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Gareth von Kallenbach (980 KP) rated the PlayStation 4 version of Prey in Video Games
Jun 19, 2019
Bethesda and Arkane Studios have combined again on another highly successful and deeply compelling game. After the first two Dishonored games the bar was set exceptionally high and when it was announced that they would be rebooting and reimagining PREY, many gamers were curious to see what would come next.
Playing as Morgan Yu, gamers find themselves aboard the massive Talos I space station during an outbreak of a shape changing enemy known as Typhoids.
The typhoid can mimic any object from a coffee mug to a chair which adds to a high degree of peril facing players as they attempt to survive. Along the way players will be free to explore and take on multiple side quests but resources including precious ammunition are in short supply therefore players will have to gather, recycle, and craft needed materials in order to survive.
The lavish and complex details of the station are impressive but what really makes the game stand out is the multiple ways that players can play the game and complete various objectives. Players are also free to ignore various side quests and select multiple paths to an ending which allows for an incredible amount of replay value.
The enemies are numerous and thanks to a limited amount of ammunition, running and gunning will not work as there are times to fight, run, hide, and you should gray matter in order to survive. At times it can be frustratingly difficult but successfully completing the game does give you a sense of accomplishment which made me think of the first two Dead Space games in terms of their difficulty.
Players will also have the opportunity to enhance their weapons and their abilities ranging from strengthening firearms to being able to mimic the morphing abilities of the Typhoid.
One of my favorites was the Kinetic blast which enabled me to send a powerful shock wave into enemies. This is highly effective but limited due to the amount of kinetic shots and power that a player has at any given time.
Over the numerous hours that I played the game I found myself being drawn further and further into the story line. When multiple mission options arose I often had to face moral choices such as helping fellow survivors or leaving them to their fate so that I may live to complete a mission which ultimately would lead toward completion of the game.
PREY is about choices as the game is crafted to allow players to operate in a morally ambiguous area. You are not required to be the matinee hero nor are you required to be the mustache twirling villain; rather you are free to take advantage of situations as they arise.
One such example saw me take several items of food that had been collected by a group of survivors. I rationalize that with a big battle coming most of them would not survive and that it was up to me to prevail so that I may continue on with the numerous objectives I had before me. This may essentially lead to you having to turn and perhaps kill a fellow survivor which indeed was referenced down the road. The numerous and varied enemies complement the incredibly detailed and massive station which allows for players to take advantage of the zero gravity situations and navigate the outside of the station rather than go through the densely populated core of the station. Of course this only works if various airlocks are indeed open for you to access from the exterior of the station, but this is the type of freedom that players have.
While the difficulty of the game can be a bit frustrating players are able to adjust the difficulty settings and with the multiple gameplay options available to them, patience and persistence will pay off in the end.
The game is a real triumph and is already one of the more impressive titles of 2017. I look forward to seeing what is next for the franchise as PREY is an impressive achievement that will provide countless hours of gaming to even the most hard-core gamer.
http://sknr.net/2017/05/10/prey-3/
Playing as Morgan Yu, gamers find themselves aboard the massive Talos I space station during an outbreak of a shape changing enemy known as Typhoids.
The typhoid can mimic any object from a coffee mug to a chair which adds to a high degree of peril facing players as they attempt to survive. Along the way players will be free to explore and take on multiple side quests but resources including precious ammunition are in short supply therefore players will have to gather, recycle, and craft needed materials in order to survive.
The lavish and complex details of the station are impressive but what really makes the game stand out is the multiple ways that players can play the game and complete various objectives. Players are also free to ignore various side quests and select multiple paths to an ending which allows for an incredible amount of replay value.
The enemies are numerous and thanks to a limited amount of ammunition, running and gunning will not work as there are times to fight, run, hide, and you should gray matter in order to survive. At times it can be frustratingly difficult but successfully completing the game does give you a sense of accomplishment which made me think of the first two Dead Space games in terms of their difficulty.
Players will also have the opportunity to enhance their weapons and their abilities ranging from strengthening firearms to being able to mimic the morphing abilities of the Typhoid.
One of my favorites was the Kinetic blast which enabled me to send a powerful shock wave into enemies. This is highly effective but limited due to the amount of kinetic shots and power that a player has at any given time.
Over the numerous hours that I played the game I found myself being drawn further and further into the story line. When multiple mission options arose I often had to face moral choices such as helping fellow survivors or leaving them to their fate so that I may live to complete a mission which ultimately would lead toward completion of the game.
PREY is about choices as the game is crafted to allow players to operate in a morally ambiguous area. You are not required to be the matinee hero nor are you required to be the mustache twirling villain; rather you are free to take advantage of situations as they arise.
One such example saw me take several items of food that had been collected by a group of survivors. I rationalize that with a big battle coming most of them would not survive and that it was up to me to prevail so that I may continue on with the numerous objectives I had before me. This may essentially lead to you having to turn and perhaps kill a fellow survivor which indeed was referenced down the road. The numerous and varied enemies complement the incredibly detailed and massive station which allows for players to take advantage of the zero gravity situations and navigate the outside of the station rather than go through the densely populated core of the station. Of course this only works if various airlocks are indeed open for you to access from the exterior of the station, but this is the type of freedom that players have.
While the difficulty of the game can be a bit frustrating players are able to adjust the difficulty settings and with the multiple gameplay options available to them, patience and persistence will pay off in the end.
The game is a real triumph and is already one of the more impressive titles of 2017. I look forward to seeing what is next for the franchise as PREY is an impressive achievement that will provide countless hours of gaming to even the most hard-core gamer.
http://sknr.net/2017/05/10/prey-3/
Gareth von Kallenbach (980 KP) rated Zack and Miri Make a Porno (2008) in Movies
Aug 14, 2019
Zack (Seth Rogan), and Miri (Elizabeth Banks), are two lifelong friends with problems. Their lives in a Pittsburgh Suburb have not turned out as well as they would have hoped as they find themselves mired in low paying jobs struggling to pay the bills and have any semblance of a happy life.
With their ten year high school reunion pending on the night before Thanksgiving, Zack agrees to accompany Miri but has little enthusiasm to see the same group of people he went to school with especially when he has so little to show for his post school life.
While things do not go as hoped for either Zack or Miri at the reunion, things get even worse when their water and power is turned off upon returning home forcing them to contend with a very cold and dark Thanksgiving.
In a fit of inspiration born out of desperation Zack decides to make a Porno as a way out of their financial issues. Zack contends that most of their fellow classmates will buy it out of curiosity and if they can sell 1000 copies, their problems will be over. Despite their platonic relationship, Miri agrees to make the film with Zack, and after getting financed by one of Zack’s co-workers with money meant for a plasma television, Zack and Miri begin the process of casting and creating their film.
Of course things do not go as planned and one series of hilarious events and disasters after another arise to hamper the budding filmmakers, and add even more pressure to their pending first time with one another.
With Deadlines pending, Zack and Miri must deal with the problems surrounding the film as well as their own long dormant denied attraction to one another the two life long friends must make choices that will have lifelong ramifications.
Writer and Director Kevin Smith has created a funny film that is both familiar to his previous works yet a more mature and emotional film. Yes there is plenty of outrageous humor and very frank and explicit diologe between the characters yet there is a maturity amongst the characters. As he showed in “Clerks II), the leads in “Zack and Miri” make a porno are dealing with bigger issues than trying to have sex, they are dealing with the fragile emotions that come with opening your heart and the fears of rejection that come with it. The theme of doing what you want to do rather than what is expected of you is also a constant theme here, and it is refreshing to see Smith once again tackle such issues without being preachy or heavy handed.
Supporting Rogen and Banks are Smith staples Jason Mewes and Jeff Anderson as well as solid supporting work from Justin Long who is utterly hilarious in every scene he is in.
While some fans may want more full out humor such as Smith gave in “Jay and Silent Bob Strike Back”, Zack and Miri is more in tune with “Chasing Amy” as it focuses more on the relationship amongst the leads rather than wall to wall blunt humor.
No matter how many times I see Kevin Smith films, I am amazed at how well he captures the natural conversation between his characters. Yes, it is very raw but also very natural as it has a flow to it that embodies and defines the characters without ever overshadowing them. We all know of people who sit around having conversations as frank and outrageous as the characters in Smith’s films but never do the words seem forced or clichéd.
I am curious to see what future films Kevin Smith will craft as I find myself longing for the classic stable of Jersey characters like Jay and Silent Bob to return, yet understand the need he has to move forward and progress as a filmmaker.
“Zack and Miri” may not be the best work Smith has ever done, but it is very funny and deeply entertaining and shows a positive new direction for this talented director.
With their ten year high school reunion pending on the night before Thanksgiving, Zack agrees to accompany Miri but has little enthusiasm to see the same group of people he went to school with especially when he has so little to show for his post school life.
While things do not go as hoped for either Zack or Miri at the reunion, things get even worse when their water and power is turned off upon returning home forcing them to contend with a very cold and dark Thanksgiving.
In a fit of inspiration born out of desperation Zack decides to make a Porno as a way out of their financial issues. Zack contends that most of their fellow classmates will buy it out of curiosity and if they can sell 1000 copies, their problems will be over. Despite their platonic relationship, Miri agrees to make the film with Zack, and after getting financed by one of Zack’s co-workers with money meant for a plasma television, Zack and Miri begin the process of casting and creating their film.
Of course things do not go as planned and one series of hilarious events and disasters after another arise to hamper the budding filmmakers, and add even more pressure to their pending first time with one another.
With Deadlines pending, Zack and Miri must deal with the problems surrounding the film as well as their own long dormant denied attraction to one another the two life long friends must make choices that will have lifelong ramifications.
Writer and Director Kevin Smith has created a funny film that is both familiar to his previous works yet a more mature and emotional film. Yes there is plenty of outrageous humor and very frank and explicit diologe between the characters yet there is a maturity amongst the characters. As he showed in “Clerks II), the leads in “Zack and Miri” make a porno are dealing with bigger issues than trying to have sex, they are dealing with the fragile emotions that come with opening your heart and the fears of rejection that come with it. The theme of doing what you want to do rather than what is expected of you is also a constant theme here, and it is refreshing to see Smith once again tackle such issues without being preachy or heavy handed.
Supporting Rogen and Banks are Smith staples Jason Mewes and Jeff Anderson as well as solid supporting work from Justin Long who is utterly hilarious in every scene he is in.
While some fans may want more full out humor such as Smith gave in “Jay and Silent Bob Strike Back”, Zack and Miri is more in tune with “Chasing Amy” as it focuses more on the relationship amongst the leads rather than wall to wall blunt humor.
No matter how many times I see Kevin Smith films, I am amazed at how well he captures the natural conversation between his characters. Yes, it is very raw but also very natural as it has a flow to it that embodies and defines the characters without ever overshadowing them. We all know of people who sit around having conversations as frank and outrageous as the characters in Smith’s films but never do the words seem forced or clichéd.
I am curious to see what future films Kevin Smith will craft as I find myself longing for the classic stable of Jersey characters like Jay and Silent Bob to return, yet understand the need he has to move forward and progress as a filmmaker.
“Zack and Miri” may not be the best work Smith has ever done, but it is very funny and deeply entertaining and shows a positive new direction for this talented director.
Gareth von Kallenbach (980 KP) rated Eagle Eye (2008) in Movies
Aug 14, 2019
Zack (Seth Rogan), and Miri (Elizabeth Banks), are two lifelong friends with problems. Their lives in a Pittsburgh Suburb have not turned out as well as they would have hoped as they find themselves mired in low paying jobs struggling to pay the bills and have any semblance of a happy life.
With their ten year high school reunion pending on the night before Thanksgiving, Zack agrees to accompany Miri but has little enthusiasm to see the same group of people he went to school with especially when he has so little to show for his post school life.
While things do not go as hoped for either Zack or Miri at the reunion, things get even worse when their water and power is turned off upon returning home forcing them to contend with a very cold and dark Thanksgiving.
In a fit of inspiration born out of desperation Zack decides to make a Porno as a way out of their financial issues. Zack contends that most of their fellow classmates will buy it out of curiosity and if they can sell 1000 copies, their problems will be over. Despite their platonic relationship, Miri agrees to make the film with Zack, and after getting financed by one of Zack’s co-workers with money meant for a plasma television, Zack and Miri begin the process of casting and creating their film.
Of course things do not go as planned and one series of hilarious events and disasters after another arise to hamper the budding filmmakers, and add even more pressure to their pending first time with one another.
With Deadlines pending, Zack and Miri must deal with the problems surrounding the film as well as their own long dormant denied attraction to one another the two life long friends must make choices that will have lifelong ramifications.
Writer and Director Kevin Smith has created a funny film that is both familiar to his previous works yet a more mature and emotional film. Yes there is plenty of outrageous humor and very frank and explicit diologe between the characters yet there is a maturity amongst the characters. As he showed in “Clerks II), the leads in “Zack and Miri” make a porno are dealing with bigger issues than trying to have sex, they are dealing with the fragile emotions that come with opening your heart and the fears of rejection that come with it. The theme of doing what you want to do rather than what is expected of you is also a constant theme here, and it is refreshing to see Smith once again tackle such issues without being preachy or heavy handed.
Supporting Rogen and Banks are Smith staples Jason Mewes and Jeff Anderson as well as solid supporting work from Justin Long who is utterly hilarious in every scene he is in.
While some fans may want more full out humor such as Smith gave in “Jay and Silent Bob Strike Back”, Zack and Miri is more in tune with “Chasing Amy” as it focuses more on the relationship amongst the leads rather than wall to wall blunt humor.
No matter how many times I see Kevin Smith films, I am amazed at how well he captures the natural conversation between his characters. Yes, it is very raw but also very natural as it has a flow to it that embodies and defines the characters without ever overshadowing them. We all know of people who sit around having conversations as frank and outrageous as the characters in Smith’s films but never do the words seem forced or clichéd.
I am curious to see what future films Kevin Smith will craft as I find myself longing for the classic stable of Jersey characters like Jay and Silent Bob to return, yet understand the need he has to move forward and progress as a filmmaker.
“Zack and Miri” may not be the best work Smith has ever done, but it is very funny and deeply entertaining and shows a positive new direction for this talented director.
With their ten year high school reunion pending on the night before Thanksgiving, Zack agrees to accompany Miri but has little enthusiasm to see the same group of people he went to school with especially when he has so little to show for his post school life.
While things do not go as hoped for either Zack or Miri at the reunion, things get even worse when their water and power is turned off upon returning home forcing them to contend with a very cold and dark Thanksgiving.
In a fit of inspiration born out of desperation Zack decides to make a Porno as a way out of their financial issues. Zack contends that most of their fellow classmates will buy it out of curiosity and if they can sell 1000 copies, their problems will be over. Despite their platonic relationship, Miri agrees to make the film with Zack, and after getting financed by one of Zack’s co-workers with money meant for a plasma television, Zack and Miri begin the process of casting and creating their film.
Of course things do not go as planned and one series of hilarious events and disasters after another arise to hamper the budding filmmakers, and add even more pressure to their pending first time with one another.
With Deadlines pending, Zack and Miri must deal with the problems surrounding the film as well as their own long dormant denied attraction to one another the two life long friends must make choices that will have lifelong ramifications.
Writer and Director Kevin Smith has created a funny film that is both familiar to his previous works yet a more mature and emotional film. Yes there is plenty of outrageous humor and very frank and explicit diologe between the characters yet there is a maturity amongst the characters. As he showed in “Clerks II), the leads in “Zack and Miri” make a porno are dealing with bigger issues than trying to have sex, they are dealing with the fragile emotions that come with opening your heart and the fears of rejection that come with it. The theme of doing what you want to do rather than what is expected of you is also a constant theme here, and it is refreshing to see Smith once again tackle such issues without being preachy or heavy handed.
Supporting Rogen and Banks are Smith staples Jason Mewes and Jeff Anderson as well as solid supporting work from Justin Long who is utterly hilarious in every scene he is in.
While some fans may want more full out humor such as Smith gave in “Jay and Silent Bob Strike Back”, Zack and Miri is more in tune with “Chasing Amy” as it focuses more on the relationship amongst the leads rather than wall to wall blunt humor.
No matter how many times I see Kevin Smith films, I am amazed at how well he captures the natural conversation between his characters. Yes, it is very raw but also very natural as it has a flow to it that embodies and defines the characters without ever overshadowing them. We all know of people who sit around having conversations as frank and outrageous as the characters in Smith’s films but never do the words seem forced or clichéd.
I am curious to see what future films Kevin Smith will craft as I find myself longing for the classic stable of Jersey characters like Jay and Silent Bob to return, yet understand the need he has to move forward and progress as a filmmaker.
“Zack and Miri” may not be the best work Smith has ever done, but it is very funny and deeply entertaining and shows a positive new direction for this talented director.
BankofMarquis (1832 KP) rated Alien (1979) in Movies
Feb 22, 2020
This classic holds up very, very well more than 40 years later
I convinced my cynical 19 year old to watch an "ancient" film (her phrase) - so I was careful with my choice. I know she likes horror, so thought I would try to see if she could be scared the old fashioned way and pulled the 1979 Sci-Fi/Horror classic ALIEN off the shelves to show her.
It scared the crap outta her.
Directed by Ridley Scott (more on him later) Alien tells the tale of a working-class deep space vehicle, returning home with a full cargo when they intercept a distress call at a distant, non-descript planet, they go to investigate and...
As told by Ridley Scott, based on a script and story by Dan O'Bannon, Alien is a masterwork in suspense and mood. Scott takes his time telling this story, setting up the feel and atmosphere, showing a gritty, working-man's vessel (and not a sleek silver and chrome shiny ship) where the people inside the craft are not heroes, but working class stiff's just trying to make a buck.
What surprised me this time around seeing this film is how deliberate (some would say slow) that the pacing of this film is - but, darn it all, if it doesn't work. The tension slowly builds so when violence/action happens it explodes and seems all the bigger due to the fact that it is coming out of silence.
The cast - a group of relative unknowns at the time - is stellar. In the DVD commentary, Director Scott said he spent quite a bit of time casting this film to ensure he had the right mix - and his work shows on screen. The 7 actors in this film work well together - and each one of them brings a real character to the screen that is interesting to watch.
Tom Skerrit (the film version of M*A*S*H) as laconic, laid back Captain Dallas and Yaphet Kotto (the villain in the James Bond flick LIVE AND LET DIE) as gruff, looking-for-a-buck mechanic Parker were the most well known of the 7 at the time of the release of the film - and they do bring some star power to the proceedings, but are met, evenly, by others like former child star Veronica Cartwright (Alfred Hitchcock's THE BIRDS), veteran character Actor Harry Dean Stanton ( THE ROSE) and John Hurt (THE ELEPHANT MAN). All 3 bring interesting characters - and faces - to the proceedings.
But...for me 2 the standouts in this cast is IAN HOLM (TIME BANDITS) as Science Officer Ash - a character with some "quirks" (to put it mildly) and, of course Sigourney Weaver (GHOSTBUSTERS) in her star making role as 3rd officer Ripley. I don't want to spoil anything in this film, but Weaver's Ripley is the type of strong female character - fighting the typical, chauvinistic male hierarchy - that was heretofore unknown/rarely seen in film and is the prototype of these types of characters to this day. Weaver's performance and the writing and direction of this character is that strong/groundbreaking that it continues to influence writing and filmmaking all these years later.
The 8th character in this film is the look and feel of the ship - the Nostromo - and the look and feel of the titular Alien character as brought to life in an Oscar winning effort in Visual Effects for the team of H.R. Giger, Carlo Rambaldi, Brian Johnson, Nick Allder and Dennis Ayling (based on drawings by Giger). This is truly remarkable, bravura and groundbreaking design and filmmaking - one that holds up very well more than 40 years later - made all the more astounding when you realize that these are all practical effects (CGI had not be invented yet) and the filmmakers had to rely on puppetry, editing, performance and what you don't see (but your mind thinks you do) to fill in the gaps.
It all works tremendously well - if you haven't seen this in awhile, do yourself a favor and watch it again. If you have never seen it, well...you are in for a treat.
Letter Grade: A+
10 Stars (out of 10) and you can take that to the Bank(ofMarquis)
It scared the crap outta her.
Directed by Ridley Scott (more on him later) Alien tells the tale of a working-class deep space vehicle, returning home with a full cargo when they intercept a distress call at a distant, non-descript planet, they go to investigate and...
As told by Ridley Scott, based on a script and story by Dan O'Bannon, Alien is a masterwork in suspense and mood. Scott takes his time telling this story, setting up the feel and atmosphere, showing a gritty, working-man's vessel (and not a sleek silver and chrome shiny ship) where the people inside the craft are not heroes, but working class stiff's just trying to make a buck.
What surprised me this time around seeing this film is how deliberate (some would say slow) that the pacing of this film is - but, darn it all, if it doesn't work. The tension slowly builds so when violence/action happens it explodes and seems all the bigger due to the fact that it is coming out of silence.
The cast - a group of relative unknowns at the time - is stellar. In the DVD commentary, Director Scott said he spent quite a bit of time casting this film to ensure he had the right mix - and his work shows on screen. The 7 actors in this film work well together - and each one of them brings a real character to the screen that is interesting to watch.
Tom Skerrit (the film version of M*A*S*H) as laconic, laid back Captain Dallas and Yaphet Kotto (the villain in the James Bond flick LIVE AND LET DIE) as gruff, looking-for-a-buck mechanic Parker were the most well known of the 7 at the time of the release of the film - and they do bring some star power to the proceedings, but are met, evenly, by others like former child star Veronica Cartwright (Alfred Hitchcock's THE BIRDS), veteran character Actor Harry Dean Stanton ( THE ROSE) and John Hurt (THE ELEPHANT MAN). All 3 bring interesting characters - and faces - to the proceedings.
But...for me 2 the standouts in this cast is IAN HOLM (TIME BANDITS) as Science Officer Ash - a character with some "quirks" (to put it mildly) and, of course Sigourney Weaver (GHOSTBUSTERS) in her star making role as 3rd officer Ripley. I don't want to spoil anything in this film, but Weaver's Ripley is the type of strong female character - fighting the typical, chauvinistic male hierarchy - that was heretofore unknown/rarely seen in film and is the prototype of these types of characters to this day. Weaver's performance and the writing and direction of this character is that strong/groundbreaking that it continues to influence writing and filmmaking all these years later.
The 8th character in this film is the look and feel of the ship - the Nostromo - and the look and feel of the titular Alien character as brought to life in an Oscar winning effort in Visual Effects for the team of H.R. Giger, Carlo Rambaldi, Brian Johnson, Nick Allder and Dennis Ayling (based on drawings by Giger). This is truly remarkable, bravura and groundbreaking design and filmmaking - one that holds up very well more than 40 years later - made all the more astounding when you realize that these are all practical effects (CGI had not be invented yet) and the filmmakers had to rely on puppetry, editing, performance and what you don't see (but your mind thinks you do) to fill in the gaps.
It all works tremendously well - if you haven't seen this in awhile, do yourself a favor and watch it again. If you have never seen it, well...you are in for a treat.
Letter Grade: A+
10 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Sweet Baby Girl First Love - Super Cute First Date
Games and Education
App
Sweet Baby Girl Katie is in love for the first time! So sweet and cute! Help Katie invite Justin on...
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.
Bob Mann (459 KP) rated Arrival (2016) in Movies
Sep 29, 2021
Wow – what a surprise.
Sometimes I can get very irritated by a trailer for giving too much away (case in point, “Room” – which I recut – and more recently “Passengers”). Sometimes I can get very excited by a really good teaser trailer (case in point, “10 Cloverfield Lane”). But most of the time a “ho hum” trailer typically drives the expectation of a “ho hum” film: “Jack Reacher: Never Look Back” being a good recent example. Then there is “Arrival”…
Because the trailer for “Arrival” belies absolutely nothing about the depth and complexity of the film. At face value, it looks like a dubious “Close Encounters” wannabe, with a threat of movement towards the likes of “Independence Day” and “The 5th Wave”. Actually what you get is a film that approaches the grandeur of “Close Encounters” but interlaces it with the intellectual depth of “Inception”, the mystery of “Intersteller” and a heavy emotional jolt or two of “Up”.
Amy Adams (“Batman vs Superman”) plays Dr Louise Banks, a language teacher at a US university facing a bunch of particularly disengaged students one morning. For good reason since world news is afoot. Twelve alien craft have positioned themselves strategically around the world, hanging a few feet from the ground in just the sort of way that bricks don’t. Banks is approached by Colonel Weber (Forest Whitaker) and offered the job of trying to communicate with the aliens: where did they come from? why are they here? Banks faces the biggest challenge of her academic career in trying to devise a strategy for communication without any foundation of knowledge on what level communication even works at for them. Assisted by Ian Donelly (Jeremy Renner, “Mission Impossible IV/V”, “Avengers”), a theoretical physicist, the pair try to crack the code against a deadline set by the inexorable rise of international tensions – driven by China’s General Chang (Tzi Ma, “Veep”; “24”).
Steven Spielberg made a rare error of judgement by adding scenes in his “Special Edition” of “Close Encounters of the Third Kind” showing everyman power guy Roy Neary (Richard Dreyfuss) entering the alien spacecraft. Some things are best left to the imagination. Here, a reprise of that mistake seems inevitable, but – perversely – seems to be pulled off with mastery and aplomb. The aliens are well rendered, and the small scale nature of the set (I’m sure I’ve been in similar dingy waiting rooms in UK railway stations!) is cleverly handled by the environmental conditions.
But where the screenplay really kills it is in the emergence of the real power unleashed by the translation work. To say any more would deliver spoilers, which I won’t do. But this is a masterly piece of science-fiction writing. The screenplay was by Eric Heisserer – someone with a limited scriptwriting CV of horror film reboots/sequels such as “Final Destination 5”, “The Thing” and “A Nightmare on Elm Street” – so the portents were not good, which just adds to the surprise. If I were to be critical, some of the dialogue at times is a little TOO clever for its own good and smacks of Aaron Sorkin over-exposition: the comment about “They have a word for it in Hungary” for example went right over my head.
Denis Villeneuve (“Sicario”) deftly directs, leaving the pace of the story glacially slow in places to let the audience deduce what is going on at their own speed. This will NOT be to the liking of movie fans who like their films in a wham-bam of CGI, but was very much to my liking. The film in fact has very little exposition, giving you lots to think about after the credits roll: there were elements of the story (such as her book) that still generated debate with my better half on the drive home.
Amy Adams and Jeremy Renner are first rate and an effectively moody score by Jóhann Jóhannsson (“Sicario”; “The Theory of Everything”) round off the other high-point credits for me.
An extraordinary film, this is a must see for sci-fi fans but also for lovers of good cinema and well-crafted stories.
Because the trailer for “Arrival” belies absolutely nothing about the depth and complexity of the film. At face value, it looks like a dubious “Close Encounters” wannabe, with a threat of movement towards the likes of “Independence Day” and “The 5th Wave”. Actually what you get is a film that approaches the grandeur of “Close Encounters” but interlaces it with the intellectual depth of “Inception”, the mystery of “Intersteller” and a heavy emotional jolt or two of “Up”.
Amy Adams (“Batman vs Superman”) plays Dr Louise Banks, a language teacher at a US university facing a bunch of particularly disengaged students one morning. For good reason since world news is afoot. Twelve alien craft have positioned themselves strategically around the world, hanging a few feet from the ground in just the sort of way that bricks don’t. Banks is approached by Colonel Weber (Forest Whitaker) and offered the job of trying to communicate with the aliens: where did they come from? why are they here? Banks faces the biggest challenge of her academic career in trying to devise a strategy for communication without any foundation of knowledge on what level communication even works at for them. Assisted by Ian Donelly (Jeremy Renner, “Mission Impossible IV/V”, “Avengers”), a theoretical physicist, the pair try to crack the code against a deadline set by the inexorable rise of international tensions – driven by China’s General Chang (Tzi Ma, “Veep”; “24”).
Steven Spielberg made a rare error of judgement by adding scenes in his “Special Edition” of “Close Encounters of the Third Kind” showing everyman power guy Roy Neary (Richard Dreyfuss) entering the alien spacecraft. Some things are best left to the imagination. Here, a reprise of that mistake seems inevitable, but – perversely – seems to be pulled off with mastery and aplomb. The aliens are well rendered, and the small scale nature of the set (I’m sure I’ve been in similar dingy waiting rooms in UK railway stations!) is cleverly handled by the environmental conditions.
But where the screenplay really kills it is in the emergence of the real power unleashed by the translation work. To say any more would deliver spoilers, which I won’t do. But this is a masterly piece of science-fiction writing. The screenplay was by Eric Heisserer – someone with a limited scriptwriting CV of horror film reboots/sequels such as “Final Destination 5”, “The Thing” and “A Nightmare on Elm Street” – so the portents were not good, which just adds to the surprise. If I were to be critical, some of the dialogue at times is a little TOO clever for its own good and smacks of Aaron Sorkin over-exposition: the comment about “They have a word for it in Hungary” for example went right over my head.
Denis Villeneuve (“Sicario”) deftly directs, leaving the pace of the story glacially slow in places to let the audience deduce what is going on at their own speed. This will NOT be to the liking of movie fans who like their films in a wham-bam of CGI, but was very much to my liking. The film in fact has very little exposition, giving you lots to think about after the credits roll: there were elements of the story (such as her book) that still generated debate with my better half on the drive home.
Amy Adams and Jeremy Renner are first rate and an effectively moody score by Jóhann Jóhannsson (“Sicario”; “The Theory of Everything”) round off the other high-point credits for me.
An extraordinary film, this is a must see for sci-fi fans but also for lovers of good cinema and well-crafted stories.
Darren (1599 KP) rated Brightburn (2019) in Movies
Jun 19, 2019
Darkness Superhero Style
Thoughts on Brightburn
Characters – Tori is adopted mother of Brandon, she sees him as a blessing and will defending him through any troubles he finds himself in. she does enjoy painting which does seem to be her way to unwind and through the 12th year of Brandon, she is left wondering if he is like her or it is something else controlling him. Kyle is the husband a farmer, he does have to give his son ‘the talk’ which is one of the funniest scenes of the film, he has taught Brandon responsibility and does become the overreacting parent through the situations, a nice spin on the normal. Brandon is the young boy/alien that has bee raised like a normal child, he is social awkward, a loner at school, even his 12th birthday party is in a diner with his family, no friends. Once he starts hearing noises he gets drawn to his craft, which will be the beginning of his newly discovered powers. The powers his has will make him a danger not just to his town, but to the world because they are limitless. We do have other characters including the Aunt and her husband, the fellow students that see Brandon as an outsider and the sheriff trying to figure out the crimes that have been happening around the town.
Performances – Elizabeth Banks does bring us a great performance, we see the undying love of a mother against the shadows of what her child’s true nature is, constantly conflicted through the film. David Denman brings us the father figure, he plays this opposite to the normal because usually we don’t see the weakness or fear in a father and David brings this requirement to the role. Jackson A Dunn is the true star of the show here, he makes young Brandon feel both terrifying and welcoming, as in needing help or a friend, he has moments of being creepy, while moments of pure calmness.
Story – The story here follows a couple that adopt a young boy who feel from space, it seems like everything is going well, until he reaches 12 and his true powers start to come out, leaving the parents in the difficult position of loving their son or turning over a monster that could destroy the world. This story does take the superhero genre in a new direction, we can clearly see how the origin or Brandon place the same as Superman, coming from space adopted and learning about powers, while this time we take a dramatic turn towards the darker side of powers. We do go through the learning process like new superheroes would go through, this is important. The only downside with the story, comes from the ideas that Brandon could be in the pivotal position on which side of good or evil he falls on, only we don’t get to see any hint that he could ever be good. Away from this minor negative, we do see a horror story unfold that becomes bigger and more devasting as the powers become clearer.
Horror/Sci-Fi – The horror in this film comes from the power that Brandon is having, we see what he does to people, with each injury becomes more graphic and shocking as the rampage goes on. The sci-fi elements of the film focus on the idea that Brandon has come from space, we simply don’t know what he could be capable off.
Settings – Th film is set in a small town of Brightburn, it is a close community which is left in shock after the first incident, Brandon however is raised on a small farm which shows that his isolation isn’t just school, but home too.
Special Effects – When we look at the effects, we have some brilliant injury effects, that are front and centre and will make you want to look away, a few of the flying moments are not the best, but they are not what the scenes are focused on at the time.
Scene of the Movie – Uncle Noah’s car trip.
That Moment That Annoyed Me – It would have been nice to see him have a chance to be good.
Final Thoughts – This is a dark superhero movie, unlike anything we have seen before, it feels original, while playing opposite to what we know and isn’t afraid to spill a little blood.
Overall: The Dark Universe has Started.
Rating
Characters – Tori is adopted mother of Brandon, she sees him as a blessing and will defending him through any troubles he finds himself in. she does enjoy painting which does seem to be her way to unwind and through the 12th year of Brandon, she is left wondering if he is like her or it is something else controlling him. Kyle is the husband a farmer, he does have to give his son ‘the talk’ which is one of the funniest scenes of the film, he has taught Brandon responsibility and does become the overreacting parent through the situations, a nice spin on the normal. Brandon is the young boy/alien that has bee raised like a normal child, he is social awkward, a loner at school, even his 12th birthday party is in a diner with his family, no friends. Once he starts hearing noises he gets drawn to his craft, which will be the beginning of his newly discovered powers. The powers his has will make him a danger not just to his town, but to the world because they are limitless. We do have other characters including the Aunt and her husband, the fellow students that see Brandon as an outsider and the sheriff trying to figure out the crimes that have been happening around the town.
Performances – Elizabeth Banks does bring us a great performance, we see the undying love of a mother against the shadows of what her child’s true nature is, constantly conflicted through the film. David Denman brings us the father figure, he plays this opposite to the normal because usually we don’t see the weakness or fear in a father and David brings this requirement to the role. Jackson A Dunn is the true star of the show here, he makes young Brandon feel both terrifying and welcoming, as in needing help or a friend, he has moments of being creepy, while moments of pure calmness.
Story – The story here follows a couple that adopt a young boy who feel from space, it seems like everything is going well, until he reaches 12 and his true powers start to come out, leaving the parents in the difficult position of loving their son or turning over a monster that could destroy the world. This story does take the superhero genre in a new direction, we can clearly see how the origin or Brandon place the same as Superman, coming from space adopted and learning about powers, while this time we take a dramatic turn towards the darker side of powers. We do go through the learning process like new superheroes would go through, this is important. The only downside with the story, comes from the ideas that Brandon could be in the pivotal position on which side of good or evil he falls on, only we don’t get to see any hint that he could ever be good. Away from this minor negative, we do see a horror story unfold that becomes bigger and more devasting as the powers become clearer.
Horror/Sci-Fi – The horror in this film comes from the power that Brandon is having, we see what he does to people, with each injury becomes more graphic and shocking as the rampage goes on. The sci-fi elements of the film focus on the idea that Brandon has come from space, we simply don’t know what he could be capable off.
Settings – Th film is set in a small town of Brightburn, it is a close community which is left in shock after the first incident, Brandon however is raised on a small farm which shows that his isolation isn’t just school, but home too.
Special Effects – When we look at the effects, we have some brilliant injury effects, that are front and centre and will make you want to look away, a few of the flying moments are not the best, but they are not what the scenes are focused on at the time.
Scene of the Movie – Uncle Noah’s car trip.
That Moment That Annoyed Me – It would have been nice to see him have a chance to be good.
Final Thoughts – This is a dark superhero movie, unlike anything we have seen before, it feels original, while playing opposite to what we know and isn’t afraid to spill a little blood.
Overall: The Dark Universe has Started.
Rating
Gareth von Kallenbach (980 KP) rated Superman Returns (2006) in Movies
Aug 14, 2019
It has been nearly twenty years since Superman graced the silver screen. This fact is outstanding when you consider that numerous attempts to revive the franchise and two successful television series have occurred in the nearly two decades since 1987’s “Superman IV: The Quest for Peace”.
Amidst much speculation and rumors of a soaring budget that is reported to be over $250 Million, Superman Returns has arrived.
Under the direction of Bryan Singer, who successfully launched the first two films in the “X-Men” series, Brandon Routh dons the tights and capes of the late Christopher Reeve, as the man of steel and his mild mannered alter ego Clark Kent.
As the films opens, it is explained that Superman has been gone five years as he has traveled to what astronomers believe are the remains of his home planet Krypton which was destroyed when he was an infant.
Soon after his return, Clark visits his adopted mother in his hometown of Smallville before returning to Metropolis and his job at the Daily Planet. His happy homecoming is short-lived when Clark realizes that his beloved Lois Lane (Kate Bosworth) is now a single mom with a fiancée named Richard (James Marsden).
As if this is not enough, Superman is shortly thereafter called into action to save Lois and the passengers of a plane and space shuttle encounter a deadly situation when a press conference goes awry.
In a spectacle of action and visual brilliance Superman not only saves the day, but makes a highly visible and triumphant return that signals to the world that he is back.
As happy as the majority of the world is to have their champion back, Lois is very conflicted about his return. She believes he abandoned humanity and left her without even saying goodbye. Such is the extent of Lois’s anger toward Superman; she has written a story entitled “Why the World Doesn’t Need Superman” for which she was awarded a Pulitzer Prize.
As upset as Lois is about the return of Superman, there is one individual who is seething mad over his return and that is Lex Luthor (Kevin Spacey) who plans to use his recently acquired wealth to hatch his latest plot and end the threat of Superman once and for all.
Lex plans to use the crystals and knowledge he has pilfered from Superman’s arctic Fortress of Solitude to craft a new landmass, where he will rule supreme. The fact that billions of innocents will be killed in the process is of no consequence to the power mad Luthor, setting the stage for several high tech action sequences and daring adventures as Superman sets out to save the day.
Despite numerous concerns I had over the film, I am happy to say that the series is in great hands, and the combination of Spacey, Bosworth, Routh, and Singer have not only produced the best film of Summer 2006, but have paved the way for what looks to be a series of films that, while true to the source materials, is not afraid to push the envelope to modernize Superman.
Routh was solid, not only looked the part perfectly, but handled the dual roles of Clark and Superman with and easygoing charm and manner that is highly effective. His ability to portray Superman as a being with deep emotions as well as power is key to the film as the audience is given a chance to see more than just the man with the muscles. Bosworth is also to be commended for her portrayal of a strong and capable Lois who is anything but the stock damsel in distress. The chemistry between Routh and Bosworth is good which is vital, as this is much more than effects and action.
The humanity and compassion that drives the film is an unexpected bonus. Despite the amazing action sequences, this is a story with deep emotional and psychological themes that are rarely seen in films of this nature.
If I had to find fault in the film, it would be that Spacey was not allowed to really let Lex be truly evil. Sure he talks a good fight, and in a few sequences is not above getting his hands dirty. But, for a film as grand as this, the diabolic plot Luthor is trying to hatch just does not seem diabolic enough.
One could also say that at a running time of nearly two hours and forty minutes that perhaps 20 minutes or so could have been trimmed towards the end to help the pacing of the final segments of the film.
That being said, the impressive mix of action, humor, romance, and cast gives Superman Returns a highly winning formula.
Amidst much speculation and rumors of a soaring budget that is reported to be over $250 Million, Superman Returns has arrived.
Under the direction of Bryan Singer, who successfully launched the first two films in the “X-Men” series, Brandon Routh dons the tights and capes of the late Christopher Reeve, as the man of steel and his mild mannered alter ego Clark Kent.
As the films opens, it is explained that Superman has been gone five years as he has traveled to what astronomers believe are the remains of his home planet Krypton which was destroyed when he was an infant.
Soon after his return, Clark visits his adopted mother in his hometown of Smallville before returning to Metropolis and his job at the Daily Planet. His happy homecoming is short-lived when Clark realizes that his beloved Lois Lane (Kate Bosworth) is now a single mom with a fiancée named Richard (James Marsden).
As if this is not enough, Superman is shortly thereafter called into action to save Lois and the passengers of a plane and space shuttle encounter a deadly situation when a press conference goes awry.
In a spectacle of action and visual brilliance Superman not only saves the day, but makes a highly visible and triumphant return that signals to the world that he is back.
As happy as the majority of the world is to have their champion back, Lois is very conflicted about his return. She believes he abandoned humanity and left her without even saying goodbye. Such is the extent of Lois’s anger toward Superman; she has written a story entitled “Why the World Doesn’t Need Superman” for which she was awarded a Pulitzer Prize.
As upset as Lois is about the return of Superman, there is one individual who is seething mad over his return and that is Lex Luthor (Kevin Spacey) who plans to use his recently acquired wealth to hatch his latest plot and end the threat of Superman once and for all.
Lex plans to use the crystals and knowledge he has pilfered from Superman’s arctic Fortress of Solitude to craft a new landmass, where he will rule supreme. The fact that billions of innocents will be killed in the process is of no consequence to the power mad Luthor, setting the stage for several high tech action sequences and daring adventures as Superman sets out to save the day.
Despite numerous concerns I had over the film, I am happy to say that the series is in great hands, and the combination of Spacey, Bosworth, Routh, and Singer have not only produced the best film of Summer 2006, but have paved the way for what looks to be a series of films that, while true to the source materials, is not afraid to push the envelope to modernize Superman.
Routh was solid, not only looked the part perfectly, but handled the dual roles of Clark and Superman with and easygoing charm and manner that is highly effective. His ability to portray Superman as a being with deep emotions as well as power is key to the film as the audience is given a chance to see more than just the man with the muscles. Bosworth is also to be commended for her portrayal of a strong and capable Lois who is anything but the stock damsel in distress. The chemistry between Routh and Bosworth is good which is vital, as this is much more than effects and action.
The humanity and compassion that drives the film is an unexpected bonus. Despite the amazing action sequences, this is a story with deep emotional and psychological themes that are rarely seen in films of this nature.
If I had to find fault in the film, it would be that Spacey was not allowed to really let Lex be truly evil. Sure he talks a good fight, and in a few sequences is not above getting his hands dirty. But, for a film as grand as this, the diabolic plot Luthor is trying to hatch just does not seem diabolic enough.
One could also say that at a running time of nearly two hours and forty minutes that perhaps 20 minutes or so could have been trimmed towards the end to help the pacing of the final segments of the film.
That being said, the impressive mix of action, humor, romance, and cast gives Superman Returns a highly winning formula.
Darren (1599 KP) rated The Captor (2019) in Movies
Jun 21, 2019
Story: The Captor starts when American Kaj Hansson (Hawke) walks into a bank taking hostages in bank clerks Bianca Lind (Rapace) and Klara Mardh (Santos), he wants Gunnar Sorensson (Strong) released from prison along with his outlandish demands that Chief Mattsson (Heyerdahl) must try to put together.
As the hostage situation continue we start to see the truth unravel and see how Bianca starts to respect Kaj even feeling like she is part of the heist herself, can they make it out of the heist as the origin of the term ‘Stockholm Syndrome’ is born here.
Thoughts on The Captor
Characters – Kaj Hansson is the American that has walked into the bank, he doesn’t really have a plan, he knows what he wants though, he wants to be fair to his hostages, never actually wanting to hurt anybody, just to make sure the police see him as a threat. He starts to make friends with the hostages too. Bianca Lind is the bank clerk that has her own family and finds herself being held hostage, she becomes the stronger of the two women, she starts to become attracted to Kaj believing he isn’t a bad guy, this is her story. Gunnar Sorensson is the man that Kaj wants released from prison, he is one of the most famous bank robbers in the country and he sees the mistakes that Kaj is making, while having a deal with the Chief. Chief Mattsson is the man trying to end the situation, he is trying to stay one step ahead of Kaj to get everyone out alive.
Performances – Ethan Hawke is a delight to watch in this film, he plays the over the top which sums up what the character needs to be through this film. Noomi Rapace plays her role well giving us a character which is both interested and scared through the film. Mark Strong is the supporting acting for a generation, he brings his complex character to life with ease once again. Christopher Heyerdahl is strong through the film showing a determined, though calm man through the film.
Story – The story here follows a bank heist which led to the first case of Stockholm Syndrome, where the hostage falls in love with the hostage taker, we see how this hostage situation unfolds with the outlandish demands as the woman starts to fall for him. When it comes to bank heist movies, we have seen plenty, they usually revolve around the criminals and the police trying to stay ahead of each other, with this one we do have that, but we have the added dynamic of seeing how the hostages and takers start to bond when they see that everything can be kept under control, remember this is set in 1973 so the technology isn’t going to be a game changer in how everything is solved. Seeing both sides get to the talking can go through moments of slow story telling, but it isn’t long until Kaj goes a little bit crazy demanding our attention once again. With a subplot involving Gunnar’s position in the situation, we get to see how Kaj really doesn’t know what he is doing making it easier to help the hostages take sympathy with him. It was nice to have just normal police that aren’t looking to solve a personal problem with this case, which is so often the case in these stories.
Comedy/Crime – The comedy in the film comes from everything Kaj seems to do, from his outfit with wig, cowboy hat and American swagger, to how he overreacts to everything that is going on, the crime is loosely based on a real incident, with the names changed, it is a hostage situation, but you never feel like there is a threat.
Settings – Most of the film is set within the walls of the bank, it is a simple and well craft set that shows us just how the people have been thrown together in this situation.
Scene of the Movie – Kaj shares a pear.
That Moment That Annoyed Me – We don’t feel like there is a threat in the film.
Final Thoughts – This is a different way to tell a heist movie, it does show us how hostages can fall in love with their captors and overtime even support them, we get the routine hostage talks and end up right where we need to for the story to flow with ease.
Overall: Nice spin on the heist genre.
https://moviesreview101.com/2019/06/17/the-captor-2019/
As the hostage situation continue we start to see the truth unravel and see how Bianca starts to respect Kaj even feeling like she is part of the heist herself, can they make it out of the heist as the origin of the term ‘Stockholm Syndrome’ is born here.
Thoughts on The Captor
Characters – Kaj Hansson is the American that has walked into the bank, he doesn’t really have a plan, he knows what he wants though, he wants to be fair to his hostages, never actually wanting to hurt anybody, just to make sure the police see him as a threat. He starts to make friends with the hostages too. Bianca Lind is the bank clerk that has her own family and finds herself being held hostage, she becomes the stronger of the two women, she starts to become attracted to Kaj believing he isn’t a bad guy, this is her story. Gunnar Sorensson is the man that Kaj wants released from prison, he is one of the most famous bank robbers in the country and he sees the mistakes that Kaj is making, while having a deal with the Chief. Chief Mattsson is the man trying to end the situation, he is trying to stay one step ahead of Kaj to get everyone out alive.
Performances – Ethan Hawke is a delight to watch in this film, he plays the over the top which sums up what the character needs to be through this film. Noomi Rapace plays her role well giving us a character which is both interested and scared through the film. Mark Strong is the supporting acting for a generation, he brings his complex character to life with ease once again. Christopher Heyerdahl is strong through the film showing a determined, though calm man through the film.
Story – The story here follows a bank heist which led to the first case of Stockholm Syndrome, where the hostage falls in love with the hostage taker, we see how this hostage situation unfolds with the outlandish demands as the woman starts to fall for him. When it comes to bank heist movies, we have seen plenty, they usually revolve around the criminals and the police trying to stay ahead of each other, with this one we do have that, but we have the added dynamic of seeing how the hostages and takers start to bond when they see that everything can be kept under control, remember this is set in 1973 so the technology isn’t going to be a game changer in how everything is solved. Seeing both sides get to the talking can go through moments of slow story telling, but it isn’t long until Kaj goes a little bit crazy demanding our attention once again. With a subplot involving Gunnar’s position in the situation, we get to see how Kaj really doesn’t know what he is doing making it easier to help the hostages take sympathy with him. It was nice to have just normal police that aren’t looking to solve a personal problem with this case, which is so often the case in these stories.
Comedy/Crime – The comedy in the film comes from everything Kaj seems to do, from his outfit with wig, cowboy hat and American swagger, to how he overreacts to everything that is going on, the crime is loosely based on a real incident, with the names changed, it is a hostage situation, but you never feel like there is a threat.
Settings – Most of the film is set within the walls of the bank, it is a simple and well craft set that shows us just how the people have been thrown together in this situation.
Scene of the Movie – Kaj shares a pear.
That Moment That Annoyed Me – We don’t feel like there is a threat in the film.
Final Thoughts – This is a different way to tell a heist movie, it does show us how hostages can fall in love with their captors and overtime even support them, we get the routine hostage talks and end up right where we need to for the story to flow with ease.
Overall: Nice spin on the heist genre.
https://moviesreview101.com/2019/06/17/the-captor-2019/