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Emma @ The Movies (1786 KP) rated Gemini Man (2019) in Movies
Dec 8, 2019
I saw the trailers for this and thought it looked pretty good, the story sounded interesting and even though the effects in the clips looked a little dubious I was excited for one reason... Jerry Bruckheimer was involved, and I've never seen anything he's done that I didn't enjoy.
Henry Brogan is a master assassin, his whole life has been dedicated to perfecting his craft, but when he discovers he's been misled about a recent kill he decides it's time to hang up his gun. Such a high profile asset can't just retire from his life though and he soon finds himself being pursued. His would-be killer is agile and surprisingly capable, Henry is impressed by the improvising skills, and so he should be... they're his.
I've only just learnt that this film has been on the cards for 20 odd years. When it was first discussed technology wasn't up for the task the idea was pitching. Knowing that fact makes me wonder if they kept a 90's/00's script because the action does have that nostalgic quality. There have been lots of directors and actors attached to it and there's a fun thought experiment to have by exploring the possible outcomes it could have had.
Before I talk about my thoughts on the film I want to touch on the experience I had. Being out of town for the release meant that I was able to go to a cinema showing it in HFR 3D. This is the way it was filmed and intended to be seen but hardly any cinemas (in the world it seems) are able to show it that way. Cineworld Crawley were one of the cinemas that could, initially I wasn't bothered about seeing it in this format, but to be so close and have it snatched away was a real trauma.
I saw roughly the first 3 minutes of the film in HFR 3D and it seems this was the same fate of the screening before too. What I saw of it was mind-blowing, Will Smith was so crystal clear that he probably wouldn't have even looked that good if he was performing it in the room with me. But as I say, (several) 3-minute viewings were all we got before they had to give up and show us the 2D version. I'd be interested to know if anyone has a successful HFR screening. I would like to have seen it all the way through to see how it changed the visuals, sadly that's unlikely to happen now.
Let me put this out there straight away... this film is not good, and yet somehow good.
Gemini Man is a conventional idea with a twist and has an average script, but there's something engaging about the action. Oh, and while the script wasn't great it's entirely accurate when it states "Everyone hates cilantro." Yes, quite right.
De-aging technology has come a long way recently, but it has ups and downs depending on budget. In this respect Gemini Man had me stumped. The CGI in the trailer didn't look great and I assumed that was maybe early footage to get it out in front of audiences, but the film genuinely wasn't much better. There are moments where you don't notice it, you could almost pass Little Will off as the original, but the main problem is he's too familiar. On a lesser-known actor this might have played off better in more scenes. There are several moments where Little Will is lit with a flashlight and those moments caused me the most problems because that lighting looked wrong, particularly on his neck, and any quality work that may have been there was lost with the one bad piece. Most other effects are pretty reasonable until we get to the parkour ninja assassin towards the end... that sequence appears to be CG and everything is too fast and very cartoony.
I don't feel much of a need to talk about acting, it's all... fine. Without an epic script there's not much to work with but everyone makes it work as it needs to. It's a little sad that with 20 years to play with this wasn't a masterpiece on all fronts, or at least the script.
Gemini Man may have had a lot of issues for me but in the moment it's good to watch... even with the cheesy ending and the point where I thought it was directed by John Woo. I won't feel the need to buy this when it comes out but I'll definitely watch it again while hoping to see the HFR version in full.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/gemini-man-movie-review.html
Henry Brogan is a master assassin, his whole life has been dedicated to perfecting his craft, but when he discovers he's been misled about a recent kill he decides it's time to hang up his gun. Such a high profile asset can't just retire from his life though and he soon finds himself being pursued. His would-be killer is agile and surprisingly capable, Henry is impressed by the improvising skills, and so he should be... they're his.
I've only just learnt that this film has been on the cards for 20 odd years. When it was first discussed technology wasn't up for the task the idea was pitching. Knowing that fact makes me wonder if they kept a 90's/00's script because the action does have that nostalgic quality. There have been lots of directors and actors attached to it and there's a fun thought experiment to have by exploring the possible outcomes it could have had.
Before I talk about my thoughts on the film I want to touch on the experience I had. Being out of town for the release meant that I was able to go to a cinema showing it in HFR 3D. This is the way it was filmed and intended to be seen but hardly any cinemas (in the world it seems) are able to show it that way. Cineworld Crawley were one of the cinemas that could, initially I wasn't bothered about seeing it in this format, but to be so close and have it snatched away was a real trauma.
I saw roughly the first 3 minutes of the film in HFR 3D and it seems this was the same fate of the screening before too. What I saw of it was mind-blowing, Will Smith was so crystal clear that he probably wouldn't have even looked that good if he was performing it in the room with me. But as I say, (several) 3-minute viewings were all we got before they had to give up and show us the 2D version. I'd be interested to know if anyone has a successful HFR screening. I would like to have seen it all the way through to see how it changed the visuals, sadly that's unlikely to happen now.
Let me put this out there straight away... this film is not good, and yet somehow good.
Gemini Man is a conventional idea with a twist and has an average script, but there's something engaging about the action. Oh, and while the script wasn't great it's entirely accurate when it states "Everyone hates cilantro." Yes, quite right.
De-aging technology has come a long way recently, but it has ups and downs depending on budget. In this respect Gemini Man had me stumped. The CGI in the trailer didn't look great and I assumed that was maybe early footage to get it out in front of audiences, but the film genuinely wasn't much better. There are moments where you don't notice it, you could almost pass Little Will off as the original, but the main problem is he's too familiar. On a lesser-known actor this might have played off better in more scenes. There are several moments where Little Will is lit with a flashlight and those moments caused me the most problems because that lighting looked wrong, particularly on his neck, and any quality work that may have been there was lost with the one bad piece. Most other effects are pretty reasonable until we get to the parkour ninja assassin towards the end... that sequence appears to be CG and everything is too fast and very cartoony.
I don't feel much of a need to talk about acting, it's all... fine. Without an epic script there's not much to work with but everyone makes it work as it needs to. It's a little sad that with 20 years to play with this wasn't a masterpiece on all fronts, or at least the script.
Gemini Man may have had a lot of issues for me but in the moment it's good to watch... even with the cheesy ending and the point where I thought it was directed by John Woo. I won't feel the need to buy this when it comes out but I'll definitely watch it again while hoping to see the HFR version in full.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/gemini-man-movie-review.html
Movie Metropolis (309 KP) rated Angel Has Fallen (2019) in Movies
Aug 23, 2019
It’s always surprising when a truly awful film performs well at the box-office, but that’s exactly what happened with 2017’s London Has Fallen. Despite overwhelmingly poor reviews, the sequel to 2013’s marginally better Olympus Has Fallen made over four times its production budget in ticket sales.
Naturally, a sequel in the now originally named ‘Fallen’ film series was greenlit soon after with the majority of the cast returning for the third instalment. But is the finished product, Angel Has Fallen as bad as its predecessor? Or is this the turning point?
Authorities take Secret Service agent Mike Banning (Gerard Butler) into custody for the failed assassination attempt of U.S. President Allan Trumbull (Morgan Freeman). After escaping from his captors, Banning must evade the FBI and his own agency to find the real threat to the president. Desperate to uncover the truth, he soon turns to unlikely allies to help clear his name and save the country from imminent danger.
First thing’s first. This is better than London Has Fallen in every conceivable area. Where that film was packed full of grainy stock footage, poor CGI and laughable dialogue, Angel Has Fallen at least attempts to create a reasonably coherent film, even if the end result is completely forgettable.
The script for one attempts to focus on the mental and physical strain Gerard Butler’s job has taken on both aspects of his health. We join the film with Butler working his way through an assault course of sorts, so far so Gerard. However, as the film progresses the audience realises that Agent Banning is suffering from a lot of demons, impacting his clarity and causing him to lose focus.
To be fair, Butler does his best with the material he’s given, but three films in, even he is starting to look a little bored. The rest of the cast don’t fare any better. Morgan Freeman dons his tried and tested President persona, but the 82-year-old legend struggles with the physical demands of the role – and the all too obvious body doubles are a jarring mismatch with a film that is occasionally nicely choreographed and edited.
Only a film series as mediocre as ‘Fallen’ could make Angel Has Fallen feel like a success
The highlight comes about half way through the film as we are introduced to a dishevelled Nick Nolte playing Clay Banning, Mike’s foul-mouthed father, living off grid in rural Virginia. The casting is a little odd at first but the pair share good on-screen chemistry with each other and are much better than any relationship we saw in the film’s two predecessors. One of the action sequences the two of them have together is absurd but genuinely funny.
While the script has improved somewhat (there’s no unnecessary racism to be had), there are still huge flaws here. A third-act twist is one of the most ridiculously predictable twists in movie history, made all the more insulting by the fact that there are no red herrings in the story whatsoever. Come on guys, at least give us something else to think about! Instead of an “oooo” when the twist is revealed, the collective response from the audience was practically an eye-roll.
Elsewhere, the film’s finale, which feels like it goes on for far too long, is pure cinematic nonsense of the highest degree but does utilise this instalment’s bigger budget reasonably well. There are instances of poor CGI and very very obvious green screen dotted throughout, but nothing as bad as the laughably rubbish explosions and CG helicopters that riddled London Has Fallen.
Angel Has Fallen (2019 Movie) Official Trailer - Gerard Butler, Morgan Freeman - YouTube
Overall, only a film series as mediocre as ‘Fallen’ could make Angel Has Fallen feel like a success but the increased focus on the human elements of the lead characters rather than the outright racism featured in the previous films is a welcome change, and while the action scenes are filmed with a little too much shaky cam for my liking, they’re decently watchable if lacking in any real originality.
The problem we have is that this film will undoubtedly be yet another success if the sold-out screening I attended is anything to go by. Inevitably, this will then pave the way for more similarly themed movies. However, these films aren’t created for those of us who love cinema or to show off the craft of film-making, they’re made for people who want to check their phones every now and then or have a chat to the person next to them. And to be frank, that’s a cinematic world I’d rather not be a part of.
Naturally, a sequel in the now originally named ‘Fallen’ film series was greenlit soon after with the majority of the cast returning for the third instalment. But is the finished product, Angel Has Fallen as bad as its predecessor? Or is this the turning point?
Authorities take Secret Service agent Mike Banning (Gerard Butler) into custody for the failed assassination attempt of U.S. President Allan Trumbull (Morgan Freeman). After escaping from his captors, Banning must evade the FBI and his own agency to find the real threat to the president. Desperate to uncover the truth, he soon turns to unlikely allies to help clear his name and save the country from imminent danger.
First thing’s first. This is better than London Has Fallen in every conceivable area. Where that film was packed full of grainy stock footage, poor CGI and laughable dialogue, Angel Has Fallen at least attempts to create a reasonably coherent film, even if the end result is completely forgettable.
The script for one attempts to focus on the mental and physical strain Gerard Butler’s job has taken on both aspects of his health. We join the film with Butler working his way through an assault course of sorts, so far so Gerard. However, as the film progresses the audience realises that Agent Banning is suffering from a lot of demons, impacting his clarity and causing him to lose focus.
To be fair, Butler does his best with the material he’s given, but three films in, even he is starting to look a little bored. The rest of the cast don’t fare any better. Morgan Freeman dons his tried and tested President persona, but the 82-year-old legend struggles with the physical demands of the role – and the all too obvious body doubles are a jarring mismatch with a film that is occasionally nicely choreographed and edited.
Only a film series as mediocre as ‘Fallen’ could make Angel Has Fallen feel like a success
The highlight comes about half way through the film as we are introduced to a dishevelled Nick Nolte playing Clay Banning, Mike’s foul-mouthed father, living off grid in rural Virginia. The casting is a little odd at first but the pair share good on-screen chemistry with each other and are much better than any relationship we saw in the film’s two predecessors. One of the action sequences the two of them have together is absurd but genuinely funny.
While the script has improved somewhat (there’s no unnecessary racism to be had), there are still huge flaws here. A third-act twist is one of the most ridiculously predictable twists in movie history, made all the more insulting by the fact that there are no red herrings in the story whatsoever. Come on guys, at least give us something else to think about! Instead of an “oooo” when the twist is revealed, the collective response from the audience was practically an eye-roll.
Elsewhere, the film’s finale, which feels like it goes on for far too long, is pure cinematic nonsense of the highest degree but does utilise this instalment’s bigger budget reasonably well. There are instances of poor CGI and very very obvious green screen dotted throughout, but nothing as bad as the laughably rubbish explosions and CG helicopters that riddled London Has Fallen.
Angel Has Fallen (2019 Movie) Official Trailer - Gerard Butler, Morgan Freeman - YouTube
Overall, only a film series as mediocre as ‘Fallen’ could make Angel Has Fallen feel like a success but the increased focus on the human elements of the lead characters rather than the outright racism featured in the previous films is a welcome change, and while the action scenes are filmed with a little too much shaky cam for my liking, they’re decently watchable if lacking in any real originality.
The problem we have is that this film will undoubtedly be yet another success if the sold-out screening I attended is anything to go by. Inevitably, this will then pave the way for more similarly themed movies. However, these films aren’t created for those of us who love cinema or to show off the craft of film-making, they’re made for people who want to check their phones every now and then or have a chat to the person next to them. And to be frank, that’s a cinematic world I’d rather not be a part of.
Take Me Apart by Kelela
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With great anticipation, Kelela's debut album emerges as an epic portrait of an artist spanning the...
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TheDefunctDiva (304 KP) rated Bohemian Rhapsody (2018) in Movies
Feb 17, 2019 (Updated Feb 17, 2019)
I want it all. I want it all. I want it all. And I want it now
Contains spoilers, click to show
“I want it all. I want it all. I want it all. And I want it now.”
“I Want It All,” Queen, The Miracle, 1989
I am hating having to write this review though I feel compelled to do so. I bought this movie knowing I would like it. I didn’t have much money left in my checking account, but I thought, yes, this would be worth what little I had left to spend. I gifted it to my kiddo for Valentine’s Day knowing she would surely love it, too.
I didn’t love it. I didn’t even really like it.
I haven’t made a mistake this bad since the much-renowned Lost in Translation. Why the ire? Because Bohemian Rhapsody taught me some things, but not enough. Not what I wanted to know. I wanted to learn more than what a rudimentary Google search would have taught me about the band. Instead, I obtained only basic information about the band’s success. I think to really do the band justice you would need a series. Maybe that is my problem. The film had too much general information crammed into it, and I needed MORE, PEOPLE.
I should have liked this film because it revolved around Queen’s music. The best thing about this film is the soundtrack. I think contemplating some of Queen’s lyrics throughout would have really enhanced the film, though. They talked about the poetry but didn’t examine it. And I was disappointed.
Malek’s Mercury just didn’t do it for me though I admire his dedication to the craft. I do think he did an excellent job, but there was something missing that I can’t put my finger on. It felt very much like pretending. And I can’t even adequately explain why. I did love the costuming though. Especially the hair. The transformation of Mercury from boy to man was impressive. It made me want to grow a mustache.
The supporting characters were stereotypical. The supporting cast members might have been cardboard cutouts for all of the attachment I felt to them. The film also didn’t undertake the concept of what it meant to be LGBT in that era. Therefore, it didn’t fully explore the ramifications of the risks that Mercury was taking both professionally and personally. Conflicts just didn’t resonate with the high drama I felt they should have especially considering the in-your-face elements of Mercury’s personality. The passion just wasn’t there. And a real miracle would have been adequately examining the collaboration between the musicians.
I also felt the film was generally stilted by the writing, which seemed comprised of the most overused clichés in the English language.
Bohemian Rhapsody didn’t delve into the AIDS crisis deep enough to evoke much of an emotional response in me. I appreciate that Freddie Mercury didn’t want his life to be a “cautionary tale.” I get that. But the tragedy of his death seemed really downplayed to me for some reason. I wasn’t expecting the emotional response you would get from a film like Philadelphia. But something close would have been nice. Maybe I’ve seen too many films that focus on tragedy and expected to be weeping by the end of the film. Or the beginning of the film, or at any point during the film. But I was left feeling hollow.
The crowd scene from Live Aid and the Live Aid performance rightfully stole what remained of this show. The looks on the faces of the crowd. The expanse of the crowd. The scene reflected what it must have felt like to be a performer or a fan in such a large venue. Malek was awesome in this scene and deserves his due. It might be what earns him the Oscar.
I hate to say it, but I liked Mark Wahlberg and Rock Star (2001) better than I liked this movie. I just felt they could have done a better job with it. It didn’t live up to the hype.
And now I’ve touched upon the real issue. I could never get enough of this band, or of Mercury, and DAMNIT. The experience they provided fans around the world was just gone too soon.
And I just don’t feel the movie did the band or Mercury’s life justice.
I spent my Saturday listening to music in my car, wondering what a septuagenarian Mercury would have thought of today’s saturated music market. I imagine he would have been like my late father, fascinated by both the popular and the underground.
Ok, NOW I’m crying.
But touch my tears, with your lips
Touch my world, with your fingertips.
And we can have forever
And we can love forever
Forever is our today…
Queen, “Who Wants to Live Forever,” It’s Kind of Magic, 1986
“I Want It All,” Queen, The Miracle, 1989
I am hating having to write this review though I feel compelled to do so. I bought this movie knowing I would like it. I didn’t have much money left in my checking account, but I thought, yes, this would be worth what little I had left to spend. I gifted it to my kiddo for Valentine’s Day knowing she would surely love it, too.
I didn’t love it. I didn’t even really like it.
I haven’t made a mistake this bad since the much-renowned Lost in Translation. Why the ire? Because Bohemian Rhapsody taught me some things, but not enough. Not what I wanted to know. I wanted to learn more than what a rudimentary Google search would have taught me about the band. Instead, I obtained only basic information about the band’s success. I think to really do the band justice you would need a series. Maybe that is my problem. The film had too much general information crammed into it, and I needed MORE, PEOPLE.
I should have liked this film because it revolved around Queen’s music. The best thing about this film is the soundtrack. I think contemplating some of Queen’s lyrics throughout would have really enhanced the film, though. They talked about the poetry but didn’t examine it. And I was disappointed.
Malek’s Mercury just didn’t do it for me though I admire his dedication to the craft. I do think he did an excellent job, but there was something missing that I can’t put my finger on. It felt very much like pretending. And I can’t even adequately explain why. I did love the costuming though. Especially the hair. The transformation of Mercury from boy to man was impressive. It made me want to grow a mustache.
The supporting characters were stereotypical. The supporting cast members might have been cardboard cutouts for all of the attachment I felt to them. The film also didn’t undertake the concept of what it meant to be LGBT in that era. Therefore, it didn’t fully explore the ramifications of the risks that Mercury was taking both professionally and personally. Conflicts just didn’t resonate with the high drama I felt they should have especially considering the in-your-face elements of Mercury’s personality. The passion just wasn’t there. And a real miracle would have been adequately examining the collaboration between the musicians.
I also felt the film was generally stilted by the writing, which seemed comprised of the most overused clichés in the English language.
Bohemian Rhapsody didn’t delve into the AIDS crisis deep enough to evoke much of an emotional response in me. I appreciate that Freddie Mercury didn’t want his life to be a “cautionary tale.” I get that. But the tragedy of his death seemed really downplayed to me for some reason. I wasn’t expecting the emotional response you would get from a film like Philadelphia. But something close would have been nice. Maybe I’ve seen too many films that focus on tragedy and expected to be weeping by the end of the film. Or the beginning of the film, or at any point during the film. But I was left feeling hollow.
The crowd scene from Live Aid and the Live Aid performance rightfully stole what remained of this show. The looks on the faces of the crowd. The expanse of the crowd. The scene reflected what it must have felt like to be a performer or a fan in such a large venue. Malek was awesome in this scene and deserves his due. It might be what earns him the Oscar.
I hate to say it, but I liked Mark Wahlberg and Rock Star (2001) better than I liked this movie. I just felt they could have done a better job with it. It didn’t live up to the hype.
And now I’ve touched upon the real issue. I could never get enough of this band, or of Mercury, and DAMNIT. The experience they provided fans around the world was just gone too soon.
And I just don’t feel the movie did the band or Mercury’s life justice.
I spent my Saturday listening to music in my car, wondering what a septuagenarian Mercury would have thought of today’s saturated music market. I imagine he would have been like my late father, fascinated by both the popular and the underground.
Ok, NOW I’m crying.
But touch my tears, with your lips
Touch my world, with your fingertips.
And we can have forever
And we can love forever
Forever is our today…
Queen, “Who Wants to Live Forever,” It’s Kind of Magic, 1986
RəX Regent (349 KP) rated Transformers: Dark of the Moon (2011) in Movies
Feb 25, 2019
Underrated
Contains spoilers, click to show
This is the third and final installment of the iconoclastic Transformers franchise. By the law of diminishing returns, this should have fallen well below the par from the excellent first outing; well, has it? The answer is a definite no. First off, it's not as good as good as Transformers, lacking much of the comedy and puerile action, but it would be on par with the Revenge Of The Fallen, which is not up to much in many critic's opinions, which was overly smashy, confused and missed some of the pacing of the first.
Dark Of the Moon carries on the tradition of complex back stories, tying in to U.S. Space Race history, this time, right back to 1962 and the inception of the Apollo programme. Here, they postulate that NASA's moon race was purely conceived to get to the Moon first to recover a massive Cybertron based space craft, which had crashed in the Moon after the final battle on the doomed Transformer planet.
At the crash site, Sentinel Prime is discovered and years later, Optimus Prime recovers him, as he was the true leader of the Autobots in their war with the Decepticons. Also, there are a collection of what are referred to as Pillars, very 3D friendly, yet still plausibly so, floating metallic rod styled devices which would play a pivotal role later. Meanwhile, Sam, Shia LaBeouf, has moved on from his Megan Fox girlfriend and has now, somewhat inexplicably, moved in with Victoria Secrets model, though in the film, she's supposed to be some form a P.A., played by the inept Rosie Huntington-Whiteley, which is simply ridiculous. This point is also brought up in the script as his own mother warns him that he would not get so lucky a third time!
The world is has now been invaded by Decepticons and Sam, along with his collection of mis-matched allies and seven remaining Autobots are all that stands between them and total destruction. Sounds like a good setup but with a typical running time 157 minutes, the plot was simply too thin to sustain itself, leading to patchy pacing and moments that begin to plod. I didn't find this to be all that bad but others felt that the word boring would more than a little apt.
You see for me, the pay off of robots beating the hell out of each other and taking the world down with them is worth the wait and the flaws in the narrative, but for others, this will not be the case. Leonard Nimoy's voice portrayal of Sentinel Prime was fine, but the constant need to remind us that it was Mr. Spock wasn't. This culminated in a completely unnecessary piece of dialogue where Sentinel reprises Spock's line from Star Trek II, "...The needs of the many, out way the needs of the few". This was a quote to far in my opinion, certainly when justifying some questionable and immoral acts...
Then there was the 3D, and what 3D it was! This finally proved that a blockbuster can be produced in 3D without sacrificing the cinematography for cynical dimensional gestures. The film looked as I would expect any 2D blockbustering actioner to look, with sweeping aerial action and objects flying towards the audience but the 3D effect only amplified this, and didn't make it. This was well conceived and I take my hats of to them. This is what 3D should look like and it was visually arresting.
Overall, the film provided all the thrills and spills that you would expect from Transformers, with acceptable acting for a film of this genre, with the gross exception of Rosie Huntington-Whiteley, who should stick to modeling and as acting or even speaking would seem to be light years beyond her. John Malkovich and Frances McDormand, deliver great cameos and bring some of the only really decent acting to the film, with the further exceptions of the returning John Turturro and the addition of Alan Tudyk, who both deliver most of the belly laughs in this outing.
It was fun but not as much fun as the previous films. DOTM was clearly trying to shift the tone and in doing so it succeeded at moving the film into a slightly darker, more action film place. This felt more like a straight forward 12 rated actioner such as Bay's other efforts, The Rock and Armageddon and a little less of the lighter more child friendly overtones of the previous two. Still, I enjoyed this and feel very strongly that the naysayers who would rate this film so lowly that you'd have to look for it in the gutter, have allowed themselves to take this way too seriously.
Is this the end of for Transformers? I hope so, but the door is still open and with the vast profits that it's already made, Transformers 4 could be just around the next corner. If that's the case, it is not what i would prefer, feeling that they've gone as far as they came but I would certainly run out to watch it!
Dark Of the Moon carries on the tradition of complex back stories, tying in to U.S. Space Race history, this time, right back to 1962 and the inception of the Apollo programme. Here, they postulate that NASA's moon race was purely conceived to get to the Moon first to recover a massive Cybertron based space craft, which had crashed in the Moon after the final battle on the doomed Transformer planet.
At the crash site, Sentinel Prime is discovered and years later, Optimus Prime recovers him, as he was the true leader of the Autobots in their war with the Decepticons. Also, there are a collection of what are referred to as Pillars, very 3D friendly, yet still plausibly so, floating metallic rod styled devices which would play a pivotal role later. Meanwhile, Sam, Shia LaBeouf, has moved on from his Megan Fox girlfriend and has now, somewhat inexplicably, moved in with Victoria Secrets model, though in the film, she's supposed to be some form a P.A., played by the inept Rosie Huntington-Whiteley, which is simply ridiculous. This point is also brought up in the script as his own mother warns him that he would not get so lucky a third time!
The world is has now been invaded by Decepticons and Sam, along with his collection of mis-matched allies and seven remaining Autobots are all that stands between them and total destruction. Sounds like a good setup but with a typical running time 157 minutes, the plot was simply too thin to sustain itself, leading to patchy pacing and moments that begin to plod. I didn't find this to be all that bad but others felt that the word boring would more than a little apt.
You see for me, the pay off of robots beating the hell out of each other and taking the world down with them is worth the wait and the flaws in the narrative, but for others, this will not be the case. Leonard Nimoy's voice portrayal of Sentinel Prime was fine, but the constant need to remind us that it was Mr. Spock wasn't. This culminated in a completely unnecessary piece of dialogue where Sentinel reprises Spock's line from Star Trek II, "...The needs of the many, out way the needs of the few". This was a quote to far in my opinion, certainly when justifying some questionable and immoral acts...
Then there was the 3D, and what 3D it was! This finally proved that a blockbuster can be produced in 3D without sacrificing the cinematography for cynical dimensional gestures. The film looked as I would expect any 2D blockbustering actioner to look, with sweeping aerial action and objects flying towards the audience but the 3D effect only amplified this, and didn't make it. This was well conceived and I take my hats of to them. This is what 3D should look like and it was visually arresting.
Overall, the film provided all the thrills and spills that you would expect from Transformers, with acceptable acting for a film of this genre, with the gross exception of Rosie Huntington-Whiteley, who should stick to modeling and as acting or even speaking would seem to be light years beyond her. John Malkovich and Frances McDormand, deliver great cameos and bring some of the only really decent acting to the film, with the further exceptions of the returning John Turturro and the addition of Alan Tudyk, who both deliver most of the belly laughs in this outing.
It was fun but not as much fun as the previous films. DOTM was clearly trying to shift the tone and in doing so it succeeded at moving the film into a slightly darker, more action film place. This felt more like a straight forward 12 rated actioner such as Bay's other efforts, The Rock and Armageddon and a little less of the lighter more child friendly overtones of the previous two. Still, I enjoyed this and feel very strongly that the naysayers who would rate this film so lowly that you'd have to look for it in the gutter, have allowed themselves to take this way too seriously.
Is this the end of for Transformers? I hope so, but the door is still open and with the vast profits that it's already made, Transformers 4 could be just around the next corner. If that's the case, it is not what i would prefer, feeling that they've gone as far as they came but I would certainly run out to watch it!
Debbiereadsbook (1437 KP) rated An Unlocked Mind (Secrets #2) in Books
Apr 24, 2019
awesome follow up!
Independent reviewer for Divine Magazine, I was gifted the audio file of this book.
Rob is TRYING to be better person than the one who nearly ruined his brother’s life, he really is. But it’s hard when no one will help you. A visit to the opening night of Secrets is just what he needs. Til a demonstration has him running. But he returns the next week, and runs straight into Vic, along with giving Vic attitude. Rescuing the obnoxious little git wasn’t in Vic’s game plan for the evening, but he can’t leave Rob walking in the pouring rain. After depositing Rob at the train station, he never expects to see him again. Although, something about Rob calls to him, it really does. When Rob starts turning up every weekend, Vic begins to look forward to his visits. Then Life throws Rob under a bus and Vic knows this is his chance to get into Rob’s head, and for Rob to get out of it.
This is book 2 in the Secrets series, but you don’t NEED to have read/listened to book one first, but I think you should. It’s bloody good!
As is this one!
Vic isn’t what I would call a Dom Dom, his speciality is getting a sub out of his head, rather than floggers and whips. And he KNOWS something is eating away at Rob’s mind, he just needs to unlock it. But to do THAT, Vic needs to get to know Rob, on his weekly visits to London. When Rob loses his job in Manchester, Vic offers him a lifeline, under strict terms that Vic lays down. And Rob, desperate for help and starved of any real human interaction, jumps at the chance.
Rob did some things as a younger man, that come back to haunt him, that STILL haunt him. A conversation with his mother turns his brother against him, and Rob is suffering that guilt so bad, it’s a dead weight on his shoulders. Meeting Vic, though, lets something free in his soul, something he had been so afraid to admit before. Something his mother would not approve of. Something he so badly needs, it brings him to the brink of his limits and budgets and his money runs out faster than it should. But Vic? Vic gives him a chance, so long as he sticks with the rules, and those RULES are what Rob needs, He needs to find himself again, deep within himself, before he can forgive himself and to make amends with his brother, should his brother want to.
What I particularly loved about this one, was the lack of the physical BDSM stuff that usually comes with these books, I mean I LOVED the lack of it. Oh don’t get me wrong, this is a sexy book, and it has a crazy amount of heat but there is a distinct lack of floggers and paddles. This was very much a MENTAL book, as in Rob needed to get out of his head so bad, and Vic knew just how to do that.
Rob is, quite simply, a wreck at the start of this book, and it’s a long while before Vic can get him to admit what’s eating him the most. That is: what he did to his brother. But when the FULL picture comes clear, I cried for Rob, I really did. He felt so bad for something he did not do, it messed his head.
Vic, being the most laid back Dom I have quite possibly EVER come across, is just the man for Rob, just the Dom to get to the bottom of his pain and release it. Rob calls to his soul, he really does. But not immediately. It takes a little time for Rob to worm his way in, but once he does, Vic is all in.
I NEED to listen Rob’s story now though! I need to know what a little shit Rob was, and how Rob was affected by what happened, I really do. So, books one and two of Collars and Cuffs are nicely lined up for when I’ve got time.
Joel Leslie narrates this one, as he does book one. I cannot, CANNOT fault the narration of these books, this one especially. Leslie pours so MUCH into Rob, and to Vic to, but to a lesser extent. The emotion pouring out of Rob when he finally breaks down and tells Vic all made me cry, great wrecking sobs that I have no doubt might NOT have come had I been reading.
Leslie is, quite simply a Master at his craft, and coupled with the work of Wells and Williams, I can only give this book. . . .
5 stars for the book
5 stars for the narration
5 stars overall.
**same worded review will appear elsewhere**
Rob is TRYING to be better person than the one who nearly ruined his brother’s life, he really is. But it’s hard when no one will help you. A visit to the opening night of Secrets is just what he needs. Til a demonstration has him running. But he returns the next week, and runs straight into Vic, along with giving Vic attitude. Rescuing the obnoxious little git wasn’t in Vic’s game plan for the evening, but he can’t leave Rob walking in the pouring rain. After depositing Rob at the train station, he never expects to see him again. Although, something about Rob calls to him, it really does. When Rob starts turning up every weekend, Vic begins to look forward to his visits. Then Life throws Rob under a bus and Vic knows this is his chance to get into Rob’s head, and for Rob to get out of it.
This is book 2 in the Secrets series, but you don’t NEED to have read/listened to book one first, but I think you should. It’s bloody good!
As is this one!
Vic isn’t what I would call a Dom Dom, his speciality is getting a sub out of his head, rather than floggers and whips. And he KNOWS something is eating away at Rob’s mind, he just needs to unlock it. But to do THAT, Vic needs to get to know Rob, on his weekly visits to London. When Rob loses his job in Manchester, Vic offers him a lifeline, under strict terms that Vic lays down. And Rob, desperate for help and starved of any real human interaction, jumps at the chance.
Rob did some things as a younger man, that come back to haunt him, that STILL haunt him. A conversation with his mother turns his brother against him, and Rob is suffering that guilt so bad, it’s a dead weight on his shoulders. Meeting Vic, though, lets something free in his soul, something he had been so afraid to admit before. Something his mother would not approve of. Something he so badly needs, it brings him to the brink of his limits and budgets and his money runs out faster than it should. But Vic? Vic gives him a chance, so long as he sticks with the rules, and those RULES are what Rob needs, He needs to find himself again, deep within himself, before he can forgive himself and to make amends with his brother, should his brother want to.
What I particularly loved about this one, was the lack of the physical BDSM stuff that usually comes with these books, I mean I LOVED the lack of it. Oh don’t get me wrong, this is a sexy book, and it has a crazy amount of heat but there is a distinct lack of floggers and paddles. This was very much a MENTAL book, as in Rob needed to get out of his head so bad, and Vic knew just how to do that.
Rob is, quite simply, a wreck at the start of this book, and it’s a long while before Vic can get him to admit what’s eating him the most. That is: what he did to his brother. But when the FULL picture comes clear, I cried for Rob, I really did. He felt so bad for something he did not do, it messed his head.
Vic, being the most laid back Dom I have quite possibly EVER come across, is just the man for Rob, just the Dom to get to the bottom of his pain and release it. Rob calls to his soul, he really does. But not immediately. It takes a little time for Rob to worm his way in, but once he does, Vic is all in.
I NEED to listen Rob’s story now though! I need to know what a little shit Rob was, and how Rob was affected by what happened, I really do. So, books one and two of Collars and Cuffs are nicely lined up for when I’ve got time.
Joel Leslie narrates this one, as he does book one. I cannot, CANNOT fault the narration of these books, this one especially. Leslie pours so MUCH into Rob, and to Vic to, but to a lesser extent. The emotion pouring out of Rob when he finally breaks down and tells Vic all made me cry, great wrecking sobs that I have no doubt might NOT have come had I been reading.
Leslie is, quite simply a Master at his craft, and coupled with the work of Wells and Williams, I can only give this book. . . .
5 stars for the book
5 stars for the narration
5 stars overall.
**same worded review will appear elsewhere**
Onearmedcookie (6 KP) rated the PlayStation 4 version of Assassin's Creed: Origins in Video Games
Feb 10, 2018
Assassin's Creed is back... With a bang!
So for the last few months I have been spending quite a lot of my free time exploring ancient Egypt. Getting to grips with the latest installment in the Assassin’s Creed series. A series that has had me hooked with its historical references since the beginning. Admittedly the first got rather repetitive and I found myself wishing Ubisoft had taken things into a different direction.
Yet since the second game appeared, and introduced us to the charming Ezio, I have been hooked. The latest installment – entitled Origins has seen Ubisoft go back to the drawing board redesigning some of the games mechanics. Hoping to breathe new life into the series, whilst spinning another tale in history. I have to confess for the most part it has proved to be rather successful.
I have rather enjoyed this series, playing through all of the different historical places. The last in the series though, Syndicate was superb. Instantly my favourite so far so for me Origins – had a lot to live up to! I was worried initially when, Ubisoft had decided to delay the next instalment for a year whilst they looked at redesigning elements that for me had previously worked fine.
With this in mind, I loaded the game into my trusty PS4 and began my journey! Origins takes place in ancient Egypt just as Cleopatra is fighting for the throne. The game centres around a Medjay named Bayek and his wife Aya who find themselves thrust into the fight for Egypt between Cleopatra and the new Pharaoh – her brother - Ptolemy XIII. This is the birthplace of the assasins guild and the beginning of their fight against the knights of the templar!
The story is captivating, well thought out and the characters soon jump from the screen making you want to push forward to see what happens to them. In fact the characters are some of the best in the series, they have been developed well with real character development making them seem even more real. You can’t help but feel immersed in this new word as you discover more of Egypt. I also want to point out how well the characters are voiced, the voice acting in Origins is top notch. Fuelled with emotion and true grit, this only opens them up more. Making the game feel deeper than any before in the series. This is tory telling at its best.
I mentioned that Ubisoft went back to the drawing board on this one, changing some of the formula that we’ve all become used to. This is a bigger world to explore than any before it, Egypt is epic in scale and lovingly recreated. The world is brimming with life and it certainly feels like a more open world adventure than the previous instalments in the series. You can backtrack revisiting other areas or totally bypass them – the choice is yours.
There also seems to be a bigger range of side quests, helping you level up the character – unlocking handy upgrades as you go. Crafting is even present albeit in a simpler format than in most RPG’s. Similar to the Farcry series you can now hunt the wildlife in the area to help craft better equipment.
One of the biggest changes for me though, was the Eagle vision! Gone is the yellow vision highlighting heat signatures in red, with targets in gold allowing you to see through walls. Now you get to fly a real Eagle above you in the sky – tracking enemies and other areas of interest. It adds a whole new dimension to the game, casing an enemies camp from the sky – tracking their movements from up above really adds to the feel of the game. As you level up you can also have the Eagle attack and distract enemies allowing you to sneak past areas unseen. I love this idea and could quite happily fly Sensu around the environment for hours on end.
Combat has also been overhauled. Alas, for me this is probably the weakest part of the game. You can now block with your shield by pressing the L1 shoulder button. Heavy and medium attacks are found on the R1 & R2 buttons. For ranged attacks you press L2 to equip your bow! Sounds okay, but in practice I have found this new layout a trifle irritating. Imagine three guards are rushing you, you hit one and then go to block a blow with your shield – darn it you accidently hit L2 instead and suddenly you have your bow in your hand, getting cut up by two other guards! Frustrating isn’t the word. Especially when you get to some of the higher level guards with better AI.
Other than the combat though this is a solid game, with a very in depth strong story and well developed characters. If you got a little bored with the series, then this is the game to get you back in. It’s bold, with a beautifully crafted world to explore. Assassin’s Creed is back and it’s about time!
Yet since the second game appeared, and introduced us to the charming Ezio, I have been hooked. The latest installment – entitled Origins has seen Ubisoft go back to the drawing board redesigning some of the games mechanics. Hoping to breathe new life into the series, whilst spinning another tale in history. I have to confess for the most part it has proved to be rather successful.
I have rather enjoyed this series, playing through all of the different historical places. The last in the series though, Syndicate was superb. Instantly my favourite so far so for me Origins – had a lot to live up to! I was worried initially when, Ubisoft had decided to delay the next instalment for a year whilst they looked at redesigning elements that for me had previously worked fine.
With this in mind, I loaded the game into my trusty PS4 and began my journey! Origins takes place in ancient Egypt just as Cleopatra is fighting for the throne. The game centres around a Medjay named Bayek and his wife Aya who find themselves thrust into the fight for Egypt between Cleopatra and the new Pharaoh – her brother - Ptolemy XIII. This is the birthplace of the assasins guild and the beginning of their fight against the knights of the templar!
The story is captivating, well thought out and the characters soon jump from the screen making you want to push forward to see what happens to them. In fact the characters are some of the best in the series, they have been developed well with real character development making them seem even more real. You can’t help but feel immersed in this new word as you discover more of Egypt. I also want to point out how well the characters are voiced, the voice acting in Origins is top notch. Fuelled with emotion and true grit, this only opens them up more. Making the game feel deeper than any before in the series. This is tory telling at its best.
I mentioned that Ubisoft went back to the drawing board on this one, changing some of the formula that we’ve all become used to. This is a bigger world to explore than any before it, Egypt is epic in scale and lovingly recreated. The world is brimming with life and it certainly feels like a more open world adventure than the previous instalments in the series. You can backtrack revisiting other areas or totally bypass them – the choice is yours.
There also seems to be a bigger range of side quests, helping you level up the character – unlocking handy upgrades as you go. Crafting is even present albeit in a simpler format than in most RPG’s. Similar to the Farcry series you can now hunt the wildlife in the area to help craft better equipment.
One of the biggest changes for me though, was the Eagle vision! Gone is the yellow vision highlighting heat signatures in red, with targets in gold allowing you to see through walls. Now you get to fly a real Eagle above you in the sky – tracking enemies and other areas of interest. It adds a whole new dimension to the game, casing an enemies camp from the sky – tracking their movements from up above really adds to the feel of the game. As you level up you can also have the Eagle attack and distract enemies allowing you to sneak past areas unseen. I love this idea and could quite happily fly Sensu around the environment for hours on end.
Combat has also been overhauled. Alas, for me this is probably the weakest part of the game. You can now block with your shield by pressing the L1 shoulder button. Heavy and medium attacks are found on the R1 & R2 buttons. For ranged attacks you press L2 to equip your bow! Sounds okay, but in practice I have found this new layout a trifle irritating. Imagine three guards are rushing you, you hit one and then go to block a blow with your shield – darn it you accidently hit L2 instead and suddenly you have your bow in your hand, getting cut up by two other guards! Frustrating isn’t the word. Especially when you get to some of the higher level guards with better AI.
Other than the combat though this is a solid game, with a very in depth strong story and well developed characters. If you got a little bored with the series, then this is the game to get you back in. It’s bold, with a beautifully crafted world to explore. Assassin’s Creed is back and it’s about time!
Gareth von Kallenbach (980 KP) rated Batman Begins (2005) in Movies
Aug 14, 2019
In the dark of night, a young man’s life is about to be forever changed. Young Bruce Wayne, son of wealthy industrialist Dr. Thomas Wayne (Linus Roache), is about to be orphaned in a random act of street violence.
The act will forever scar the younger Wayne, and will install and fuel a dark fire to stop crime and corruption wherever they may be. Fast forward years later and Bruce (Christian Bale), is interned in and Asian prison as a result of his desire to stop crime and an unfortunate series of events that made him flee Gotham City to find himself. Hope arrives one day in the form of a visitor named Henri Ducard (Liam Neeson), who arranges not only to free Bruce, but to train him for his destiny.
High atop a rocky, snow-covered peak, Bruce undergoes rigorous physical and mental training to hone his body and mind into the ultimate tool to combat crime. As time passes, Bruce eventually is ready to go out into the world. That is until an unexpected situation arises that forces him to decide which path he wishes to select.
The aftermath of this decision has Bruce returning home to Gotham City, where he is again under the care of the trusted family servant Alfred (Michael Caine), who informs him that crime and corruption is rampant in Gotham because the crime leader Carmine Falcone (Tom Wilkinson), has many members of the police force and judicial system under his influence.
While touring his father’s company, Bruce meets Lucius Fox (Morgan Freeman), who makes all manners of high-end experimental military weaponry and armor available to Bruce. Inspired, Bruce begins to craft his alter ego Batman, and takes to the nights to disrupt Falcone and the criminal activities in Gotham.
Unknown to Bruce/Batman, an evil villain known as the Scarecrow (Cillian Murphy), is plotting to destroy Gotham, and with Batman being wanted by the police as a vigilante his attempts to cleanse the city are hindered as Bruce/Batman must fight a war on different fronts.
For most films this would be more than enough plot to carry a summer action film, but for Batman Begins, it is only the setup as the depth of the story is surpassed only by the depth of the intensity and emotion of the film as this is not Tim Burton or Joel Schumacher’s campy takes on the tale of the Dark Knight.
Director Christopher Nolan takes the gloves off and shows that his triumphant work in “Memento” was not a fluke. He has crafted a complex, dark, and emotional film that is more of a drama than a comic book caper. Bale does a masterful job portraying the angst and anger of his character without ever being hammy or over the top. He portrays Wayne as a very normal, yet disturbed soul, who clearly has a method to his madness and is not a shallow once dimensional character. When Bruce is not out fighting crime, he is not above cracking jokes, squiring the ladies about town, and spending time with long time friend (and the one who got away) Rachael Dawes (Katie Holmes).
The film takes many twists and never gets sappy as far too many comic based films do. In fact, the intensity of the film keeps going up until the town literally explodes into frenzy of violence and chaos. Parents should note that this Batman is a very intense film filled with dark images and as such may be too intense for younger viewers as this is a film that is aimed towards a more mature audience.
As I sat through the films nearly two and a half hour running time, I was captivated as the film holds your attention throughout, and is filled with great performances and action. The chase scene with the new Batmobile is one of the best car chase sequences in recent memory and the action scenes move with a crisp and steady pacing. Bale, as I mentioned, does great work, but so do Neeson, Caine and Gary Oldman in a supporting role as Police Officer Gordon. They take supporting characters and infuse them with a touch of humanity that enables them to come across as real people rather than the thin constructs that are far too often passed on as characters in films of this type.
The only real quibble I had with the film, and it is very minor, would be that Holmes was not given a chance to show more to her character other than the duality of the damsel in distress and the passionate Assistant D.A. Her scenes with Bale seem to lack the spark and chemistry of someone who is supposed to have been a close friend of Bruce since they were children.
That being said, the mature nature and gripping and deep storyline, as well as the standout performances and action, make this film a true classic and rivals “Spider-Man” as the best and most faithful adaptation of a comic book.
The act will forever scar the younger Wayne, and will install and fuel a dark fire to stop crime and corruption wherever they may be. Fast forward years later and Bruce (Christian Bale), is interned in and Asian prison as a result of his desire to stop crime and an unfortunate series of events that made him flee Gotham City to find himself. Hope arrives one day in the form of a visitor named Henri Ducard (Liam Neeson), who arranges not only to free Bruce, but to train him for his destiny.
High atop a rocky, snow-covered peak, Bruce undergoes rigorous physical and mental training to hone his body and mind into the ultimate tool to combat crime. As time passes, Bruce eventually is ready to go out into the world. That is until an unexpected situation arises that forces him to decide which path he wishes to select.
The aftermath of this decision has Bruce returning home to Gotham City, where he is again under the care of the trusted family servant Alfred (Michael Caine), who informs him that crime and corruption is rampant in Gotham because the crime leader Carmine Falcone (Tom Wilkinson), has many members of the police force and judicial system under his influence.
While touring his father’s company, Bruce meets Lucius Fox (Morgan Freeman), who makes all manners of high-end experimental military weaponry and armor available to Bruce. Inspired, Bruce begins to craft his alter ego Batman, and takes to the nights to disrupt Falcone and the criminal activities in Gotham.
Unknown to Bruce/Batman, an evil villain known as the Scarecrow (Cillian Murphy), is plotting to destroy Gotham, and with Batman being wanted by the police as a vigilante his attempts to cleanse the city are hindered as Bruce/Batman must fight a war on different fronts.
For most films this would be more than enough plot to carry a summer action film, but for Batman Begins, it is only the setup as the depth of the story is surpassed only by the depth of the intensity and emotion of the film as this is not Tim Burton or Joel Schumacher’s campy takes on the tale of the Dark Knight.
Director Christopher Nolan takes the gloves off and shows that his triumphant work in “Memento” was not a fluke. He has crafted a complex, dark, and emotional film that is more of a drama than a comic book caper. Bale does a masterful job portraying the angst and anger of his character without ever being hammy or over the top. He portrays Wayne as a very normal, yet disturbed soul, who clearly has a method to his madness and is not a shallow once dimensional character. When Bruce is not out fighting crime, he is not above cracking jokes, squiring the ladies about town, and spending time with long time friend (and the one who got away) Rachael Dawes (Katie Holmes).
The film takes many twists and never gets sappy as far too many comic based films do. In fact, the intensity of the film keeps going up until the town literally explodes into frenzy of violence and chaos. Parents should note that this Batman is a very intense film filled with dark images and as such may be too intense for younger viewers as this is a film that is aimed towards a more mature audience.
As I sat through the films nearly two and a half hour running time, I was captivated as the film holds your attention throughout, and is filled with great performances and action. The chase scene with the new Batmobile is one of the best car chase sequences in recent memory and the action scenes move with a crisp and steady pacing. Bale, as I mentioned, does great work, but so do Neeson, Caine and Gary Oldman in a supporting role as Police Officer Gordon. They take supporting characters and infuse them with a touch of humanity that enables them to come across as real people rather than the thin constructs that are far too often passed on as characters in films of this type.
The only real quibble I had with the film, and it is very minor, would be that Holmes was not given a chance to show more to her character other than the duality of the damsel in distress and the passionate Assistant D.A. Her scenes with Bale seem to lack the spark and chemistry of someone who is supposed to have been a close friend of Bruce since they were children.
That being said, the mature nature and gripping and deep storyline, as well as the standout performances and action, make this film a true classic and rivals “Spider-Man” as the best and most faithful adaptation of a comic book.
Emma @ The Movies (1786 KP) rated Underwater (2020) in Movies
Mar 5, 2020
Underwater was in my top picks for February, it looked like a cross between Deep Rising, Alien and a selection of Doctor Who episodes... I was definitely in.
Down on a drilling station in the Mariana Trench the researchers and crew are thrown into chaos as an earthquake rips through the facility. Desperately trying to get to their escape pods the handful of remaining crew gather to assess their options. They're short on equipment and their best hope appears to be making it to another part of the complex, the only problem? It's 2 miles across the ocean floor... in the pitch black... without a craft. Oh, and unbeknownst to them, they're not alone.
The film does a great job of its opening, diagrams, reports and images of the station and their mission give us instant background which allows us to drop right into (what feels like) the middle of a scene. It reminds me of various monster movies with some of the recent Godzilla ones having similar montages, I like it because there's always something new to pick up when you watch the film again. The other thing the opening does is use sound in a very interesting way, the music builds and when we land in the station it instantly cuts and gives you a feeling of isolation. Sandwich that with the chaos of the earthquake soon after and it gives you a very odd and almost uncomfortable feeling.
While I was impressed by the opening I was also confused. There's a moment where you see a massive horror trope that doesn't actually go anywhere, it was like some strange red herring. It felt like a deliberate misdirect, but I have no idea what the purpose would have been for it.
My mixed feelings didn't end there, in the ensuing chaos we get a slow-motion shot of Stewart flying backwards in an explosion... it didn't fit with any of the style around it and was the last effect I expected to see.
Shortly after this I was dealt another blow when they access the last transmission from another part of the station. These are peak creature feature moments, cast get to gasp and scream in distress and it gives us a sneak peek of what's to come... what we got wasn't clear and wasn't intriguing. Underwater is a film filled with classic tropes of multiple genres and yet it doesn't seem to carry through with any of them.
As the cast get out into the water the film does start to pick up. Cutting from helmet cam footage to inside the suits with the characters starts to build some of that intrigue that's been missing. It gets a little more claustrophobic and finally feels like the films I'd been hoping for.
This whole section is filled with great moments because we're finally becoming aware of a presence with them. In some ways it reminds me of Blair Witch, it does well to hide from us what they're actually up against, it's just a shadow or a movement on the edge of the light. That really got me back on board.
But these feelings were fleeting. All the tension was broken again. I do wonder if someone went "the tension should come in waves... because... water". The constant up and down didn't work for me.
From this point on I didn't feel much for the film. It's clear from the building of the story how the film is going to end, and even the big reveal moments weren't exciting.
Kristen Stewart has been appearing in a lot of things recently and I've never been a big fan but I was looking forward to her in this off the back of the last couple of films I saw her in. The most I can say is it was fine, there weren't any moments I hated, there weren't any that wowed me. The same is true for most of the cast in fact. I enjoyed T.J. Miller's comedic role but the light-heartedness it brought also became a little frustrating as the scripting seemed unnecessarily crass at time.
I can't fault the effects, it felt right and the magnitude of what they created underwater, and how they filmed it felt solid. With a little less underwater and a little more creature though, I think they would have been on to something.
The rollercoaster ride this story went on left me exhausted. The momentum was repeatedly lost and the intrigue wasn't there to hook me in. I can tell you that I will watch it again though. I know, after I just moaned about it and everything! There's definitely something in this film and I'm still struggling as to the reasons why it didn't click more with me, it feels like this is one that might benefit from a second viewing.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/underwater-movie-review.html
Down on a drilling station in the Mariana Trench the researchers and crew are thrown into chaos as an earthquake rips through the facility. Desperately trying to get to their escape pods the handful of remaining crew gather to assess their options. They're short on equipment and their best hope appears to be making it to another part of the complex, the only problem? It's 2 miles across the ocean floor... in the pitch black... without a craft. Oh, and unbeknownst to them, they're not alone.
The film does a great job of its opening, diagrams, reports and images of the station and their mission give us instant background which allows us to drop right into (what feels like) the middle of a scene. It reminds me of various monster movies with some of the recent Godzilla ones having similar montages, I like it because there's always something new to pick up when you watch the film again. The other thing the opening does is use sound in a very interesting way, the music builds and when we land in the station it instantly cuts and gives you a feeling of isolation. Sandwich that with the chaos of the earthquake soon after and it gives you a very odd and almost uncomfortable feeling.
While I was impressed by the opening I was also confused. There's a moment where you see a massive horror trope that doesn't actually go anywhere, it was like some strange red herring. It felt like a deliberate misdirect, but I have no idea what the purpose would have been for it.
My mixed feelings didn't end there, in the ensuing chaos we get a slow-motion shot of Stewart flying backwards in an explosion... it didn't fit with any of the style around it and was the last effect I expected to see.
Shortly after this I was dealt another blow when they access the last transmission from another part of the station. These are peak creature feature moments, cast get to gasp and scream in distress and it gives us a sneak peek of what's to come... what we got wasn't clear and wasn't intriguing. Underwater is a film filled with classic tropes of multiple genres and yet it doesn't seem to carry through with any of them.
As the cast get out into the water the film does start to pick up. Cutting from helmet cam footage to inside the suits with the characters starts to build some of that intrigue that's been missing. It gets a little more claustrophobic and finally feels like the films I'd been hoping for.
This whole section is filled with great moments because we're finally becoming aware of a presence with them. In some ways it reminds me of Blair Witch, it does well to hide from us what they're actually up against, it's just a shadow or a movement on the edge of the light. That really got me back on board.
But these feelings were fleeting. All the tension was broken again. I do wonder if someone went "the tension should come in waves... because... water". The constant up and down didn't work for me.
From this point on I didn't feel much for the film. It's clear from the building of the story how the film is going to end, and even the big reveal moments weren't exciting.
Kristen Stewart has been appearing in a lot of things recently and I've never been a big fan but I was looking forward to her in this off the back of the last couple of films I saw her in. The most I can say is it was fine, there weren't any moments I hated, there weren't any that wowed me. The same is true for most of the cast in fact. I enjoyed T.J. Miller's comedic role but the light-heartedness it brought also became a little frustrating as the scripting seemed unnecessarily crass at time.
I can't fault the effects, it felt right and the magnitude of what they created underwater, and how they filmed it felt solid. With a little less underwater and a little more creature though, I think they would have been on to something.
The rollercoaster ride this story went on left me exhausted. The momentum was repeatedly lost and the intrigue wasn't there to hook me in. I can tell you that I will watch it again though. I know, after I just moaned about it and everything! There's definitely something in this film and I'm still struggling as to the reasons why it didn't click more with me, it feels like this is one that might benefit from a second viewing.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/underwater-movie-review.html
CI
CCNA ICND2 640-816 Official Cert Guide
Book
New Edition of Best Selling Official Cert Guide: Updated Content, New Exercises, and Expanded...