Search
Search results
LoganCrews (2861 KP) rated Sharp Objects in TV
Nov 26, 2020
"𝘠𝘰𝘶 𝘮𝘢𝘥𝘦 𝘮𝘦 𝘣𝘭𝘦𝘦𝘥..."
Decay in all its forms, *very* HBO - right down to the opening credits sequences - in the best ways. If I have one complaint it's that I wish this were an episode longer to really settle into its final moments before the jaw-dropping rug-pull ending (and maybe I wish it was a little more physically gross when it calls for it) - but I digress, this is phenomenal television all the same. Flynn is as complex a writer as ever and Jean-Marc Vallée is at some of his most fully engrossing. As someone living in a tawdry small town just like this it does a bangup job at showing how those types of areas prey upon their little boys and girls, and bears witness to the differing ways their subsequent rage manifests between each gender. You know yourself much less than everyone else *thinks* they know you, if you aren't peering directly into their eyes you aren't safe from disparaging remarks even from your supposed closest allies - the moment in episode 5 where the camera keeps switching POVs while somebody glares at someone else, who then glares at someone else, who then glares at someone else, etc., etc. does a good job at exemplifying this. Adams, Messina, and particularly Clarkson, Scanlen, Perkins, and Czerny are sublime as these haunted enigmas of people. Gives away some of its themes a touch too on-the-nose later in the game but nonetheless a grim, fragmented, trancelike nightmare of hatred. Magnetic as hell.
Decay in all its forms, *very* HBO - right down to the opening credits sequences - in the best ways. If I have one complaint it's that I wish this were an episode longer to really settle into its final moments before the jaw-dropping rug-pull ending (and maybe I wish it was a little more physically gross when it calls for it) - but I digress, this is phenomenal television all the same. Flynn is as complex a writer as ever and Jean-Marc Vallée is at some of his most fully engrossing. As someone living in a tawdry small town just like this it does a bangup job at showing how those types of areas prey upon their little boys and girls, and bears witness to the differing ways their subsequent rage manifests between each gender. You know yourself much less than everyone else *thinks* they know you, if you aren't peering directly into their eyes you aren't safe from disparaging remarks even from your supposed closest allies - the moment in episode 5 where the camera keeps switching POVs while somebody glares at someone else, who then glares at someone else, who then glares at someone else, etc., etc. does a good job at exemplifying this. Adams, Messina, and particularly Clarkson, Scanlen, Perkins, and Czerny are sublime as these haunted enigmas of people. Gives away some of its themes a touch too on-the-nose later in the game but nonetheless a grim, fragmented, trancelike nightmare of hatred. Magnetic as hell.
LeftSideCut (3776 KP) rated Planet Terror (2007) in Movies
Jan 22, 2021
If you seek a movie so absurdly over the top in almost every regard, then look no further.
Planet Terror is a glorious throwback to practical driven and blood soaked video nasties of the 70s and 80s, is super stylized to the point of self aware stupidity, and boasts a fantastic cast - a roll call of who's who in the cinema of Rodriguez/Tarantino.
Of course, Planet Terror is one half of the duos Grindhouse project, and for me, slightly takes the edge over Death Proof. Both films are great and gleefully brimming with tributes to the exploitative sub genre of its namesake, but Planet Terror is just balls to the wall fun, a blast from start to finish.
Its has badass female leads - Cherry Darling, a former go-go dancer with a gun-leg, and Dakota Block, a nurse who shoots trigger functioning syringes full of sedatives at anyone who pisses her off - Rose McGowan and Marley Shelton and both brilliant.
It has Bruce Willis mutating into God knows what. It has Tom Savini and Michael Biehn as zombie fighting sherrifs. It has Sayid from Lost collecting people's testicles in a pickle jar.
And Jesus Christ it has so. much. gore. It must have been a hell of a sticky set to work on to say the least.
To top it all off, it even opens with the now infamous Machete "trailer", with Danny Trejo and motherfucking Cheech Marin.
Planet Terror is a ride as soon as the opening credits start. An absolute must for any horror or grindhouse fan.
Planet Terror is a glorious throwback to practical driven and blood soaked video nasties of the 70s and 80s, is super stylized to the point of self aware stupidity, and boasts a fantastic cast - a roll call of who's who in the cinema of Rodriguez/Tarantino.
Of course, Planet Terror is one half of the duos Grindhouse project, and for me, slightly takes the edge over Death Proof. Both films are great and gleefully brimming with tributes to the exploitative sub genre of its namesake, but Planet Terror is just balls to the wall fun, a blast from start to finish.
Its has badass female leads - Cherry Darling, a former go-go dancer with a gun-leg, and Dakota Block, a nurse who shoots trigger functioning syringes full of sedatives at anyone who pisses her off - Rose McGowan and Marley Shelton and both brilliant.
It has Bruce Willis mutating into God knows what. It has Tom Savini and Michael Biehn as zombie fighting sherrifs. It has Sayid from Lost collecting people's testicles in a pickle jar.
And Jesus Christ it has so. much. gore. It must have been a hell of a sticky set to work on to say the least.
To top it all off, it even opens with the now infamous Machete "trailer", with Danny Trejo and motherfucking Cheech Marin.
Planet Terror is a ride as soon as the opening credits start. An absolute must for any horror or grindhouse fan.
CLiQQ Every Day! Rewards
Lifestyle and Food & Drink
App
Welcome to CLiQQ! The official 7-Eleven mobile app for CLiQQ WiFi and CliQQ Rewards. CLiQQ WiFi...
Qantas Airways
Travel
App
Download the new and improved Qantas app today. Book flights and hotels, check in and get useful...
The Beast (The Beast, #1)
6.0
Rate It
Book
Dimitri Sokolov is a man scarred, physically and emotionally. From the rough streets of Moscow to...
Drive Ahead!
Games
App
Drive Ahead! is a gladiator car fight. Get points by knocking friends in the head with a car! Battle...
David McK (3801 KP) rated Rambo: Last Blood (2019) in Movies
May 8, 2022
If you asked anyone to name actor Sylvester Stallone's two most famous roles, they would probably give you (in order):
1: Rocky Balboa
2: John Rambo.
While the Rocky films have been having something of a renaissance of sorts ever since 2006's Rocky Balboa (and the Creed films), Rambo has been left on the sidelines somewhat - perhaps as a result of the increasingly cartoony (and violent) films ever since the 1982 original.
I haven't seen all the Rocky films - I gave up partway through Rocky III, before having to force myself to sit through Rocky Balboa and the first Creed film - but I have seen all the Rambo films.
There's still no doubt that the original Rambo film is far and away the best: indeed, I would strugglt to remember much of the plots of part II (other than there's a fight scene heavily ripped off in Charlie Sheen's 'Hot Shots: Part Deux'), or even part III (starting with Rambo helping to build a temple in Vietnam) or 2008's 'Rambo' (which ends with Rambo coming home as the credits roll)
This one picks up from the end of that film, with Rambo now running the horse ranch that belonged to his family, and with the plot kicking into drive when the daughter of a friend runs away to Mexico in search of her absentee father, and is promptly kidnapped by a Mexican drug cartel.
Cue an extraordinarily violent last act when, for reasons, members of that cartel decide to attack Rambo on his home turf ...
1: Rocky Balboa
2: John Rambo.
While the Rocky films have been having something of a renaissance of sorts ever since 2006's Rocky Balboa (and the Creed films), Rambo has been left on the sidelines somewhat - perhaps as a result of the increasingly cartoony (and violent) films ever since the 1982 original.
I haven't seen all the Rocky films - I gave up partway through Rocky III, before having to force myself to sit through Rocky Balboa and the first Creed film - but I have seen all the Rambo films.
There's still no doubt that the original Rambo film is far and away the best: indeed, I would strugglt to remember much of the plots of part II (other than there's a fight scene heavily ripped off in Charlie Sheen's 'Hot Shots: Part Deux'), or even part III (starting with Rambo helping to build a temple in Vietnam) or 2008's 'Rambo' (which ends with Rambo coming home as the credits roll)
This one picks up from the end of that film, with Rambo now running the horse ranch that belonged to his family, and with the plot kicking into drive when the daughter of a friend runs away to Mexico in search of her absentee father, and is promptly kidnapped by a Mexican drug cartel.
Cue an extraordinarily violent last act when, for reasons, members of that cartel decide to attack Rambo on his home turf ...
Chris Sawin (602 KP) rated Doctor Strange in the Multiverse of Madness (2022) in Movies
May 4, 2022
The noticeable Sam Raimi elements. (2 more)
The film is great when it's able to showcase horror.
The second end credits sequence is amazing.
The film is incredibly formulaic outside of its horror elements. (2 more)
You don't really care about any of the new characters.
No one is going to get that first end credits sequence.
Sam Raimi Finally Brings Horror to the MCU
Even with all of the universe jumping and Sam Raimi being able to add his filmmaking trademarks, Doctor Strange in the Multiverse of Madness is a bit too formulaic for its own good. Doctor Strange (Benedict Cumberbatch) has been having dreams of a different version of himself dying while seeking a mythical book known as The Book of Ashanti. In his dream, Strange encounters America Chavez (Xochitl Gomez), a young girl with the uncontrollable power of universe jumping.
But then Strange meets America in his universe and learns that dreams are actually us seeing different versions of ourselves in different universes. Still blinded by the events in WandaVision, Scarlet Witch (Elizabeth Olsen) intends to capture America and utilize her universe jumping ability to reunite with the children she created with magic.
Doctor Strange in the Multiverse of Madness relies on what feels like a simplistic storyline to drive what is essentially the MCU’s first horror film. Strange really only seems driven to protect America because he dreamed about her and Wanda Maximoff has only turned evil because there’s suddenly this very thin line between being a mother and becoming a monster. Most of the film feels like a typical MCU film featuring the standard humor and wisecracking you’ve come to expect from superhero films along with the fate of the world (and possibly every other) probably being at stake.
The most refreshing moments of Doctor Strange in the Multiverse of Madness are the moments that you can tell Raimi had a hand in writing, directing, or having some sort of input in some capacity. This is Raimi’s first directorial gig since 2013’s Oz: The Great and Powerful and it becomes quite obvious that audiences have missed his work. The Shuma Gorath sequence (renamed Gargantos for trademark purposes) is outstanding. Doctor Strange, Wong, and America battling a giant one eyed octopus is something so awesome that it kind of writes itself. Not only is it the film’s first big action sequence, but you can see a lot of Doctor Octopus and Spider-Man 2 influences as Gargantos destroys skyscrapers and gets his tentacles chopped off. The slicing of the bus as it’s thrown at Doctor Strange and America is also legitimately one of the coolest moments of the film.
There is a ton of homage to Evil Dead and Drag Me to Hell buried within the film. The final 20 minutes are overflowing with concepts seemingly pulled from classic Sam Raimi films. Doctor Strange in the Multiverse of Madness revolves around a book of the damned not unlike the Necronomicon. There are at least two major eyeball gags and a ridiculous amount of burning candles in the film. Like most Sam Raimi films, there’s an emphasis on corniness. His sense of humor has always been on the corny side and the heartfelt moments always seem to be milked and over exaggerated ever so slightly. All of these elements are in Doctor Strange in the Multiverse of Madness and they are the moments that make the film feel more unique in comparison to the other 28 films in the MCU.
Strange saves America from Scarlet Witch by knocking her and himself into her own star shaped portal that sees them both falling through multiple universes. It’s a gloriously disorienting sequence, but it’s also incredibly similar to not only what we saw in the first Doctor Strange film but also a lot like the 700 space jumps in Guardians of the Galaxy Vol. 2. This film is meant to open the door even further when it comes to the cosmic side of the MCU and now the horror side of it as well. Doctor Strange in the Multiverse of Madness is not Spider-Man: No Way Home. There are not a ton of nostalgic cameos sprinkled throughout the film. There’s one sequence that combines fan speculation and other universes, but there aren’t a lot of hidden cameos like the internet speculated.
What is perhaps most interesting about this superhero sequel is that Stephen Strange is still learning to be more humble. His only play during Infinity War that ended up costing so many their lives for five long years is still weighing heavily on his mind. He also still loves Christine (Rachel McAdams) despite the fact that she’s moved on and struggles with whether he’s now happy or not. Throughout the film he’s constantly compared to the Doctor Strange of that universe and yet the film goes out of its way to show that this Doctor Strange is different. He will break the rules if he has to, but he will only do so when it’s the only option.
With so many universes and alternate versions of himself, it was naturally only a matter of time before Doctor Strange would have to fight himself. The musical note war Strange has with the Darkhold obsessed version of himself in the collapsed universe in the second half of the film does some really intriguing stuff with musical notes that essentially borrows visuals from the Chuck Jones directed animated short, “High Note,” from 1960 as well as the battle or reactionary element found in video games such as Dance Dance Revolution and Guitar Hero. It’s an unusual fight that seems to be inspired solely by Strange bumping into a piano during the magical brawl.
Doctor Strange in the Multiverse of Madness is dark, silly, and fan pleasing. The film is at is most bewitching when Sam Raimi can let his horror roots be showcased. It will satisfy horror and superhero film fans alike, but would have and could have been even better if Raimi was allowed to dive even further into the horror genre. Be sure to stay after the credits, as well. There are two after credits sequences with the final one being so absurdly on the nose for Sam Raimi that it may be the most entertaining part of the film.
But then Strange meets America in his universe and learns that dreams are actually us seeing different versions of ourselves in different universes. Still blinded by the events in WandaVision, Scarlet Witch (Elizabeth Olsen) intends to capture America and utilize her universe jumping ability to reunite with the children she created with magic.
Doctor Strange in the Multiverse of Madness relies on what feels like a simplistic storyline to drive what is essentially the MCU’s first horror film. Strange really only seems driven to protect America because he dreamed about her and Wanda Maximoff has only turned evil because there’s suddenly this very thin line between being a mother and becoming a monster. Most of the film feels like a typical MCU film featuring the standard humor and wisecracking you’ve come to expect from superhero films along with the fate of the world (and possibly every other) probably being at stake.
The most refreshing moments of Doctor Strange in the Multiverse of Madness are the moments that you can tell Raimi had a hand in writing, directing, or having some sort of input in some capacity. This is Raimi’s first directorial gig since 2013’s Oz: The Great and Powerful and it becomes quite obvious that audiences have missed his work. The Shuma Gorath sequence (renamed Gargantos for trademark purposes) is outstanding. Doctor Strange, Wong, and America battling a giant one eyed octopus is something so awesome that it kind of writes itself. Not only is it the film’s first big action sequence, but you can see a lot of Doctor Octopus and Spider-Man 2 influences as Gargantos destroys skyscrapers and gets his tentacles chopped off. The slicing of the bus as it’s thrown at Doctor Strange and America is also legitimately one of the coolest moments of the film.
There is a ton of homage to Evil Dead and Drag Me to Hell buried within the film. The final 20 minutes are overflowing with concepts seemingly pulled from classic Sam Raimi films. Doctor Strange in the Multiverse of Madness revolves around a book of the damned not unlike the Necronomicon. There are at least two major eyeball gags and a ridiculous amount of burning candles in the film. Like most Sam Raimi films, there’s an emphasis on corniness. His sense of humor has always been on the corny side and the heartfelt moments always seem to be milked and over exaggerated ever so slightly. All of these elements are in Doctor Strange in the Multiverse of Madness and they are the moments that make the film feel more unique in comparison to the other 28 films in the MCU.
Strange saves America from Scarlet Witch by knocking her and himself into her own star shaped portal that sees them both falling through multiple universes. It’s a gloriously disorienting sequence, but it’s also incredibly similar to not only what we saw in the first Doctor Strange film but also a lot like the 700 space jumps in Guardians of the Galaxy Vol. 2. This film is meant to open the door even further when it comes to the cosmic side of the MCU and now the horror side of it as well. Doctor Strange in the Multiverse of Madness is not Spider-Man: No Way Home. There are not a ton of nostalgic cameos sprinkled throughout the film. There’s one sequence that combines fan speculation and other universes, but there aren’t a lot of hidden cameos like the internet speculated.
What is perhaps most interesting about this superhero sequel is that Stephen Strange is still learning to be more humble. His only play during Infinity War that ended up costing so many their lives for five long years is still weighing heavily on his mind. He also still loves Christine (Rachel McAdams) despite the fact that she’s moved on and struggles with whether he’s now happy or not. Throughout the film he’s constantly compared to the Doctor Strange of that universe and yet the film goes out of its way to show that this Doctor Strange is different. He will break the rules if he has to, but he will only do so when it’s the only option.
With so many universes and alternate versions of himself, it was naturally only a matter of time before Doctor Strange would have to fight himself. The musical note war Strange has with the Darkhold obsessed version of himself in the collapsed universe in the second half of the film does some really intriguing stuff with musical notes that essentially borrows visuals from the Chuck Jones directed animated short, “High Note,” from 1960 as well as the battle or reactionary element found in video games such as Dance Dance Revolution and Guitar Hero. It’s an unusual fight that seems to be inspired solely by Strange bumping into a piano during the magical brawl.
Doctor Strange in the Multiverse of Madness is dark, silly, and fan pleasing. The film is at is most bewitching when Sam Raimi can let his horror roots be showcased. It will satisfy horror and superhero film fans alike, but would have and could have been even better if Raimi was allowed to dive even further into the horror genre. Be sure to stay after the credits, as well. There are two after credits sequences with the final one being so absurdly on the nose for Sam Raimi that it may be the most entertaining part of the film.
BankofMarquis (1832 KP) rated Paddington 2 (2017) in Movies
Feb 3, 2019
Wonderful, whimsical film for kids and adults alike
As I was perusing various "Top Films of 2018" lists, one surprising film kept showing up on these lists, so I thought I'd better check it out.
And I'm glad I did for PADDINGTON 2 is a charming family film that entranced me from beginning to end with wonderful performances and a charm and whimsy that hooked me from start to finish.
A follow-up to the moderate 2014 hit (based on the beloved children's books series) about a Peruvian bear that heads to 19th Century London seeking adventure - and finds a family - PADDINGTON 2 follows said Bear as he is caught up in a robbery and is mistakenly jailed for the crime. Can Paddington make friends with the burly inmates in the prison? Can the Brown family help find the true perpetrator of the crime and help spring Paddington? Can faith and love triumph in a time of skepticism and darkness?
It's a family film, what do you think?
The joy in this film is in the telling - and Paul King (returning as Director/Writer) does a wonderful job telling a joyous, family-friendly story without diving into sacrine-ness (is that a word? It is now) and schmaltz. He tells the story with a sly wink in his eye and dives deep into whimsical detail of late 19th century London - a London racing full throttle into the steam age. There is a light cyber-punk sensibility to the proceedings and this works wonderfully well.
As you would expect, King does a nice job getting the actors to click into the sensibilities and style of this film. Ben Wishaw is back as the voice of Paddington - and he is perfectly cast. Wishaw has a naivete and sense of wonder to his voice that serves the Paddington character well. Jim Broadbent, Hugh Bonneville, Sally Hawkins and Julie Walters all reprise their roles - in winning fashion. But it is the newcomers that shine. Brendan Gleeson shows off some comic chops as main prison bad guy "Knuckles" McGinty who forms an unlikely friendship/partnership with Paddington and, especially Hugh Grant as vain, egotistical actor Phoenix Buchanan. I won't spoil the antics of Grant's character but I have a feeling that Mr. Grant had as much fun bringing this character to screen as I did watching him.
Two final things - the finale really works for me as King sets up each character's "special skill" at the beginning of the film that they will need to bring to bear (no pun intended) during the action at the end. To often, character's and character threads are set up at the beginning of a film only to be abandoned by the end, so it is satisfying to me when King sets up items at the beginning of this film and then PAYS THEM OFF at the end.
And, finally, STAY THROUGH THE CREDITS. There is a scene in the credits that is as good as anything that is in the film. I won't spoil the fun for you, but want you to know about this so you won't miss it.
A wonderful, whimsical, time at the movies. If you have kids (5,6,7 years old), this is a MUST SEE. For the rest of you, if you're looking for fun escape from the world, this film will do it.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
And I'm glad I did for PADDINGTON 2 is a charming family film that entranced me from beginning to end with wonderful performances and a charm and whimsy that hooked me from start to finish.
A follow-up to the moderate 2014 hit (based on the beloved children's books series) about a Peruvian bear that heads to 19th Century London seeking adventure - and finds a family - PADDINGTON 2 follows said Bear as he is caught up in a robbery and is mistakenly jailed for the crime. Can Paddington make friends with the burly inmates in the prison? Can the Brown family help find the true perpetrator of the crime and help spring Paddington? Can faith and love triumph in a time of skepticism and darkness?
It's a family film, what do you think?
The joy in this film is in the telling - and Paul King (returning as Director/Writer) does a wonderful job telling a joyous, family-friendly story without diving into sacrine-ness (is that a word? It is now) and schmaltz. He tells the story with a sly wink in his eye and dives deep into whimsical detail of late 19th century London - a London racing full throttle into the steam age. There is a light cyber-punk sensibility to the proceedings and this works wonderfully well.
As you would expect, King does a nice job getting the actors to click into the sensibilities and style of this film. Ben Wishaw is back as the voice of Paddington - and he is perfectly cast. Wishaw has a naivete and sense of wonder to his voice that serves the Paddington character well. Jim Broadbent, Hugh Bonneville, Sally Hawkins and Julie Walters all reprise their roles - in winning fashion. But it is the newcomers that shine. Brendan Gleeson shows off some comic chops as main prison bad guy "Knuckles" McGinty who forms an unlikely friendship/partnership with Paddington and, especially Hugh Grant as vain, egotistical actor Phoenix Buchanan. I won't spoil the antics of Grant's character but I have a feeling that Mr. Grant had as much fun bringing this character to screen as I did watching him.
Two final things - the finale really works for me as King sets up each character's "special skill" at the beginning of the film that they will need to bring to bear (no pun intended) during the action at the end. To often, character's and character threads are set up at the beginning of a film only to be abandoned by the end, so it is satisfying to me when King sets up items at the beginning of this film and then PAYS THEM OFF at the end.
And, finally, STAY THROUGH THE CREDITS. There is a scene in the credits that is as good as anything that is in the film. I won't spoil the fun for you, but want you to know about this so you won't miss it.
A wonderful, whimsical, time at the movies. If you have kids (5,6,7 years old), this is a MUST SEE. For the rest of you, if you're looking for fun escape from the world, this film will do it.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)