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_RainAllTheTime (17 KP) rated The Hunt (2020) in Movies
Jan 13, 2021
The Hunt...a group of strangers wake up in a field, gagged, with no idea how they got there...one of them opens a large wooden box that's left in the middle of the field, inside are weapons, which they all take...then a gunshot is fired...The Hunt has begun
I'm not going to go into the plot as I think it's better to just watch the film and be surprised, it's what I did anyways.
The stand out role is Betty Gilpin as Crystal. Yes, she becomes the mainlead but DAMN she's good! She plays her part amazingly.
I'd say it's only 'horror' for the gore element, but nonetheless still worthwhile watching.
I'm not going to go into the plot as I think it's better to just watch the film and be surprised, it's what I did anyways.
The stand out role is Betty Gilpin as Crystal. Yes, she becomes the mainlead but DAMN she's good! She plays her part amazingly.
I'd say it's only 'horror' for the gore element, but nonetheless still worthwhile watching.
LeftSideCut (3778 KP) rated The Hunt (2020) in Movies
Oct 13, 2020
In short, The Hunt is an action heavy, Battle Royale inspired semi-horror that attempts to satire political leanings, conspiracy theorists, keyboard warriors, and the rich elite.
The main issue I had was that all of the satire is very on the nose, possibly a purposeful choice? Either way, it gives the impression that The Hunt thinks it's cleverer than it actually is. This is constantly present within the unbalanced dialogue. Some of it is genuinely funny, some of it comes across as try hard, attempting to cram in as many messages as possible resulting in none of these commentaries being particularly clear cut.
Then again, it's not a film to be taken seriously and this could actually be a non-point - hard to tell!
It would be a an altogether worse movie if it wasn't for lead actress Betty Gilpin. Her character Crystal is the picture perfect no bullshit, badass final girl, and her performance elevates The Hunt as a whole.
I could be wrong, but it also seems like she did her own stunts, which is particularly badass considering the ridiculous fight scene near the films end. Same can be said for the always reliable Hilary Swank. Pretty sure the two of them were just going at it, and it's easily the films best scene.
The whole film is actually a more gory experience than I expected, and is pretty effective, even if a lot of it is obvious CGI.
The Hunt is a loud and obnoxious experience that is frequently muddied by it's own smugness, but the stand out performance from Gilpin, and some genuinely great set pieces ensure that it's an entertaining action-horror that's worth a watch.
The main issue I had was that all of the satire is very on the nose, possibly a purposeful choice? Either way, it gives the impression that The Hunt thinks it's cleverer than it actually is. This is constantly present within the unbalanced dialogue. Some of it is genuinely funny, some of it comes across as try hard, attempting to cram in as many messages as possible resulting in none of these commentaries being particularly clear cut.
Then again, it's not a film to be taken seriously and this could actually be a non-point - hard to tell!
It would be a an altogether worse movie if it wasn't for lead actress Betty Gilpin. Her character Crystal is the picture perfect no bullshit, badass final girl, and her performance elevates The Hunt as a whole.
I could be wrong, but it also seems like she did her own stunts, which is particularly badass considering the ridiculous fight scene near the films end. Same can be said for the always reliable Hilary Swank. Pretty sure the two of them were just going at it, and it's easily the films best scene.
The whole film is actually a more gory experience than I expected, and is pretty effective, even if a lot of it is obvious CGI.
The Hunt is a loud and obnoxious experience that is frequently muddied by it's own smugness, but the stand out performance from Gilpin, and some genuinely great set pieces ensure that it's an entertaining action-horror that's worth a watch.
David McK (3185 KP) rated Star Wars: Darth Vader - Dark Lord of the Sith, Vol. 1: Imperial Machine in Books
Jan 30, 2019
Collecting the first 6 (I think) issues of the new Darth Vader series from Marvel, when Vader is new to the suit and his new life as The Emperor's #2.
As such, he is given a mission to hunt down (yet another) Jedi who escaped Order 66, defeat that Jedi in combat, then take and corrupt that Jedi's Kyber crystal in order to create his own lightsabre, with the signature red glow of those belonging to the Sith.
All of which he manages to do.
Even if - shockingly - at one point that Jedi seems to be more powerful than Vader himself, both defeating him and throwing him off the top of a cliff.
However, like a bad penny (or smell), Vader, the Dark Lord of the Sith keeps reappearing ...
As such, he is given a mission to hunt down (yet another) Jedi who escaped Order 66, defeat that Jedi in combat, then take and corrupt that Jedi's Kyber crystal in order to create his own lightsabre, with the signature red glow of those belonging to the Sith.
All of which he manages to do.
Even if - shockingly - at one point that Jedi seems to be more powerful than Vader himself, both defeating him and throwing him off the top of a cliff.
However, like a bad penny (or smell), Vader, the Dark Lord of the Sith keeps reappearing ...
Sarah (7798 KP) rated The Hunt (2020) in Movies
Nov 14, 2020
Darkly fun
The Hunt follows twelve strangers as they wake up in a clearing with no recollection of how they got there, and soon find themselves hunted for sport by a group of liberal elites.
Starring Betty Gilpin, Hilary Swank, Emma Roberts, Ethan Suplee and Justin Hartley, and written by Nick Cuse and Damon Lindelof, The Hunt’s original release was delayed in 2019 due to a number of mass shootings in America. It was pushed back to Spring 2020 only for it to come out just before the big lockdown for COVID-19, so to say this film has suffered a few setbacks would be an understatement, and this is a shame as it’s actually one of the most enjoyable new releases I’ve seen in 2020 so far.
Right from the opening scene, The Hunt shows you what it’s made of - understated and subtle it is not. It’s a riotously funny and witty parody, poking fun at absolutely everyone in it with it’s on the nose references that are so relevant to today’s political and social climate. Neither the prey or the hunters escape unscathed, in all manner of the word, and everything from climate change to racial prejudices and political ideology feature heavily in the running satire on offer here. This is a darkly funny and very smart film, and it knows it.
What this film is not though, is a horror film. Gory yes and brilliantly so, but it is in no means scary or horrifying. The plot itself is of course reminiscent of Battle Royale and even The Hunger Games, but The Hunt is very much it’s own film. It starts with an overly dramatic score and a decent amount of tension, and shifts into the action virtually straight away - with a short 90 minute runtime, this doesn’t waste it’s time on unnecessary exposition. Whilst I wouldn’t say this isn’t entirely unpredictable, The Hunt still has a few surprises to throw at you. The first half hour plays out a lot differently than you’d expect and makes you wonder if it’s played out it’s hand a little too soon.
But then in walks Betty Gilpin who is by far the star of the show and leads the remaining hour almost single handedly. Gilpin’s Crystal is a kickass, strong, smart heroine and she’s a delight to watch, although even she can’t quite save the lull half way through. Fortunately the lull doesn’t last long and watching Crystal exact her revenge on the hunters is wonderful to watch. Hilary Swank however is on the sidelines for most of the film, and for some bizarre reason whenever she is featured earlier on her face is kept hidden which is a rather strange move when we all know who it is. But despite this, when Swank is finally revealed in the final act she plays the cold, cruel and calculating Athena as a perfect callous bitch. The final exchange and reveal between Athena and Crystal is smart, tense and wickedly funny, and the ensuing fight scene is beautifully choreographed with some great laughs thrown in, and is probably the best fight scene I’ve seen in any film in quite some time.
The Hunt is gloriously over the top and mocks everyone and everything, yet also proves to be an equally thought provoking and relevant commentary on today’s society. As long as you’re not easily offended and don’t take it too seriously, it’ll prove to be hugely entertaining.
Starring Betty Gilpin, Hilary Swank, Emma Roberts, Ethan Suplee and Justin Hartley, and written by Nick Cuse and Damon Lindelof, The Hunt’s original release was delayed in 2019 due to a number of mass shootings in America. It was pushed back to Spring 2020 only for it to come out just before the big lockdown for COVID-19, so to say this film has suffered a few setbacks would be an understatement, and this is a shame as it’s actually one of the most enjoyable new releases I’ve seen in 2020 so far.
Right from the opening scene, The Hunt shows you what it’s made of - understated and subtle it is not. It’s a riotously funny and witty parody, poking fun at absolutely everyone in it with it’s on the nose references that are so relevant to today’s political and social climate. Neither the prey or the hunters escape unscathed, in all manner of the word, and everything from climate change to racial prejudices and political ideology feature heavily in the running satire on offer here. This is a darkly funny and very smart film, and it knows it.
What this film is not though, is a horror film. Gory yes and brilliantly so, but it is in no means scary or horrifying. The plot itself is of course reminiscent of Battle Royale and even The Hunger Games, but The Hunt is very much it’s own film. It starts with an overly dramatic score and a decent amount of tension, and shifts into the action virtually straight away - with a short 90 minute runtime, this doesn’t waste it’s time on unnecessary exposition. Whilst I wouldn’t say this isn’t entirely unpredictable, The Hunt still has a few surprises to throw at you. The first half hour plays out a lot differently than you’d expect and makes you wonder if it’s played out it’s hand a little too soon.
But then in walks Betty Gilpin who is by far the star of the show and leads the remaining hour almost single handedly. Gilpin’s Crystal is a kickass, strong, smart heroine and she’s a delight to watch, although even she can’t quite save the lull half way through. Fortunately the lull doesn’t last long and watching Crystal exact her revenge on the hunters is wonderful to watch. Hilary Swank however is on the sidelines for most of the film, and for some bizarre reason whenever she is featured earlier on her face is kept hidden which is a rather strange move when we all know who it is. But despite this, when Swank is finally revealed in the final act she plays the cold, cruel and calculating Athena as a perfect callous bitch. The final exchange and reveal between Athena and Crystal is smart, tense and wickedly funny, and the ensuing fight scene is beautifully choreographed with some great laughs thrown in, and is probably the best fight scene I’ve seen in any film in quite some time.
The Hunt is gloriously over the top and mocks everyone and everything, yet also proves to be an equally thought provoking and relevant commentary on today’s society. As long as you’re not easily offended and don’t take it too seriously, it’ll prove to be hugely entertaining.
Gareth von Kallenbach (965 KP) rated Rush (2013) in Movies
Aug 6, 2019
Today we bring you the latest from dircetor Ron Howard. A movie about what is considered to be one of the greatest rivalries in sports history and to this day, the greatest rivalry in the history of Formula 1 racing … the biographical action film RUSH. Released in the United States on September 20th RUSH tells the story behind the 1976 Formula 1 racing season and the intense rivalry between britsh racing champion James Hunt and austrain racing champion Niki Lauda. Staring Chis Hemsworth (Thor, Red Dawn) as Hunt and Daniel Bruhl (Inglourious Bastards, The Bourne Ultimatum) as Lauda, RUSH follows the two racing legends from their first confrontation at a Formula 3 race at England’s Crystal Palace circuit in 1970 to their accention to Formula 1 racing, to Lauda’s near-fatal carsh at the German Grand Prix and finally to the final race of the season, the Japanese Grand Prix.
What makes this movie different from other stories about the two rivals, is that it is told from the viewpoint of Niki Lauda. Written by legendary screenwritter Peter Morgan, Lauda had been approached many times by studios and writers for nearly 30 years wanting to make a movie from his point of view. Lauda had also been hesitent to make a movie for many years in part because of the death of James Hunt in 1993 at the age of 45 and felt that it wouldn’t have been ‘right’ to make a movie without his rival’s input. After meeting with dircetor Ron Howard, reading Peter Morgan’s screenplay, and with the blessing of James Hunt’s family Lauda finally agreed the movie should be made and i’m here to tell YOU my fellow movie-goers that the 30 years was worth the wait. With a supporting cast inclding Olivia Wilde, Alexandra Maria Lara, and Piefranscesco Favino it is apparent that the studios were serious about making this movie and making it right. Hemsworth and Bruhl definately deliver the goods portraying Hunt and Lauda and I will not be surprised if both of them recieve awards for their potrayals is the two leading characters in the movie. RUSH is different from alot of other movies because there is no REAL villian. It tells the story of two very different competitors in a sport where death is one small mistake away who couldn’t stand one another but at the sametime, when all is said and done they respected each other. It’s the story of two heros who pushed themselves to the limit .. sometimes losing themselves in the process and having to come to terms with the fact that they were not invinvcible.
I for one enjoyed the movie more than any other movie so far this year and I would highly recommend it to you all! Go and see it! Rotten Tomatoes gives it an 89% rating and i’m giving it 5 out of 5 stars! And with talk of the movie being nominated for awards ALREADY … How can you say ‘NO’ to recommendations like that!? It is rated R though so leave the kids at home.
What makes this movie different from other stories about the two rivals, is that it is told from the viewpoint of Niki Lauda. Written by legendary screenwritter Peter Morgan, Lauda had been approached many times by studios and writers for nearly 30 years wanting to make a movie from his point of view. Lauda had also been hesitent to make a movie for many years in part because of the death of James Hunt in 1993 at the age of 45 and felt that it wouldn’t have been ‘right’ to make a movie without his rival’s input. After meeting with dircetor Ron Howard, reading Peter Morgan’s screenplay, and with the blessing of James Hunt’s family Lauda finally agreed the movie should be made and i’m here to tell YOU my fellow movie-goers that the 30 years was worth the wait. With a supporting cast inclding Olivia Wilde, Alexandra Maria Lara, and Piefranscesco Favino it is apparent that the studios were serious about making this movie and making it right. Hemsworth and Bruhl definately deliver the goods portraying Hunt and Lauda and I will not be surprised if both of them recieve awards for their potrayals is the two leading characters in the movie. RUSH is different from alot of other movies because there is no REAL villian. It tells the story of two very different competitors in a sport where death is one small mistake away who couldn’t stand one another but at the sametime, when all is said and done they respected each other. It’s the story of two heros who pushed themselves to the limit .. sometimes losing themselves in the process and having to come to terms with the fact that they were not invinvcible.
I for one enjoyed the movie more than any other movie so far this year and I would highly recommend it to you all! Go and see it! Rotten Tomatoes gives it an 89% rating and i’m giving it 5 out of 5 stars! And with talk of the movie being nominated for awards ALREADY … How can you say ‘NO’ to recommendations like that!? It is rated R though so leave the kids at home.
Gareth von Kallenbach (965 KP) rated The Hunt (2020) in Movies
Mar 11, 2020
The new film “The Hunt” has arrived after being delayed due to world events and controversy over the films content and themes.
The film involves a group of people who wake up gagged in a field and soon find themselves being hunted by a group of unknown individuals.
After a bloody and brutal initial encounter; the remaining individuals head out into the surrounding area and soon becomes a situation with far more questions than answers.
One of the Hunted is Crystal (Betty Gilpin) deduces that things are much more complex then they seem and things take a turn in a new direction.
At this point in the film I was thinking that it was lacking any real tension or suspense as the characters were not overly developed and it made investing in their outcome difficult. The film then changes direction and looks at events of the past and also explains more about the Hunters and their motivations which is somewhat unexpected.
The film is a very difficult one to review as people will expect it to be an Action/Suspense film based on the trailers. That is really just a small part of the story which is actually closer to a Dark Comedy with heavy political overtones.
Those overtones are likely to be very controversial and may put people off from seeing the film. During my post-screening comments I said that I am going to need some time to wrap my head around this film as to if I liked it or not. It is easy to dismiss it as propaganda but it is an interesting hybrid that regardless of where you stand; does make you think.
The film involves a group of people who wake up gagged in a field and soon find themselves being hunted by a group of unknown individuals.
After a bloody and brutal initial encounter; the remaining individuals head out into the surrounding area and soon becomes a situation with far more questions than answers.
One of the Hunted is Crystal (Betty Gilpin) deduces that things are much more complex then they seem and things take a turn in a new direction.
At this point in the film I was thinking that it was lacking any real tension or suspense as the characters were not overly developed and it made investing in their outcome difficult. The film then changes direction and looks at events of the past and also explains more about the Hunters and their motivations which is somewhat unexpected.
The film is a very difficult one to review as people will expect it to be an Action/Suspense film based on the trailers. That is really just a small part of the story which is actually closer to a Dark Comedy with heavy political overtones.
Those overtones are likely to be very controversial and may put people off from seeing the film. During my post-screening comments I said that I am going to need some time to wrap my head around this film as to if I liked it or not. It is easy to dismiss it as propaganda but it is an interesting hybrid that regardless of where you stand; does make you think.
Emma @ The Movies (1786 KP) rated The Hunt (2020) in Movies
Mar 25, 2020
Contains spoilers, click to show
I've been looking forward to this since before it was cool.
A group of strangers wake up in the middle of nowhere, gagged and confused. The last thing they remember is being home in their respective states and then waking up in a clearing with each other.
It's no mystery to some why they're there, it's the Hunt. The bored elite pick up 12 strangers to hunt for sport and now it's their turn. A box full of weapons an open field and danger in every direction. Will the prey survive?
Mindless violence like this is right up my street, usually because it's so ridiculous it's funny and shocking in the most unexpected ways. It reminds me a lot of The Condemned, although there's no amazing role for Vinnie in this.
The trailers... ugh. One gives away a lot of key points and the other misleadingly splices together a lot of footage, the latter doesn't bother me nearly as much as the first. Had they only used the international trailer it would have avoided a lot of those problems and I think it would have left a bit more surprise.
Admittedly, I probably wouldn't have noticed how many reveals there were if I hadn't gone back to find something out after seeing the film. I could not for the life of me understand why they insisted on only showing the back of Hilary Swank's head in the opening, in the plane, partially during her meeting... why? If they had kept the role a secret until a reveal at the very end of the film (I still wouldn't have understood it but) I would have kind of been okay with it... but they show her face in the trailer... so why the hidden face all the time?
We get quite a big cast here with a lot of faces to recognise, all be it very briefly at times. I'm a little impressed that they decided to knock out as many as they did so early on, and especially their choices.
We have Betty Gilpin in the lead as Crystal fighting back against her would be murderers. I've only come across Gilpin (knowingly) in Elementary where she also played a character with many quirks. There's a certain kick-assery quality to Crystal, and those bits are great, but when she gets intense and mentions she might have issues it seems odd and at times not at all clear what she might be alluding to. She seemed to handle the role well but the occasional loopy moment didn't really fit.
Hilary Swank's performance as Athena was okay but the character had a lot of different issues throughout that I personally think would have made any attempt at this role mediocre.
I'll cover some of the flaws in the movie briefly, very briefly because there are a lot of things that just don't make sense. The text message that starts the whole thing... horrendously specific and doesn't seem like a likely response in that conversation. To then cause her to rage out in her meeting and decide to have the invented rampage seems even more ridiculous. When the prey can roam anywhere, why are a big chunk of them staying in the bunker on the original drop point, and how would they have known in advance that having someone with refugees would pan out in the end? And why after being so furious about the whole thing does Athena stay in her manor? Those are some of the things to quibble about, but I'll move on.
The film appears to say a lot but honestly doesn't really say anything at all. No point is ever really followed through with and explained, so the fact I wasn't "in tune" with it I didn't take anything away from those scenes anyway. At one point they throw so many topics into a conversation that it became quite annoying. I found it interesting to read up about why the film was pulled in the first place, under the veils of some terrible incidents in America at the time when it seems that the media influence was trying to crush it even before that because of all these hot topics. I don't know why anyone would be in their case if they'd actually seen the film, but as I said, this isn't my area of expertise so I don't intend to debate on the point.
I'm not sure how I feel about the ending, all I can say is that that sandwich would definitely have been burnt.
There are a lot of threads to pick at in The Hunt but none of them actually made the film fall apart, it has some humour, including some of those moments that aren't really funny but they're shocking and you laugh as a defense mechanism. It has one moment in particular that is so far off course that I wondered if it would go all out spoof. Even with the issue I still enjoyed it, there's something in these films (like Bloodshot had been) that relieves the stress of having to think.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-hunt-movie-review-spoilers.html
A group of strangers wake up in the middle of nowhere, gagged and confused. The last thing they remember is being home in their respective states and then waking up in a clearing with each other.
It's no mystery to some why they're there, it's the Hunt. The bored elite pick up 12 strangers to hunt for sport and now it's their turn. A box full of weapons an open field and danger in every direction. Will the prey survive?
Mindless violence like this is right up my street, usually because it's so ridiculous it's funny and shocking in the most unexpected ways. It reminds me a lot of The Condemned, although there's no amazing role for Vinnie in this.
The trailers... ugh. One gives away a lot of key points and the other misleadingly splices together a lot of footage, the latter doesn't bother me nearly as much as the first. Had they only used the international trailer it would have avoided a lot of those problems and I think it would have left a bit more surprise.
Admittedly, I probably wouldn't have noticed how many reveals there were if I hadn't gone back to find something out after seeing the film. I could not for the life of me understand why they insisted on only showing the back of Hilary Swank's head in the opening, in the plane, partially during her meeting... why? If they had kept the role a secret until a reveal at the very end of the film (I still wouldn't have understood it but) I would have kind of been okay with it... but they show her face in the trailer... so why the hidden face all the time?
We get quite a big cast here with a lot of faces to recognise, all be it very briefly at times. I'm a little impressed that they decided to knock out as many as they did so early on, and especially their choices.
We have Betty Gilpin in the lead as Crystal fighting back against her would be murderers. I've only come across Gilpin (knowingly) in Elementary where she also played a character with many quirks. There's a certain kick-assery quality to Crystal, and those bits are great, but when she gets intense and mentions she might have issues it seems odd and at times not at all clear what she might be alluding to. She seemed to handle the role well but the occasional loopy moment didn't really fit.
Hilary Swank's performance as Athena was okay but the character had a lot of different issues throughout that I personally think would have made any attempt at this role mediocre.
I'll cover some of the flaws in the movie briefly, very briefly because there are a lot of things that just don't make sense. The text message that starts the whole thing... horrendously specific and doesn't seem like a likely response in that conversation. To then cause her to rage out in her meeting and decide to have the invented rampage seems even more ridiculous. When the prey can roam anywhere, why are a big chunk of them staying in the bunker on the original drop point, and how would they have known in advance that having someone with refugees would pan out in the end? And why after being so furious about the whole thing does Athena stay in her manor? Those are some of the things to quibble about, but I'll move on.
The film appears to say a lot but honestly doesn't really say anything at all. No point is ever really followed through with and explained, so the fact I wasn't "in tune" with it I didn't take anything away from those scenes anyway. At one point they throw so many topics into a conversation that it became quite annoying. I found it interesting to read up about why the film was pulled in the first place, under the veils of some terrible incidents in America at the time when it seems that the media influence was trying to crush it even before that because of all these hot topics. I don't know why anyone would be in their case if they'd actually seen the film, but as I said, this isn't my area of expertise so I don't intend to debate on the point.
I'm not sure how I feel about the ending, all I can say is that that sandwich would definitely have been burnt.
There are a lot of threads to pick at in The Hunt but none of them actually made the film fall apart, it has some humour, including some of those moments that aren't really funny but they're shocking and you laugh as a defense mechanism. It has one moment in particular that is so far off course that I wondered if it would go all out spoof. Even with the issue I still enjoyed it, there's something in these films (like Bloodshot had been) that relieves the stress of having to think.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-hunt-movie-review-spoilers.html
BankofMarquis (1832 KP) rated Stuber (2019) in Movies
Jul 18, 2019
Lack of chemistry between the leads
"Chemistry" is a tricky thing in a film and one that "either you got it or you don't" - it's an elusive element that can sink or raise a film. Case in point 2 films I have seen this week.
I rewatched the 1998 Crime/Romance flick OUT OF SIGHT - starring George Clooney and Jennifer Lopez. I remembered this Steven Soderbergh directed film as "terrific" and was excited to show it to my bride. What I realized when watching it is that this is a middle-of-the-road film that is elevated by the tremendous (sexual) chemistry between Lopez and Clooney. It oozes off the screen and is palatable to the viewer.
On the other end of the scale is the recent Action/Comedy STUBER with comedian Kuamil Nanjiani (THE BIG SICK) and former pro wrestler Dave Bautista (Drax in the GUARDIANS OF THE GALAXY films). This is a middle-of-the-road film that is hurt (tremendously) by the LACK of chemistry between the two leads.
Nanjiani stars as Stu, a sad-sack Uber driver who does not stand up for himself while Bautista is a "nothing gets in my way" take charge cop who (because of recent eye surgery) cannot drive and hires an Uber driver, Stu (who gets called STUBER, hence the name of the film), to chase down clues to a criminal he's been on the hunt for - shenanigans ensue.
Individually, some of the scenes/scenarios of this film are fine/funny and Nanjiani is terrific as Stu and adds some clever comedic elements to a script that is "good enough" by Tripper Clancy.
And then there's Bautista.
He seems lost in this film, underplaying the things that make him good, his over-exuberance and over physicality (if that is a term) of someone of his size. Is this Bautista's fault or did Director Michael Dowse (GOON) purposely tone him down? It doesn't really matter for it doesn't really work.
And this is the beginning of the problem with the chemistry between the two leads - Nanjiani manic energy is not matched by Bautista - he seems to be an "energy sucker" and takes quite a bit of life out of this film. But...Director Dowse is also a problem, for he brings this lack of energy to quite a few of the big action scenes, underplaying, not overplaying what should have been over played.
There are some good things in this - besides the script and Nanjiani, Natalie Morales and Betty Gilpin are good and we do have a "Mira Sorvino sighting", which is welcome...but that's about it. Oh...except for an extended cameo by Karen Gillan (Nebula in the GUARDIANS films) she brings some energy. I would have loved to see her paired with Nanjiani in this.
If you're looking for a good "buddy cop" film with good chemistry between the leads, might I suggest THE OTHER GUYS (Will Ferrell/Mark Wahlberg), RUNNING SCARED (Billy Crystal/Gregory Hines) or the greatest example of strong chemistry - 48 HOURS (Nick Nolte/Eddie Murphy). Stuber would be the example of just the opposite.
6 stars out of 10 (for Nanjiani, Gillan and Sorvino - and a script and circumstances that could have worked had the chemistry between the leads been better)
Letter Grade: B- and you can take that to the Bank(ofMarquis)
I rewatched the 1998 Crime/Romance flick OUT OF SIGHT - starring George Clooney and Jennifer Lopez. I remembered this Steven Soderbergh directed film as "terrific" and was excited to show it to my bride. What I realized when watching it is that this is a middle-of-the-road film that is elevated by the tremendous (sexual) chemistry between Lopez and Clooney. It oozes off the screen and is palatable to the viewer.
On the other end of the scale is the recent Action/Comedy STUBER with comedian Kuamil Nanjiani (THE BIG SICK) and former pro wrestler Dave Bautista (Drax in the GUARDIANS OF THE GALAXY films). This is a middle-of-the-road film that is hurt (tremendously) by the LACK of chemistry between the two leads.
Nanjiani stars as Stu, a sad-sack Uber driver who does not stand up for himself while Bautista is a "nothing gets in my way" take charge cop who (because of recent eye surgery) cannot drive and hires an Uber driver, Stu (who gets called STUBER, hence the name of the film), to chase down clues to a criminal he's been on the hunt for - shenanigans ensue.
Individually, some of the scenes/scenarios of this film are fine/funny and Nanjiani is terrific as Stu and adds some clever comedic elements to a script that is "good enough" by Tripper Clancy.
And then there's Bautista.
He seems lost in this film, underplaying the things that make him good, his over-exuberance and over physicality (if that is a term) of someone of his size. Is this Bautista's fault or did Director Michael Dowse (GOON) purposely tone him down? It doesn't really matter for it doesn't really work.
And this is the beginning of the problem with the chemistry between the two leads - Nanjiani manic energy is not matched by Bautista - he seems to be an "energy sucker" and takes quite a bit of life out of this film. But...Director Dowse is also a problem, for he brings this lack of energy to quite a few of the big action scenes, underplaying, not overplaying what should have been over played.
There are some good things in this - besides the script and Nanjiani, Natalie Morales and Betty Gilpin are good and we do have a "Mira Sorvino sighting", which is welcome...but that's about it. Oh...except for an extended cameo by Karen Gillan (Nebula in the GUARDIANS films) she brings some energy. I would have loved to see her paired with Nanjiani in this.
If you're looking for a good "buddy cop" film with good chemistry between the leads, might I suggest THE OTHER GUYS (Will Ferrell/Mark Wahlberg), RUNNING SCARED (Billy Crystal/Gregory Hines) or the greatest example of strong chemistry - 48 HOURS (Nick Nolte/Eddie Murphy). Stuber would be the example of just the opposite.
6 stars out of 10 (for Nanjiani, Gillan and Sorvino - and a script and circumstances that could have worked had the chemistry between the leads been better)
Letter Grade: B- and you can take that to the Bank(ofMarquis)
Sophia (Bookwyrming Thoughts) (530 KP) rated The Forgetting in Books
Jan 23, 2020
Here's a terrible way to approach a review: have almost nothing to say but few words (and here I thought I finally got over that little reviewing brain freeze I got early last year. This is going to become a bad habit, yes?). Nothing really negative, as I enjoyed reading The Forgetting, but saying, "I enjoyed the book" and leaving it at that just doesn't qualify. Someone would then most likely ask, "But why did you enjoy the book?"
I am, by no means, a fan of books that involve sex trafficking. It's a terrible thing and I really don't want to bother reading about the subject (if book club chooses a certain book from the Gateway Readers Award Nominees that's related to trafficking, I'm tucking my tail between my legs and running away).
Then again, I figured Nicole Maggi's The Forgetting would be something pretty different from other thrillers, seeing as a girl goes through a heart transplant and then suddenly starts losing some of her memories while gaining some memories of the heart's original owner. In order for Georgie to actually return back to her normal life from what she calls the "Catch" though, Georgie has to unravel how her new heart's owner really died before she loses all of her memories.
<blockquote>How could I have memories that didnt belong to me? But they were there, as crystal clear as other memories I knew were mine.</blockquote>
The Forgetting faintly reminds me of a mystery show I once watched every Sunday on CBS (to which I forgot the name of, but it was always before the 10pm news), only this is just a one time thing and everything is back to normal completely (plus, I don't think that detective actually went through a transplant. More like a gut feeling. Either that, or he's a genius). It also reminded me a little of If I Stay and Where She Went, as Georgie spends a good part of the book panicking about not making into Julliard because its been her dream to go Julliard since she was a kid.
<blockquote>Would I graduate on time? Ace my Juilliard audition and start there in the fall?</blockquote>
But while Georgie seems to emphasize stressing and eventually questioning her decision to play the oboe for a lifetime after going (IF) to Julliard, it's very evenly balanced out and doesn't overshadow the overall plot of the book. (Though suddenly doing all the good stuff and whatnot is really odd unless Georgie does this on a daily basis... before the transplant.)
It is, however, pretty obvious that "Jane Doe" has unfinished business from early on in the book with the way the story plays out and how it was written (not that I mind). Some of the characters' actions do seem a little questionable how does one not go after a person that's taking a file... and not leaving a print out? Or at least go on the hunt for the file? I mean, it's a government building! Seems a little odd they would actually let a file out and don't even try to get it back, unless it's in the future and therefore not part of the book (because what happens to Georgie after doesn't matter too much after she solves the mystery of Jane Doe's death).
Though The Forgetting is a little on the paranormal side (I haven't actually heard anything similar to Georgie's situation in real life), Maggi does convey the realities and horrors of trafficking through her latest book.
---------------
Advanced copy provided by the publisher for review
Original Rating: 4.5 out of 5
Review originally posted at <a href="http://bookwyrming-thoughts.blogspot.com/2015/01/arc-review-the-forgetting-by-nicole-maggi.html">http://bookwyrming-thoughts.blogspot.com/2015/01/arc-review-the-forgetting-by-nicole-maggi.html</a>;
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
I am, by no means, a fan of books that involve sex trafficking. It's a terrible thing and I really don't want to bother reading about the subject (if book club chooses a certain book from the Gateway Readers Award Nominees that's related to trafficking, I'm tucking my tail between my legs and running away).
Then again, I figured Nicole Maggi's The Forgetting would be something pretty different from other thrillers, seeing as a girl goes through a heart transplant and then suddenly starts losing some of her memories while gaining some memories of the heart's original owner. In order for Georgie to actually return back to her normal life from what she calls the "Catch" though, Georgie has to unravel how her new heart's owner really died before she loses all of her memories.
<blockquote>How could I have memories that didnt belong to me? But they were there, as crystal clear as other memories I knew were mine.</blockquote>
The Forgetting faintly reminds me of a mystery show I once watched every Sunday on CBS (to which I forgot the name of, but it was always before the 10pm news), only this is just a one time thing and everything is back to normal completely (plus, I don't think that detective actually went through a transplant. More like a gut feeling. Either that, or he's a genius). It also reminded me a little of If I Stay and Where She Went, as Georgie spends a good part of the book panicking about not making into Julliard because its been her dream to go Julliard since she was a kid.
<blockquote>Would I graduate on time? Ace my Juilliard audition and start there in the fall?</blockquote>
But while Georgie seems to emphasize stressing and eventually questioning her decision to play the oboe for a lifetime after going (IF) to Julliard, it's very evenly balanced out and doesn't overshadow the overall plot of the book. (Though suddenly doing all the good stuff and whatnot is really odd unless Georgie does this on a daily basis... before the transplant.)
It is, however, pretty obvious that "Jane Doe" has unfinished business from early on in the book with the way the story plays out and how it was written (not that I mind). Some of the characters' actions do seem a little questionable how does one not go after a person that's taking a file... and not leaving a print out? Or at least go on the hunt for the file? I mean, it's a government building! Seems a little odd they would actually let a file out and don't even try to get it back, unless it's in the future and therefore not part of the book (because what happens to Georgie after doesn't matter too much after she solves the mystery of Jane Doe's death).
Though The Forgetting is a little on the paranormal side (I haven't actually heard anything similar to Georgie's situation in real life), Maggi does convey the realities and horrors of trafficking through her latest book.
---------------
Advanced copy provided by the publisher for review
Original Rating: 4.5 out of 5
Review originally posted at <a href="http://bookwyrming-thoughts.blogspot.com/2015/01/arc-review-the-forgetting-by-nicole-maggi.html">http://bookwyrming-thoughts.blogspot.com/2015/01/arc-review-the-forgetting-by-nicole-maggi.html</a>;
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
Piper (13 KP) rated Strangers: Prey at Night (2018) in Movies
Nov 27, 2019
Real-feeling Characters (2 more)
Escalating Tension
Some Excellent Scenes
Some Naff Shots (1 more)
Hammy Acting
Contains spoilers, click to show
I’ve heard a lot of trash about this movie, and only some of it is right. Don’t get me wrong - it has its downfalls. We’ll get to those. But it’s a genuinely fun horror movie and, considering the predictability of the slasher genre, it’s fairly terrifying: the suspense doesn’t let up from damn near the beginning. For full disclosure, I haven’t seen the original Strangers movie, and I’ve heard it’s a whole lot better than this 2018 sequel. But the fact that Prey at Night stands successfully alone as a movie means it doesn’t matter which order you watch them in - all I’d say is that it’s probably best not to pay much attention to the reviews on this one (as sefl-destructive as a comment like that might be). It’s impressive in its own right, and if this apparently-subpar sequel is anything to go by, the original must be worthwhile. I’ll let you know once I’ve actually seen it.
Now, onto the juicy stuff. There really isn’t a whole lot of bad to this movie, and what there is is fairly standard for modern horror movies. The plot is fairly predictable: people with knives hunt down people without (the good guys do have a single gun between them, and in a display that makes you genuinely shout at your television it never gets used); a dysfunctional American family gets torn completely apart; every single time you think the evil nasty villain man is dead, he stands up, just a little out of our good guy’s eyeline. It’s fairly repetitive - how much story can you get out of some knives and masks and a little bit of running? - and while it nicely strays from the standard twisty ending, there’s a hint of danger at the end that a) doesn’t make sense, b) doesn’t mean anything, and c) isn’t explored or explained so falls very short of what it’s trying to do. And that’s nearly all the bad out of the way, but I’d like to give an honourable mention to some very corny Raimi-esque camera zooms that, momentarily, take the viewer completely out of the film and just look terrible.
Having said that, most of the camerawork is good - shaky where it needs to be, dead straight when it works. There are some claustrophobic close-ups that leave you wondering just what the director’s hiding out of frame. And while watching a creepily-masked figure loom silently into frame can get a little less scary every time, it’s certainly well-shot. Despite the pitfalls, most of which are just so easy to slip into, the good parts to this movie mostly fall into the categories of character work and nice, understated gore. The bloody parts are suitably bloody, but they don’t become unrealistic. In fact, there are gory moments that seem meticulously well-crafted and you can almost feel the pain. The characters are annoying at times, they all have their own quirks and tightly-wound baggage, and there are places where their obviously set-up arcs just don’t get the resolution they need - hang on, why do I think this is a good film?
Here’s why. Because it’s real. People don’t always get resolution (okay, it isn’t always because one of the conflicting characters dies about five minutes into the experience, but we don’t always get closure, we don’t always get to fix relationships before it’s too late). The characters in this film are, despite everything, quite likeable once you get to know them, and there’s a truly heartbreaking moment fairly early on that can’t be shunned. The injuries these characters sustain throughout don’t just go away - they stick around, for the most part, slow them down, make them vulnerable. The setting is unassuming until you realise this family are literally the only characters in the film that aren’t dead (and quite beautifully mutilated) or wielding a knife/axe/pickup truck - and if you dare make the connection between a spooky trailer park and a certain Camp Crystal Lake, it makes sense. The slashers themselves are fairly unoriginal (I’m really trying not to stray into the negatives again) but they’re human. They can die. Their motives are revealed in a simple, nicely-put “Why not?” and it’s clear they don’t need a reason, this is just fun for them. The masks, obviously, add a little layer of creep, and there’s a swimming pool scene that really is quite beautifully done. Watching people get murdered to a corny, cheerful eighties soundtrack might get irritating, if it wasn’t established that that’s just a chilling preference of the primary slasher character. The popping-up-out-of-nowhere gimmick might get a little annoying if it wasn’t established that really, this is just that kind of movie. The fact that we never find out what Kenzie did to get her shipped off to boarding school, or who Tamara was (should I have seen the first movie? I’ll have to watch it soon or I just might be lambasted for my ignorance) didn't put us too out-of-place, because there are enough wonderful gore and inventive set-piece-driven slasher moments to remind you that, hang on, you don't really need to know. The tension builds, and it builds, and oh it keeps on building right until the end, and it’s the one thing about this film that's masterfully done.
At the end of the day, this isn’t a great movie. It’s certainly not perfect. But it’s good. It feels real, and it feels, in places, genuinely terrifying. It’s a fun watch and it hasn’t been ridiculously drawn-out like some recent films (I’m looking at you, Chapter Two) so it’s quick, it’s choppy, and there’s a half-decent scare every now and then. Will it scar you for life? Depends how you feel about Kim Wilde.
Now, onto the juicy stuff. There really isn’t a whole lot of bad to this movie, and what there is is fairly standard for modern horror movies. The plot is fairly predictable: people with knives hunt down people without (the good guys do have a single gun between them, and in a display that makes you genuinely shout at your television it never gets used); a dysfunctional American family gets torn completely apart; every single time you think the evil nasty villain man is dead, he stands up, just a little out of our good guy’s eyeline. It’s fairly repetitive - how much story can you get out of some knives and masks and a little bit of running? - and while it nicely strays from the standard twisty ending, there’s a hint of danger at the end that a) doesn’t make sense, b) doesn’t mean anything, and c) isn’t explored or explained so falls very short of what it’s trying to do. And that’s nearly all the bad out of the way, but I’d like to give an honourable mention to some very corny Raimi-esque camera zooms that, momentarily, take the viewer completely out of the film and just look terrible.
Having said that, most of the camerawork is good - shaky where it needs to be, dead straight when it works. There are some claustrophobic close-ups that leave you wondering just what the director’s hiding out of frame. And while watching a creepily-masked figure loom silently into frame can get a little less scary every time, it’s certainly well-shot. Despite the pitfalls, most of which are just so easy to slip into, the good parts to this movie mostly fall into the categories of character work and nice, understated gore. The bloody parts are suitably bloody, but they don’t become unrealistic. In fact, there are gory moments that seem meticulously well-crafted and you can almost feel the pain. The characters are annoying at times, they all have their own quirks and tightly-wound baggage, and there are places where their obviously set-up arcs just don’t get the resolution they need - hang on, why do I think this is a good film?
Here’s why. Because it’s real. People don’t always get resolution (okay, it isn’t always because one of the conflicting characters dies about five minutes into the experience, but we don’t always get closure, we don’t always get to fix relationships before it’s too late). The characters in this film are, despite everything, quite likeable once you get to know them, and there’s a truly heartbreaking moment fairly early on that can’t be shunned. The injuries these characters sustain throughout don’t just go away - they stick around, for the most part, slow them down, make them vulnerable. The setting is unassuming until you realise this family are literally the only characters in the film that aren’t dead (and quite beautifully mutilated) or wielding a knife/axe/pickup truck - and if you dare make the connection between a spooky trailer park and a certain Camp Crystal Lake, it makes sense. The slashers themselves are fairly unoriginal (I’m really trying not to stray into the negatives again) but they’re human. They can die. Their motives are revealed in a simple, nicely-put “Why not?” and it’s clear they don’t need a reason, this is just fun for them. The masks, obviously, add a little layer of creep, and there’s a swimming pool scene that really is quite beautifully done. Watching people get murdered to a corny, cheerful eighties soundtrack might get irritating, if it wasn’t established that that’s just a chilling preference of the primary slasher character. The popping-up-out-of-nowhere gimmick might get a little annoying if it wasn’t established that really, this is just that kind of movie. The fact that we never find out what Kenzie did to get her shipped off to boarding school, or who Tamara was (should I have seen the first movie? I’ll have to watch it soon or I just might be lambasted for my ignorance) didn't put us too out-of-place, because there are enough wonderful gore and inventive set-piece-driven slasher moments to remind you that, hang on, you don't really need to know. The tension builds, and it builds, and oh it keeps on building right until the end, and it’s the one thing about this film that's masterfully done.
At the end of the day, this isn’t a great movie. It’s certainly not perfect. But it’s good. It feels real, and it feels, in places, genuinely terrifying. It’s a fun watch and it hasn’t been ridiculously drawn-out like some recent films (I’m looking at you, Chapter Two) so it’s quick, it’s choppy, and there’s a half-decent scare every now and then. Will it scar you for life? Depends how you feel about Kim Wilde.