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Bob Mann (459 KP) rated I, Tonya (2017) in Movies
Sep 29, 2021
Some Darwin award winners.
Man, I personally found this one to be an exceedingly uncomfortable watch.
“I, Tonya” is cleverly filmed as a pseudo-documentary, featuring re-enactments of the real-life interviews of most of the participants in this true-life drama. I recently bitterly criticised some film critics for spoiling the story of Donald Crowhurst, the subject of the recent “The Mercy”. But I was about to do exactly the same here, *assuming* that you all know the lurid tale of the rivalry between Tonya Harding and Nancy Kerrigan that led up to an ‘event’ in 1994 that shocked the world. And of course, many of you younger folk don’t know: case in point my 26 year old son who I went to see this with, and who went into the story blissfully blind of the drama about to unfold. So I will try to keep this review spoiler-free.
Playing Tonya from a (not very credible!) 15 years old to her mid-20’s is Margot Robbie (“The Wolf of Wall Street”, “Suicide Squad”) in what is a BAFTA and Oscar nominated performance. And for good reason: the performance is raw, visceral and disturbing in reflecting a victim who still thinks everything at heart is her own fault.
Also BAFTA and Oscar nominated is Allison Janney (“The Girl on the Train”) as Tonya’s obnoxious chain-smoking mother LaVona. Janney is truly terrifying as the mother who abuses her daughter both physically and mentally in a driven attempt to make her the best ice-skater in the world.
Victims seem to attract abusers, and Tonya is surrounded by people who are just plain bad for her: notably her husband Jeff (Sebastian Stan, “The Martian”, “Captain America: Winter Soldier”) and his slimy and pitifully self-deluded friend Shawn (Paul Walter Hauser). The end credits video footage of the real-life players show just how well these parts were cast.
Why so uncomfortable to watch? There is a significant degree of domestic abuse featured in the film, both in terms of LaVona on her child and Jeff on his wife. This is something I abhor in general, having been brought up to believe it is never EVER acceptable to lay a hand on a woman. To have these cowardly individuals sensationalised in the movie I found to be really upsetting. I strongly feel, for this reason alone, that the film should have had an 18 certificate. Violence in film should be related to the context as well as the severity. (Note that this is in stark contrast to my comments of recent BBFC decisions to make “Phantom Thread” and “Lady Bird” 15-certificates when I believe they should have been 12A).
The film is executed extremely well, with 4:3 framing for the staged interviews, and ice skating scenes that seamlessly cut between the professional clearly doing the stunts and Robbie (who must also be a half decent skater too). The soundtrack is nicely littered – “Guardians of the Galaxy” style – with classic hits of the early 90’s.
To think that this story actually unfolded in this way is nothing short of astounding… but it did! There is an astonishing video clip here (#spoilers) of the run up to, and the immediate aftermath of, the Kerrigan incident. I came out of the film with a deep feeling of sadness for Harding (at least, as portrayed) and utter disgust that the villains of this piece could be a) so cruel and out of control and b) so utterly stupid. These are individuals who really should have been sterilised to stop them polluting the gene pool any further.
Written by Steven Rogers (“Stepmom”) and directed by Australian Craig Gillespie, there is no doubting that this is a powerful film: played to an absolutely silent and gripped Saturday night cinema audience. And it has truly dynamite performances from Allison Janney and Margot Robbie. But be warned that you’ll need a strong stomach to go and see it without being affected by it afterwards. It’s a mental keeper.
“I, Tonya” is cleverly filmed as a pseudo-documentary, featuring re-enactments of the real-life interviews of most of the participants in this true-life drama. I recently bitterly criticised some film critics for spoiling the story of Donald Crowhurst, the subject of the recent “The Mercy”. But I was about to do exactly the same here, *assuming* that you all know the lurid tale of the rivalry between Tonya Harding and Nancy Kerrigan that led up to an ‘event’ in 1994 that shocked the world. And of course, many of you younger folk don’t know: case in point my 26 year old son who I went to see this with, and who went into the story blissfully blind of the drama about to unfold. So I will try to keep this review spoiler-free.
Playing Tonya from a (not very credible!) 15 years old to her mid-20’s is Margot Robbie (“The Wolf of Wall Street”, “Suicide Squad”) in what is a BAFTA and Oscar nominated performance. And for good reason: the performance is raw, visceral and disturbing in reflecting a victim who still thinks everything at heart is her own fault.
Also BAFTA and Oscar nominated is Allison Janney (“The Girl on the Train”) as Tonya’s obnoxious chain-smoking mother LaVona. Janney is truly terrifying as the mother who abuses her daughter both physically and mentally in a driven attempt to make her the best ice-skater in the world.
Victims seem to attract abusers, and Tonya is surrounded by people who are just plain bad for her: notably her husband Jeff (Sebastian Stan, “The Martian”, “Captain America: Winter Soldier”) and his slimy and pitifully self-deluded friend Shawn (Paul Walter Hauser). The end credits video footage of the real-life players show just how well these parts were cast.
Why so uncomfortable to watch? There is a significant degree of domestic abuse featured in the film, both in terms of LaVona on her child and Jeff on his wife. This is something I abhor in general, having been brought up to believe it is never EVER acceptable to lay a hand on a woman. To have these cowardly individuals sensationalised in the movie I found to be really upsetting. I strongly feel, for this reason alone, that the film should have had an 18 certificate. Violence in film should be related to the context as well as the severity. (Note that this is in stark contrast to my comments of recent BBFC decisions to make “Phantom Thread” and “Lady Bird” 15-certificates when I believe they should have been 12A).
The film is executed extremely well, with 4:3 framing for the staged interviews, and ice skating scenes that seamlessly cut between the professional clearly doing the stunts and Robbie (who must also be a half decent skater too). The soundtrack is nicely littered – “Guardians of the Galaxy” style – with classic hits of the early 90’s.
To think that this story actually unfolded in this way is nothing short of astounding… but it did! There is an astonishing video clip here (#spoilers) of the run up to, and the immediate aftermath of, the Kerrigan incident. I came out of the film with a deep feeling of sadness for Harding (at least, as portrayed) and utter disgust that the villains of this piece could be a) so cruel and out of control and b) so utterly stupid. These are individuals who really should have been sterilised to stop them polluting the gene pool any further.
Written by Steven Rogers (“Stepmom”) and directed by Australian Craig Gillespie, there is no doubting that this is a powerful film: played to an absolutely silent and gripped Saturday night cinema audience. And it has truly dynamite performances from Allison Janney and Margot Robbie. But be warned that you’ll need a strong stomach to go and see it without being affected by it afterwards. It’s a mental keeper.
Gareth von Kallenbach (971 KP) rated Venom: Let There Be Carnage (2021) in Movies
Sep 30, 2021
Venom: Let There Be Carnage Has Some Moments But Could Have Been So Much More
When audiences last saw Eddie Brock (Tom Hardy); the journalist and his parasitic symbiote Venom; had just saved the day and cemented their unusual bond with one another.
In the new film “Venom: Let There Be Carnage”; Eddie and Venom are at the end of their Honeymoon phase as Venom is lingering to be free to eat bad people and do what is natural for him. Eddie meanwhile wants a more conservative approach feeding Venom chicken and chocolate as he knows the eyes of the authorities are still upon him and he has to convince the world that Venom is dead and no longer a threat.
At the same time; serial killer Cletus Kasady (Woody Harrelson) has selected Eddie to interview him in San Quentin and the two form an unusual connection as Cletus cryptically speaks to Eddie which underlines a deeper motivation.
With the help of Venom; Eddie is able to decipher clues found on the walls of Cletus’s cell which leads authorities to several of his victims. This results in a rapid rise in status for Eddie and fast tracks Cletus for execution as his main means of leverage is now gone.
This leads to a rift where Eddie and Venom split and each has to struggle to adjust to life without one another.
At this point, the film has mainly been odd bits of whimsy between Venom and Eddie around the establishment of the plot and threat. However, things go into chaos mode when Cletus becomes infected with a Symbiote and turns into a destruction spewing death machine known as “Carnage”.
Cletus and Carnage both have their own agendas and Cletus uses Carnage to exact his revenge as well as locate a figure from his past that is as big a danger as he is.
As any fan of films of this genre knows; this scenario leads to a showdown between the central characters which are awash in abundant CGI, loud noises, and destruction. While this is not a bad thing and certainly one of the main reasons I enjoy films of this type; the film never seemed to fully click for me and as such was not as good as I thought it could have been.
In many ways, the film reminded me of how comic-based films were done before Marvel started their own studios and their phenomenal run of hits based on their work.
There have been multiple attempts to adapt comics into films over the last few decades and many of them have not lived up to expectations or failed outright. One of the biggest reasons is in my opinion is that those behind the projects were hindered by the studio, wanted to put their own spin on the material and strayed from the source; or failed to show the attributes that made the characters so appealing to fans.
What we often get is action sequences and CGI galore but without stories or characters that fully draw in the audience and fail to capture the essence of the comics.
Director Andy Serkis has done a great job with the visuals of the film but the tone seems off. The early part of the film is filled with comedic moments that are either hit or miss. Some of which was almost to the point where I wondered if it was supposed to be a parody.
The plot is fairly linear with nothing unexpected as it is simply bad guys get loose; bad guys cause death and destruction, can the heroes stop them. The climactic scene lacks any “wow” moments for me as it was mainly CGI characters rapidly moving around causing damage to one another and their environment. There was no real tension for me and the ultimate resolution seemed a bit anti-climactic.
For me the best moment of the film was a mid-credits scene that really popped as it sets up all sorts of interesting options and indicates that Venom may be about to graduate to bigger and better things.
For now; the cast is solid as is the CGI; I just wish the story was more engaging as it had the potential to be so much more.
3 stars out of 5
In the new film “Venom: Let There Be Carnage”; Eddie and Venom are at the end of their Honeymoon phase as Venom is lingering to be free to eat bad people and do what is natural for him. Eddie meanwhile wants a more conservative approach feeding Venom chicken and chocolate as he knows the eyes of the authorities are still upon him and he has to convince the world that Venom is dead and no longer a threat.
At the same time; serial killer Cletus Kasady (Woody Harrelson) has selected Eddie to interview him in San Quentin and the two form an unusual connection as Cletus cryptically speaks to Eddie which underlines a deeper motivation.
With the help of Venom; Eddie is able to decipher clues found on the walls of Cletus’s cell which leads authorities to several of his victims. This results in a rapid rise in status for Eddie and fast tracks Cletus for execution as his main means of leverage is now gone.
This leads to a rift where Eddie and Venom split and each has to struggle to adjust to life without one another.
At this point, the film has mainly been odd bits of whimsy between Venom and Eddie around the establishment of the plot and threat. However, things go into chaos mode when Cletus becomes infected with a Symbiote and turns into a destruction spewing death machine known as “Carnage”.
Cletus and Carnage both have their own agendas and Cletus uses Carnage to exact his revenge as well as locate a figure from his past that is as big a danger as he is.
As any fan of films of this genre knows; this scenario leads to a showdown between the central characters which are awash in abundant CGI, loud noises, and destruction. While this is not a bad thing and certainly one of the main reasons I enjoy films of this type; the film never seemed to fully click for me and as such was not as good as I thought it could have been.
In many ways, the film reminded me of how comic-based films were done before Marvel started their own studios and their phenomenal run of hits based on their work.
There have been multiple attempts to adapt comics into films over the last few decades and many of them have not lived up to expectations or failed outright. One of the biggest reasons is in my opinion is that those behind the projects were hindered by the studio, wanted to put their own spin on the material and strayed from the source; or failed to show the attributes that made the characters so appealing to fans.
What we often get is action sequences and CGI galore but without stories or characters that fully draw in the audience and fail to capture the essence of the comics.
Director Andy Serkis has done a great job with the visuals of the film but the tone seems off. The early part of the film is filled with comedic moments that are either hit or miss. Some of which was almost to the point where I wondered if it was supposed to be a parody.
The plot is fairly linear with nothing unexpected as it is simply bad guys get loose; bad guys cause death and destruction, can the heroes stop them. The climactic scene lacks any “wow” moments for me as it was mainly CGI characters rapidly moving around causing damage to one another and their environment. There was no real tension for me and the ultimate resolution seemed a bit anti-climactic.
For me the best moment of the film was a mid-credits scene that really popped as it sets up all sorts of interesting options and indicates that Venom may be about to graduate to bigger and better things.
For now; the cast is solid as is the CGI; I just wish the story was more engaging as it had the potential to be so much more.
3 stars out of 5
Emma @ The Movies (1786 KP) rated Last Night in Soho (2021) in Movies
Oct 15, 2021
I was on the fence about this one. On the one hand, Edgar Wright, on the other, a cast that didn’t inspire confidence. But, if nothing else, it was going to be a spectacle.
Eloise dreams of being a fashion designer, and when she gets accepted to study fashion in London she thinks her dreams have come true. But London life isn’t quite what she hoped. When life in halls becomes too much, she finds herself an attic room to rent. Noisy roommates might have been the easier option when suddenly, every night, Eloise is transported to the 60s where the life of Sandie unfolds in front of her. Swept away in the glamour, the tables turn when Sandie’s life beings to twist into a new stark reality.
The start of Last Night in Soho pulled me in, the music had me, if nothing else I knew I’d be able to enjoy myself with the soundtrack. It’s a very nostalgic bit of listening for me having been brought up in a household that’s listening was a little more retro.
As the story develops, and Eloise along with it, you’re eager for answers. But that process feels drawn out and at some point it’s easy to see where it’s going to go before it’s properly alluded to, which took away some of the impact for me.
Our main character Eloise (played by Thomasin McKenzie), definitely has the right look and demeanour for this part. While in the end it’s a good performance though, I feel like the role would have been better suited to someone a little less on the nose. They've conveyed the mental health portion of the role nicely (the depiction of her mother felt a little Harry Potter but did get the point across), and she managed to encapsulate some of the terror, but again, it felt… cheesy? Maybe not the right word, but it was close to not giving it enough impact in the story, and I could see this working more on the horror side of things with some changes.
Ahh, Anya. Another from my list of people on the credits that make me go “meh”. I was sold with this performance though. I'm not fully on the Joy train, but I very much enjoyed this performance. Her attitude and behaviour the whole way through sold the character and… that’s it… really great. (So many things I want to say and so many that constitute spoilers.)
The supporting cast has some big names. Diana Rigg in her last performance gave a much needed edge to the scenes she was in. Matt Smith was cockney Matt Smith. My only particular call out would be for the character rather than the actor. The role of Eloise’s “boyfriend” was verging on problematic, both from a boyfriend and a writing point of view. A wet blanket of a character that seemed to be too close to comic relief without committing one way or the other. Even allowing for some sort of “support” for Eloise, this role could have been divvied out to a selection of other characters.
Last Night in Soho is stylish. The homely naive Eloise meeting glam forward Sandie really came together, and seeing Sandie’s influence seeping into the present day in the fashion and demeanour was interesting. The colours, the sets, the costumes, you can’t fault any of it.
Not being an expert in cinematic mastery behind the scenes, some of these things can escape me, but even I couldn’t miss the stunning editing and effects. Everything is seamless, and when you see some of those scenes I’m sure you’ll be blown away too.
On the technical side, this film is probably very close to a 5 star film, but with the character issues I had and the feeling that there was something missing from the ending, I’m even now not sure what my score for Last Night in Soho is going to be...
Originally posted on: https://emmaatthemovies.blogspot.com/2021/10/last-night-in-soho-movie-review.html
Eloise dreams of being a fashion designer, and when she gets accepted to study fashion in London she thinks her dreams have come true. But London life isn’t quite what she hoped. When life in halls becomes too much, she finds herself an attic room to rent. Noisy roommates might have been the easier option when suddenly, every night, Eloise is transported to the 60s where the life of Sandie unfolds in front of her. Swept away in the glamour, the tables turn when Sandie’s life beings to twist into a new stark reality.
The start of Last Night in Soho pulled me in, the music had me, if nothing else I knew I’d be able to enjoy myself with the soundtrack. It’s a very nostalgic bit of listening for me having been brought up in a household that’s listening was a little more retro.
As the story develops, and Eloise along with it, you’re eager for answers. But that process feels drawn out and at some point it’s easy to see where it’s going to go before it’s properly alluded to, which took away some of the impact for me.
Our main character Eloise (played by Thomasin McKenzie), definitely has the right look and demeanour for this part. While in the end it’s a good performance though, I feel like the role would have been better suited to someone a little less on the nose. They've conveyed the mental health portion of the role nicely (the depiction of her mother felt a little Harry Potter but did get the point across), and she managed to encapsulate some of the terror, but again, it felt… cheesy? Maybe not the right word, but it was close to not giving it enough impact in the story, and I could see this working more on the horror side of things with some changes.
Ahh, Anya. Another from my list of people on the credits that make me go “meh”. I was sold with this performance though. I'm not fully on the Joy train, but I very much enjoyed this performance. Her attitude and behaviour the whole way through sold the character and… that’s it… really great. (So many things I want to say and so many that constitute spoilers.)
The supporting cast has some big names. Diana Rigg in her last performance gave a much needed edge to the scenes she was in. Matt Smith was cockney Matt Smith. My only particular call out would be for the character rather than the actor. The role of Eloise’s “boyfriend” was verging on problematic, both from a boyfriend and a writing point of view. A wet blanket of a character that seemed to be too close to comic relief without committing one way or the other. Even allowing for some sort of “support” for Eloise, this role could have been divvied out to a selection of other characters.
Last Night in Soho is stylish. The homely naive Eloise meeting glam forward Sandie really came together, and seeing Sandie’s influence seeping into the present day in the fashion and demeanour was interesting. The colours, the sets, the costumes, you can’t fault any of it.
Not being an expert in cinematic mastery behind the scenes, some of these things can escape me, but even I couldn’t miss the stunning editing and effects. Everything is seamless, and when you see some of those scenes I’m sure you’ll be blown away too.
On the technical side, this film is probably very close to a 5 star film, but with the character issues I had and the feeling that there was something missing from the ending, I’m even now not sure what my score for Last Night in Soho is going to be...
Originally posted on: https://emmaatthemovies.blogspot.com/2021/10/last-night-in-soho-movie-review.html
BankofMarquis (1832 KP) rated Everything Everywhere All At Once (2022) in Movies
Apr 15, 2022
A fun ride - with heart
The first recommendation when watching EVERYTHING EVERYWHERE ALL AT ONCE is to not try to figure out what is going on in this movie during the first 1/2 hour to 45 minutes. This will drive you mad. Just sit back and enjoy the mind-bending experience you are having.
After that point, either it will click in your brain…or it won’t. If it does - great! If not…continue to sit back and enjoy the mind-bending experience you are having.
For…EVERYTHING EVERYWHERE ALL AT ONCE is a trippy head-trip of a film that is certainly unique - but it also has something going for it that all good films do - characters that you will care about in a story that will touch your heart.
Written and Directed by Dan Kwan and Daniel Scheinert (SWISS ARMY MAN), EVERYTHING…tells the tale of unhappily married couple Evelyn Wang (Michelle Yeoh) and Waymond Wang (Ke Huy Quan), her father Gong Gong (the great James Hong) and their daughter, Joy (Stephanie Hsu). When interdimensional travel interrupts their mundane life, things get much, much more than mundane.
Yes, folks, you read that right INTERDIMENSIONAL TRAVEL - and this is not a Marvel movie! Evelyn and family start jumping to parallel dimensions, experiencing everything, everywhere…all at once (hence, the name of the film).
This is a smart, unique and visually interesting film and credit for this must go to Wang and Scheinert. They have come up with something unusual. However, they don’t just do “unusual for unusual sake” they wrap this film up - and connect the dots - in a satisfying way in the end. Oh…and they also build in some incredibly impressive fight scenes along the way. To not hype them too much, but these are the best fight scenes that have been on film in quite some time - certainly the most interesting and unique since the JOHN WICK films.
The duo, smartly, enlisted the aid of the underappreciated - but very talented - Michelle Yeoh (CRAZY RICH ASIANS) as the protagonist of this piece. It is a wise choice for she must go from mousey housewife to kick-butt SuperHero (and everywhere in between) throughout the course of this film and her Martial Arts background comes in very, very handy. It is a bravura performance by Yeoh and it would be TERRIFIC if her name is called come awards season next year (yes, it is that good of a performance).
She is ably assisted by Hong (a veteran character actor with more than 450 credits to his name), Hsu (known for her role as Mei in THE MARVELOUS MRS. MAISEL) and, especially Quan (the kid “Short Round” who assists the hero in INDIANA JONES AND THE TEMPLE OF DOOM) - it was good to see Quan back on the big screen.
The filmmakers also sprinkle some very strong character actors/actresses in the mix here. Both Jenny Slate (Mona-Lisa Saperstein in PARKS & REC) and Harry Shum, Jr. (GLEE, CRAZY RICH ASIANS) are fun in small roles as is the aforementioned James Hong as Gong Gong (the Grandfather).
But…the person who ALMOST steals this film from Ms. Yeoh is the incomparable Jamie Lee Curtis as the somewhat overweight and out of shape IRS Agent who plays a pivotal role in Evelyn’s life across the Dimensions. It is a fun role for Curtis who is not afraid to look physically bad. Again, I would LOVE IT if she got some love come awards time next year (she won’t, but maybe in some other parallel Universe she would).
Not for everyone - the multi-dimensional travel is going to give some folks a headache as they try to figure things out - but if you surrender yourself to the wildness that is going on, and embrace the spirit and the heart of this film, you will be rewarded with a very rich film going experience.
Letter Grade: A-
8 Stars out of 10 (might move up to 9 on a rewatch) and you can take that to the Bank(ofMarquis)
After that point, either it will click in your brain…or it won’t. If it does - great! If not…continue to sit back and enjoy the mind-bending experience you are having.
For…EVERYTHING EVERYWHERE ALL AT ONCE is a trippy head-trip of a film that is certainly unique - but it also has something going for it that all good films do - characters that you will care about in a story that will touch your heart.
Written and Directed by Dan Kwan and Daniel Scheinert (SWISS ARMY MAN), EVERYTHING…tells the tale of unhappily married couple Evelyn Wang (Michelle Yeoh) and Waymond Wang (Ke Huy Quan), her father Gong Gong (the great James Hong) and their daughter, Joy (Stephanie Hsu). When interdimensional travel interrupts their mundane life, things get much, much more than mundane.
Yes, folks, you read that right INTERDIMENSIONAL TRAVEL - and this is not a Marvel movie! Evelyn and family start jumping to parallel dimensions, experiencing everything, everywhere…all at once (hence, the name of the film).
This is a smart, unique and visually interesting film and credit for this must go to Wang and Scheinert. They have come up with something unusual. However, they don’t just do “unusual for unusual sake” they wrap this film up - and connect the dots - in a satisfying way in the end. Oh…and they also build in some incredibly impressive fight scenes along the way. To not hype them too much, but these are the best fight scenes that have been on film in quite some time - certainly the most interesting and unique since the JOHN WICK films.
The duo, smartly, enlisted the aid of the underappreciated - but very talented - Michelle Yeoh (CRAZY RICH ASIANS) as the protagonist of this piece. It is a wise choice for she must go from mousey housewife to kick-butt SuperHero (and everywhere in between) throughout the course of this film and her Martial Arts background comes in very, very handy. It is a bravura performance by Yeoh and it would be TERRIFIC if her name is called come awards season next year (yes, it is that good of a performance).
She is ably assisted by Hong (a veteran character actor with more than 450 credits to his name), Hsu (known for her role as Mei in THE MARVELOUS MRS. MAISEL) and, especially Quan (the kid “Short Round” who assists the hero in INDIANA JONES AND THE TEMPLE OF DOOM) - it was good to see Quan back on the big screen.
The filmmakers also sprinkle some very strong character actors/actresses in the mix here. Both Jenny Slate (Mona-Lisa Saperstein in PARKS & REC) and Harry Shum, Jr. (GLEE, CRAZY RICH ASIANS) are fun in small roles as is the aforementioned James Hong as Gong Gong (the Grandfather).
But…the person who ALMOST steals this film from Ms. Yeoh is the incomparable Jamie Lee Curtis as the somewhat overweight and out of shape IRS Agent who plays a pivotal role in Evelyn’s life across the Dimensions. It is a fun role for Curtis who is not afraid to look physically bad. Again, I would LOVE IT if she got some love come awards time next year (she won’t, but maybe in some other parallel Universe she would).
Not for everyone - the multi-dimensional travel is going to give some folks a headache as they try to figure things out - but if you surrender yourself to the wildness that is going on, and embrace the spirit and the heart of this film, you will be rewarded with a very rich film going experience.
Letter Grade: A-
8 Stars out of 10 (might move up to 9 on a rewatch) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (971 KP) rated The Flash (2023) in Movies
Jun 7, 2023
Amidst numerous delays and offscreen speculations about the fate of the movie, Director Andy Muschietti has finally seen his big-screen adaptation of DC Comics "The Flash" arrive.
We first saw the film in late April at Cinemacon and now that we have seen the final cut with additional footage and a noticing credits, I can finally give you my impressions.
The movie opens with Barry Allen (Ezra Miller), called into action to help with an issue in Gotham City which offers a chance for an extended action scene as well as some cameo appearances that should delight fans.
Like most superheroes, Barry has to contend with work and personal issues and his time as the Flash often makes him late for work and even more of a social outcast than he already is. And the arrival of an old school friend reminds him that his father is scheduled to have a court appearance on appeal of his conviction for murdering his wife many years earlier. Barry is obsessed with proving his father's innocence however there is little evidence that can support his appeal.
Despite warnings not to alter time, Barry travels to the past to make a slight adjustment which results in his mother living and growing up in a two-parent household for himself.
His euphoria becomes short-lived when Barry runs into a younger version of himself and realizes that if he does not enable his younger self with his powers, then he will never exist to create the alternate reality where his parents are safe and happy.
The younger Barry is extremely immature and annoying and when he becomes confused with powers while the other loses them, there are numerous opportunities for comic mayhem which the film briefly touches upon before returning to the more serious aspects of the story.
As he was warned, Barry has created fractions in reality, and the one that he finds himself in has several changes from the one that knows including a world free of superpowered beings. This becomes a serious problem when General Zod (Michael Shannon) arrives and there is no Superman or Justice League to save the day.
In an act of desperation, Barry seeks out Batman (Michael Keaton), and is shocked to discover that he is different than the one that he knows in his reality. Both Barrys and Batman hatch a plan of desperation that sees them desperately mounting a rescue and offensive to save humanity.
The film has some fantastic visual effects but like most hero films becomes heavily bogged down on them in a final act that in many ways seems at times anticlimactic to the potential that the story has been building to. Miller is solid as the two Barrys although the younger version of them becomes very annoying and at times and some segments drag on.
Keaton absolutely steals the film and brings a much-needed presence to the action as he seems to really be enjoying his return to the role and his segments are often the most compelling parts of the film as he provides a stabilizing and grounding presence to the Barrys.
There are numerous cameos throughout the film that I will not spoil but suffice it to say they should delight fans and do offer some intriguing questions.
The biggest issue now is the future of the character as Gunn and Saffron are busy building their DC universe while outside projects currently are in the works. It is not a secret that legal issues and outside distractions have been associated with Miller to the point where some question whether the film could be released despite its lavish budget.
The final box office numbers will be very interesting because I found the film quite enjoyable and a pleasant surprise in one of the better DC cinematic efforts notwithstanding the final act which became a bit formulaic and anticlimactic for my liking. While it doesn't approach the level of several of the Marvel films, it does show that there is plenty of potential to make solid stories within the DC universe.
4 stars out of 5
We first saw the film in late April at Cinemacon and now that we have seen the final cut with additional footage and a noticing credits, I can finally give you my impressions.
The movie opens with Barry Allen (Ezra Miller), called into action to help with an issue in Gotham City which offers a chance for an extended action scene as well as some cameo appearances that should delight fans.
Like most superheroes, Barry has to contend with work and personal issues and his time as the Flash often makes him late for work and even more of a social outcast than he already is. And the arrival of an old school friend reminds him that his father is scheduled to have a court appearance on appeal of his conviction for murdering his wife many years earlier. Barry is obsessed with proving his father's innocence however there is little evidence that can support his appeal.
Despite warnings not to alter time, Barry travels to the past to make a slight adjustment which results in his mother living and growing up in a two-parent household for himself.
His euphoria becomes short-lived when Barry runs into a younger version of himself and realizes that if he does not enable his younger self with his powers, then he will never exist to create the alternate reality where his parents are safe and happy.
The younger Barry is extremely immature and annoying and when he becomes confused with powers while the other loses them, there are numerous opportunities for comic mayhem which the film briefly touches upon before returning to the more serious aspects of the story.
As he was warned, Barry has created fractions in reality, and the one that he finds himself in has several changes from the one that knows including a world free of superpowered beings. This becomes a serious problem when General Zod (Michael Shannon) arrives and there is no Superman or Justice League to save the day.
In an act of desperation, Barry seeks out Batman (Michael Keaton), and is shocked to discover that he is different than the one that he knows in his reality. Both Barrys and Batman hatch a plan of desperation that sees them desperately mounting a rescue and offensive to save humanity.
The film has some fantastic visual effects but like most hero films becomes heavily bogged down on them in a final act that in many ways seems at times anticlimactic to the potential that the story has been building to. Miller is solid as the two Barrys although the younger version of them becomes very annoying and at times and some segments drag on.
Keaton absolutely steals the film and brings a much-needed presence to the action as he seems to really be enjoying his return to the role and his segments are often the most compelling parts of the film as he provides a stabilizing and grounding presence to the Barrys.
There are numerous cameos throughout the film that I will not spoil but suffice it to say they should delight fans and do offer some intriguing questions.
The biggest issue now is the future of the character as Gunn and Saffron are busy building their DC universe while outside projects currently are in the works. It is not a secret that legal issues and outside distractions have been associated with Miller to the point where some question whether the film could be released despite its lavish budget.
The final box office numbers will be very interesting because I found the film quite enjoyable and a pleasant surprise in one of the better DC cinematic efforts notwithstanding the final act which became a bit formulaic and anticlimactic for my liking. While it doesn't approach the level of several of the Marvel films, it does show that there is plenty of potential to make solid stories within the DC universe.
4 stars out of 5
Movie Metropolis (309 KP) rated Cold Pursuit (2019) in Movies
Jun 10, 2019
Neeson's best film in years
Yes, we all know the jokes. Liam Neeson’s spiral into revenge thriller territory is one of the most meme-worthy things in film, except maybe John Travolta and Battlefield Earth. Starting with Taken and its, let’s be honest, dreadful sequels, the Irish actor has made a name for himself as the go-to guy to rough someone up after a spate of bad-luck.
He’s had kids killed, kidnapped and spouses murdered in cold blood, he’s even been framed for hijacking a jumbo jet – if anyone deserves a break, it’s Liam Neeson. Unfortunately, his films have ranged from great (Taken, Non-Stop), to middling (Run All Night, The Commuter), to downright dreadful (Taken 2, Taken 3) and that’s how the meme-worthiness was born. Nevertheless, Neeson is back for yet another revenge thriller in Cold Pursuit. But how does it stack up?
Nels Coxman’s (Neeson) quiet life as a snowplough driver comes crashing down when his beloved son (Micheál Richardson) dies under mysterious circumstances. His search for the truth soon becomes a quest for revenge against a psychotic drug lord named Viking (Tom Bateman) and his sleazy henchmen. Transformed from upstanding citizen to cold-blooded vigilante, Coxman unwittingly sets off a chain of events that includes a kidnapping, a series of deadly misunderstandings and a turf war between Viking and a rival boss called White Bull.
Let’s get the elephant in the room out of the way first. This is not a review biased by Neeson’s, shall we say, ill-worded rant on his former life. We all have our own opinions on the matter, but that should not detract from individuals going to see a movie in the cinema. In fact, Cold Pursuit is Neeson’s most accomplished film in years, helped by stylish directing from Swedish director Hans Petter Moland. It’s worth noting that Cold Pursuit is in fact a US remake of Swedish film, In Order of Disappearance and there’s a tasteful nod to the film’s roots in the end-credits.
With a dark, comedic edge, Cold Pursuit is as funny as much as it is gory and it is this hybridity of genres that remains the film’s trump card. The script, penned by Moland himself, is witty and sharp, filled with fantastic line-delivery by the entire cast who look like they’re having a cracking time. There are twists and turns and even a gay-romantic subplot – how very contemporary.
Apart from Neeson, Tom Bateman is an absolute stand-out as the film’s primary antagonist. Allowing him to be a presence in the film from the outset allows the audience to fully feel his character and there’s no doubt that he is a despicable human-being. Neeson performs in typical Liam Neeson fashion. He snarls and growls his way through the film but allows a softer side to creep in than we’re used to, helped in part by that comedic script.
Revenge thrillers rarely have the budget for flashy CGI or top-notch practical effects but Cold Pursuit is one of the better in the genre
It’s not perfect however. Laura Dern is a massively underused presence throughout and disappears completely from the film about 1-hour in with no other references to her character. This is a real shame as her chemistry with Neeson is good and they make a believable couple, especially when they’re dealing with the ramifications of their son’s death.
Dern continues to prove her acting prowess and it would have been nice to see her continue to be a feature throughout the film. The pacing is a little off too. At 118 minutes long, the film plods a little as it gets going and then doesn’t stop until the fun and entirely ridiculous finale.
However, it’s good to see the special effects are up to scratch for the genre. Revenge thrillers rarely have the budget for flashy CGI or top-notch practical effects but Cold Pursuit is one of the better in the genre. With a relatively modest budget of $60million, it appears that was well spent with clever editing and cinematography masking any less-than-stellar visuals.
Overall, Cold Pursuit is a fun, if forgettable revenge thriller that features some delicious dark comedy mixed with an intriguing story. It’s certainly Neeson’s best film since Non-Stopand marks a return to form for the Irish actor. Unfortunately, these type of flicks are ten-a-penny nowadays and I’m unsure whether snappy one-liners and beautiful snow-capped peaks are enough to differentiate it in a crowded marketplace.
https://moviemetropolis.net/2019/03/01/cold-pursuit-review-neesons-best-film-in-years/
He’s had kids killed, kidnapped and spouses murdered in cold blood, he’s even been framed for hijacking a jumbo jet – if anyone deserves a break, it’s Liam Neeson. Unfortunately, his films have ranged from great (Taken, Non-Stop), to middling (Run All Night, The Commuter), to downright dreadful (Taken 2, Taken 3) and that’s how the meme-worthiness was born. Nevertheless, Neeson is back for yet another revenge thriller in Cold Pursuit. But how does it stack up?
Nels Coxman’s (Neeson) quiet life as a snowplough driver comes crashing down when his beloved son (Micheál Richardson) dies under mysterious circumstances. His search for the truth soon becomes a quest for revenge against a psychotic drug lord named Viking (Tom Bateman) and his sleazy henchmen. Transformed from upstanding citizen to cold-blooded vigilante, Coxman unwittingly sets off a chain of events that includes a kidnapping, a series of deadly misunderstandings and a turf war between Viking and a rival boss called White Bull.
Let’s get the elephant in the room out of the way first. This is not a review biased by Neeson’s, shall we say, ill-worded rant on his former life. We all have our own opinions on the matter, but that should not detract from individuals going to see a movie in the cinema. In fact, Cold Pursuit is Neeson’s most accomplished film in years, helped by stylish directing from Swedish director Hans Petter Moland. It’s worth noting that Cold Pursuit is in fact a US remake of Swedish film, In Order of Disappearance and there’s a tasteful nod to the film’s roots in the end-credits.
With a dark, comedic edge, Cold Pursuit is as funny as much as it is gory and it is this hybridity of genres that remains the film’s trump card. The script, penned by Moland himself, is witty and sharp, filled with fantastic line-delivery by the entire cast who look like they’re having a cracking time. There are twists and turns and even a gay-romantic subplot – how very contemporary.
Apart from Neeson, Tom Bateman is an absolute stand-out as the film’s primary antagonist. Allowing him to be a presence in the film from the outset allows the audience to fully feel his character and there’s no doubt that he is a despicable human-being. Neeson performs in typical Liam Neeson fashion. He snarls and growls his way through the film but allows a softer side to creep in than we’re used to, helped in part by that comedic script.
Revenge thrillers rarely have the budget for flashy CGI or top-notch practical effects but Cold Pursuit is one of the better in the genre
It’s not perfect however. Laura Dern is a massively underused presence throughout and disappears completely from the film about 1-hour in with no other references to her character. This is a real shame as her chemistry with Neeson is good and they make a believable couple, especially when they’re dealing with the ramifications of their son’s death.
Dern continues to prove her acting prowess and it would have been nice to see her continue to be a feature throughout the film. The pacing is a little off too. At 118 minutes long, the film plods a little as it gets going and then doesn’t stop until the fun and entirely ridiculous finale.
However, it’s good to see the special effects are up to scratch for the genre. Revenge thrillers rarely have the budget for flashy CGI or top-notch practical effects but Cold Pursuit is one of the better in the genre. With a relatively modest budget of $60million, it appears that was well spent with clever editing and cinematography masking any less-than-stellar visuals.
Overall, Cold Pursuit is a fun, if forgettable revenge thriller that features some delicious dark comedy mixed with an intriguing story. It’s certainly Neeson’s best film since Non-Stopand marks a return to form for the Irish actor. Unfortunately, these type of flicks are ten-a-penny nowadays and I’m unsure whether snappy one-liners and beautiful snow-capped peaks are enough to differentiate it in a crowded marketplace.
https://moviemetropolis.net/2019/03/01/cold-pursuit-review-neesons-best-film-in-years/
Movie Metropolis (309 KP) rated Avengers: Infinity War (2018) in Movies
Jun 10, 2019
An Exhausting Thrill Ride
The Marvel Cinematic Universe has been delighting fans of the comics and thrilling moviegoers since 2008 when Iron Man steamrolled itself onto the big screen in an epic fashion. From the special effects to the casting of Robert Downey Jr. as Tony Stark, it was the complete package.
The culmination of all those films through Phase One, Phase Two and Three has come to a head in this, Avengers: Infinity War. It promises to be the biggest, baddest and most epic Marvel movie to date, but is it actually any good? Read on to find out.
Directed by Antony and Joe Russo, the masterminds behind the fantastic Captain America sequels, Infinity War picks up just after the end of Thor: Ragnarok. This starting place seems fitting and not jumping too far ahead of the finale of that film is perfect to reintroduce our beloved heroes.
The cast form one of the best ensembles ever put to screen, though from each of their solo outings, this is really no surprise. Seeing Black Panther, Black Widow, Captain America et al come back together is frankly, a joy and the film works best when there are as many heroes on screen together as possible.
A highlight in this instance is Benedict Cumberbatch’s Dr. Strange – prepare to jump on the Steven Strange bandwagon. After a relatively lacklustre solo outing, his character pops on the screen and really benefits from the Russo brothers zingy direction.
As is the case with many films involving such a large cast, much of the 149 minute runtime is spent following a few of them at once, each going about their own mission in relation to stopping Thanos and his possession of the Infinity stones. If I count correctly, there are 3 quests going on at once, but only two are really successful.
Special effects wise, this is a $400million movie, so you know what to expect. For the most part, the CGI from Industrial Light & Magic is seamless and really rather beautiful. The motion capture work done on Josh Brolin to turn him into Thanos is exquisite and the end result is a truly menacing villain. Elsewhere however, there are a few corners cut if you look closely enough, but I’ll leave it down to you to try and spot them.
Focussing on Thanos himself, he proves to be a fitting villain for a film this gargantuan in scale. His towering presence and almost demonic sense of entitlement completely does away with the stereotypical Marvel bad-guy problem that the MCU has been suffering with. Obviously helped massively by Brolin’s incredible performance, Thanos is up there with Loki in terms of sheer entertainment value.
Nevertheless, Avengers: Infinity War is not a perfect film and it would be wrong of me to pretend it was. Despite its massive length, elements do feel rushed from time-to-time and cramming 20+ characters into a film was never going to be a slam dunk. Some moments that should have deep resonance really don’t reach the emotion they were clearly intended to do, and that’s because of the film’s need to tie up as much of the plot as possible. Thankfully, from a tonal perspective, the Russo brothers manage to keep the balance almost perfect and it’s a vast improvement over Joss Whedon’s disjointed Age of Ultron.
My biggest issue with the film however, is the ending. Avengers: Infinity War is not a film you come to the end of and applaud. In fact, the main response from the entire screening of the film I was watching was a collective groan as the end credits begin to roll. Despite the promise that Infinity War would work as a standalone movie; it just doesn’t. It’s very much a starting chapter for what comes next in Avengers 4. But we need to wait just over a year for the concluding chapter to arrive in UK cinemas, and that is incredibly infuriating.
Overall, Avengers: Infinity War is a culmination of everything Marvel has been working towards for a decade. In its favour are an incredible cast, that trademark MCU humour and some stunning action sequences but these are offset by an infuriating ending and a lack of emotional heft to the film’s inevitable darker moments.
This may definitely be the biggest movie in the MCU and it’s definitely the 2nd best Avengers movie, but it’s not quite up there with the very best.
https://moviemetropolis.net/2018/04/26/avengers-infinity-war-review-an-exhausting-thrill-ride/
The culmination of all those films through Phase One, Phase Two and Three has come to a head in this, Avengers: Infinity War. It promises to be the biggest, baddest and most epic Marvel movie to date, but is it actually any good? Read on to find out.
Directed by Antony and Joe Russo, the masterminds behind the fantastic Captain America sequels, Infinity War picks up just after the end of Thor: Ragnarok. This starting place seems fitting and not jumping too far ahead of the finale of that film is perfect to reintroduce our beloved heroes.
The cast form one of the best ensembles ever put to screen, though from each of their solo outings, this is really no surprise. Seeing Black Panther, Black Widow, Captain America et al come back together is frankly, a joy and the film works best when there are as many heroes on screen together as possible.
A highlight in this instance is Benedict Cumberbatch’s Dr. Strange – prepare to jump on the Steven Strange bandwagon. After a relatively lacklustre solo outing, his character pops on the screen and really benefits from the Russo brothers zingy direction.
As is the case with many films involving such a large cast, much of the 149 minute runtime is spent following a few of them at once, each going about their own mission in relation to stopping Thanos and his possession of the Infinity stones. If I count correctly, there are 3 quests going on at once, but only two are really successful.
Special effects wise, this is a $400million movie, so you know what to expect. For the most part, the CGI from Industrial Light & Magic is seamless and really rather beautiful. The motion capture work done on Josh Brolin to turn him into Thanos is exquisite and the end result is a truly menacing villain. Elsewhere however, there are a few corners cut if you look closely enough, but I’ll leave it down to you to try and spot them.
Focussing on Thanos himself, he proves to be a fitting villain for a film this gargantuan in scale. His towering presence and almost demonic sense of entitlement completely does away with the stereotypical Marvel bad-guy problem that the MCU has been suffering with. Obviously helped massively by Brolin’s incredible performance, Thanos is up there with Loki in terms of sheer entertainment value.
Nevertheless, Avengers: Infinity War is not a perfect film and it would be wrong of me to pretend it was. Despite its massive length, elements do feel rushed from time-to-time and cramming 20+ characters into a film was never going to be a slam dunk. Some moments that should have deep resonance really don’t reach the emotion they were clearly intended to do, and that’s because of the film’s need to tie up as much of the plot as possible. Thankfully, from a tonal perspective, the Russo brothers manage to keep the balance almost perfect and it’s a vast improvement over Joss Whedon’s disjointed Age of Ultron.
My biggest issue with the film however, is the ending. Avengers: Infinity War is not a film you come to the end of and applaud. In fact, the main response from the entire screening of the film I was watching was a collective groan as the end credits begin to roll. Despite the promise that Infinity War would work as a standalone movie; it just doesn’t. It’s very much a starting chapter for what comes next in Avengers 4. But we need to wait just over a year for the concluding chapter to arrive in UK cinemas, and that is incredibly infuriating.
Overall, Avengers: Infinity War is a culmination of everything Marvel has been working towards for a decade. In its favour are an incredible cast, that trademark MCU humour and some stunning action sequences but these are offset by an infuriating ending and a lack of emotional heft to the film’s inevitable darker moments.
This may definitely be the biggest movie in the MCU and it’s definitely the 2nd best Avengers movie, but it’s not quite up there with the very best.
https://moviemetropolis.net/2018/04/26/avengers-infinity-war-review-an-exhausting-thrill-ride/
Movie Metropolis (309 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Jun 10, 2019
The 2nd best star wars film
The Star Wars universe just got a whole lot bigger. When Rogue One: A Star Wars Story was announced by Disney a couple of years ago, diehard fans of the sci-fi saga met the news with a huge dose of scepticism.
After all, the prequel trilogy was an unmitigated disaster, doing all it could to destroy not only the greatest villain in the history of film, but the series itself. Then Gareth Edwards was announced as director, whose film credits include the brilliant Monsters and Godzilla, which was critically praised but received a lukewarm reception publically.
THEN Disney announced the film was undergoing “heavy” reshoots to its first cut, reportedly due to executives being unhappy with the finished product’s tone.
So it’s clear that it’s not been plain sailing for Rogue One, but that headline isn’t a misprint – the finished article is just that damn good. But why?
In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire’s ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves.
If you cast your minds back to 1977 and the release of A New Hope, Rogue One takes place just before those events, acting as a stop-gap between the ending of Revenge of the Sith and the film that started it all.
A cast that includes Felicity Jones, Forest Whitaker, Diego Luna, Ben Mendelsohn and Mads Mikkelsen all gel together incredibly well to form one of the most coherent ensemble groups the galaxy has ever seen. Not since the introduction of Han, Chewie, Luke and Leia has the Star Wars franchise been so superbly kept afloat. Jones in particular is excellent and adds yet another leading lady to a franchise that loves putting women at the forefront, and rightly so.
Elsewhere, the cinematography is sublime. Director Gareth Edwards is renowned for his stunning shot choices and Rogue One is no exception. The intense variety of planets created from photo-realistic CGI and real landscapes adds an immersive quality that it has to be said, was lacking somewhat in The Force Awakens.
Then there is the much publicised return of Lord Vader. The aforementioned villain has been playing heavy on the minds of Star Wars fans for years after he was ridiculously robbed of any street cred at the climax of Revenge of the Sith. Mercifully, Edwards keeps his appearances to but a few, though he does loom heavy throughout the course of the film’s 133 minute running time, and returns to the dark presence he once was – it’s also nice to see James Earl Jones returning to the series.
There are Star Wars easter eggs abound, some only noticeable to diehards, whilst others smack you in the face with their lack of subtlety – though each and every one is placed at a point where the film feels better because of it. I’m not going to mention any by name, but a couple of old faces received cheers from the audience.
Any negatives? Well, Forest Whitaker’s Saw Gerrera fails to make a lasting impact and feels a little too much like executives wanted to shoehorn the Clone Wars television series into the film, and as much as it pains me to say, Michael Giacchino’s bombastic score, whilst brimming with nostalgia, doesn’t hit the right notes 100% of the time – with some musical elements feeling a little out of place with what is occurring on the screen.
Then there’s the dreaded reshoots. Well, they’re not noticeable… unless you’ve been watching the trailers, from which there are numerous scenes that aren’t included in the final cut. That’s a shame, though they’ll feature on the extended edition that will no doubt follow when the film is released on DVD and Blu-Ray.
Overall, Rogue One is better than anyone could have hoped. 2016 has been one of the worst years in decades for disappointing blockbusters and as it nears its end, we have one of the best yet. Smartly written with a heartfelt and engaging story, it adds a new and exciting layer to the Star Wars saga, and what’s even more impressive is its ability to make A New Hope a better film because of its existence.
https://moviemetropolis.net/2016/12/16/the-2nd-best-star-wars-film-rogue-one-review/
After all, the prequel trilogy was an unmitigated disaster, doing all it could to destroy not only the greatest villain in the history of film, but the series itself. Then Gareth Edwards was announced as director, whose film credits include the brilliant Monsters and Godzilla, which was critically praised but received a lukewarm reception publically.
THEN Disney announced the film was undergoing “heavy” reshoots to its first cut, reportedly due to executives being unhappy with the finished product’s tone.
So it’s clear that it’s not been plain sailing for Rogue One, but that headline isn’t a misprint – the finished article is just that damn good. But why?
In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire’s ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves.
If you cast your minds back to 1977 and the release of A New Hope, Rogue One takes place just before those events, acting as a stop-gap between the ending of Revenge of the Sith and the film that started it all.
A cast that includes Felicity Jones, Forest Whitaker, Diego Luna, Ben Mendelsohn and Mads Mikkelsen all gel together incredibly well to form one of the most coherent ensemble groups the galaxy has ever seen. Not since the introduction of Han, Chewie, Luke and Leia has the Star Wars franchise been so superbly kept afloat. Jones in particular is excellent and adds yet another leading lady to a franchise that loves putting women at the forefront, and rightly so.
Elsewhere, the cinematography is sublime. Director Gareth Edwards is renowned for his stunning shot choices and Rogue One is no exception. The intense variety of planets created from photo-realistic CGI and real landscapes adds an immersive quality that it has to be said, was lacking somewhat in The Force Awakens.
Then there is the much publicised return of Lord Vader. The aforementioned villain has been playing heavy on the minds of Star Wars fans for years after he was ridiculously robbed of any street cred at the climax of Revenge of the Sith. Mercifully, Edwards keeps his appearances to but a few, though he does loom heavy throughout the course of the film’s 133 minute running time, and returns to the dark presence he once was – it’s also nice to see James Earl Jones returning to the series.
There are Star Wars easter eggs abound, some only noticeable to diehards, whilst others smack you in the face with their lack of subtlety – though each and every one is placed at a point where the film feels better because of it. I’m not going to mention any by name, but a couple of old faces received cheers from the audience.
Any negatives? Well, Forest Whitaker’s Saw Gerrera fails to make a lasting impact and feels a little too much like executives wanted to shoehorn the Clone Wars television series into the film, and as much as it pains me to say, Michael Giacchino’s bombastic score, whilst brimming with nostalgia, doesn’t hit the right notes 100% of the time – with some musical elements feeling a little out of place with what is occurring on the screen.
Then there’s the dreaded reshoots. Well, they’re not noticeable… unless you’ve been watching the trailers, from which there are numerous scenes that aren’t included in the final cut. That’s a shame, though they’ll feature on the extended edition that will no doubt follow when the film is released on DVD and Blu-Ray.
Overall, Rogue One is better than anyone could have hoped. 2016 has been one of the worst years in decades for disappointing blockbusters and as it nears its end, we have one of the best yet. Smartly written with a heartfelt and engaging story, it adds a new and exciting layer to the Star Wars saga, and what’s even more impressive is its ability to make A New Hope a better film because of its existence.
https://moviemetropolis.net/2016/12/16/the-2nd-best-star-wars-film-rogue-one-review/
Daniel Boyd (1066 KP) rated Sharp Objects in TV
Oct 4, 2018 (Updated Oct 4, 2018)
Boring and drawn out (1 more)
Terrible ending
Overrated and Slow
Contains spoilers, click to show
I was looking forward to Sharp Objects when it premiered earlier this year. I love a whodunit thriller and am a fan of Gone Girl, Gillian Flynn's other adapted novel. I also read a bunch of glowing reviews before I dove into this series that promised an engaging, gripping story, which just made me more excited to get through the show.
Unfortunately, gripping isn't the word I would choose to describe this show. Engaging maybe, in that even though none of the characters that you are following are very likable, you do have a morbid curiosity to see what is going to happen to them. To be honest though, this series is only 8 episodes long and it was a slog to try and get through. Each episode drags something awful, to the point that 3 episodes in, I was ready to give up on this series. Then my girlfriend reminded me that it is only a limited series and will be worth sticking with to find out who the killer is in the end. Well, she was wrong about that last part, but we'll get back to that later.
I am not a huge Amy Adams fan, I feel that other than Arrival, she pretty much does the exact same thing in any role she is in. In this, she actually puts in a decent performance, it's more the way that her character is written that I take issue with. Camille is a whiney, dour character that is a drag to watch and none of the characters around her are any better. Her mother is a bitter, nasty old cow and her younger sister is an arrogant, immature little shit.
I haven't read the book, so I don't know if the pacing issues that the show has are inherent to the source material or the fault of the filmmakers. Either way, they are present and they are a detriment to this show. Every episode ends on an ambiguously exciting moment in order to keep you watching, then when the following episode picks up, it doesn't address whatever mad shit it just dropped on you at the end of the previous episode, to the point that I was left wondering a few times if I had actually missed out an episode in-between. Then it just drones on for another dull hour before dropping another inexplicable, shocking moment and it rinses and repeats this process throughout the entire series.
*SPOILERS FROM HERE ON*
This also applies to the last episode, which ends with such a nonsensical, out-of-nowhere twist that is never justified or explained. It is a classic example of having a twist, simply for the sake of ending on a twist. A good twist ending makes a reveal that causes everything that the viewer has seen so far click into place, it explains everything at once and that is why endings to stories like Fight Club, Mr Robot and The Sixth Sense are so satisfying. This makes the viewer want to go back and re-watch the film or series again with the new knowledge of what is going to happen in their mind in order to see it from a different perspective and spot the hints that point towards the big reveal. A bad twist ending drops a bomb abruptly and offers no explanation to the bombshell and leaves the viewer baffled and annoyed.
That is what happens with Sharp Objects' ending. There is absolutely no precedent to Amma being the killer. When Adora got arrested, it was underwhelming but there was at least some precedent for Adora to be the killer based on her other messed up behaviour, which provided some explanation, but Amma makes literally no sense. They could honestly have picked any other character on the show to be the killer and it would have made more sense. There is a weird post credits scene that I feel that was put in as a half-arsed explanation for the nonsensical twist, but it really doesn't help matters any. Again, I haven't read the book so I don't know if the ending plays out the same way as the source material, or if it makes any more sense in the book, but in the show it is a mess.
Overall this is a slow burn that isn't even worth the slog of getting through thanks to a hugely disappointing payoff. The ending is the main reason that this only gets a 5. One of the most overrated things I've seen this year.
Unfortunately, gripping isn't the word I would choose to describe this show. Engaging maybe, in that even though none of the characters that you are following are very likable, you do have a morbid curiosity to see what is going to happen to them. To be honest though, this series is only 8 episodes long and it was a slog to try and get through. Each episode drags something awful, to the point that 3 episodes in, I was ready to give up on this series. Then my girlfriend reminded me that it is only a limited series and will be worth sticking with to find out who the killer is in the end. Well, she was wrong about that last part, but we'll get back to that later.
I am not a huge Amy Adams fan, I feel that other than Arrival, she pretty much does the exact same thing in any role she is in. In this, she actually puts in a decent performance, it's more the way that her character is written that I take issue with. Camille is a whiney, dour character that is a drag to watch and none of the characters around her are any better. Her mother is a bitter, nasty old cow and her younger sister is an arrogant, immature little shit.
I haven't read the book, so I don't know if the pacing issues that the show has are inherent to the source material or the fault of the filmmakers. Either way, they are present and they are a detriment to this show. Every episode ends on an ambiguously exciting moment in order to keep you watching, then when the following episode picks up, it doesn't address whatever mad shit it just dropped on you at the end of the previous episode, to the point that I was left wondering a few times if I had actually missed out an episode in-between. Then it just drones on for another dull hour before dropping another inexplicable, shocking moment and it rinses and repeats this process throughout the entire series.
*SPOILERS FROM HERE ON*
This also applies to the last episode, which ends with such a nonsensical, out-of-nowhere twist that is never justified or explained. It is a classic example of having a twist, simply for the sake of ending on a twist. A good twist ending makes a reveal that causes everything that the viewer has seen so far click into place, it explains everything at once and that is why endings to stories like Fight Club, Mr Robot and The Sixth Sense are so satisfying. This makes the viewer want to go back and re-watch the film or series again with the new knowledge of what is going to happen in their mind in order to see it from a different perspective and spot the hints that point towards the big reveal. A bad twist ending drops a bomb abruptly and offers no explanation to the bombshell and leaves the viewer baffled and annoyed.
That is what happens with Sharp Objects' ending. There is absolutely no precedent to Amma being the killer. When Adora got arrested, it was underwhelming but there was at least some precedent for Adora to be the killer based on her other messed up behaviour, which provided some explanation, but Amma makes literally no sense. They could honestly have picked any other character on the show to be the killer and it would have made more sense. There is a weird post credits scene that I feel that was put in as a half-arsed explanation for the nonsensical twist, but it really doesn't help matters any. Again, I haven't read the book so I don't know if the ending plays out the same way as the source material, or if it makes any more sense in the book, but in the show it is a mess.
Overall this is a slow burn that isn't even worth the slog of getting through thanks to a hugely disappointing payoff. The ending is the main reason that this only gets a 5. One of the most overrated things I've seen this year.
Chris Sawin (602 KP) rated Antikörper (Antibodies) (2007) in Movies
Jun 18, 2019
A serial killer named Gabriel Engel (André Hennicke, Pandorum) that the police have been after for months has finally been captured. This is where most stories would end happily ever after, but instead this is how Antibodies begins. Michael Martens (Wotan Wilke Möhring, Valkyrie), a cop from a small, rural town had an unsolved case from a year ago concerning a 12-year-old girl named Lucia Flieder and Michael intends to interrogate Gabriel in hopes of a confession for her murder.
Gabriel already admitted to being in the area around the time of Lucia’s death, but her murder doesn’t entirely fit his M.O. But Michael plays right into Gabriel’s hands and becomes the pawn in his sick, psychological game as he’s able to get into Michael’s head from the moment they meet and remains there until the credits roll. The question isn’t, “Will Michael be able to find what he’s looking for?” but is instead, “Will Michael be able to survive the cerebral hedge maze Gabriel has thrown him into?”
Written and directed by Christian Alvart (Case 39, Pandorum), Antibodies is a German crime drama thriller that is worth seeing for André Hennicke’s performance alone. His portrayal of Gabriel is psychotic, disturbing, and extraordinarily mesmerizing as he steals nearly every scene he’s in. Hennicke embodies Gabriel and brings the character to life in all of his monstrously disquieting glory. There’s a brief sequence where Gabriel is drawing in his cell and he slowly starts pulling out his hair. There’s no dialogue, but Hennicke is able to pull it off with such terrifying elegance that it is incredible to witness.
Wotan Wilke Möhring is also quite impressive as Michael Martens. Michael struggles with the mental obstacles Gabriel throws at him throughout the film. Möhring is fantastically efficient at portraying a man who devoted his life to being an abiding citizen that is also committed to his religion. He cares deeply about his family and is now slowly losing his grip on his so-called perfect life. The interrogation scenes between Michael and Gabriel seem to simultaneously be homage to The Silence of the Lambs while also offering something different with its complete mastery of tension and Gabriel’s ulterior motives ring loudly upon the audience yet fall on deaf ears to a gullible Michael.
The religious parallels are incredibly interesting and deserve recognition, as well. The film has a tendency to not only reveal these parallels, but dives into them in a way that is easy to understand for the audience; the similarities between Michael and the archangel Gabriel are uncanny. The ending involving the test Gabriel gives Michael is all a part of a twisted game Gabriel plays and the web he’s spun has managed to get Michael tangled up in it. The film makes you think you know where it’s headed before it takes an unexpected detour and ends up going in the opposite direction.
Perhaps the most unusual aspect of the film is the involvement of Norman Reedus. The Wikipedia entry for Antibodies is still so bare, but apparently Reedus did his part in the film for free. Before The Walking Dead came along, Reedus was known best for his roles in The Boondock Saints, 8MM, Blade II, and the John Carpenter directed Masters of Horror episode, “Cigarette Burns.” Reedus has always taken part in projects that are unusual, but typically turn out to be fairly awesome. It was a great change of pace to see him show up and speak a few lines of German without a crossbow or a motorcycle.
Antibodies isn’t without its flaws as its script is often juvenile with the way it references sex and pleasuring yourself way more often than it should. The German thriller is still able to capitalize on a wonderfully tense and magnificently unsettling atmosphere with two incredibly strong leads that make the whole journey worthwhile. The story is riveting despite a few hiccups, the cast is top notch, the cinematography is excellent, and its unpredictable outcome is brilliant.
Antibodies is currently streaming on Amazon Video and Vudu for $2.99. The 2-disc special edition DVD is available for $24.98 on Amazon while the standard DVD is between $19.99 and $43.41. The film is available on DVD for various prices on eBay with the best offers being a pre-owned version of the single disc edition for $5.39 (10% off its normal $5.99 price) and the two-disc edition for $18.24; both have free shipping.
Gabriel already admitted to being in the area around the time of Lucia’s death, but her murder doesn’t entirely fit his M.O. But Michael plays right into Gabriel’s hands and becomes the pawn in his sick, psychological game as he’s able to get into Michael’s head from the moment they meet and remains there until the credits roll. The question isn’t, “Will Michael be able to find what he’s looking for?” but is instead, “Will Michael be able to survive the cerebral hedge maze Gabriel has thrown him into?”
Written and directed by Christian Alvart (Case 39, Pandorum), Antibodies is a German crime drama thriller that is worth seeing for André Hennicke’s performance alone. His portrayal of Gabriel is psychotic, disturbing, and extraordinarily mesmerizing as he steals nearly every scene he’s in. Hennicke embodies Gabriel and brings the character to life in all of his monstrously disquieting glory. There’s a brief sequence where Gabriel is drawing in his cell and he slowly starts pulling out his hair. There’s no dialogue, but Hennicke is able to pull it off with such terrifying elegance that it is incredible to witness.
Wotan Wilke Möhring is also quite impressive as Michael Martens. Michael struggles with the mental obstacles Gabriel throws at him throughout the film. Möhring is fantastically efficient at portraying a man who devoted his life to being an abiding citizen that is also committed to his religion. He cares deeply about his family and is now slowly losing his grip on his so-called perfect life. The interrogation scenes between Michael and Gabriel seem to simultaneously be homage to The Silence of the Lambs while also offering something different with its complete mastery of tension and Gabriel’s ulterior motives ring loudly upon the audience yet fall on deaf ears to a gullible Michael.
The religious parallels are incredibly interesting and deserve recognition, as well. The film has a tendency to not only reveal these parallels, but dives into them in a way that is easy to understand for the audience; the similarities between Michael and the archangel Gabriel are uncanny. The ending involving the test Gabriel gives Michael is all a part of a twisted game Gabriel plays and the web he’s spun has managed to get Michael tangled up in it. The film makes you think you know where it’s headed before it takes an unexpected detour and ends up going in the opposite direction.
Perhaps the most unusual aspect of the film is the involvement of Norman Reedus. The Wikipedia entry for Antibodies is still so bare, but apparently Reedus did his part in the film for free. Before The Walking Dead came along, Reedus was known best for his roles in The Boondock Saints, 8MM, Blade II, and the John Carpenter directed Masters of Horror episode, “Cigarette Burns.” Reedus has always taken part in projects that are unusual, but typically turn out to be fairly awesome. It was a great change of pace to see him show up and speak a few lines of German without a crossbow or a motorcycle.
Antibodies isn’t without its flaws as its script is often juvenile with the way it references sex and pleasuring yourself way more often than it should. The German thriller is still able to capitalize on a wonderfully tense and magnificently unsettling atmosphere with two incredibly strong leads that make the whole journey worthwhile. The story is riveting despite a few hiccups, the cast is top notch, the cinematography is excellent, and its unpredictable outcome is brilliant.
Antibodies is currently streaming on Amazon Video and Vudu for $2.99. The 2-disc special edition DVD is available for $24.98 on Amazon while the standard DVD is between $19.99 and $43.41. The film is available on DVD for various prices on eBay with the best offers being a pre-owned version of the single disc edition for $5.39 (10% off its normal $5.99 price) and the two-disc edition for $18.24; both have free shipping.
