters; Sharon (Candice Bergen, “Soldier Blue”, “Miss Congeniality”) has devoted her life to her career as a high court judge at the expense of a physical relationship (“What happens to a vagina that hasn’t been used in 18 years?!”); and Carol (Mary Steenburgen (“Back to the Future Part III”) is in a sexless marriage with her recently retired husband Bruce (Craig T Nelson, “Get Hard“, “Poltergeist”).
Vivian introduces the book club to “50 Shades of Grey” and the book influences everyone’s lives in different ways.
What ensues is 100 minutes of double entendres (“You have a lethargic pussy” says a veterinarian… you get the level) as the four separate stories (bump and) grind towards their separate conclusions. There are one or too laugh-out-loud moments but the majority of the screenplay is merely smile-worthy: “Mostly harmless” as Douglas Adams would have said.
What IS good, which is the reason my rating won’t have a “1” in it, is that it does give a reason to see some of our more senior actors and actresses strut their stuff again on the main stage.
In terms of the lead performances, while Steenburgen is good, it is Candice Bergen who impresses most as a fine comic actress. More please! Fonda and Don Johnson (“Miami Vice”) were supposed to be a hot couple, but their acting to me appeared false and their chemistry non-existent: did they have a fight outside the trailer every morning? And Diane Keaton was… well… Diane Keaton: the ditzy old hippy shtick wore a bit thin for me by the end.
We also have appearances from the great Andy Garcia (“The Godfather Part III”, “Oceans 11”), Wallace Shawn (just SOOooo good as the sleazy mob lawyer in “The Good Wife/Fight”) and (best of all) Richard Dreyfuss (“Jaws”, “Close Encounters of the Third Kind”). Dreyfuss has merely a cameo, but I was just longing for more of his character.
Alicia Silverstone (“Clueless”, “Batman & Robin”) even turns up, but her character (together with her sister played by Katie Aselton) is so annoying and vacuous that it’s not easy to warm to her.
A standout – but not in a good way – is the special effects, with some of the dodgiest green screen work I’ve seen in many a year. Think “North by Northwest” quality….. but that’s nearly 60 years old!
So, it’s not a film I would run to see again, but I’m not going to pan it completely, since if you are of the demographic that enjoys such films, you may really enjoy this one. It reminds me somewhat of “It’s Complicated” – and that’s one of my wife’s personal favourites! It also addresses some key topics that will be of relevance to a senior audience, not normally addressed by movies: male impotence resulting from self-doubt; the need to keep a young and ever-inquiring mind; and the good times to be had by getting out and back in the game again after bereavement (yes, you know who you are and you know I’m addressing YOU here!).
Bob Mann (459 KP) rated The Fate of the Furious (2017) in Movies
Sep 29, 2021
Blood is thicker than Diesel.
All work and no play makes bob-the-movie-man a tardy reviewer. Still, what better way to break the fast than with “Fast and Furious 8” (aka “The Fate of the Furious”)?
Well, quite a lot of things actually!
Now, I have a confession to make (and I know for some this will be the equivalent of an appalling statement like “I’ve never seen Star Wars”). I have actually never ever seen Fast and Furious 1 through 7! (If it’s any mitigation to this cinematic crime, I did see the F-and-F wannabe “Need for Speed“).
So I was going to be completely lost with the “plot” right? Well actually, no. It was pretty easy to jump in and follow as a piece of popcorn nonsense.
The M25 water main burst was a real bitch for the Monday morning rush-hour.
For nonsense it is (hence the “rabbit ears” round the word “plot” above). The story isn’t just a bit far-fetched. It’s bat-shit crazy where the bat in question has downed a questionable vindaloo two hours earlier!
Dom (Vin Diesel) has turned on his “family”, including his squeeze, the lovely Letty (Michelle Rodriguez), and Hobbs (Dwayne Johnson, “San Andreas“), to team with the above-the-law (and above the clouds) cyber-super-terrorist Cipher (Charlize Theron, “Mad Max: Fury Road“). They have teamed up, apparently, for no other reason than to allow Cipher to ‘kick some global ass’ with a nuclear threat. But given his caring and sharing side, why the sudden betrayal of his nearest and dearest by Dom?
Ice Queen Metallica fan Theron, showing off her hardware.
Where do you begin with the nonsensical story? Jumping from Cuba (with some admittedly fun scenes, but shamelessly objectifying scantily-clad women) via Berlin and New York to the icy wastes of Siberia, it’s just an excuse to show fast cars doing ludicrously unlikely things. There is zero logic within any of the script. Here are just a handful of examples:
the team know (through enormous jumps of speculation) to be present at a particular location in the world and at exactly the time that Dom is there (arrive, look through binoculars, “Oh, there he is”!);
all cars can be automatically hijacked and remotely driven (who knew), but NOT those of the team (obviously);
fast cars/tanks/etc can be magicked from New York to Siberia (wot, no Hertz Siberia available?);
Russian nuclear codes are stolen, so obviously they can’t be changed?
a nuclear submarine is out of the water on wooden blocks, but spin the propeller really REALLY fast and it can suddenly be sailing away.
Muscle for muscle it never looked like being a fair fight.
I appreciate I am being enormously po-faced about this, and this is designed as pure escapism. But is there REALLY any need for this to be such mindless escapism? The director (Gary Gray, “The Italian Job”) and writer (Chris Morgan, responsible for parts 6 and 7) should credit their audience with rather more in the way of intelligence.
Diesel and Johnson are never going to set the acting ablaze, but Rodriquez (“Lost”) is as watchable as ever. Theron has fun with her villainy and the supporting turns by Tyrese Gibson and Ludacris are enjoyable. Nathalie Emmanuel though as Ramsey seems as uncomfortable with her “sexy English” stereotype as she should be.
A long way from Brookside. Nathalie Emmanuel uncomfortable as “the sexy one”.
Luke Evans (“The Hobbit“), Kurt Russell (“Deepwater Horizon“) and Helen Mirren (“Eye in the Sky“) turn up in entertaining but underused cameos, but it is Jason Statham as Deckard that has the most fun in the whole film, and his scenes – done largely for comic effect – are the best part of the movie. (But “math” Jason? “MATH”?? I hope your old maths teacher back in London doesn’t get to see this film).
Parking enforcement by the City Council was getting more and more stringent.
If you’re willing to park your brain at the door for two hours then it has some fun moments. But I felt the damage to my IQ might not have been worth the risk, and this really didn’t fill my cinematic tank.
Well, quite a lot of things actually!
Now, I have a confession to make (and I know for some this will be the equivalent of an appalling statement like “I’ve never seen Star Wars”). I have actually never ever seen Fast and Furious 1 through 7! (If it’s any mitigation to this cinematic crime, I did see the F-and-F wannabe “Need for Speed“).
So I was going to be completely lost with the “plot” right? Well actually, no. It was pretty easy to jump in and follow as a piece of popcorn nonsense.
The M25 water main burst was a real bitch for the Monday morning rush-hour.
For nonsense it is (hence the “rabbit ears” round the word “plot” above). The story isn’t just a bit far-fetched. It’s bat-shit crazy where the bat in question has downed a questionable vindaloo two hours earlier!
Dom (Vin Diesel) has turned on his “family”, including his squeeze, the lovely Letty (Michelle Rodriguez), and Hobbs (Dwayne Johnson, “San Andreas“), to team with the above-the-law (and above the clouds) cyber-super-terrorist Cipher (Charlize Theron, “Mad Max: Fury Road“). They have teamed up, apparently, for no other reason than to allow Cipher to ‘kick some global ass’ with a nuclear threat. But given his caring and sharing side, why the sudden betrayal of his nearest and dearest by Dom?
Ice Queen Metallica fan Theron, showing off her hardware.
Where do you begin with the nonsensical story? Jumping from Cuba (with some admittedly fun scenes, but shamelessly objectifying scantily-clad women) via Berlin and New York to the icy wastes of Siberia, it’s just an excuse to show fast cars doing ludicrously unlikely things. There is zero logic within any of the script. Here are just a handful of examples:
the team know (through enormous jumps of speculation) to be present at a particular location in the world and at exactly the time that Dom is there (arrive, look through binoculars, “Oh, there he is”!);
all cars can be automatically hijacked and remotely driven (who knew), but NOT those of the team (obviously);
fast cars/tanks/etc can be magicked from New York to Siberia (wot, no Hertz Siberia available?);
Russian nuclear codes are stolen, so obviously they can’t be changed?
a nuclear submarine is out of the water on wooden blocks, but spin the propeller really REALLY fast and it can suddenly be sailing away.
Muscle for muscle it never looked like being a fair fight.
I appreciate I am being enormously po-faced about this, and this is designed as pure escapism. But is there REALLY any need for this to be such mindless escapism? The director (Gary Gray, “The Italian Job”) and writer (Chris Morgan, responsible for parts 6 and 7) should credit their audience with rather more in the way of intelligence.
Diesel and Johnson are never going to set the acting ablaze, but Rodriquez (“Lost”) is as watchable as ever. Theron has fun with her villainy and the supporting turns by Tyrese Gibson and Ludacris are enjoyable. Nathalie Emmanuel though as Ramsey seems as uncomfortable with her “sexy English” stereotype as she should be.
A long way from Brookside. Nathalie Emmanuel uncomfortable as “the sexy one”.
Luke Evans (“The Hobbit“), Kurt Russell (“Deepwater Horizon“) and Helen Mirren (“Eye in the Sky“) turn up in entertaining but underused cameos, but it is Jason Statham as Deckard that has the most fun in the whole film, and his scenes – done largely for comic effect – are the best part of the movie. (But “math” Jason? “MATH”?? I hope your old maths teacher back in London doesn’t get to see this film).
Parking enforcement by the City Council was getting more and more stringent.
If you’re willing to park your brain at the door for two hours then it has some fun moments. But I felt the damage to my IQ might not have been worth the risk, and this really didn’t fill my cinematic tank.
Gareth von Kallenbach (980 KP) rated Venom: Let There Be Carnage (2021) in Movies
Sep 30, 2021
Venom: Let There Be Carnage Has Some Moments But Could Have Been So Much More
When audiences last saw Eddie Brock (Tom Hardy); the journalist and his parasitic symbiote Venom; had just saved the day and cemented their unusual bond with one another.
In the new film “Venom: Let There Be Carnage”; Eddie and Venom are at the end of their Honeymoon phase as Venom is lingering to be free to eat bad people and do what is natural for him. Eddie meanwhile wants a more conservative approach feeding Venom chicken and chocolate as he knows the eyes of the authorities are still upon him and he has to convince the world that Venom is dead and no longer a threat.
At the same time; serial killer Cletus Kasady (Woody Harrelson) has selected Eddie to interview him in San Quentin and the two form an unusual connection as Cletus cryptically speaks to Eddie which underlines a deeper motivation.
With the help of Venom; Eddie is able to decipher clues found on the walls of Cletus’s cell which leads authorities to several of his victims. This results in a rapid rise in status for Eddie and fast tracks Cletus for execution as his main means of leverage is now gone.
This leads to a rift where Eddie and Venom split and each has to struggle to adjust to life without one another.
At this point, the film has mainly been odd bits of whimsy between Venom and Eddie around the establishment of the plot and threat. However, things go into chaos mode when Cletus becomes infected with a Symbiote and turns into a destruction spewing death machine known as “Carnage”.
Cletus and Carnage both have their own agendas and Cletus uses Carnage to exact his revenge as well as locate a figure from his past that is as big a danger as he is.
As any fan of films of this genre knows; this scenario leads to a showdown between the central characters which are awash in abundant CGI, loud noises, and destruction. While this is not a bad thing and certainly one of the main reasons I enjoy films of this type; the film never seemed to fully click for me and as such was not as good as I thought it could have been.
In many ways, the film reminded me of how comic-based films were done before Marvel started their own studios and their phenomenal run of hits based on their work.
There have been multiple attempts to adapt comics into films over the last few decades and many of them have not lived up to expectations or failed outright. One of the biggest reasons is in my opinion is that those behind the projects were hindered by the studio, wanted to put their own spin on the material and strayed from the source; or failed to show the attributes that made the characters so appealing to fans.
What we often get is action sequences and CGI galore but without stories or characters that fully draw in the audience and fail to capture the essence of the comics.
Director Andy Serkis has done a great job with the visuals of the film but the tone seems off. The early part of the film is filled with comedic moments that are either hit or miss. Some of which was almost to the point where I wondered if it was supposed to be a parody.
The plot is fairly linear with nothing unexpected as it is simply bad guys get loose; bad guys cause death and destruction, can the heroes stop them. The climactic scene lacks any “wow” moments for me as it was mainly CGI characters rapidly moving around causing damage to one another and their environment. There was no real tension for me and the ultimate resolution seemed a bit anti-climactic.
For me the best moment of the film was a mid-credits scene that really popped as it sets up all sorts of interesting options and indicates that Venom may be about to graduate to bigger and better things.
For now; the cast is solid as is the CGI; I just wish the story was more engaging as it had the potential to be so much more.
3 stars out of 5
In the new film “Venom: Let There Be Carnage”; Eddie and Venom are at the end of their Honeymoon phase as Venom is lingering to be free to eat bad people and do what is natural for him. Eddie meanwhile wants a more conservative approach feeding Venom chicken and chocolate as he knows the eyes of the authorities are still upon him and he has to convince the world that Venom is dead and no longer a threat.
At the same time; serial killer Cletus Kasady (Woody Harrelson) has selected Eddie to interview him in San Quentin and the two form an unusual connection as Cletus cryptically speaks to Eddie which underlines a deeper motivation.
With the help of Venom; Eddie is able to decipher clues found on the walls of Cletus’s cell which leads authorities to several of his victims. This results in a rapid rise in status for Eddie and fast tracks Cletus for execution as his main means of leverage is now gone.
This leads to a rift where Eddie and Venom split and each has to struggle to adjust to life without one another.
At this point, the film has mainly been odd bits of whimsy between Venom and Eddie around the establishment of the plot and threat. However, things go into chaos mode when Cletus becomes infected with a Symbiote and turns into a destruction spewing death machine known as “Carnage”.
Cletus and Carnage both have their own agendas and Cletus uses Carnage to exact his revenge as well as locate a figure from his past that is as big a danger as he is.
As any fan of films of this genre knows; this scenario leads to a showdown between the central characters which are awash in abundant CGI, loud noises, and destruction. While this is not a bad thing and certainly one of the main reasons I enjoy films of this type; the film never seemed to fully click for me and as such was not as good as I thought it could have been.
In many ways, the film reminded me of how comic-based films were done before Marvel started their own studios and their phenomenal run of hits based on their work.
There have been multiple attempts to adapt comics into films over the last few decades and many of them have not lived up to expectations or failed outright. One of the biggest reasons is in my opinion is that those behind the projects were hindered by the studio, wanted to put their own spin on the material and strayed from the source; or failed to show the attributes that made the characters so appealing to fans.
What we often get is action sequences and CGI galore but without stories or characters that fully draw in the audience and fail to capture the essence of the comics.
Director Andy Serkis has done a great job with the visuals of the film but the tone seems off. The early part of the film is filled with comedic moments that are either hit or miss. Some of which was almost to the point where I wondered if it was supposed to be a parody.
The plot is fairly linear with nothing unexpected as it is simply bad guys get loose; bad guys cause death and destruction, can the heroes stop them. The climactic scene lacks any “wow” moments for me as it was mainly CGI characters rapidly moving around causing damage to one another and their environment. There was no real tension for me and the ultimate resolution seemed a bit anti-climactic.
For me the best moment of the film was a mid-credits scene that really popped as it sets up all sorts of interesting options and indicates that Venom may be about to graduate to bigger and better things.
For now; the cast is solid as is the CGI; I just wish the story was more engaging as it had the potential to be so much more.
3 stars out of 5
Bob Mann (459 KP) rated Bridget Jones's Baby (2016) in Movies
Sep 29, 2021
Come the F*** on Bridget… who’s the Daddy?
The world’s favourite lonely-hearts diarist is back. Bridget (Renée Zellweger) once again starts the film ‘all by herself’, haunted by occasional meetings with ex-flame Mark D’Arcy (Colin Firth) – now married to Camilla (Agni Scott) – and facing the natural discomfort of the early funeral of another friend who has died way too young. And at 43, Bridget’s biological clock is also ticking towards parental midnight.
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Bob Mann (459 KP) rated Fantastic Beasts and Where to Find Them (2016) in Movies
Sep 29, 2021
Marvelous Cash Cows and How to Milk Them.
As just about everyone in the whole muggle world (or nomaj world if you’re reading this in the States) knows, FBaWtFT is the first of a five film spin-off series from the Potter franchise, still under the careful stewardship of David Yates. (And if the other films in the series were ‘amber-lit’ rather than ‘green-lit’, their production now seems assured after the US opening weekend alone has brought in nearly half its $180 million budget).
Set in New York in the mid-1920’s Eddie Redmayne (“The Danish Girl”; “The Theory of Everything”) plays Newt Scamander, a Brit newly arrived with a case full of trouble. Newt is a bit like an amiable and ditsy David Attenborough, with a strong desire to protect and establish breeding colonies for endangered species. It’s fair to say though that these are creatures that even Sir David hasn’t yet filmed.
Within the battered old case (a forerunner of Hermione Grainger’s bag, which was probably borrowed from Mary Poppins), Newt stores a menagerie of strange and wonderful creatures which – after a bump and a mishap – get released by wannabe baker and muggle Jacob Kowalski (Dan Fogler, “Fanboys”). Newt has the job of rounding up the strays with the help of Tina (Katherine Waterston, “Steve Jobs”), an out of favour member of the Magical Congress of the USA (MACUSA). Unfortunately this couldn’t be happening at a worse time: something else – nothing to do with Newt – is wreaking havoc across New York and MACUSA is on red alert suspecting the involvement of a dark wizard, Gellert Grindelwald, following attacks in Europe. And keeping the secrets of wizardry from the NoMaj population is getting increasingly difficult, especially with the efforts of the “Second Salemers” movement run by Mary Lou (Samantha Morton, “Minority Report”) and her strange adopted family.
This film will obviously be an enormous success given the love of all things Potter, but is it any good? Well, its different for sure, being set many years before Potter and only having glancing references to Hogwarts and related matters. And that gives the opportunity to start afresh with new characters and new relationships which is refreshing. It’s all perfectly amiable, with Redmayne’s slightly embarrassed lack of eye-contact* in delivering his lines being charming. [* Is this perhaps the second leading character in a month that is high on the autistic spectrum?] . Redmayne does have a tendency to mutter though and (particularly with the sound system for the cinema I saw this in) this made a lot of his dialogue inaudible. Waterston makes for a charming if somewhat insipid heroine, not being given an awful lot to do in the action sequences.
Kowalski adds a humorous balance to the mixture, but the star comic turns are some of the creatures, especially the Niffler… a light fingered magpie-like creature with a voluminous pouch and expensive tastes!
In the ‘I-almost-know-who-that-is-behind-the-make-up-but-can’t-quite-place-him’ role is Ron “Hellboy” Perlman as the untrustworthy gangster Gnarlack. And in another cameo – and probably paid an enormous fee for his 30 seconds of screen time – is Johnny Depp, which was money well-wasted since, like most of his roles, he was completely unrecognisable (I only knew it was him from checking imdb afterwards).
At the pen is J.K.Rowling herself, and there are a few corking lines in the script. However, in common with many of her novels, there is also a tendency for extrapolation and padding. Some judicial editing could have knocked at least twenty minutes off its child-unfriendly 133 minute running time and made a better film. Undoubtedly the first half of the film is better than the second, with the finale slouching into – as my other half put it – “superhero” territory with much CGI destruction and smashing of glass. What is perhaps most surprising about the story is that there are few obvious set-ups for the next film.
Quirky and original, its a film that will no-doubt please Potter fans and it stands as a decent fantasy film in its own right. It’s difficult though to get the smell of big business and exploitation out of your nostrils: no doubt stockings throughout the world will be full of plush toy nifflers this Christmas.
Set in New York in the mid-1920’s Eddie Redmayne (“The Danish Girl”; “The Theory of Everything”) plays Newt Scamander, a Brit newly arrived with a case full of trouble. Newt is a bit like an amiable and ditsy David Attenborough, with a strong desire to protect and establish breeding colonies for endangered species. It’s fair to say though that these are creatures that even Sir David hasn’t yet filmed.
Within the battered old case (a forerunner of Hermione Grainger’s bag, which was probably borrowed from Mary Poppins), Newt stores a menagerie of strange and wonderful creatures which – after a bump and a mishap – get released by wannabe baker and muggle Jacob Kowalski (Dan Fogler, “Fanboys”). Newt has the job of rounding up the strays with the help of Tina (Katherine Waterston, “Steve Jobs”), an out of favour member of the Magical Congress of the USA (MACUSA). Unfortunately this couldn’t be happening at a worse time: something else – nothing to do with Newt – is wreaking havoc across New York and MACUSA is on red alert suspecting the involvement of a dark wizard, Gellert Grindelwald, following attacks in Europe. And keeping the secrets of wizardry from the NoMaj population is getting increasingly difficult, especially with the efforts of the “Second Salemers” movement run by Mary Lou (Samantha Morton, “Minority Report”) and her strange adopted family.
This film will obviously be an enormous success given the love of all things Potter, but is it any good? Well, its different for sure, being set many years before Potter and only having glancing references to Hogwarts and related matters. And that gives the opportunity to start afresh with new characters and new relationships which is refreshing. It’s all perfectly amiable, with Redmayne’s slightly embarrassed lack of eye-contact* in delivering his lines being charming. [* Is this perhaps the second leading character in a month that is high on the autistic spectrum?] . Redmayne does have a tendency to mutter though and (particularly with the sound system for the cinema I saw this in) this made a lot of his dialogue inaudible. Waterston makes for a charming if somewhat insipid heroine, not being given an awful lot to do in the action sequences.
Kowalski adds a humorous balance to the mixture, but the star comic turns are some of the creatures, especially the Niffler… a light fingered magpie-like creature with a voluminous pouch and expensive tastes!
In the ‘I-almost-know-who-that-is-behind-the-make-up-but-can’t-quite-place-him’ role is Ron “Hellboy” Perlman as the untrustworthy gangster Gnarlack. And in another cameo – and probably paid an enormous fee for his 30 seconds of screen time – is Johnny Depp, which was money well-wasted since, like most of his roles, he was completely unrecognisable (I only knew it was him from checking imdb afterwards).
At the pen is J.K.Rowling herself, and there are a few corking lines in the script. However, in common with many of her novels, there is also a tendency for extrapolation and padding. Some judicial editing could have knocked at least twenty minutes off its child-unfriendly 133 minute running time and made a better film. Undoubtedly the first half of the film is better than the second, with the finale slouching into – as my other half put it – “superhero” territory with much CGI destruction and smashing of glass. What is perhaps most surprising about the story is that there are few obvious set-ups for the next film.
Quirky and original, its a film that will no-doubt please Potter fans and it stands as a decent fantasy film in its own right. It’s difficult though to get the smell of big business and exploitation out of your nostrils: no doubt stockings throughout the world will be full of plush toy nifflers this Christmas.
Bob Mann (459 KP) rated Doctor Strange (2016) in Movies
Sep 29, 2021
Well multiversed.
In the latest Marvel film (notably now available with the snazzy new Marvel production logo at the start) Benedict Cumberbatch (“Sherlock”, “Star Trek Into Darkness”) plays the titular hero: a neurosurgeon with exceptional skills, an encyclopedic knowledge of discographies and an ego to rival Donald Trump.
After an horrific car crash (topically addressing the dangers of mobile use while driving) Strange loses the ability to practice his craft, and descends into a spiral of self-pity and despair. Finding a similar soul, Jonathan Pangborn (Benjamin Bratt, “24: Live Another Day”) who’s undergone a miracle cure, Strange travels to Katmandu in search of similar salvation where he is trained in spiritual control by “The Ancient One” (Tilda Swinton, “Hail Caesar”, “The Grand Budapest Hotel”) ably supported by her assistant Mordo (Chiwetel Ejiofor, “12 Years a Slave”) and librarian Wong (Benedict Wong, “The Martian”). So far so “Batman Begins”.
As always in these films though there is also a villain, in this case a rogue former pupil turned to the dark side (have we not been here before Anakin?) called Kaecilius (Mads Mikkelssen, “Quantum of Solace”). The world risks total destruction from spiritual attack (“…the Avengers handle the physical threats…” – LOL) and the team stand together to battle Kaecilius’s attempts to open a portal (“Zuuuul”) and ‘let the right one in’.
Followers of this blog will generally be aware that I am not a great fan of the Marvel and DC universes in general. However, there is a large variation in the style of films dished out by the studios ranging from the pompously full-of-themselves films at the “Batman vs Superman” (bottom) end to the more light-hearted (bordering on “Kick-Ass-style”) films at the “Ant Man” (top) end. Along this continuum I would judge “Doctor Strange” to be about a 7: so it is a lot more fun than I expected it to be.
The film is largely carried by Cumberbatch, effecting a vaguely annoying American accent but generally adding acting credence to some pretty ludicrous material. In particular he milks all the comic lines to maximum effect, leading to some genuinely funny moments: yes, the comedy gold extends past Ejiofor’s (very funny) wi-fi password line in the trailer.
Cumberbatch also has the range to convincingly play the fall of the egocentric Strange: his extreme unpleasantness towards his beleaguered on/off girlfriend (the ever-reliable Rachel McAdams (“Sherlock Holmes”)) drew audible gasps of shock from a few of the ‘Cumberbitches’ in my screening. (As I’m writing this on November 9th, the day of Trumpagedden, we might have already found a candidate able to play the new President elect!)
In fact, the whole of the first half of the film is a delight: Strange’s decline; effective Nepalese locations; a highly entertaining “training” sequence; and Cumberbatch and Swinton sparking off each other beautifully.
Where the film pitches downhill is where it gets too “BIG”: both in a hugely overblown New York morphing sequence (the – remember – human heroes suffer skyscraper-level falls without injury) and where (traditionally) a cosmic being gets involved and our puny heroes have to defend earth against it. Once again we have a “big CGI thing” centre screen with the logic behind the (long-term) defeating of the “big CGI thing” little better than that behind the defeat of the “big CGI thing” in “Batman vs Superman” (but without Gal Gadot’s legs unfortunately to distract the male audience).
Music is by Michael Giacchino, and his suitably bombastic Strange theme is given a very nice reworking over the end titles. By the way, for those who are interested in “Monkeys” (see glossary) there is a scene a few minutes into the credits featuring Strange and one of the Avengers (fairly pointless) and a second right at the end of the credits featuring Pangborn and Mordo setting up (not very convincingly I must say) the potential villain for Strange 2.
Not Shakespeare, but still an enjoyable and fun night out at the movies and far better than I was expecting.
After an horrific car crash (topically addressing the dangers of mobile use while driving) Strange loses the ability to practice his craft, and descends into a spiral of self-pity and despair. Finding a similar soul, Jonathan Pangborn (Benjamin Bratt, “24: Live Another Day”) who’s undergone a miracle cure, Strange travels to Katmandu in search of similar salvation where he is trained in spiritual control by “The Ancient One” (Tilda Swinton, “Hail Caesar”, “The Grand Budapest Hotel”) ably supported by her assistant Mordo (Chiwetel Ejiofor, “12 Years a Slave”) and librarian Wong (Benedict Wong, “The Martian”). So far so “Batman Begins”.
As always in these films though there is also a villain, in this case a rogue former pupil turned to the dark side (have we not been here before Anakin?) called Kaecilius (Mads Mikkelssen, “Quantum of Solace”). The world risks total destruction from spiritual attack (“…the Avengers handle the physical threats…” – LOL) and the team stand together to battle Kaecilius’s attempts to open a portal (“Zuuuul”) and ‘let the right one in’.
Followers of this blog will generally be aware that I am not a great fan of the Marvel and DC universes in general. However, there is a large variation in the style of films dished out by the studios ranging from the pompously full-of-themselves films at the “Batman vs Superman” (bottom) end to the more light-hearted (bordering on “Kick-Ass-style”) films at the “Ant Man” (top) end. Along this continuum I would judge “Doctor Strange” to be about a 7: so it is a lot more fun than I expected it to be.
The film is largely carried by Cumberbatch, effecting a vaguely annoying American accent but generally adding acting credence to some pretty ludicrous material. In particular he milks all the comic lines to maximum effect, leading to some genuinely funny moments: yes, the comedy gold extends past Ejiofor’s (very funny) wi-fi password line in the trailer.
Cumberbatch also has the range to convincingly play the fall of the egocentric Strange: his extreme unpleasantness towards his beleaguered on/off girlfriend (the ever-reliable Rachel McAdams (“Sherlock Holmes”)) drew audible gasps of shock from a few of the ‘Cumberbitches’ in my screening. (As I’m writing this on November 9th, the day of Trumpagedden, we might have already found a candidate able to play the new President elect!)
In fact, the whole of the first half of the film is a delight: Strange’s decline; effective Nepalese locations; a highly entertaining “training” sequence; and Cumberbatch and Swinton sparking off each other beautifully.
Where the film pitches downhill is where it gets too “BIG”: both in a hugely overblown New York morphing sequence (the – remember – human heroes suffer skyscraper-level falls without injury) and where (traditionally) a cosmic being gets involved and our puny heroes have to defend earth against it. Once again we have a “big CGI thing” centre screen with the logic behind the (long-term) defeating of the “big CGI thing” little better than that behind the defeat of the “big CGI thing” in “Batman vs Superman” (but without Gal Gadot’s legs unfortunately to distract the male audience).
Music is by Michael Giacchino, and his suitably bombastic Strange theme is given a very nice reworking over the end titles. By the way, for those who are interested in “Monkeys” (see glossary) there is a scene a few minutes into the credits featuring Strange and one of the Avengers (fairly pointless) and a second right at the end of the credits featuring Pangborn and Mordo setting up (not very convincingly I must say) the potential villain for Strange 2.
Not Shakespeare, but still an enjoyable and fun night out at the movies and far better than I was expecting.
Emma @ The Movies (1786 KP) rated Last Night in Soho (2021) in Movies
Oct 15, 2021
I was on the fence about this one. On the one hand, Edgar Wright, on the other, a cast that didn’t inspire confidence. But, if nothing else, it was going to be a spectacle.
Eloise dreams of being a fashion designer, and when she gets accepted to study fashion in London she thinks her dreams have come true. But London life isn’t quite what she hoped. When life in halls becomes too much, she finds herself an attic room to rent. Noisy roommates might have been the easier option when suddenly, every night, Eloise is transported to the 60s where the life of Sandie unfolds in front of her. Swept away in the glamour, the tables turn when Sandie’s life beings to twist into a new stark reality.
The start of Last Night in Soho pulled me in, the music had me, if nothing else I knew I’d be able to enjoy myself with the soundtrack. It’s a very nostalgic bit of listening for me having been brought up in a household that’s listening was a little more retro.
As the story develops, and Eloise along with it, you’re eager for answers. But that process feels drawn out and at some point it’s easy to see where it’s going to go before it’s properly alluded to, which took away some of the impact for me.
Our main character Eloise (played by Thomasin McKenzie), definitely has the right look and demeanour for this part. While in the end it’s a good performance though, I feel like the role would have been better suited to someone a little less on the nose. They've conveyed the mental health portion of the role nicely (the depiction of her mother felt a little Harry Potter but did get the point across), and she managed to encapsulate some of the terror, but again, it felt… cheesy? Maybe not the right word, but it was close to not giving it enough impact in the story, and I could see this working more on the horror side of things with some changes.
Ahh, Anya. Another from my list of people on the credits that make me go “meh”. I was sold with this performance though. I'm not fully on the Joy train, but I very much enjoyed this performance. Her attitude and behaviour the whole way through sold the character and… that’s it… really great. (So many things I want to say and so many that constitute spoilers.)
The supporting cast has some big names. Diana Rigg in her last performance gave a much needed edge to the scenes she was in. Matt Smith was cockney Matt Smith. My only particular call out would be for the character rather than the actor. The role of Eloise’s “boyfriend” was verging on problematic, both from a boyfriend and a writing point of view. A wet blanket of a character that seemed to be too close to comic relief without committing one way or the other. Even allowing for some sort of “support” for Eloise, this role could have been divvied out to a selection of other characters.
Last Night in Soho is stylish. The homely naive Eloise meeting glam forward Sandie really came together, and seeing Sandie’s influence seeping into the present day in the fashion and demeanour was interesting. The colours, the sets, the costumes, you can’t fault any of it.
Not being an expert in cinematic mastery behind the scenes, some of these things can escape me, but even I couldn’t miss the stunning editing and effects. Everything is seamless, and when you see some of those scenes I’m sure you’ll be blown away too.
On the technical side, this film is probably very close to a 5 star film, but with the character issues I had and the feeling that there was something missing from the ending, I’m even now not sure what my score for Last Night in Soho is going to be...
Originally posted on: https://emmaatthemovies.blogspot.com/2021/10/last-night-in-soho-movie-review.html
Eloise dreams of being a fashion designer, and when she gets accepted to study fashion in London she thinks her dreams have come true. But London life isn’t quite what she hoped. When life in halls becomes too much, she finds herself an attic room to rent. Noisy roommates might have been the easier option when suddenly, every night, Eloise is transported to the 60s where the life of Sandie unfolds in front of her. Swept away in the glamour, the tables turn when Sandie’s life beings to twist into a new stark reality.
The start of Last Night in Soho pulled me in, the music had me, if nothing else I knew I’d be able to enjoy myself with the soundtrack. It’s a very nostalgic bit of listening for me having been brought up in a household that’s listening was a little more retro.
As the story develops, and Eloise along with it, you’re eager for answers. But that process feels drawn out and at some point it’s easy to see where it’s going to go before it’s properly alluded to, which took away some of the impact for me.
Our main character Eloise (played by Thomasin McKenzie), definitely has the right look and demeanour for this part. While in the end it’s a good performance though, I feel like the role would have been better suited to someone a little less on the nose. They've conveyed the mental health portion of the role nicely (the depiction of her mother felt a little Harry Potter but did get the point across), and she managed to encapsulate some of the terror, but again, it felt… cheesy? Maybe not the right word, but it was close to not giving it enough impact in the story, and I could see this working more on the horror side of things with some changes.
Ahh, Anya. Another from my list of people on the credits that make me go “meh”. I was sold with this performance though. I'm not fully on the Joy train, but I very much enjoyed this performance. Her attitude and behaviour the whole way through sold the character and… that’s it… really great. (So many things I want to say and so many that constitute spoilers.)
The supporting cast has some big names. Diana Rigg in her last performance gave a much needed edge to the scenes she was in. Matt Smith was cockney Matt Smith. My only particular call out would be for the character rather than the actor. The role of Eloise’s “boyfriend” was verging on problematic, both from a boyfriend and a writing point of view. A wet blanket of a character that seemed to be too close to comic relief without committing one way or the other. Even allowing for some sort of “support” for Eloise, this role could have been divvied out to a selection of other characters.
Last Night in Soho is stylish. The homely naive Eloise meeting glam forward Sandie really came together, and seeing Sandie’s influence seeping into the present day in the fashion and demeanour was interesting. The colours, the sets, the costumes, you can’t fault any of it.
Not being an expert in cinematic mastery behind the scenes, some of these things can escape me, but even I couldn’t miss the stunning editing and effects. Everything is seamless, and when you see some of those scenes I’m sure you’ll be blown away too.
On the technical side, this film is probably very close to a 5 star film, but with the character issues I had and the feeling that there was something missing from the ending, I’m even now not sure what my score for Last Night in Soho is going to be...
Originally posted on: https://emmaatthemovies.blogspot.com/2021/10/last-night-in-soho-movie-review.html
BankofMarquis (1832 KP) rated Eternals (2021) in Movies
Nov 10, 2021
Works Well Enough
The interesting thing about creating a Cinematic “Universe” (like Marvel has done and others are desperately trying to do) is that because it is a “Universe” you can tell different types of stories with different types of characters in differing styles.
In ETERNALS, Marvel has really attempted to open up their “Universe” by introducing their audience to the Eternals, celestial beings that are tangentially interested in the goings-on of the human world.
It’s not a Super-Hero movie, per se, it’s a world of “Gods and Monsters” (to steal a phrase) that has repercussions across the Universe.
So with this background in mind, the ETERNALS succeeds, mostly, because it is trying to be something…else. NOT a SUPERHERO film, but something on a different plane.
Unfortunately, this probably will put off “Fan-boys” who want “more of the same” (more Avengers, more Thanos, more F/X smashy-smashy, fight-fight) and ETERNALS just isn’t intended to be that.
Your first clue that this film is trying to be something else is the choice of Director - recent Oscar Winner Chloe Zhao (NOMADLAND), known for her personal stories and interesting visuals. She brings that sensibility to this film and it (mostly), though it is the type of Cinematic style that works best in low-res (like an independent film like Nomadland) rather than large IMAX Comic-book film event films.
The movie itself is entertaining…enough. It is, necessarily, slow at the beginning as Zhao needs to set up these characters and the realm that they are playing on (and orient the audience as to how this fits with the AVENGERS:ENDGAME of it all). There are 10 (yes, TEN) Eternals to introduce along with ancillary characters, so the film has to take some time to gather steam.
And…it gathers steam, not in the action sequences (which are serviceable) but in the characters and the character interactions and this is where the film really works for me.
Gemma Chan (CRAZY, RICH ASIANS) and Richard Madden (Rob Stark on GAME OF THRONES) are, basically, the lead characters as their relationship takes center stage for most of the film - and these 2 (especially Chan) holds the screen well, which is tough to do since there are so many characters - and so much other things going on.
The real hero of the Marvel Cinematic Universe, IMHO, is the Casting Director who, time-after-time, plucks relative unknowns and throws them into parts that they are perfectly cast for…Salma Hayak (leader of Eternals, Ajak), Lia McHugh (Sprite), Brian Tyree Henry (Phastos), Lauren Ridloff (Makkari) and Barry Keoghan (Druig) all fit their parts well, with the relationship between Makkari and Druig being particularly interesting.
Speaking of interesting relationships, Ma Dong-seok (so good in the Korean Zombie flick TRAIN TO BUSAN) as Gilgamesh almost steals the screen from MOVIE STAR Angelina Jolie’s Thena…almost. Jolie is a MOVIE STAR that just walks onto the screen and commands your attention - and she is perfectly cast as Thena. It is a very smart use of her talents…and her personae as a MOVIE STAR and works very well.
Finally, it took awhile for the film to figure out what to do with Kumail Nanjiani’s character of Kingo (and Nanjiani’s tremendous comedic talents), but, eventually, they do figure it out - but not entirely - which is really the problem with this film. It ALMOST figures out the formula to make this huge, broad, galactic film very personal, but doesn’t quite get there.
I liked, but didn’t LOVE, ETERNALS. I applaud what this film tries to do and I am fine with where it went and was entertained by it. If this is the first part of a journey, then I am anxious to see where ETERNALS goes from here. If this is a “one-off” film, then it doesn’t, quite, work well enough.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
In ETERNALS, Marvel has really attempted to open up their “Universe” by introducing their audience to the Eternals, celestial beings that are tangentially interested in the goings-on of the human world.
It’s not a Super-Hero movie, per se, it’s a world of “Gods and Monsters” (to steal a phrase) that has repercussions across the Universe.
So with this background in mind, the ETERNALS succeeds, mostly, because it is trying to be something…else. NOT a SUPERHERO film, but something on a different plane.
Unfortunately, this probably will put off “Fan-boys” who want “more of the same” (more Avengers, more Thanos, more F/X smashy-smashy, fight-fight) and ETERNALS just isn’t intended to be that.
Your first clue that this film is trying to be something else is the choice of Director - recent Oscar Winner Chloe Zhao (NOMADLAND), known for her personal stories and interesting visuals. She brings that sensibility to this film and it (mostly), though it is the type of Cinematic style that works best in low-res (like an independent film like Nomadland) rather than large IMAX Comic-book film event films.
The movie itself is entertaining…enough. It is, necessarily, slow at the beginning as Zhao needs to set up these characters and the realm that they are playing on (and orient the audience as to how this fits with the AVENGERS:ENDGAME of it all). There are 10 (yes, TEN) Eternals to introduce along with ancillary characters, so the film has to take some time to gather steam.
And…it gathers steam, not in the action sequences (which are serviceable) but in the characters and the character interactions and this is where the film really works for me.
Gemma Chan (CRAZY, RICH ASIANS) and Richard Madden (Rob Stark on GAME OF THRONES) are, basically, the lead characters as their relationship takes center stage for most of the film - and these 2 (especially Chan) holds the screen well, which is tough to do since there are so many characters - and so much other things going on.
The real hero of the Marvel Cinematic Universe, IMHO, is the Casting Director who, time-after-time, plucks relative unknowns and throws them into parts that they are perfectly cast for…Salma Hayak (leader of Eternals, Ajak), Lia McHugh (Sprite), Brian Tyree Henry (Phastos), Lauren Ridloff (Makkari) and Barry Keoghan (Druig) all fit their parts well, with the relationship between Makkari and Druig being particularly interesting.
Speaking of interesting relationships, Ma Dong-seok (so good in the Korean Zombie flick TRAIN TO BUSAN) as Gilgamesh almost steals the screen from MOVIE STAR Angelina Jolie’s Thena…almost. Jolie is a MOVIE STAR that just walks onto the screen and commands your attention - and she is perfectly cast as Thena. It is a very smart use of her talents…and her personae as a MOVIE STAR and works very well.
Finally, it took awhile for the film to figure out what to do with Kumail Nanjiani’s character of Kingo (and Nanjiani’s tremendous comedic talents), but, eventually, they do figure it out - but not entirely - which is really the problem with this film. It ALMOST figures out the formula to make this huge, broad, galactic film very personal, but doesn’t quite get there.
I liked, but didn’t LOVE, ETERNALS. I applaud what this film tries to do and I am fine with where it went and was entertained by it. If this is the first part of a journey, then I am anxious to see where ETERNALS goes from here. If this is a “one-off” film, then it doesn’t, quite, work well enough.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated The Flash (2023) in Movies
Jun 7, 2023
Amidst numerous delays and offscreen speculations about the fate of the movie, Director Andy Muschietti has finally seen his big-screen adaptation of DC Comics "The Flash" arrive.
We first saw the film in late April at Cinemacon and now that we have seen the final cut with additional footage and a noticing credits, I can finally give you my impressions.
The movie opens with Barry Allen (Ezra Miller), called into action to help with an issue in Gotham City which offers a chance for an extended action scene as well as some cameo appearances that should delight fans.
Like most superheroes, Barry has to contend with work and personal issues and his time as the Flash often makes him late for work and even more of a social outcast than he already is. And the arrival of an old school friend reminds him that his father is scheduled to have a court appearance on appeal of his conviction for murdering his wife many years earlier. Barry is obsessed with proving his father's innocence however there is little evidence that can support his appeal.
Despite warnings not to alter time, Barry travels to the past to make a slight adjustment which results in his mother living and growing up in a two-parent household for himself.
His euphoria becomes short-lived when Barry runs into a younger version of himself and realizes that if he does not enable his younger self with his powers, then he will never exist to create the alternate reality where his parents are safe and happy.
The younger Barry is extremely immature and annoying and when he becomes confused with powers while the other loses them, there are numerous opportunities for comic mayhem which the film briefly touches upon before returning to the more serious aspects of the story.
As he was warned, Barry has created fractions in reality, and the one that he finds himself in has several changes from the one that knows including a world free of superpowered beings. This becomes a serious problem when General Zod (Michael Shannon) arrives and there is no Superman or Justice League to save the day.
In an act of desperation, Barry seeks out Batman (Michael Keaton), and is shocked to discover that he is different than the one that he knows in his reality. Both Barrys and Batman hatch a plan of desperation that sees them desperately mounting a rescue and offensive to save humanity.
The film has some fantastic visual effects but like most hero films becomes heavily bogged down on them in a final act that in many ways seems at times anticlimactic to the potential that the story has been building to. Miller is solid as the two Barrys although the younger version of them becomes very annoying and at times and some segments drag on.
Keaton absolutely steals the film and brings a much-needed presence to the action as he seems to really be enjoying his return to the role and his segments are often the most compelling parts of the film as he provides a stabilizing and grounding presence to the Barrys.
There are numerous cameos throughout the film that I will not spoil but suffice it to say they should delight fans and do offer some intriguing questions.
The biggest issue now is the future of the character as Gunn and Saffron are busy building their DC universe while outside projects currently are in the works. It is not a secret that legal issues and outside distractions have been associated with Miller to the point where some question whether the film could be released despite its lavish budget.
The final box office numbers will be very interesting because I found the film quite enjoyable and a pleasant surprise in one of the better DC cinematic efforts notwithstanding the final act which became a bit formulaic and anticlimactic for my liking. While it doesn't approach the level of several of the Marvel films, it does show that there is plenty of potential to make solid stories within the DC universe.
4 stars out of 5
We first saw the film in late April at Cinemacon and now that we have seen the final cut with additional footage and a noticing credits, I can finally give you my impressions.
The movie opens with Barry Allen (Ezra Miller), called into action to help with an issue in Gotham City which offers a chance for an extended action scene as well as some cameo appearances that should delight fans.
Like most superheroes, Barry has to contend with work and personal issues and his time as the Flash often makes him late for work and even more of a social outcast than he already is. And the arrival of an old school friend reminds him that his father is scheduled to have a court appearance on appeal of his conviction for murdering his wife many years earlier. Barry is obsessed with proving his father's innocence however there is little evidence that can support his appeal.
Despite warnings not to alter time, Barry travels to the past to make a slight adjustment which results in his mother living and growing up in a two-parent household for himself.
His euphoria becomes short-lived when Barry runs into a younger version of himself and realizes that if he does not enable his younger self with his powers, then he will never exist to create the alternate reality where his parents are safe and happy.
The younger Barry is extremely immature and annoying and when he becomes confused with powers while the other loses them, there are numerous opportunities for comic mayhem which the film briefly touches upon before returning to the more serious aspects of the story.
As he was warned, Barry has created fractions in reality, and the one that he finds himself in has several changes from the one that knows including a world free of superpowered beings. This becomes a serious problem when General Zod (Michael Shannon) arrives and there is no Superman or Justice League to save the day.
In an act of desperation, Barry seeks out Batman (Michael Keaton), and is shocked to discover that he is different than the one that he knows in his reality. Both Barrys and Batman hatch a plan of desperation that sees them desperately mounting a rescue and offensive to save humanity.
The film has some fantastic visual effects but like most hero films becomes heavily bogged down on them in a final act that in many ways seems at times anticlimactic to the potential that the story has been building to. Miller is solid as the two Barrys although the younger version of them becomes very annoying and at times and some segments drag on.
Keaton absolutely steals the film and brings a much-needed presence to the action as he seems to really be enjoying his return to the role and his segments are often the most compelling parts of the film as he provides a stabilizing and grounding presence to the Barrys.
There are numerous cameos throughout the film that I will not spoil but suffice it to say they should delight fans and do offer some intriguing questions.
The biggest issue now is the future of the character as Gunn and Saffron are busy building their DC universe while outside projects currently are in the works. It is not a secret that legal issues and outside distractions have been associated with Miller to the point where some question whether the film could be released despite its lavish budget.
The final box office numbers will be very interesting because I found the film quite enjoyable and a pleasant surprise in one of the better DC cinematic efforts notwithstanding the final act which became a bit formulaic and anticlimactic for my liking. While it doesn't approach the level of several of the Marvel films, it does show that there is plenty of potential to make solid stories within the DC universe.
4 stars out of 5