Search
Search results
Ross (3284 KP) rated Cold Iron (Masters & Mages #1) in Books
Jan 22, 2019
Elaborate prose and an unsettling amount of "wait and see" damaged my enjoyment
This book feels like your standard coming-of-age fantasy - young man from a simple village finds himself in the big city destined for greatness and surrounds himself with strong watchers while he grows into his potential. It is that and it is so much more.
The story that is told is how Aranthur, this young man (selected from his village to attend the big city university) finds himself in the midst of conflict and significant events in the empire's changing status. The idea of fate dictating that this one man would be at the centre of things (see Wheel of Time) is not one that is explored here. While it is hinted at (he is frequently told off for ending up in unusual circumstances), it isn't overly laboured. Nobody tells him he was chosen or anything like that. Instead he gradually learns that he has found himself at the centre of political intrigue, plotting, counter-plotting, conspiracies and war.
This book is not about Aranthur. He is just the focal point of the book, the story is so much bigger than him. This meant it did at times become a little hard to take that he always just happened to meet the right person, go to the right place at the right time in order to witness or participate in a number of significant plot events. In hindsight, this is largely all explained as some hidden agenda and him being put in those places to make those decisions but at the time it was a little jarring.
The narrative is more akin to Robert Jordan than many contemporary writers - so much overly elaborate description of people, places, clothes, horses, weapons etc. At times this adds to the reading experience but I found it over-used and made the book feel like a much longer read (I was shocked when I found out it was just under 450 pages - it reads like around 700). Also, so much of the narrative is in either italics (to show it is a magic/majick/magik delete as appropriate) or is in some odd variation of French ("gonne" for gun, "quaveh" for coffee etc) to become irritating. At times the book is more like a decent fantasy tale or conspiracy and intrigue which has been edited by a historical re-enactment nut. Given this is fictional and the world is the author's to do with as he wishes, forcing some historical accuracy at the expense of reader enjoyment seemed an odd decision to make.
The magical system seems fairly standard fantasy fayre, albeit it is not described or explored in any detail, people just suddenly do things which haven't previously been mentioned. A large aspect of the book is Aranthur's being chosen to translate an ancient text to decode the magical secrets hidden there. I think in all he decodes three of these, and uses them, but there is no mention of them until he has to use them in a fight. It could just be that I have been reading a lot of LitRPG recently, where every spell is described in intimate detail and its uses are discussed way in advance of being needed in combat, but I felt like it was something of an afterthought or rescue from a plot dead-end ("oh sod it, say he done a magic").
While I did enjoy this book on the whole, the narrative style and the focus being on clothes rather than describing the interesting aspects of the world were to its detriment. Also, the book is written as two "books" (chapters), the first "book" covers around 80% and all in one long chapter without breaks. To my mind, ending there would have sufficed. The final 20% in "book 2" felt like part epilogue, part sequel and should maybe have been split as such.
My advice to anyone reading this, is to suspend disbelief that little bit further and trust that things do largely get explained satisfactorily before the end.
The story that is told is how Aranthur, this young man (selected from his village to attend the big city university) finds himself in the midst of conflict and significant events in the empire's changing status. The idea of fate dictating that this one man would be at the centre of things (see Wheel of Time) is not one that is explored here. While it is hinted at (he is frequently told off for ending up in unusual circumstances), it isn't overly laboured. Nobody tells him he was chosen or anything like that. Instead he gradually learns that he has found himself at the centre of political intrigue, plotting, counter-plotting, conspiracies and war.
This book is not about Aranthur. He is just the focal point of the book, the story is so much bigger than him. This meant it did at times become a little hard to take that he always just happened to meet the right person, go to the right place at the right time in order to witness or participate in a number of significant plot events. In hindsight, this is largely all explained as some hidden agenda and him being put in those places to make those decisions but at the time it was a little jarring.
The narrative is more akin to Robert Jordan than many contemporary writers - so much overly elaborate description of people, places, clothes, horses, weapons etc. At times this adds to the reading experience but I found it over-used and made the book feel like a much longer read (I was shocked when I found out it was just under 450 pages - it reads like around 700). Also, so much of the narrative is in either italics (to show it is a magic/majick/magik delete as appropriate) or is in some odd variation of French ("gonne" for gun, "quaveh" for coffee etc) to become irritating. At times the book is more like a decent fantasy tale or conspiracy and intrigue which has been edited by a historical re-enactment nut. Given this is fictional and the world is the author's to do with as he wishes, forcing some historical accuracy at the expense of reader enjoyment seemed an odd decision to make.
The magical system seems fairly standard fantasy fayre, albeit it is not described or explored in any detail, people just suddenly do things which haven't previously been mentioned. A large aspect of the book is Aranthur's being chosen to translate an ancient text to decode the magical secrets hidden there. I think in all he decodes three of these, and uses them, but there is no mention of them until he has to use them in a fight. It could just be that I have been reading a lot of LitRPG recently, where every spell is described in intimate detail and its uses are discussed way in advance of being needed in combat, but I felt like it was something of an afterthought or rescue from a plot dead-end ("oh sod it, say he done a magic").
While I did enjoy this book on the whole, the narrative style and the focus being on clothes rather than describing the interesting aspects of the world were to its detriment. Also, the book is written as two "books" (chapters), the first "book" covers around 80% and all in one long chapter without breaks. To my mind, ending there would have sufficed. The final 20% in "book 2" felt like part epilogue, part sequel and should maybe have been split as such.
My advice to anyone reading this, is to suspend disbelief that little bit further and trust that things do largely get explained satisfactorily before the end.
Emma @ The Movies (1786 KP) rated Rick and Morty - Season 3 in TV
Feb 29, 2020
A big thank you to Smashbomb for this fantastic prize, make sure you take a look at their giveaways for the chance to win some amazing things.
Rick and Morty continues to follow the adventures of the members of the Smith household. When Jerry asks Beth to choose between him and Rick, the strength of their marriage is tested. Jerry is confronted with the loss of his family, while Beth begins to discover her independence again. Morty and Summer deal with their parents' separation by seeking more control over their lives. Rick's nihilistic way of life continues to prevent him from bonding with his family, as he remains unable to change his self-destructive behaviour.
At the end of season 2 Rick and the Smiths have hidden on a tiny version of Earth outside of the Federation's jurisdiction, Earth has been taken over and Rick has surrendered himself to save his family. We open season 3 with Rick in the Federation's custody being interrogated and we instantly get reminded that Rick doesn't do anything without having some sort of ulterior motive.
How can you not love the series that brought us Pickle Rick? I don't for a second know how anyone could think that Rick could create a rat/insect body when he is just a pickle, but he's the smartest man on the planet so I'm willing to believe it was entirely possible.
For me, a series that takes its characters on a journey without getting bogged down in a single storyline is always my favourite. Rick and Morty certainly manages to do this with its constantly jumping scenarios. The one story that does pop up throughout this season is Beth and Jerry's divorce. Rick, despite always being a bit of a dick to everyone, has always had it out for Jerry so this news doesn't phase him at all but the rest of the family are suffering in their own ways. Throughout the series we see Summer and Morty compensating with Rick's adventures and reconciling some of their ongoing personal issues through their experiences. While none of it is realistic, it's entirely relatable.
Before watching this season I decided to rewatch seasons 1 and 2, because it's the sensible thing to do. It felt like we got much better family interaction and inclusions in season 3, I doubt if you work it out that there's much difference between them but that it's more to do with the quality of what we got. With the family going through upheaval we got a lot of stories that actually go to prove that Rick really does care deep down even if he would never openly admit it.
Morty does develop somewhat in this season, he isn't just the bumbling sidekick any more. He's learned a lot over their adventures, and while he's still not on Rick standards, there are moments where we see that he's growing. His dealings with Rick during Vindicators 3 take a step towards actually standing up for himself more and showing him that he understands more about the inner workings of Rick mind than he realises. In The Whirly Dirly Conspiracy, his part of the episode is almost like that of a Rick and Morty adventure when Morty gets to choose, he stands back and watches while Beth makes a hash of things and then swoops in at the last minute to do things that need to be done... admittedly that last bit probably isn't a good character trait to develop but he's realised that (in their messed up sort of world) sometimes someone needs to learn a lesson.
The season as a whole was very good and I liked the way that we came full circle and almost reset the universe for season four. Though I still enjoy Rick and Morty in general, this was definitely a high point for what's currently out there. Development of characters, more fun scenarios and just a little bit of fear that somewhere in a sewer a pickle is making a body out of rat parts.
Episode synopsis included here: https://emmaatthemovies.blogspot.com/2020/02/rick-and-morty-season-3-tv-dvd-review.html
Rick and Morty continues to follow the adventures of the members of the Smith household. When Jerry asks Beth to choose between him and Rick, the strength of their marriage is tested. Jerry is confronted with the loss of his family, while Beth begins to discover her independence again. Morty and Summer deal with their parents' separation by seeking more control over their lives. Rick's nihilistic way of life continues to prevent him from bonding with his family, as he remains unable to change his self-destructive behaviour.
At the end of season 2 Rick and the Smiths have hidden on a tiny version of Earth outside of the Federation's jurisdiction, Earth has been taken over and Rick has surrendered himself to save his family. We open season 3 with Rick in the Federation's custody being interrogated and we instantly get reminded that Rick doesn't do anything without having some sort of ulterior motive.
How can you not love the series that brought us Pickle Rick? I don't for a second know how anyone could think that Rick could create a rat/insect body when he is just a pickle, but he's the smartest man on the planet so I'm willing to believe it was entirely possible.
For me, a series that takes its characters on a journey without getting bogged down in a single storyline is always my favourite. Rick and Morty certainly manages to do this with its constantly jumping scenarios. The one story that does pop up throughout this season is Beth and Jerry's divorce. Rick, despite always being a bit of a dick to everyone, has always had it out for Jerry so this news doesn't phase him at all but the rest of the family are suffering in their own ways. Throughout the series we see Summer and Morty compensating with Rick's adventures and reconciling some of their ongoing personal issues through their experiences. While none of it is realistic, it's entirely relatable.
Before watching this season I decided to rewatch seasons 1 and 2, because it's the sensible thing to do. It felt like we got much better family interaction and inclusions in season 3, I doubt if you work it out that there's much difference between them but that it's more to do with the quality of what we got. With the family going through upheaval we got a lot of stories that actually go to prove that Rick really does care deep down even if he would never openly admit it.
Morty does develop somewhat in this season, he isn't just the bumbling sidekick any more. He's learned a lot over their adventures, and while he's still not on Rick standards, there are moments where we see that he's growing. His dealings with Rick during Vindicators 3 take a step towards actually standing up for himself more and showing him that he understands more about the inner workings of Rick mind than he realises. In The Whirly Dirly Conspiracy, his part of the episode is almost like that of a Rick and Morty adventure when Morty gets to choose, he stands back and watches while Beth makes a hash of things and then swoops in at the last minute to do things that need to be done... admittedly that last bit probably isn't a good character trait to develop but he's realised that (in their messed up sort of world) sometimes someone needs to learn a lesson.
The season as a whole was very good and I liked the way that we came full circle and almost reset the universe for season four. Though I still enjoy Rick and Morty in general, this was definitely a high point for what's currently out there. Development of characters, more fun scenarios and just a little bit of fear that somewhere in a sewer a pickle is making a body out of rat parts.
Episode synopsis included here: https://emmaatthemovies.blogspot.com/2020/02/rick-and-morty-season-3-tv-dvd-review.html
Gareth von Kallenbach (980 KP) rated Men in Black III (2012) in Movies
Aug 7, 2019
Fifteen years after bursting onto the scene, award winning actors Will Smith and Tommy Lee Jones are back in black in Men In Black 3! Alien-busting agents J (Will Smith) and K (Tommy Lee Jones) are here once again to protect the galaxy, and the people of Earth, in this action-packed, hilarious and attention-grabbing adventure that is sure to redeem itself from its previous sequel flop.
Men In Black 3 features a time travel plot, with a comedic twist, that focuses on the relationship between Agent J, and surly old character, Agent K. Will Smith and Tommy Lee Jones have fantastic and seamless chemistry that makes it easy to dispel disbelief and emerse yourself into this secret world of aliens among us.
The film starts off with what seams like a casual conversation, between wise cracking charismatic Agent J and always grumpy Agent K, but soon leads to Agent K stonewalling J’s questions about K’s past by stating, “Don’t ask questions you don’t want to know the answers to.” As Will Smith’s character persists, our curiosity grows, and a conspiracy of a cover up and clues to Agent K’s dark past unfolds.
Meanwhile, one of the most feared criminals in the galaxy, Boris the Animal (Jemaine Clement), has just escaped from a maximum security prison that was built on the moon to detain him. Boris wants nothing more than to seek revenge on the person responsible for his 40 year incarceration and kill the man responsible for the loss of his arm, Agent K. Through a murderous rage Boris secures a time travel device and jumps back in time to 1969, where he rewrites history by killing K in hopes that his Boglodite alien kind will fulfill their mission to use and destroy present day Earth. The only person aware that time has been altered is, of course, Agent J who ends up traveling back in time to stop Boris the Animal. In doing so, Agent J unites with the younger Agent K (Josh Brolin) and has to work together to ultimately save mankind. Josh Brolin’s performance was spot on. He gave an uncanny impression of Jones, right down to the mannerisms and facial expressions. He was very entertaining to watch.
When I first heard about a third Men in Black movie, I didn’t expect much out of this 10 year dormant franchise. Mainly because the second movie left so little to be desired, due to its horrible storyline and less than stellar performances by the lead characters. I honestly cannot remember a single enjoyable moment from Men in Black 2, someone must have neuralized me!
Barry Sonnenfeld is back in the director’s seat, hoping to redeem himself from the disaster that was Men in Black 2. He attempts to return to the original formula that made the first Men in Black movie fun, original and entertaining. Proving to have succeeded in creating a more worthwhile storyline, there are however moments within the movie that seem a bit thrown together, times in the plot that could have been expanded upon but may have ended up on the editing room floor.
Kudos to the special effects and art direction team for once again creating amusingly and outlandish aliens that were the real stars of the show. The special effects, such as Boris’ dart spitting spider-like creature that lives inside his hand, were particularly gruesome.
Both Sonnenfeld and Smith, who serve as producers, were aiming at providing more substance to the third installment. They wanted to delve into the relationship between J and K and why K has such a bitter and distant persona, especially after having been partners for 15 years. The real reasons will shock you. I won’t spoil the surprising end, but it was a touching twist that I did not see coming. It made me appreciate both characters and had me walking out of the theater feeling pumped up from all of the action, giddy from all of the laughs and moved from the heartfelt ending. They pulled it off without being sappy, a well rounded action comedy, suitable for the whole family.
Men In Black 3 features a time travel plot, with a comedic twist, that focuses on the relationship between Agent J, and surly old character, Agent K. Will Smith and Tommy Lee Jones have fantastic and seamless chemistry that makes it easy to dispel disbelief and emerse yourself into this secret world of aliens among us.
The film starts off with what seams like a casual conversation, between wise cracking charismatic Agent J and always grumpy Agent K, but soon leads to Agent K stonewalling J’s questions about K’s past by stating, “Don’t ask questions you don’t want to know the answers to.” As Will Smith’s character persists, our curiosity grows, and a conspiracy of a cover up and clues to Agent K’s dark past unfolds.
Meanwhile, one of the most feared criminals in the galaxy, Boris the Animal (Jemaine Clement), has just escaped from a maximum security prison that was built on the moon to detain him. Boris wants nothing more than to seek revenge on the person responsible for his 40 year incarceration and kill the man responsible for the loss of his arm, Agent K. Through a murderous rage Boris secures a time travel device and jumps back in time to 1969, where he rewrites history by killing K in hopes that his Boglodite alien kind will fulfill their mission to use and destroy present day Earth. The only person aware that time has been altered is, of course, Agent J who ends up traveling back in time to stop Boris the Animal. In doing so, Agent J unites with the younger Agent K (Josh Brolin) and has to work together to ultimately save mankind. Josh Brolin’s performance was spot on. He gave an uncanny impression of Jones, right down to the mannerisms and facial expressions. He was very entertaining to watch.
When I first heard about a third Men in Black movie, I didn’t expect much out of this 10 year dormant franchise. Mainly because the second movie left so little to be desired, due to its horrible storyline and less than stellar performances by the lead characters. I honestly cannot remember a single enjoyable moment from Men in Black 2, someone must have neuralized me!
Barry Sonnenfeld is back in the director’s seat, hoping to redeem himself from the disaster that was Men in Black 2. He attempts to return to the original formula that made the first Men in Black movie fun, original and entertaining. Proving to have succeeded in creating a more worthwhile storyline, there are however moments within the movie that seem a bit thrown together, times in the plot that could have been expanded upon but may have ended up on the editing room floor.
Kudos to the special effects and art direction team for once again creating amusingly and outlandish aliens that were the real stars of the show. The special effects, such as Boris’ dart spitting spider-like creature that lives inside his hand, were particularly gruesome.
Both Sonnenfeld and Smith, who serve as producers, were aiming at providing more substance to the third installment. They wanted to delve into the relationship between J and K and why K has such a bitter and distant persona, especially after having been partners for 15 years. The real reasons will shock you. I won’t spoil the surprising end, but it was a touching twist that I did not see coming. It made me appreciate both characters and had me walking out of the theater feeling pumped up from all of the action, giddy from all of the laughs and moved from the heartfelt ending. They pulled it off without being sappy, a well rounded action comedy, suitable for the whole family.
James P. Sumner (65 KP) rated Angel Has Fallen (2019) in Movies
Aug 21, 2019
Is the third time a charm for Mr. Butler's action thriller series?
Gerard Butler returns as Secret Service agent Mike Banning in the third entry of the "Fallen" series, picking up where London Has Fallen left off.
We see an aging and sore Banning, struggling with the rigors of his profession, torn between his love for his duty to protect the President and the smart, semi-retirement position as Secret Service Director.
This takes a little while to get going compared to most films in the genre, but it isn't too long before everything goes sideways and Banning finds himself on the run from everyone, framed for something we all know he didn't do. The question is: who did it?
Drawing obvious inspiration from classic genre entries like Die Hard, as well as more modern offerings like John Wick, Gerard Butler takes on everyone from both sides of the law as he tries to get to the bottom of the conspiracy.
Aside from the slightly slow start, the pacing of this film is spot-on, mixing balls-to-the-wall action with gripping tension - accompanied by a very clever soundtrack that enhances the experience well.
The dialogue feels real and meaningful. There's nothing cheesy, no scene-filling conversations or anything, which is always a genuine concern with this type of film. Everything is done with a purpose.
I think perhaps too much effort was made to make this a 15-certificate (an R-rating for you lovely Americans). It was more for the language than anything. The violence and fighting was well-choreographed, taking the up-close, gritty approach akin to the Bourne movies, but there was nothing here that wouldn't have made the cut for a 12A. I think they gambled with the post-Deadpool debate of having a wider audience for a 12A vs. the "it's a 15, therefore it must be good because kids aren't allowed" appeal. I'm not saying it ruins the movie, I just think it was unnecessary. The aforementioned Deadpool, for example, absolutely wouldn't have worked if it was less than a 15, so I get why they made it the way the did. But with this, it would've been the exact same film either way, so why cut out a sizable portion of cinema-goers?
That being said, I did really, really enjoy this film. Is it predictable? Sadly, yes. That probably isn't THAT shocking of a revelation, as these types of films tend to follow a similar (and usually winning) formula, but I confess to being a little disappointed that I was able to figure out the main antagonist and the overall "big bad" within three minutes of the film starting. However, to this film's credit, this predictability doesn't take away from the experience at all. It's quite honest about what it is from the get-go, and it simply doesn't care. It does what it sets out to do, and it does it very well - better than a lot of similar movies in recent times. As with all films in this genre, people tend to watch them knowing what they're getting themselves in for, so you can just relax, switch off, and enjoy the ride for a couple of hours.
I can't sign off without mentioning Nick Nolte's turn as Butler's father. His performance, while not surprising, feels almost out-of-place, as it's so damn good he deserves an Oscar nod. He probably won't get one, as films like this tend not to get noticed by the Academy, but let me tell you, he steals every scene he's in, and you feel every word he says. There's an obvious comparison to the character he portrayed in Warrior, alongside Tom Hardy and Joel Edgerton. While he gets nowhere near as much screen time here, he makes the most of what he does get, and it truly is the stand-out performance of the year so far, by a long way.
This film is a solid 7/10, and I highly recommend it. I bumped it to an 8/10 because of Nick Nolte. If I could go back and just watch his scenes again, I would. Grab the popcorn, forget about the outside world... you could do a lot worse at the cinema right now than this.
We see an aging and sore Banning, struggling with the rigors of his profession, torn between his love for his duty to protect the President and the smart, semi-retirement position as Secret Service Director.
This takes a little while to get going compared to most films in the genre, but it isn't too long before everything goes sideways and Banning finds himself on the run from everyone, framed for something we all know he didn't do. The question is: who did it?
Drawing obvious inspiration from classic genre entries like Die Hard, as well as more modern offerings like John Wick, Gerard Butler takes on everyone from both sides of the law as he tries to get to the bottom of the conspiracy.
Aside from the slightly slow start, the pacing of this film is spot-on, mixing balls-to-the-wall action with gripping tension - accompanied by a very clever soundtrack that enhances the experience well.
The dialogue feels real and meaningful. There's nothing cheesy, no scene-filling conversations or anything, which is always a genuine concern with this type of film. Everything is done with a purpose.
I think perhaps too much effort was made to make this a 15-certificate (an R-rating for you lovely Americans). It was more for the language than anything. The violence and fighting was well-choreographed, taking the up-close, gritty approach akin to the Bourne movies, but there was nothing here that wouldn't have made the cut for a 12A. I think they gambled with the post-Deadpool debate of having a wider audience for a 12A vs. the "it's a 15, therefore it must be good because kids aren't allowed" appeal. I'm not saying it ruins the movie, I just think it was unnecessary. The aforementioned Deadpool, for example, absolutely wouldn't have worked if it was less than a 15, so I get why they made it the way the did. But with this, it would've been the exact same film either way, so why cut out a sizable portion of cinema-goers?
That being said, I did really, really enjoy this film. Is it predictable? Sadly, yes. That probably isn't THAT shocking of a revelation, as these types of films tend to follow a similar (and usually winning) formula, but I confess to being a little disappointed that I was able to figure out the main antagonist and the overall "big bad" within three minutes of the film starting. However, to this film's credit, this predictability doesn't take away from the experience at all. It's quite honest about what it is from the get-go, and it simply doesn't care. It does what it sets out to do, and it does it very well - better than a lot of similar movies in recent times. As with all films in this genre, people tend to watch them knowing what they're getting themselves in for, so you can just relax, switch off, and enjoy the ride for a couple of hours.
I can't sign off without mentioning Nick Nolte's turn as Butler's father. His performance, while not surprising, feels almost out-of-place, as it's so damn good he deserves an Oscar nod. He probably won't get one, as films like this tend not to get noticed by the Academy, but let me tell you, he steals every scene he's in, and you feel every word he says. There's an obvious comparison to the character he portrayed in Warrior, alongside Tom Hardy and Joel Edgerton. While he gets nowhere near as much screen time here, he makes the most of what he does get, and it truly is the stand-out performance of the year so far, by a long way.
This film is a solid 7/10, and I highly recommend it. I bumped it to an 8/10 because of Nick Nolte. If I could go back and just watch his scenes again, I would. Grab the popcorn, forget about the outside world... you could do a lot worse at the cinema right now than this.
Movie Metropolis (309 KP) rated The Commuter (2018) in Movies
Jun 10, 2019
Liam Neeson's special set of skills return
The Movie Metropolis Alternative Oscars have received over 650 votes so far and it’s proving to be the closest run awards ever. Make sure you cast your vote for the best films and performances from 2017 before March 6th.
Liam Neeson is this generation’s formidable action hero. From protecting his family in Taken and protecting his family in Run All Night, to protecting his family in Taken 2, and you know, protecting his family in Taken 3, Neeson is a family man if ever I’ve seen one.
Teaming up with director Jaume Collet-Serra for the fourth time, the rather excellent Non-Stop being their best work together, Neeson takes the action and moves it on-board, you guessed it, a commuter train. But does The Commuter work? Or are we starting to get derailed by these constant action roles?
Insurance salesman Michael (Neeson) is on his daily commute home, which quickly becomes anything but routine. After being contacted by a mysterious stranger (Vera Farmiga), Michael is forced to uncover the identity of a hidden passenger on the train before the last stop. As he works against the clock to solve the puzzle, he realizes a deadly plan is unfolding, and he is unwittingly caught up in a criminal conspiracy that carries life and death stakes for everyone on the train.
The premise is a borderline carbon copy of what we saw in Non-Stop, but with Neeson battling a series of bad guys on a train instead of in the air, and while it is at times, ridiculous, it’s directed with the usual Collet-Serra sense of style that would make even a dog food commercial look intriguing.
Where last year’s Murder on the Orient Express opted for opulence and fairly static camerawork, here The Commuter utilises every part of the train to its advantage. From underneath the carriages, to through the windows and even cleverly framed through a ticket stub, Collet-Serra’s direction is unique, if a little over-stylised at times.
Casting wise, Neeson is the perfect choice to play the world-weary protagonist with a very special set of skills, after all, it’s a role he has been playing for many years now. Some might say typecast, I prefer to think of it as knowing what he wants. Elsewhere, Vera Farmiga is a disappointingly underused presence and it would have been nice to see her a little more throughout the fairly taut 105-minute running time. It’s also nice to see Sam Neill back on the big screen and he remains dependable company.
It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG
The action is choreographed well considering the limitations of the set and while it’s clear that the carriages have been manipulated during some of the fight scenes, it’s still impressive to think of all the camera equipment being squeezed into a fairly small space. There’s always been something oddly satisfying at seeing 65-year-old Neeson taking down a group of ruffians half his age and that shows no sign of dissipating any time soon.
Unfortunately, it appears that the limitations of the set also manifested themselves in limits to the script. There are numerous scenes of Neeson pacing up and down the carriages with very little dialogue and while this worked reasonably well in Non-Stop, the result is less successful here, probably due to a less engaging supporting cast.
And while the cinematography is very clever indeed, the low budget, less than $20million in fact, means some of the CGI and special effects leave a lot to be desired, especially towards the film’s climax. It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG.
Overall, The Commuter is another thrilling slice of popcorn entertainment from Jaume Collet-Serra and Liam Neeson. At 65-years-old, you’d think everyone’s favourite Irish actor would want to be settling down into cosier rom-com territory and who could blame him? I’m just thankful he’s not. The Commuter may be utterly preposterous and completely unoriginal, but you’ll have a blast watching it.
https://moviemetropolis.net/2018/01/20/the-commuter-review-liam-neesons-special-set-of-skills-return/
Liam Neeson is this generation’s formidable action hero. From protecting his family in Taken and protecting his family in Run All Night, to protecting his family in Taken 2, and you know, protecting his family in Taken 3, Neeson is a family man if ever I’ve seen one.
Teaming up with director Jaume Collet-Serra for the fourth time, the rather excellent Non-Stop being their best work together, Neeson takes the action and moves it on-board, you guessed it, a commuter train. But does The Commuter work? Or are we starting to get derailed by these constant action roles?
Insurance salesman Michael (Neeson) is on his daily commute home, which quickly becomes anything but routine. After being contacted by a mysterious stranger (Vera Farmiga), Michael is forced to uncover the identity of a hidden passenger on the train before the last stop. As he works against the clock to solve the puzzle, he realizes a deadly plan is unfolding, and he is unwittingly caught up in a criminal conspiracy that carries life and death stakes for everyone on the train.
The premise is a borderline carbon copy of what we saw in Non-Stop, but with Neeson battling a series of bad guys on a train instead of in the air, and while it is at times, ridiculous, it’s directed with the usual Collet-Serra sense of style that would make even a dog food commercial look intriguing.
Where last year’s Murder on the Orient Express opted for opulence and fairly static camerawork, here The Commuter utilises every part of the train to its advantage. From underneath the carriages, to through the windows and even cleverly framed through a ticket stub, Collet-Serra’s direction is unique, if a little over-stylised at times.
Casting wise, Neeson is the perfect choice to play the world-weary protagonist with a very special set of skills, after all, it’s a role he has been playing for many years now. Some might say typecast, I prefer to think of it as knowing what he wants. Elsewhere, Vera Farmiga is a disappointingly underused presence and it would have been nice to see her a little more throughout the fairly taut 105-minute running time. It’s also nice to see Sam Neill back on the big screen and he remains dependable company.
It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG
The action is choreographed well considering the limitations of the set and while it’s clear that the carriages have been manipulated during some of the fight scenes, it’s still impressive to think of all the camera equipment being squeezed into a fairly small space. There’s always been something oddly satisfying at seeing 65-year-old Neeson taking down a group of ruffians half his age and that shows no sign of dissipating any time soon.
Unfortunately, it appears that the limitations of the set also manifested themselves in limits to the script. There are numerous scenes of Neeson pacing up and down the carriages with very little dialogue and while this worked reasonably well in Non-Stop, the result is less successful here, probably due to a less engaging supporting cast.
And while the cinematography is very clever indeed, the low budget, less than $20million in fact, means some of the CGI and special effects leave a lot to be desired, especially towards the film’s climax. It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG.
Overall, The Commuter is another thrilling slice of popcorn entertainment from Jaume Collet-Serra and Liam Neeson. At 65-years-old, you’d think everyone’s favourite Irish actor would want to be settling down into cosier rom-com territory and who could blame him? I’m just thankful he’s not. The Commuter may be utterly preposterous and completely unoriginal, but you’ll have a blast watching it.
https://moviemetropolis.net/2018/01/20/the-commuter-review-liam-neesons-special-set-of-skills-return/
Gareth von Kallenbach (980 KP) rated Watchmen (2009) in Movies
Aug 14, 2019
In an alternate 1985, where Nixon is president, The U.S. won the Vietnam War, and costumed heroes have been banned by an act of the Senate, a superhero is killed. The death of the mercurial entity known as The Comedian (Jeffrey Dean Morgan) sets a string of events into motion that will soon see the world poised on the edge of nuclear annihilation, and the few remaining heroes locked in a life or death race against time to save the world. In the gritty and compelling new movie “Watchmen” by Director Zack Snyder, a clever blend of film noir and gumshoe style films of old combined with action and adventure as well as a deep examination of human frailties to create a film like no other.
No sooner has the death of the Comedian hit the streets (literally), when the edgy vigilante Rorschach (Jackie Earle Haley), begins to suspect that there is a larger and far more sinister plot in effect, one that has targeted the few remaining costumed avengers of New York City. Rorschach’s theory is disbelieved by his former associate Dan (Patrick Wilson), who prowled the streets as Night Owl and is now content to keep to himself, with his days of costumed glory behind him. He keeps his social circle limited to the first Night Owl and visiting with Laurie Jupiter ( Malin Akerman), and her husband, Dr. Manhattan (Billy Crudup).
With his concerns being dismissed, Rorschach is left to do the legwork on the mystery which soon shifts into high gear when he is framed for a murder he actually did not commit and an attempt is made on the life of the other former Watchmen, Ozymandias (Matthew Goode). With Rorschach in prison and surrounded by enemies, Dr. Manhattan, the all powerful and blue skinned being, is forced to take refuge on Mars after Laurie leaves him and a series of accusations are levied against him at a press conference .
It soon becomes clear to all that the death of The Comedian was not a random act of violence or a simple act of revenge, but rather the first salvo in a war against costumed heroes. With the former team in chaos, Laurie to take up residence with Dan, who has long held a torch for her, to defy the government order and suit up again. After saving a group of people from a fire, Laurie and Dan find the passion and purpose that has been missing from their post-hero lives and passionately unite and set out to free Rorschach and get to the bottom of the conspiracy before it is to late.
The film is an amazing mix of comic book action and mystery that includes a suprising amount of mature material that examines everything from humanity’s ultimate destiny to the inner psyche of tortured and flawed individuals. The characters all have their flaws and traumas and compensate by donning masks and taking on new personas. The deeply troubled Rorschach is filled in by some horrific and disturbing flashbacks that show how he became the disturbed and deeply dangerous crusader for justice that he is, so extreme in his measures that he is wanted by the police for his actions. Dan and Laurie try to move on from their past, but find that they are more comfortable in their costumed personas than they are in their day-to-day lives. Dr. Manhattan is perhaps the most dysfunctional of all as he has shut himself off from his wife, humanity, and joy. He has evolved beyond caring for anything but his experiments.
Snyder keeps the nearly three hour film moving at a brisk pace and deftly captures the look and tone of the graphic novel on which the film is based. The opening segment that shows alternate versions of great moments in history is amazing, as is the well choreographed action sequences. Despite being a superhero film, “Watchmen” is a superb mystery and drama that is loaded with interesting characters and clever social commentary. The cast is very strong, and Haley is remarkable as Rorschach. He is utterly captivating whenever he is on the screen and has crafted a true modern anti-hero for the masses.
Some may find the graphic violence and sex in the film a bit extreme, but in order to fully capture the duality of the characters and the dark world that they dwell in, it was in many ways restrained from what is actually implied by the source material. “Watchmen”, is a true marvel and is one of the most entertaining, diverse, and original action films in memory.
No sooner has the death of the Comedian hit the streets (literally), when the edgy vigilante Rorschach (Jackie Earle Haley), begins to suspect that there is a larger and far more sinister plot in effect, one that has targeted the few remaining costumed avengers of New York City. Rorschach’s theory is disbelieved by his former associate Dan (Patrick Wilson), who prowled the streets as Night Owl and is now content to keep to himself, with his days of costumed glory behind him. He keeps his social circle limited to the first Night Owl and visiting with Laurie Jupiter ( Malin Akerman), and her husband, Dr. Manhattan (Billy Crudup).
With his concerns being dismissed, Rorschach is left to do the legwork on the mystery which soon shifts into high gear when he is framed for a murder he actually did not commit and an attempt is made on the life of the other former Watchmen, Ozymandias (Matthew Goode). With Rorschach in prison and surrounded by enemies, Dr. Manhattan, the all powerful and blue skinned being, is forced to take refuge on Mars after Laurie leaves him and a series of accusations are levied against him at a press conference .
It soon becomes clear to all that the death of The Comedian was not a random act of violence or a simple act of revenge, but rather the first salvo in a war against costumed heroes. With the former team in chaos, Laurie to take up residence with Dan, who has long held a torch for her, to defy the government order and suit up again. After saving a group of people from a fire, Laurie and Dan find the passion and purpose that has been missing from their post-hero lives and passionately unite and set out to free Rorschach and get to the bottom of the conspiracy before it is to late.
The film is an amazing mix of comic book action and mystery that includes a suprising amount of mature material that examines everything from humanity’s ultimate destiny to the inner psyche of tortured and flawed individuals. The characters all have their flaws and traumas and compensate by donning masks and taking on new personas. The deeply troubled Rorschach is filled in by some horrific and disturbing flashbacks that show how he became the disturbed and deeply dangerous crusader for justice that he is, so extreme in his measures that he is wanted by the police for his actions. Dan and Laurie try to move on from their past, but find that they are more comfortable in their costumed personas than they are in their day-to-day lives. Dr. Manhattan is perhaps the most dysfunctional of all as he has shut himself off from his wife, humanity, and joy. He has evolved beyond caring for anything but his experiments.
Snyder keeps the nearly three hour film moving at a brisk pace and deftly captures the look and tone of the graphic novel on which the film is based. The opening segment that shows alternate versions of great moments in history is amazing, as is the well choreographed action sequences. Despite being a superhero film, “Watchmen” is a superb mystery and drama that is loaded with interesting characters and clever social commentary. The cast is very strong, and Haley is remarkable as Rorschach. He is utterly captivating whenever he is on the screen and has crafted a true modern anti-hero for the masses.
Some may find the graphic violence and sex in the film a bit extreme, but in order to fully capture the duality of the characters and the dark world that they dwell in, it was in many ways restrained from what is actually implied by the source material. “Watchmen”, is a true marvel and is one of the most entertaining, diverse, and original action films in memory.
Gareth von Kallenbach (980 KP) rated Contagion (2011) in Movies
Aug 7, 2019
A couple of years ago, news and health agencies the world over were concerned about a possible pandemic stemming from bird flu and swine flu. Thankfully like SARS a few years earlier, the outbreaks were rather small thanks to a wealth of precautionary information and measures. In the new film “Contagion” director Steven Soderbergh paints a frighteningly realistic look at a worldwide pandemic that spread without warning, and its devastating aftermath.
When businesswoman Beth Emhoff (Gwyneth Paltrow), returns from a business trip to Hong Kong with what appears to be a simple case of the flu, her husband Mitch (Matt Damon), figures it’s nothing to be overly concerned about. When Beth all of a sudden begins to convulse and later dies unexpectedly, doctors are at a loss to explain what happened.
Over the next few days, more and more people become sick and die including Mitch’s young stepson, which gets the national and international disease control organizations working overtime to try to trace, identify and treat this mysterious ailment that sweeping the globe. Dr. Ellis Cheever (Laurence Fishburne) leads the investigation in the United States and calls in Dr. Erin Mears (Kate Winslet), to track who may have come into contact with Beth upon her return to the Minneapolis. The World Health Organization sends Dr. Leonora Orantes (Marion Cotillard) to Hong Kong trace possible origins.
As the first week passes more and more people become sick worldwide, cities start fighting a losing battle against frenzy and panic. In time the virus is identified but due to its unique nature, finding a vaccine and producing it can take several months with thousands of lives lost with each passing day. With chaos breaking loose and the bodies piling up, the authorities find themselves unable to deal with the threat they are facing and go to extreme measures such as closing the state borders to try to contain the spread of the virus.
Adding to the confusion is a freelance blogger named Alan (Jude Law), who has amassed a large audience with his conspiracy claims that there are indeed cures available for the mysterious virus. He contends the government elite and the pharmaceutical companies are exploiting the situation in order to milk maximum profit from the inevitable release of a vaccine.
The film deftly moves around the world showing the victims, scientists and investigators and how the crisis is affecting them. It also shows how quickly society can break down as scene after shocking scene of chaos and devastation are introduced juxtaposed with the number of days since the outbreak of the virus.
Soderbergh keeps you on the edge of your seat and doesn’t give you a moment’s rest. Characters are introduced and given just enough of a back story so that you understand their place in the film. Most heartbreaking is Matt Damon’s role as a father who’s left watching over his only remaining child, going to great measures to keep her safe while also dealing with the death of his wife and the unfolding secret of the last days of her life.
There is truly an impressive array of stars in the film, some of whom play brief but significant parts in the overall story. However, the movie’s strength is also its weakness in that with so many primary characters,there were some diverging storylines that did not get fully fleshed out.
While “Contagion” is not the first film to deal with viral outbreak, it is perhaps the most realistic as it doesn’t resort to any Hollywood standards such as car chases, explosions, starcrossed lovers and so on to tell its story. Instead it focuses on stark, somber scenarios and the struggles of each character is very easy to relate to.
Kudos has to be given to many of the stars of the film for their understated but pitch perfect work in very unglamorous roles. Their subtle & poignant acting underscore the dire situations that their characters find themselves in. It was refreshing to see leading men and women looking quite ordinary and letting the story carry the picture rather than focusing on one individual to save the day.
All throughout the film I found myself captivated and never once did I lose interest in the scenarios or characters nor did I find anything in the film impossible to believe. The film doesn’t go overboard on pointing fingers instead it gives an honest and unflinching look at a scenario that we can only hope will never happen. But as the film points out, viral outbreaks have occurred all throughout history. Hardly an encouraging message, but thanks to the stellar cast and gripping subject matter “Contagion” is a film you will not want to miss.
When businesswoman Beth Emhoff (Gwyneth Paltrow), returns from a business trip to Hong Kong with what appears to be a simple case of the flu, her husband Mitch (Matt Damon), figures it’s nothing to be overly concerned about. When Beth all of a sudden begins to convulse and later dies unexpectedly, doctors are at a loss to explain what happened.
Over the next few days, more and more people become sick and die including Mitch’s young stepson, which gets the national and international disease control organizations working overtime to try to trace, identify and treat this mysterious ailment that sweeping the globe. Dr. Ellis Cheever (Laurence Fishburne) leads the investigation in the United States and calls in Dr. Erin Mears (Kate Winslet), to track who may have come into contact with Beth upon her return to the Minneapolis. The World Health Organization sends Dr. Leonora Orantes (Marion Cotillard) to Hong Kong trace possible origins.
As the first week passes more and more people become sick worldwide, cities start fighting a losing battle against frenzy and panic. In time the virus is identified but due to its unique nature, finding a vaccine and producing it can take several months with thousands of lives lost with each passing day. With chaos breaking loose and the bodies piling up, the authorities find themselves unable to deal with the threat they are facing and go to extreme measures such as closing the state borders to try to contain the spread of the virus.
Adding to the confusion is a freelance blogger named Alan (Jude Law), who has amassed a large audience with his conspiracy claims that there are indeed cures available for the mysterious virus. He contends the government elite and the pharmaceutical companies are exploiting the situation in order to milk maximum profit from the inevitable release of a vaccine.
The film deftly moves around the world showing the victims, scientists and investigators and how the crisis is affecting them. It also shows how quickly society can break down as scene after shocking scene of chaos and devastation are introduced juxtaposed with the number of days since the outbreak of the virus.
Soderbergh keeps you on the edge of your seat and doesn’t give you a moment’s rest. Characters are introduced and given just enough of a back story so that you understand their place in the film. Most heartbreaking is Matt Damon’s role as a father who’s left watching over his only remaining child, going to great measures to keep her safe while also dealing with the death of his wife and the unfolding secret of the last days of her life.
There is truly an impressive array of stars in the film, some of whom play brief but significant parts in the overall story. However, the movie’s strength is also its weakness in that with so many primary characters,there were some diverging storylines that did not get fully fleshed out.
While “Contagion” is not the first film to deal with viral outbreak, it is perhaps the most realistic as it doesn’t resort to any Hollywood standards such as car chases, explosions, starcrossed lovers and so on to tell its story. Instead it focuses on stark, somber scenarios and the struggles of each character is very easy to relate to.
Kudos has to be given to many of the stars of the film for their understated but pitch perfect work in very unglamorous roles. Their subtle & poignant acting underscore the dire situations that their characters find themselves in. It was refreshing to see leading men and women looking quite ordinary and letting the story carry the picture rather than focusing on one individual to save the day.
All throughout the film I found myself captivated and never once did I lose interest in the scenarios or characters nor did I find anything in the film impossible to believe. The film doesn’t go overboard on pointing fingers instead it gives an honest and unflinching look at a scenario that we can only hope will never happen. But as the film points out, viral outbreaks have occurred all throughout history. Hardly an encouraging message, but thanks to the stellar cast and gripping subject matter “Contagion” is a film you will not want to miss.
Sarah (7800 KP) rated Crime Scene: The Vanishing at the Cecil Hotel in TV
Feb 22, 2021
Scarily glamourises internet sleuthing
Crime Scene: The Vanishing at the Cecil Hotel is the latest stylised true crime documentary from Netflix, and it’s a pretty scary watch, but not in the way you’d expect from something that has been advertised as a supernatural murder mystery.
The 4 episode documentary series focuses on a notorious hotel in downtown L.A, Hotel Cecil, and the disappearance of a Canadian student, Elisa Lam, who went missing from the hotel in unexplained circumstances and who was later found dead. On paper this has everything a true crime lover wants: CCTV footage of the victim acting strangely, a creepy hotel with a dodgy history and a lot of strange and unusual circumstances, which culminates in Elisa Lam’s decomposing body being found in a water tank on the hotel roof days after her disappearance, the same water that the hotel guests have been drinking all along. It’s a truly fascinating story and if done properly, would have been very interesting. However in the hands of director Joe Berlinger, the disappearance of Elisa Lam has been turned into a dull, drawn out affair that dangerously glamourises baseless conspiracy theories.
One of the two main problems is that this documentary has been drawn out over 4 hour long episodes, when realistically the true story of Elisa Lam’s disappearance could still have been told effectively in an hour, maybe two maximum, without detracting from the facts. And I guess that’s really the problem with The Vanishing at the Cecil Hotel, it isn’t necessarily all that concerned about the facts but rather just wants to create a film-like entertaining story, with the facts almost an afterthought crammed into the final parts of the last episode. It features lengthy and pointless interviews from other guests and tourists to try and give us a feel of what life at the Cecil was like, and these are entirely unnecessary, as some short exposition from the hotel manager or officers involved would’ve sufficed. Every part of this case is stretched so thinly that you almost lose track after having to weed out the truth and facts amongst all the irrelevant interviews and chatter. It isn’t helped by the narration of some of Elisa’s Tumblr posts, which comes across as cheesy and irritating rather than emotional and meaningful like it was probably intended.
What is most irrelevant and dangerous about this documentary, and the second main problem, is the focus on internet sleuths. These are mostly YouTubers who have spent hours dissecting every aspect of the case and have put forward many outrageous theories, all of which are completely laughable. But instead of mocking these idiots, this documentary glamourises them and their theories, and has dedicated more of it’s runtime to them than it has to any of the real life detectives and investigators involved. Watching these people wheel out one ridiculous theory after another had me wanting to throw my remote at the screen to make it stop. The theories ranged from the questionably plausible (foul player or murder) to the downright ludicrous - someone copying the film Dark Water, possible links to the Lam-Elisa TB test and a vast cover up jointly orchestrated by the police, hotel management and coroners staff are the ones that made me laugh and cringe the most.
All jokes aside, this focus on internet sleuths is extremely damaging and dangerous and this is illustrated by the awful accusations they made about Pablo Vergara aka Morbid, who’s only crime was to make music that wouldn’t be considered mainstream. If this documentary had focused on slamming these people and highlighting the dangers of them getting involved, then it would’ve redeemed itself. But it doesn’t, it gives them centre stage and debunking their theories is almost an afterthought. They aren’t even condemned for their treatment of Pablo despite the obviously long lasting effects on his mental health. These people are crazy and this only serves to highlight the huge problem with internet, video streaming sites and social media – how Joe public can ever think they know better than qualified pathologists and investigators is beyond me. And how this documentary can indulge and glamourise these people is even worse. From working a day job in the emergency services, I know how damaging this sort of interference and public perception can be.
The story of Elisa Lam’s disappearance at the Hotel Cecil is undoubtedly an interesting one. However in Crime Scene: The Vanishing at the Cecil Hotel, the real story has been mauled and disrespected by the focus and respect given to the internet sleuths and their absurd theories. I feel like I’m being generous giving it a 3, it made me so angry.
The 4 episode documentary series focuses on a notorious hotel in downtown L.A, Hotel Cecil, and the disappearance of a Canadian student, Elisa Lam, who went missing from the hotel in unexplained circumstances and who was later found dead. On paper this has everything a true crime lover wants: CCTV footage of the victim acting strangely, a creepy hotel with a dodgy history and a lot of strange and unusual circumstances, which culminates in Elisa Lam’s decomposing body being found in a water tank on the hotel roof days after her disappearance, the same water that the hotel guests have been drinking all along. It’s a truly fascinating story and if done properly, would have been very interesting. However in the hands of director Joe Berlinger, the disappearance of Elisa Lam has been turned into a dull, drawn out affair that dangerously glamourises baseless conspiracy theories.
One of the two main problems is that this documentary has been drawn out over 4 hour long episodes, when realistically the true story of Elisa Lam’s disappearance could still have been told effectively in an hour, maybe two maximum, without detracting from the facts. And I guess that’s really the problem with The Vanishing at the Cecil Hotel, it isn’t necessarily all that concerned about the facts but rather just wants to create a film-like entertaining story, with the facts almost an afterthought crammed into the final parts of the last episode. It features lengthy and pointless interviews from other guests and tourists to try and give us a feel of what life at the Cecil was like, and these are entirely unnecessary, as some short exposition from the hotel manager or officers involved would’ve sufficed. Every part of this case is stretched so thinly that you almost lose track after having to weed out the truth and facts amongst all the irrelevant interviews and chatter. It isn’t helped by the narration of some of Elisa’s Tumblr posts, which comes across as cheesy and irritating rather than emotional and meaningful like it was probably intended.
What is most irrelevant and dangerous about this documentary, and the second main problem, is the focus on internet sleuths. These are mostly YouTubers who have spent hours dissecting every aspect of the case and have put forward many outrageous theories, all of which are completely laughable. But instead of mocking these idiots, this documentary glamourises them and their theories, and has dedicated more of it’s runtime to them than it has to any of the real life detectives and investigators involved. Watching these people wheel out one ridiculous theory after another had me wanting to throw my remote at the screen to make it stop. The theories ranged from the questionably plausible (foul player or murder) to the downright ludicrous - someone copying the film Dark Water, possible links to the Lam-Elisa TB test and a vast cover up jointly orchestrated by the police, hotel management and coroners staff are the ones that made me laugh and cringe the most.
All jokes aside, this focus on internet sleuths is extremely damaging and dangerous and this is illustrated by the awful accusations they made about Pablo Vergara aka Morbid, who’s only crime was to make music that wouldn’t be considered mainstream. If this documentary had focused on slamming these people and highlighting the dangers of them getting involved, then it would’ve redeemed itself. But it doesn’t, it gives them centre stage and debunking their theories is almost an afterthought. They aren’t even condemned for their treatment of Pablo despite the obviously long lasting effects on his mental health. These people are crazy and this only serves to highlight the huge problem with internet, video streaming sites and social media – how Joe public can ever think they know better than qualified pathologists and investigators is beyond me. And how this documentary can indulge and glamourise these people is even worse. From working a day job in the emergency services, I know how damaging this sort of interference and public perception can be.
The story of Elisa Lam’s disappearance at the Hotel Cecil is undoubtedly an interesting one. However in Crime Scene: The Vanishing at the Cecil Hotel, the real story has been mauled and disrespected by the focus and respect given to the internet sleuths and their absurd theories. I feel like I’m being generous giving it a 3, it made me so angry.
Chris Sawin (602 KP) rated Moonfall (2022) in Movies
Feb 5, 2022
Terribly written. (2 more)
Overacted.
Halle Berry.
Moonfall Review: It’s Raining Moon
Moonfall is a $146 million sci-fi disaster film directed by Roland Emmerich (Independence Day, Godzilla) and written by Emmerich, Harald Kloser (2012, 10000 BC), and Spenser Cohen (Extinction, The Expendables 4).
On January 12, 2011, during what is referred to as routine outer space maintenance (it’s a thing), an unidentified technological swarm caused significant damage to the astronaut’s shuttle; killing one of them and incapacitating the surviving two crew members. Brian Harper (Patrick Wilson) maneuvers the shuttle back to earth with no power while his navigator Jocinda Fowl (Halle Berry) is unconscious. Brian takes the fall as he’s labeled incompetent despite previously being an acclaimed hero and he loses his job with NASA.
Ten years later, the moon suddenly begins changing course as a hole 26-kilometers deep is discovered in the center of it. People on earth have three weeks before the moon begins falling to earth in city-sized pieces. While NASA scrambles to discover a solution, an orbital megastructure aficionado and conspiracy blogger named K.C. Houseman (John Bradley) knew about the moon’s shift in course before NASA and may end up being the savior of mankind.
The opening scene of Moonfall lets its audience know that they’re in for an excruciating two hours. Patrick Wilson and Halle Berry argue over the lyrics to Toto’s “Africa” as Wilson musically screeches the 80s rock ballad to annoying results. The film does a few things right like earth’s gravity being a complete dumpster fire and the ocean literally being at foot of everyone’s door like Bo Burnham talked about in Inside. But then introduces the aspect of orbital megastructure in an attempt to not adhere to believable physics while lethargically committing to it.
Flooding, earthquakes, and birds falling to the ground due to gravity alterations are the culmination of the insanity in Moonfall. The moon coming closer to earth also apparently means humans can lift trees above their head and jump over gaps left by fallen bridges with little effort. There’s an awkward car chase between some redneck looters and the main characters of the film.
It’s awkward due to the fact that it’s really funky visual effects (literally everything taking place on the road and in the background) with green screen (the actors driving the cars), but it’s difficult to distinguish what’s what in a bad way. The CGI and special effects in the film are that peculiar blend of not necessarily being bad, but are just off-putting enough to look weird in some capacity. It’s a high speed chase involving a gravity wave, which is mostly just cars and debris floating in the air as the sky turns red. Coincidentally enough, the disaster effects are the best part of the film because they do what they’re supposed to do without overstaying their welcome.
The dialogue in the film is atrocious and Halle Berry is a filter for most of the bad lines. Some of her gems include, “I don’t work for you, I work for the American people and I don’t like keeping them in the dark,” “I am…(the longest pause ever between one word and another)…thinking about our son,” and something overwhelmingly corny about earth’s hourglass and our time running out. Donald Sutherland can barely stomach a brief cameo appearance shared with Berry’s character before excusing himself to the loaded gun he left back in his room (yes, this actually happens).
The evacuation route in Moonfall seems to involve fleeing to Colorado. What is in Colorado and why that’s important is never really explained other than because everyone else is there. Jocinda Fowl becomes the lead director of NASA during the film and her ex-husband (played by Eme Ikwuakor) works for the military. Ikwuakor does nothing but squint like French Stewart the entire time. NASA wants to survey the activity of what’s transpiring on the moon, fly inside of its new fancy made hole, and come up with a plan to save earth in the process. The military just wants to blow up the moon with nukes; screw the consequences, this is America!
With Moonfall, Roland Emmerich has essentially made an even dumber version of Michael Bay’s Armageddon. There’s not a lot to enjoy here apart from KC Houseman’s house cat being named Fuzz Aldrin. With its idiotic premise, hammy dialogue involving some of the most exaggerated emotional speeches ever, stiff acting, unfunny humor, and purposely distorted CGI, Moonfall features an overwhelming amount of frenetic nonsense and has no excuse to be as boring as it is.
On January 12, 2011, during what is referred to as routine outer space maintenance (it’s a thing), an unidentified technological swarm caused significant damage to the astronaut’s shuttle; killing one of them and incapacitating the surviving two crew members. Brian Harper (Patrick Wilson) maneuvers the shuttle back to earth with no power while his navigator Jocinda Fowl (Halle Berry) is unconscious. Brian takes the fall as he’s labeled incompetent despite previously being an acclaimed hero and he loses his job with NASA.
Ten years later, the moon suddenly begins changing course as a hole 26-kilometers deep is discovered in the center of it. People on earth have three weeks before the moon begins falling to earth in city-sized pieces. While NASA scrambles to discover a solution, an orbital megastructure aficionado and conspiracy blogger named K.C. Houseman (John Bradley) knew about the moon’s shift in course before NASA and may end up being the savior of mankind.
The opening scene of Moonfall lets its audience know that they’re in for an excruciating two hours. Patrick Wilson and Halle Berry argue over the lyrics to Toto’s “Africa” as Wilson musically screeches the 80s rock ballad to annoying results. The film does a few things right like earth’s gravity being a complete dumpster fire and the ocean literally being at foot of everyone’s door like Bo Burnham talked about in Inside. But then introduces the aspect of orbital megastructure in an attempt to not adhere to believable physics while lethargically committing to it.
Flooding, earthquakes, and birds falling to the ground due to gravity alterations are the culmination of the insanity in Moonfall. The moon coming closer to earth also apparently means humans can lift trees above their head and jump over gaps left by fallen bridges with little effort. There’s an awkward car chase between some redneck looters and the main characters of the film.
It’s awkward due to the fact that it’s really funky visual effects (literally everything taking place on the road and in the background) with green screen (the actors driving the cars), but it’s difficult to distinguish what’s what in a bad way. The CGI and special effects in the film are that peculiar blend of not necessarily being bad, but are just off-putting enough to look weird in some capacity. It’s a high speed chase involving a gravity wave, which is mostly just cars and debris floating in the air as the sky turns red. Coincidentally enough, the disaster effects are the best part of the film because they do what they’re supposed to do without overstaying their welcome.
The dialogue in the film is atrocious and Halle Berry is a filter for most of the bad lines. Some of her gems include, “I don’t work for you, I work for the American people and I don’t like keeping them in the dark,” “I am…(the longest pause ever between one word and another)…thinking about our son,” and something overwhelmingly corny about earth’s hourglass and our time running out. Donald Sutherland can barely stomach a brief cameo appearance shared with Berry’s character before excusing himself to the loaded gun he left back in his room (yes, this actually happens).
The evacuation route in Moonfall seems to involve fleeing to Colorado. What is in Colorado and why that’s important is never really explained other than because everyone else is there. Jocinda Fowl becomes the lead director of NASA during the film and her ex-husband (played by Eme Ikwuakor) works for the military. Ikwuakor does nothing but squint like French Stewart the entire time. NASA wants to survey the activity of what’s transpiring on the moon, fly inside of its new fancy made hole, and come up with a plan to save earth in the process. The military just wants to blow up the moon with nukes; screw the consequences, this is America!
With Moonfall, Roland Emmerich has essentially made an even dumber version of Michael Bay’s Armageddon. There’s not a lot to enjoy here apart from KC Houseman’s house cat being named Fuzz Aldrin. With its idiotic premise, hammy dialogue involving some of the most exaggerated emotional speeches ever, stiff acting, unfunny humor, and purposely distorted CGI, Moonfall features an overwhelming amount of frenetic nonsense and has no excuse to be as boring as it is.
Gareth von Kallenbach (980 KP) rated The X Files: I Want to Believe (2008) in Movies
Aug 14, 2019
It has been over six years since the popular and groundbreaking series, “The X-Files” went off the air leaving some of the series biggest questions unresolved. There was always talk that future films would resolve the alien conspiracy and invasion plotline that fueled the nine seasons of the show, but as time went on, many fans began to wonder if that storyline like so many of the cases Mulder and Scully investigated would remain unanswered.
A dispute between Fox and series creator Chris Carter was often listed as one of the main reasons that the second film had not arrived and thankfully with the resolution of the dispute and the pending writers strike, the new film was approved by the studio and placed into production.
The film picks up years after the series and finds both Mulder (David Duchovny), and Scully (Gillian Anderson), living with one another in a remote home in a rural area. The fact that Mulder is still a wanted man has forced him to lead a life of seclusion, but he still collects newspaper clippings related to bizarre happenings to feed his fascination with the supernatural.
Scully leads a more conventional life, as she has left the F.B.I. to return to her career as a Doctor in a local Catholic hospital.
Scully has been struggling to treat a young boy with a series condition that many of her superiors believe is a lost cause. As if this was not enough concern, Scully is approached by an F.B.I. agent named Agent Drummy (Xzibit), who informs Scully that the F.B.I. is in need of Mulder’s services in finding a missing agent.
Suspecting a trap to lure out Mulder, Scully refutes any knowledge of Mulder, but relays the information to a skeptical and bitter Mulder. The F.B.I. is willing to drop all charges against Mulder and despite his bitterness over his frame up, he agrees simply to help find the agent and clear his name.
Mulder and Scully are introduced to Agent Whitney (Amanda Peet), who is heading the investigation to recover the missing agent. Whitney has ruffled a few feathers at the bureau to bring Mulder back into the mix, but due to some odd facts of the case, and their own lack of leads, they believe Mulder may be the key to unraveling the mystery.
Mulder and Scully soon find themselves in a snow covered, remote area of Virginia where they must content not only with the elements but an ever changing case.
It is learned that a disgraced priest named Father Joe (Billy Connolly), is having psychic visions of the missing agent, and Mulder is tasked with not only helping find the missing agent, but determining the truth behind the visions of Father Joe.
As the case takes one bizarre twist after another, Scully becomes concerned over Mulder’s obsession with the case, as she worries that they are going to lose the new life they have had with one another, and once again be dragged into the old lifestyle they shared, that not only consumed them both, but cost both of them great hardships and suffering.
Scully believes that Father Joe is a sick individual who is faking the visions as his way to atone for his past sins, and believes that her time would be better spent caring for her patient and with Mulder.
Unwilling to let it go, Mulder is determined to find the truth, and will risk everything to uncover the mystery before him.
Writer/Director Chris Carter is to be praised as “The X-Files: I want to Believe” is a daring effort. Carter chose to ignore the standard movie trappings of being bigger and better and toned down the FX and action of the film to instead focus on a more intimate and character driven story.
Carter gambled that the chemistry between Duchovny and Anderson would not only attract fans, but would sustain the film without having to rely on an abundance of gimmicks. To this extent the film succeeds very well as the report between the two leads is amazing and it is a treat to see them both reprising their roles and underscoring that there is still a lot of life left in the characters.
Some may complain that the movie is little more than an extended episode and does not have the action, FX, nor eeriness to have this compare with some of the more memorable moments of the series, but to do so I believe would undermine this very worthy effort.
The film is not only a very clever character driven drama, it has plenty of subtle nods and gems for fans of the series, but holds up extremely well as a stand alone story for those not well versed in the series and it’s many complexities.
The final segment of the film truly shines as not only does it have an ending worthy of some of the best moments of the show, but it challenges the audience with questions of fate, faith, and the nature of life and the roles we are chosen to play.
From the solid acting, eerie locales and lighting and interesting themes of the film, this is a solid and enjoyable film. I only hope we do not have to wait so long for the next one.
A dispute between Fox and series creator Chris Carter was often listed as one of the main reasons that the second film had not arrived and thankfully with the resolution of the dispute and the pending writers strike, the new film was approved by the studio and placed into production.
The film picks up years after the series and finds both Mulder (David Duchovny), and Scully (Gillian Anderson), living with one another in a remote home in a rural area. The fact that Mulder is still a wanted man has forced him to lead a life of seclusion, but he still collects newspaper clippings related to bizarre happenings to feed his fascination with the supernatural.
Scully leads a more conventional life, as she has left the F.B.I. to return to her career as a Doctor in a local Catholic hospital.
Scully has been struggling to treat a young boy with a series condition that many of her superiors believe is a lost cause. As if this was not enough concern, Scully is approached by an F.B.I. agent named Agent Drummy (Xzibit), who informs Scully that the F.B.I. is in need of Mulder’s services in finding a missing agent.
Suspecting a trap to lure out Mulder, Scully refutes any knowledge of Mulder, but relays the information to a skeptical and bitter Mulder. The F.B.I. is willing to drop all charges against Mulder and despite his bitterness over his frame up, he agrees simply to help find the agent and clear his name.
Mulder and Scully are introduced to Agent Whitney (Amanda Peet), who is heading the investigation to recover the missing agent. Whitney has ruffled a few feathers at the bureau to bring Mulder back into the mix, but due to some odd facts of the case, and their own lack of leads, they believe Mulder may be the key to unraveling the mystery.
Mulder and Scully soon find themselves in a snow covered, remote area of Virginia where they must content not only with the elements but an ever changing case.
It is learned that a disgraced priest named Father Joe (Billy Connolly), is having psychic visions of the missing agent, and Mulder is tasked with not only helping find the missing agent, but determining the truth behind the visions of Father Joe.
As the case takes one bizarre twist after another, Scully becomes concerned over Mulder’s obsession with the case, as she worries that they are going to lose the new life they have had with one another, and once again be dragged into the old lifestyle they shared, that not only consumed them both, but cost both of them great hardships and suffering.
Scully believes that Father Joe is a sick individual who is faking the visions as his way to atone for his past sins, and believes that her time would be better spent caring for her patient and with Mulder.
Unwilling to let it go, Mulder is determined to find the truth, and will risk everything to uncover the mystery before him.
Writer/Director Chris Carter is to be praised as “The X-Files: I want to Believe” is a daring effort. Carter chose to ignore the standard movie trappings of being bigger and better and toned down the FX and action of the film to instead focus on a more intimate and character driven story.
Carter gambled that the chemistry between Duchovny and Anderson would not only attract fans, but would sustain the film without having to rely on an abundance of gimmicks. To this extent the film succeeds very well as the report between the two leads is amazing and it is a treat to see them both reprising their roles and underscoring that there is still a lot of life left in the characters.
Some may complain that the movie is little more than an extended episode and does not have the action, FX, nor eeriness to have this compare with some of the more memorable moments of the series, but to do so I believe would undermine this very worthy effort.
The film is not only a very clever character driven drama, it has plenty of subtle nods and gems for fans of the series, but holds up extremely well as a stand alone story for those not well versed in the series and it’s many complexities.
The final segment of the film truly shines as not only does it have an ending worthy of some of the best moments of the show, but it challenges the audience with questions of fate, faith, and the nature of life and the roles we are chosen to play.
From the solid acting, eerie locales and lighting and interesting themes of the film, this is a solid and enjoyable film. I only hope we do not have to wait so long for the next one.