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Ryan Hill (152 KP) rated Ant-Man and the Wasp (2018) in Movies
May 11, 2019
'Hold on, you gave her wings?!'
A much welcome breather after the heavyweight that was Avengers: Infinity War, the 20th instalment in the Marvel Cinematic Universe is another lighthearted ride unfolding on the same minuscule scale as Ant-Man, and though not as impressive as Marvel's best works, it still delivers a fine dose of fun, amusing & action-packed entertainment.
Set in the aftermath of Captain America: Civil War, the story of Ant-Man and the Wasp finds Scott Lang under house arrest and Dr. Hank Pym & Hope van Dyne in hiding until an urgent mission brings them together once again as the trio attempt to unlock the secrets of quantum realm before it's too late, while being pursued by both cops & new enemies.
Directed by Peyton Reed, the sequel offers him more freedom & bigger canvas to showcase his vision & creativity yet he fails to makes the most of the opportunity and delivers a story that's pretty much on same level as its predecessor. Its action scenes do get an upgrade but the plot is quite simple and is missing the character complexity that drives most sequels.
On the plus side, the film retains the humour of the original while the continuous banter & brisk pacing make sure that its 118 mins runtime never becomes a chore. The swift, kinetic operation of camera infuses an energy to its moments of action on both macro & micro levels while the bright colour tones add a rich texture that makes the images pop out. And Christophe Beck's splendid score adds energy of its own into the mix.
Coming to the performances, Ant-Man and the Wasp benefits from Paul Rudd's natural charisma but it's Evangeline Lilly who steals the show this time in the role of Hope/Wasp. The chemistry between the two still carries a spark but purely on individual inputs, Lilly outshines Rudd by a significant margin. Both Michael Peña & Michael Douglas are more fun in their respective roles this time around but the new characters are no good.
On an overall scale, Ant-Man and the Wasp makes for a sufficiently entertaining action-adventure and is at its best when it isn't trying too hard. A standalone entry for the most part that eventually connects with the heavy conclusion of Infinity War in a shocking mid-credits sequence, Ant-Man and the Wasp does enough to allow the viewers to settle down before things got hot & heavy once again in Avengers Endgame
Set in the aftermath of Captain America: Civil War, the story of Ant-Man and the Wasp finds Scott Lang under house arrest and Dr. Hank Pym & Hope van Dyne in hiding until an urgent mission brings them together once again as the trio attempt to unlock the secrets of quantum realm before it's too late, while being pursued by both cops & new enemies.
Directed by Peyton Reed, the sequel offers him more freedom & bigger canvas to showcase his vision & creativity yet he fails to makes the most of the opportunity and delivers a story that's pretty much on same level as its predecessor. Its action scenes do get an upgrade but the plot is quite simple and is missing the character complexity that drives most sequels.
On the plus side, the film retains the humour of the original while the continuous banter & brisk pacing make sure that its 118 mins runtime never becomes a chore. The swift, kinetic operation of camera infuses an energy to its moments of action on both macro & micro levels while the bright colour tones add a rich texture that makes the images pop out. And Christophe Beck's splendid score adds energy of its own into the mix.
Coming to the performances, Ant-Man and the Wasp benefits from Paul Rudd's natural charisma but it's Evangeline Lilly who steals the show this time in the role of Hope/Wasp. The chemistry between the two still carries a spark but purely on individual inputs, Lilly outshines Rudd by a significant margin. Both Michael Peña & Michael Douglas are more fun in their respective roles this time around but the new characters are no good.
On an overall scale, Ant-Man and the Wasp makes for a sufficiently entertaining action-adventure and is at its best when it isn't trying too hard. A standalone entry for the most part that eventually connects with the heavy conclusion of Infinity War in a shocking mid-credits sequence, Ant-Man and the Wasp does enough to allow the viewers to settle down before things got hot & heavy once again in Avengers Endgame
Justin Taylor (59 KP) rated Avengers: Infinity War (2018) in Movies
Oct 29, 2018
How the characters react to each other and the different characters that directors Joe and Anthony Russo put side by side (3 more)
Thanks actually does something other than sit in that chair! (Sorry couldn't resist putting that joke in) all joking aside he is practically the star of the film and Josh brolin does a great job in it
The Twist ending which I will not spoil here is freaking brilliant and when I saw it I nearly cried and I assume those who have watched the movie agree with me.
Lots of Easter eggs to the source material...if u remember reading the infinity gauntlet or the infinity storyarch both of which are what this movie is inspired by you'll love the references
Infinity war is the embodiment of what marvel is!
Ok this movie is the greatest marvel movie ever in my opinion and there's reasons why...number one, ten years of story building lead to it. I remember when I was 8 years old and watching iron Man and the incredible hulk on either DVD or on the TV and I never thought that it would lead to something like this, keep in mind this was something that at the time iron Man came out that was never done before and that's pretty darn impressive especially if they keep impressing me with every movie that came out (yes I even liked iron Man 3 and Thor: the dark world).
Now as for reason number 2 almost all of the storylines from every corner of the MCU is tied together here and if u have been watching for the past 8 years u would be invested the same way I was and then they did something I thought took guts.
Which leads me to reason 3, one of if not the best Twist ending since the empire strikes back in my opinion, one that I won't spoil here but warning bring tissues. also like all marvel movies stay til the very end of the credits and I mean not mid credits but waaaay after.
Overall the finest marvel film I have ever seen at Least until avengers 4 comes out next year.
Now I bet y'all are probably wondering what negative thing can I say well...that's kinda hard for a movie this good but if I had to say something it would be I wish some of the side characters got a little more screen time but other than that nothing to major
Now as for reason number 2 almost all of the storylines from every corner of the MCU is tied together here and if u have been watching for the past 8 years u would be invested the same way I was and then they did something I thought took guts.
Which leads me to reason 3, one of if not the best Twist ending since the empire strikes back in my opinion, one that I won't spoil here but warning bring tissues. also like all marvel movies stay til the very end of the credits and I mean not mid credits but waaaay after.
Overall the finest marvel film I have ever seen at Least until avengers 4 comes out next year.
Now I bet y'all are probably wondering what negative thing can I say well...that's kinda hard for a movie this good but if I had to say something it would be I wish some of the side characters got a little more screen time but other than that nothing to major
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BankofMarquis (1832 KP) rated Venom: Let There Be Carnage (2021) in Movies
Oct 7, 2021
Suffers from Sequel-itis
If you ever heard of the term “Sequel-itis” and wondered what a good example of film suffering from this malady would be, look no further than VENOM: LET THERE BE CARNAGE.
The sequel to the surprisingly well made - and well acted - 2018 VENOM that introduced audiences to the (sometimes) villain, (sometimes) anti-hero, VENOM and the human/symbiot that he has bonded to (it makes sense in the first film) - this sequel looks and feels like a quick “money-grab” that is keeping this character “warm” for bigger things (I hope) down the road.
Directed by famed motion capture expert, Andy Serkis, VENOM: LET THERE BE CARNAGE feels like a movie that was directed by a Special FX veteran for this film is long on special effects and short on what makes a film work - plot and character.
And that’s too bad for the 2018 VENOM film was a surprise in that while it had it’s CGI moments (and plenty of them), it also had interesting plot and characters and took full advantage of two of the better actors working today - Tom Hardy and Michelle Williams.
The sequel looked promising enough as both Hardy and Williams were back and Woody Harrelson was cast as the main villain (with Naomi Harris along as the villain’s sidekick) so some of the ingredients were there for a quality sequel.
Unfortunately, this sequel leaned heavily into the CGI-ness of the first film and made the CGI Alien Venom the focal point of the story, relegating the humans to the back. No actor was pushed further to the back than Williams who was stuck with a weak “damsel in distress” arc while Harrelson and Harris take turns over-acting the other making their pair of villains some of the weakest in recent comic-book movies memory.
And then there is the performance of Hardy as Eddie Brock. He is sleepwalking his way through this film, looking like he has very little interest in what is going on and just wants to grab his paycheck and get home.
Some of these sins could be forgiven if the CGI elements - and the battles between Venom and Carnage - are interesting. Unfortunately, they just are not - they are “fine”, but nothing interesting or original, so this film is destined to get washed off the shore (and memory) as quickly as a sandcastle is washed away on a beach.
If you are going to check out this flick, make sure you stay for the “end credits” scene (which is only, thankfully, about 2 minutes into the credits), it is the best part of this film.
Letter Grade: C+
5 stars (out of 10) and you can take that to the Bank(ofMarquis)
The sequel to the surprisingly well made - and well acted - 2018 VENOM that introduced audiences to the (sometimes) villain, (sometimes) anti-hero, VENOM and the human/symbiot that he has bonded to (it makes sense in the first film) - this sequel looks and feels like a quick “money-grab” that is keeping this character “warm” for bigger things (I hope) down the road.
Directed by famed motion capture expert, Andy Serkis, VENOM: LET THERE BE CARNAGE feels like a movie that was directed by a Special FX veteran for this film is long on special effects and short on what makes a film work - plot and character.
And that’s too bad for the 2018 VENOM film was a surprise in that while it had it’s CGI moments (and plenty of them), it also had interesting plot and characters and took full advantage of two of the better actors working today - Tom Hardy and Michelle Williams.
The sequel looked promising enough as both Hardy and Williams were back and Woody Harrelson was cast as the main villain (with Naomi Harris along as the villain’s sidekick) so some of the ingredients were there for a quality sequel.
Unfortunately, this sequel leaned heavily into the CGI-ness of the first film and made the CGI Alien Venom the focal point of the story, relegating the humans to the back. No actor was pushed further to the back than Williams who was stuck with a weak “damsel in distress” arc while Harrelson and Harris take turns over-acting the other making their pair of villains some of the weakest in recent comic-book movies memory.
And then there is the performance of Hardy as Eddie Brock. He is sleepwalking his way through this film, looking like he has very little interest in what is going on and just wants to grab his paycheck and get home.
Some of these sins could be forgiven if the CGI elements - and the battles between Venom and Carnage - are interesting. Unfortunately, they just are not - they are “fine”, but nothing interesting or original, so this film is destined to get washed off the shore (and memory) as quickly as a sandcastle is washed away on a beach.
If you are going to check out this flick, make sure you stay for the “end credits” scene (which is only, thankfully, about 2 minutes into the credits), it is the best part of this film.
Letter Grade: C+
5 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Sisu (2023) in Movies
Dec 4, 2023
Pretty Darned Entertaining
The BankofMarquis stumbled across a Finnish action flick that makes Quentin Tarantino Movies - and the John Wick films - look like Disney movies.
SISU tells the story of the waning days of WWII in Finland where a lone man has left the death and destruction of war behind to live a life of solitude. Into his world come some retreating NAZI’s who (to their detriment, they will soon find out) decide to NOT leave this lone man alone.
Chaos (and violence) ensues.
A variation of the “Man with No Name” type of action film that pits this lone person who just wants to be left alone against a group of thugs, SISU (a Finnish word that has no direct translation but roughly translates to “persevering against tremendous odds”) generates a fun action/revenge flick that is extremely violent…and extremely implausible (but that’s part of the fun).
While this is a Finnish film, all of the actors/characters speak English (except when the Nazi’s speak German), so there is no translating needed.
Jorma Tommila (a veteran Finnish actor that has no U.S. credits that I could find) is stoic, rugged and damned determined as the nameless loner (he gets named about half-way through the film) that perseveres and this is the best part of his performance. His sparkling blue eyes constantly seem active and alive even though the rest of his face is stoic and his body is bruised, bloodied, beaten and mud-covered. His internal resolve shines through in his eyes and really holds the film together well.
Aksel Hennie (who you might know as Alex Vogel one of the Astronauts that is in the ship that turns back to get Matt Damon aka THE MARTIAN) as the Head Nazi is quite good and just as determined to use his men as fodder in his vendetta against the nameless man while Jack Doolan (Horse Tommy in THE BOYS) is ruthless as his main henchman and Mimosa Willamo (the Finnish TV series DEADWIND) is strong and determined as a prisoner held by the Nazis.
Director Jalmari Helander (again, no U.S. credits that I can find) does a wonderful job of keeping the action moving and the choreography of the piece simple (you know where everyone is at all times, so when something comes out of nowhere, you have a pretty good idea as to who/what it is). He does ratchet the violence up to a Tarantino-John Wick- The Equalizer level, so if you are squeamish, this film is not for you.
But, if you are into action films, then…hoo-boy….is SISU a film for you!
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
SISU tells the story of the waning days of WWII in Finland where a lone man has left the death and destruction of war behind to live a life of solitude. Into his world come some retreating NAZI’s who (to their detriment, they will soon find out) decide to NOT leave this lone man alone.
Chaos (and violence) ensues.
A variation of the “Man with No Name” type of action film that pits this lone person who just wants to be left alone against a group of thugs, SISU (a Finnish word that has no direct translation but roughly translates to “persevering against tremendous odds”) generates a fun action/revenge flick that is extremely violent…and extremely implausible (but that’s part of the fun).
While this is a Finnish film, all of the actors/characters speak English (except when the Nazi’s speak German), so there is no translating needed.
Jorma Tommila (a veteran Finnish actor that has no U.S. credits that I could find) is stoic, rugged and damned determined as the nameless loner (he gets named about half-way through the film) that perseveres and this is the best part of his performance. His sparkling blue eyes constantly seem active and alive even though the rest of his face is stoic and his body is bruised, bloodied, beaten and mud-covered. His internal resolve shines through in his eyes and really holds the film together well.
Aksel Hennie (who you might know as Alex Vogel one of the Astronauts that is in the ship that turns back to get Matt Damon aka THE MARTIAN) as the Head Nazi is quite good and just as determined to use his men as fodder in his vendetta against the nameless man while Jack Doolan (Horse Tommy in THE BOYS) is ruthless as his main henchman and Mimosa Willamo (the Finnish TV series DEADWIND) is strong and determined as a prisoner held by the Nazis.
Director Jalmari Helander (again, no U.S. credits that I can find) does a wonderful job of keeping the action moving and the choreography of the piece simple (you know where everyone is at all times, so when something comes out of nowhere, you have a pretty good idea as to who/what it is). He does ratchet the violence up to a Tarantino-John Wick- The Equalizer level, so if you are squeamish, this film is not for you.
But, if you are into action films, then…hoo-boy….is SISU a film for you!
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Awix (3310 KP) rated Kong: Skull Island (2017) in Movies
Feb 9, 2018 (Updated Feb 9, 2018)
The Vietnam Movie That Time Forgot
Surprisingly effective and entertaining attempt to combine classic monster movie structure with a Vietnam War movie vibe. The secret monster-hunting agency of the US government organises an expedition to the mysterious Skull Island; everyone gets more than they bargained for. Is it a spoiler to reveal there's quite a big gorilla called Kong in residence?
Leading players Tom Hiddleston and Brie Larson seem a bit all at sea but there is some good work from the supporting cast, who know just how much of the scenery to chew - Samuel L Jackson, John Goodman, and John C Reilly all raise a smile. The monster mashes are good fun, too. You could probably argue that doing a King Kong movie where Kong never gets off the island kind of misses the point entirely, but this is still arguably the most faithful take on the general tone of the original movie since the 1930s.
Altogether much lighter on its feet and less portentous than the most recent American Godzilla, with which it is in continuity - they don't make a big deal out of this, thankfully, but all-in-all you do rather hope the forthcoming Godzilla: King of the Monsters and Godzilla Vs Kong are closer in style to this than the 2014 movie. Toho fans should stick around for the post-credits bit.
Leading players Tom Hiddleston and Brie Larson seem a bit all at sea but there is some good work from the supporting cast, who know just how much of the scenery to chew - Samuel L Jackson, John Goodman, and John C Reilly all raise a smile. The monster mashes are good fun, too. You could probably argue that doing a King Kong movie where Kong never gets off the island kind of misses the point entirely, but this is still arguably the most faithful take on the general tone of the original movie since the 1930s.
Altogether much lighter on its feet and less portentous than the most recent American Godzilla, with which it is in continuity - they don't make a big deal out of this, thankfully, but all-in-all you do rather hope the forthcoming Godzilla: King of the Monsters and Godzilla Vs Kong are closer in style to this than the 2014 movie. Toho fans should stick around for the post-credits bit.
Awix (3310 KP) rated La Flor (2018) in Movies
Nov 2, 2019
How can one rating do justice to film-making on this scale? The simple numbers involved are staggering: the film lasts thirteen and a half hours, took nine years to make, is composed of six different episodes comprising many more sub-narratives. It's usually shown over three or four days, for obvious reasons. Even the closing credits last for over forty minutes (yes, I stayed: my thought process was basically 'Well, I've come this far..).
There's at least one horror movie in the mix, along with a musical melodrama, a sprawling existential spy thriller, and a metafictional self-parody. Characters include archaeologists, witches, Casanova and Margaret Thatcher. Just about the only thing holding it together is the presence of the same four actresses, who play significant roles in almost every episode. It begins very generic, but becomes increasingly strange and avant garde as it progresses. One would say it has become completely unravelled by the end, but it's not as if it was ever very ravelled. Parts of it are indisputably brilliant and highly accomplished, others are kind of indifferent; some of it is actively irritating. In the end it is a gargantuan, self-indulgent oddity. Some of it is definitely worth watching, but the whole thirteen hours...? I'm not sure. Maybe wait until it comes on TV.
There's at least one horror movie in the mix, along with a musical melodrama, a sprawling existential spy thriller, and a metafictional self-parody. Characters include archaeologists, witches, Casanova and Margaret Thatcher. Just about the only thing holding it together is the presence of the same four actresses, who play significant roles in almost every episode. It begins very generic, but becomes increasingly strange and avant garde as it progresses. One would say it has become completely unravelled by the end, but it's not as if it was ever very ravelled. Parts of it are indisputably brilliant and highly accomplished, others are kind of indifferent; some of it is actively irritating. In the end it is a gargantuan, self-indulgent oddity. Some of it is definitely worth watching, but the whole thirteen hours...? I'm not sure. Maybe wait until it comes on TV.
Andy K (10821 KP) rated The Babadook (2014) in Movies
Dec 11, 2019
Minimalist Creep
Wow was I surprised by this. My daughters have been after me for a while to watch, but I have to not being a big fan of modern CGI horror like The Conjuring, Insidious, etc. I made the mistake of including this film in that group and I was wrong.
Modern audiences have grown short attention spans even having film studios get rid of opening film credits, so it is refreshing these days when a film takes its time and leaves something to our imagination. I have written in several reviews the last few years that just because modern filmmakers can do something, doesn't mean they should. Modern CGI effects leave virtually nothing a movie maker can accomplish with enough imagination are computer work done to it; however, I still maintain the "Jaws" theory of the less you show the audience the more they have to used their own imaginations and therefore the film's "Babadook" becomes even more scary.
I loved the way the creature was shown mostly in shadow and not really given a good glimpse most of the way through. Even when it presents itself, you don't really get a good look at it and a lot of the scare is also through creepy, haunting sound effects.
I guess I will have to listen to my daughters from now on!
Modern audiences have grown short attention spans even having film studios get rid of opening film credits, so it is refreshing these days when a film takes its time and leaves something to our imagination. I have written in several reviews the last few years that just because modern filmmakers can do something, doesn't mean they should. Modern CGI effects leave virtually nothing a movie maker can accomplish with enough imagination are computer work done to it; however, I still maintain the "Jaws" theory of the less you show the audience the more they have to used their own imaginations and therefore the film's "Babadook" becomes even more scary.
I loved the way the creature was shown mostly in shadow and not really given a good glimpse most of the way through. Even when it presents itself, you don't really get a good look at it and a lot of the scare is also through creepy, haunting sound effects.
I guess I will have to listen to my daughters from now on!
Bruce Dern: An Unrepentant Memoir
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One of Hollywood's biggest personalities, Bruce Dern is not afraid to say what he thinks. He has...