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365Flicks (235 KP) rated Deadly Intent (2016) in Movies
Nov 20, 2019
Deadly Intent is a Powerful, Viseceral, Performance Driven, British Thriller Unlike Others… Reaney is Superb…
I am on a pretty big Indie kick right now. Trying to rekindle my love of the the Movie Gems you can find out there if you just look past the top 10 of the moment. In doing this we have created a Spin-Off of our podcast in which we will endeavor to promote Indie Cinema and Indie releases on such forms as VOD because not everything has to be capes and spandex or break a billion at the box office.
Director Rebekah Fortune’s unnerving British horror-thriller Deadly Intent is now available On Demand in the U.S.
Deadly Intent is a movie I would stick in the above category. A low budget Few thrills Intense Psychological Horror/Thriller that ticks all the boxes it promises to. Think Babadook, a tense movie that runs at its own pace and is driven by the performances of its leading Female (Rebecca Reaney) as a mother who’s thread is slowly being unwoven and James (Gus Barry) a child who is struggling to deal with the loss of his father… But wait something is afoot.
download-40
I will only dive into this movie a little because to be honest it is only a roughly 90 minute flick that takes half the time your normal thriller would take to actually get into things and keeps the momentum going till the credits. Rebecca Reaney plays Bryony, a mother who is really trying to keep it together for her son James after the death of his father. As with every child in a movie of this genre, James begins to have some paranormal interaction with his father. Not in a Field of Dreams “Do you wanna play catch” type of way, more of a “If im heading to the light your coming with me”. As things really begin to turn to shit for our mother and son we are also given a backstory of the lead up to the fathers supposed death in the form of flashbacks, we find him to be a former soldier suffering from PTSD and… Well not a very nice man.
This movie held my attention in a way I was not really expecting, you hear British, Horror, Thriller and it doesn’t immediately fill you with hope. However we have been able to make some corkers at times and like I say i’m on an Indie kick so this fell into my wheelhouse. The movie is very well executed by not only its reasonably small cast of characters but also script wise and directorial wise. It really doesn’t out stay its welcome, and you can really draw comparisons with movies like Babadook which is a cult darling so thats never a bad thing.
I recommend you give this flick a watch if only for the performances given by Rebecca Reaney and the rest of the cast. As for the movies director Rebekah Fortune, I fully expect to be seeing more from this woman in the future.
I am on a pretty big Indie kick right now. Trying to rekindle my love of the the Movie Gems you can find out there if you just look past the top 10 of the moment. In doing this we have created a Spin-Off of our podcast in which we will endeavor to promote Indie Cinema and Indie releases on such forms as VOD because not everything has to be capes and spandex or break a billion at the box office.
Director Rebekah Fortune’s unnerving British horror-thriller Deadly Intent is now available On Demand in the U.S.
Deadly Intent is a movie I would stick in the above category. A low budget Few thrills Intense Psychological Horror/Thriller that ticks all the boxes it promises to. Think Babadook, a tense movie that runs at its own pace and is driven by the performances of its leading Female (Rebecca Reaney) as a mother who’s thread is slowly being unwoven and James (Gus Barry) a child who is struggling to deal with the loss of his father… But wait something is afoot.
download-40
I will only dive into this movie a little because to be honest it is only a roughly 90 minute flick that takes half the time your normal thriller would take to actually get into things and keeps the momentum going till the credits. Rebecca Reaney plays Bryony, a mother who is really trying to keep it together for her son James after the death of his father. As with every child in a movie of this genre, James begins to have some paranormal interaction with his father. Not in a Field of Dreams “Do you wanna play catch” type of way, more of a “If im heading to the light your coming with me”. As things really begin to turn to shit for our mother and son we are also given a backstory of the lead up to the fathers supposed death in the form of flashbacks, we find him to be a former soldier suffering from PTSD and… Well not a very nice man.
This movie held my attention in a way I was not really expecting, you hear British, Horror, Thriller and it doesn’t immediately fill you with hope. However we have been able to make some corkers at times and like I say i’m on an Indie kick so this fell into my wheelhouse. The movie is very well executed by not only its reasonably small cast of characters but also script wise and directorial wise. It really doesn’t out stay its welcome, and you can really draw comparisons with movies like Babadook which is a cult darling so thats never a bad thing.
I recommend you give this flick a watch if only for the performances given by Rebecca Reaney and the rest of the cast. As for the movies director Rebekah Fortune, I fully expect to be seeing more from this woman in the future.
Bob Mann (459 KP) rated Spencer (2021) in Movies
Nov 11, 2021
Diana hits rock bottom… as does the script.
Discordant strings sound as the royal party arrives at Sandringham for Christmas. “Is she here yet” intones the Queen. “No ma’am” her major domo replies. “Then she’s late”. Cut to a soulful choral version of “Perfect Day” as Diana Princess of Wales (née Spencer) arrives via a dramatic aerial shot. Hugs go to her sons William and Harry before she unhappily stalks through the corridors like a hunted animal.
This is the second movie in a row that I’ve intro’d via a positive emotional response to a great trailer. In the last case – for “Last Night in Soho” – the movie more than lived up to my high expectations from the trailer. But here – oh dear! It comes to something where the very best thing about the film is the trailer.
For, unfortunately for me, this came across as pretentious, vaguely insulting and with a dreadful script.
Plot Summary:
It’s Christmas 1991 at the Sandringham estate. Diana (Kristen Stewart) is the black sheep of the royal family, flouting tradition and always late for every formal event. She sees conspiracies at every turn, suspecting the household coordinator Major Gregory (Timothy Spall) of plotting against her. Her only allies that she can talk to are head chef Darren (Sean Harris) and her dresser Maggie (Sally Hawkins).
Mentally unstable, bulimic and self-harming, Diana must survive a tumultuous three days without destroying the Christmas spirit for her two sons and irreparably damaging her relationship with the wider royal family.
Certification:
US: R. UK: 12A.
Talent:
Starring: Kristen Stewart, Timothy Spall, Sally Hawkins, Jack Farthing, Sean Harris.
Directed by: Pablo Larraín.
Written by: Steven Knight.
“Spencer” Review: Positives:
Kristen Stewart does a simply fabulous job of impersonating Diana. She’s clearly studied a lot of video of the lady in getting to mimic the way she looks, walks and dances. Although I didn’t rate the film, the performance is a cut-above.
It’s an ironic touch that in all of her driving scenes, Diana never wears a seat-belt.
Negatives:
Oh man, Steven Knight’s dialogue here I found to be simply atrocious. Head-in-the-hands bad. I decided about half way through this monstrosity that “The Room” had had its day as a cult student classic, and that “Spencer” should take over in that role.
These things evolve organically over time, but I came up with the following basic rules for a student showing:
Every time Kristen Stewart does a ‘simp’ look to camera, down a shot;
When Darren utters the line “What are you going to do with wirecutters?” the audience yells as one “CUT WIRE!” **;
When Diana intones “Beauty is useless. Beauty is clothing”** the audience should strip to their underwear;
Every time a member of the hunt shouts “PULL!” you throw a stuffed pheasant in the air. Otherwise you keep the stuffed pheasant next to you, and engage in studious conversation with it as the film progresses;
Whenever Anne Boleyn appears, shout “OFF WITH HER HEAD”;
When a character says to Diana “I love you. And yes, in that way”**, the audience must shout “Aye aye” and every female audience member needs to passionately kiss another female audience member; and finally…
When Diana says “Leave Me. I want to masturbate”**, the audience throws dildos at the screen.
** I’d really like to pretend that I made these lines up. They might be paraphrased a bit, but honestly, that’s the gist!
Oh yes. It’s a sure-fire student classic of the future. You read it here first folks! I can see the filmmakers lauding me with praise for turning their movie into a post-release sleeper hit. “WHAT A CULT” they shout at me. “WHAT A CULT”!
The rest of the cast do a good enough job with what they have, but have the general vibe of being embarrassed to deliver the dialogue they’ve been given. Sean Harris – a fine actor – inexplicably spouts Shakespeare like Christopher Plummer in “Star Trek VI”! And one can only assume that Timothy Spall was given direction to act as if he had a whole lemon stuck inside his mouth for the whole movie.
I’ve been a fan of Jonny Greenwood’s music in other movies like “Phantom Thread“. I’ve seen Mark Kermode describe this soundtrack as “fantastic”. But, for me, the intrusive atonal strings and laid-back jazz vibe just didn’t work for me at all.
Summary Thoughts on “Spencer”
As you can probably tell, I hated this one. And the illustrious Mrs Movie Man 100% agrees with me in this assessment. The trailer promised a lot, but the movie delivered very little for me. It just all felt to me like an affront to the memory of Diana. Making a highly fictitious “fable based on a real life tragedy” just feels wrong. This seems particularly the case when the Queen, Prince Charles and (particularly) William and Harry are alive to watch it. What must they think if and when they get to view this?
I was a big fan of Larrain’s 2017 biopic on Jackie Kennedy – “Jackie” – which really covered the very similar ground, of a lady in the focus of publicity struggling with mental illness. But at least that had the benefit of historical distance.
I seem to be swimming against the critical tide here, since the movie currently has an IMDB rating of 7.4/10. But frankly, for me, I thought the recent series of “The Crown” did this so much better.
This is the second movie in a row that I’ve intro’d via a positive emotional response to a great trailer. In the last case – for “Last Night in Soho” – the movie more than lived up to my high expectations from the trailer. But here – oh dear! It comes to something where the very best thing about the film is the trailer.
For, unfortunately for me, this came across as pretentious, vaguely insulting and with a dreadful script.
Plot Summary:
It’s Christmas 1991 at the Sandringham estate. Diana (Kristen Stewart) is the black sheep of the royal family, flouting tradition and always late for every formal event. She sees conspiracies at every turn, suspecting the household coordinator Major Gregory (Timothy Spall) of plotting against her. Her only allies that she can talk to are head chef Darren (Sean Harris) and her dresser Maggie (Sally Hawkins).
Mentally unstable, bulimic and self-harming, Diana must survive a tumultuous three days without destroying the Christmas spirit for her two sons and irreparably damaging her relationship with the wider royal family.
Certification:
US: R. UK: 12A.
Talent:
Starring: Kristen Stewart, Timothy Spall, Sally Hawkins, Jack Farthing, Sean Harris.
Directed by: Pablo Larraín.
Written by: Steven Knight.
“Spencer” Review: Positives:
Kristen Stewart does a simply fabulous job of impersonating Diana. She’s clearly studied a lot of video of the lady in getting to mimic the way she looks, walks and dances. Although I didn’t rate the film, the performance is a cut-above.
It’s an ironic touch that in all of her driving scenes, Diana never wears a seat-belt.
Negatives:
Oh man, Steven Knight’s dialogue here I found to be simply atrocious. Head-in-the-hands bad. I decided about half way through this monstrosity that “The Room” had had its day as a cult student classic, and that “Spencer” should take over in that role.
These things evolve organically over time, but I came up with the following basic rules for a student showing:
Every time Kristen Stewart does a ‘simp’ look to camera, down a shot;
When Darren utters the line “What are you going to do with wirecutters?” the audience yells as one “CUT WIRE!” **;
When Diana intones “Beauty is useless. Beauty is clothing”** the audience should strip to their underwear;
Every time a member of the hunt shouts “PULL!” you throw a stuffed pheasant in the air. Otherwise you keep the stuffed pheasant next to you, and engage in studious conversation with it as the film progresses;
Whenever Anne Boleyn appears, shout “OFF WITH HER HEAD”;
When a character says to Diana “I love you. And yes, in that way”**, the audience must shout “Aye aye” and every female audience member needs to passionately kiss another female audience member; and finally…
When Diana says “Leave Me. I want to masturbate”**, the audience throws dildos at the screen.
** I’d really like to pretend that I made these lines up. They might be paraphrased a bit, but honestly, that’s the gist!
Oh yes. It’s a sure-fire student classic of the future. You read it here first folks! I can see the filmmakers lauding me with praise for turning their movie into a post-release sleeper hit. “WHAT A CULT” they shout at me. “WHAT A CULT”!
The rest of the cast do a good enough job with what they have, but have the general vibe of being embarrassed to deliver the dialogue they’ve been given. Sean Harris – a fine actor – inexplicably spouts Shakespeare like Christopher Plummer in “Star Trek VI”! And one can only assume that Timothy Spall was given direction to act as if he had a whole lemon stuck inside his mouth for the whole movie.
I’ve been a fan of Jonny Greenwood’s music in other movies like “Phantom Thread“. I’ve seen Mark Kermode describe this soundtrack as “fantastic”. But, for me, the intrusive atonal strings and laid-back jazz vibe just didn’t work for me at all.
Summary Thoughts on “Spencer”
As you can probably tell, I hated this one. And the illustrious Mrs Movie Man 100% agrees with me in this assessment. The trailer promised a lot, but the movie delivered very little for me. It just all felt to me like an affront to the memory of Diana. Making a highly fictitious “fable based on a real life tragedy” just feels wrong. This seems particularly the case when the Queen, Prince Charles and (particularly) William and Harry are alive to watch it. What must they think if and when they get to view this?
I was a big fan of Larrain’s 2017 biopic on Jackie Kennedy – “Jackie” – which really covered the very similar ground, of a lady in the focus of publicity struggling with mental illness. But at least that had the benefit of historical distance.
I seem to be swimming against the critical tide here, since the movie currently has an IMDB rating of 7.4/10. But frankly, for me, I thought the recent series of “The Crown” did this so much better.
Rachel King (13 KP) rated River Marked (Mercy Thompson, #6) in Books
Feb 11, 2019
This book takes a different direction than previous books in the series, because Mercy is doing something that I think is quite rare in the typical Urban Fantasy heroine -- she is getting married. As a married woman, I quite like this turn and the extra confidence and sense of permanence it gives Mercy, but I don't think this is something that every reader will fully appreciate. Still, it feels fresh and new to me, and I think it has the potential to "breathe new life" into the series.
The loose ends of Stefan's mess from the previous book are quickly tied up, and the plot swiftly moves on to a "surprise" wedding for Mercy. The set-up of the wedding was quite endearing, and I even teared up a bit over it. These two sub-plots take place rather quickly, though, as the main focus of the book is what occurs during Mercy and Adam's honeymoon.
Mercy figures out quickly that they have been set up by certain fairy acquaintances for reasons that no one really knows. I was laughing at this, as it feels like a bumper sticker motto: If the world needs saving - send Mercy! So of course, Urban Fantasy heroine Mercy does not get a typical honeymoon, but one fraught with peril and impending doom.
While it may seem on the surface to be a random way to introduce new characters and magical elements into the series, I think that the events that happened at the Columbia River were a great way to focus on Mercy's native heritage and answer many of the questions that I have been harboring through the series about her ability to transform into a coyote. She makes some new friends of native descent that are able to help her tackle her looming battle with the river monster, and she discovers that she is not the only native who can become another animal. She also learns more about her father and his relationship with her mother. The walking stick also plays a major part, though I hope this is not the last we've seen of it. That stick has too many quirks to just let it go.
The river monster itself was quite a creation - as much fantasy as I have read, I've never come across anything quite like it, though some creatures of Greek mythology comes close. Abominations like that remind me why I avoid watching horror movies. The behavior of the otterkin also reminded me of the way members of a cult exalt their leader - creepy. I can't wait for the next book!
The loose ends of Stefan's mess from the previous book are quickly tied up, and the plot swiftly moves on to a "surprise" wedding for Mercy. The set-up of the wedding was quite endearing, and I even teared up a bit over it. These two sub-plots take place rather quickly, though, as the main focus of the book is what occurs during Mercy and Adam's honeymoon.
Mercy figures out quickly that they have been set up by certain fairy acquaintances for reasons that no one really knows. I was laughing at this, as it feels like a bumper sticker motto: If the world needs saving - send Mercy! So of course, Urban Fantasy heroine Mercy does not get a typical honeymoon, but one fraught with peril and impending doom.
While it may seem on the surface to be a random way to introduce new characters and magical elements into the series, I think that the events that happened at the Columbia River were a great way to focus on Mercy's native heritage and answer many of the questions that I have been harboring through the series about her ability to transform into a coyote. She makes some new friends of native descent that are able to help her tackle her looming battle with the river monster, and she discovers that she is not the only native who can become another animal. She also learns more about her father and his relationship with her mother. The walking stick also plays a major part, though I hope this is not the last we've seen of it. That stick has too many quirks to just let it go.
The river monster itself was quite a creation - as much fantasy as I have read, I've never come across anything quite like it, though some creatures of Greek mythology comes close. Abominations like that remind me why I avoid watching horror movies. The behavior of the otterkin also reminded me of the way members of a cult exalt their leader - creepy. I can't wait for the next book!
Andy K (10821 KP) rated Doctor Sleep (2019) in Movies
Nov 9, 2019
A return to Room 237
***MINOR SPOILERS ONLY***
After the events which ruined his childhood at the Overlook Hotel, Dan Torrance has not had a profound life. He does drugs and has become addicted to alcohol. He decides to move to a small town where he tries to get his act together. He is still haunted by those events so long ago even seeing the ghost of long deceased Overlook cook Dick Hallorann who also possessed the ability to "shine". Dan always knew or assumed other in the world had the ability as well; however, had tried to lead a normal existence.
Meanwhile, a cult of soul swallowing degenerates emerges and preys on those who have the ability. Some not knowing their minor gifts are easy prey, but those who have remarkable abilities present more of a challenge. One of these such wunderkinds is 13 year old Abra Stone. Like Danny, she has had abilities all her life, her parents chose to ignore them, but now events are intensifying so profound she cannot ignore them. The cult leader, Rose The Hat, seeks out more victims for her flock to feed upon having an eventual confrontation with Abra.
***I don't want to say more so I don't ruin for anyone.***
I have decided when writing a review of a sequel of any kind, I will never refer to it as "unnecessary". I have read many recent critiques of movies like Zombieland: Double Tap or Maleficent: Mistress of Evil when this word is used and I don't agree with that as a criticism. People are only using that word if the sequel is a disappointment. Someone would never say The Empire Strikes Back or The Dark Knight were unnecessary because they were great films. Even mediocre sequels will get tagged with unnecessary and I guess I feel you should rate the film which was made on its own merits and not try to decide if it was worth making or not.
Much like the way 2010 tried to explain the monolith and the mystery from Kubrick's masterpiece and my favorite film of all time 2001: A Space Odyssey, Doctor Sleep explores and expands the "shining" universe and gives audiences another look into that world. I was reminded when watching for some reason the sequence in Ready Player One where the characters go back to the Overlook and interact with the unique setting and art direction the film possessed. The homages and settings in Doctor Sleep feel both modernized and a fond look back of what everyone loved from The Shining. I could tell writer/director Mike Flanagan loved this universe so intensely, he decided to adapt the Stephen King sequel novel and it is well done.
Most main characters from the original Shining film make an appearance here as well, most with smaller cameo type roles which I don't want to spoil here. The new characters of both Abra Stone and Rose The Hat are great additions and acting by Rebecca Ferguson (who is quickly becoming one of my faves) and young Kyliegh Curran really bring them to life. Other than the obvious Trainspotting, Ewan McGregor usually plays such happy and likable characters that it was interesting to see him in a darker light, especially at the beginning of the film.
The musical score felt much like The Shining at times (the best parts), but also foraged new ground and was truly haunting and beautiful throughout. The cinematography and art direction were beautiful when showing the dark forest and suburban landscapes as well as the recreation of some of the more familiar elements.
Doctor Sleep is the ceiling threshold of how good a sequel to a Kubrick classic iconic perfection piece of movie artwork onscreen. The feeling and fun of seeing new interpretations of classic characters was fine with me as the screenplay does them justice. Comparing it to The Shining is moot since Kubrick was the master and his films should be studied indefinitely by film students worldwide and Doctor Sleep is an admirable compliment to that.
I tried to find an instance where Kubrick made comment about the film 2010, but I could not other than he said he wished the director well with it. I would imagine he would have the same reaction here. I think he would feel his work stands on its own without need for further explanation or additional narrative, but that is not a criticism, just an observation.
After the events which ruined his childhood at the Overlook Hotel, Dan Torrance has not had a profound life. He does drugs and has become addicted to alcohol. He decides to move to a small town where he tries to get his act together. He is still haunted by those events so long ago even seeing the ghost of long deceased Overlook cook Dick Hallorann who also possessed the ability to "shine". Dan always knew or assumed other in the world had the ability as well; however, had tried to lead a normal existence.
Meanwhile, a cult of soul swallowing degenerates emerges and preys on those who have the ability. Some not knowing their minor gifts are easy prey, but those who have remarkable abilities present more of a challenge. One of these such wunderkinds is 13 year old Abra Stone. Like Danny, she has had abilities all her life, her parents chose to ignore them, but now events are intensifying so profound she cannot ignore them. The cult leader, Rose The Hat, seeks out more victims for her flock to feed upon having an eventual confrontation with Abra.
***I don't want to say more so I don't ruin for anyone.***
I have decided when writing a review of a sequel of any kind, I will never refer to it as "unnecessary". I have read many recent critiques of movies like Zombieland: Double Tap or Maleficent: Mistress of Evil when this word is used and I don't agree with that as a criticism. People are only using that word if the sequel is a disappointment. Someone would never say The Empire Strikes Back or The Dark Knight were unnecessary because they were great films. Even mediocre sequels will get tagged with unnecessary and I guess I feel you should rate the film which was made on its own merits and not try to decide if it was worth making or not.
Much like the way 2010 tried to explain the monolith and the mystery from Kubrick's masterpiece and my favorite film of all time 2001: A Space Odyssey, Doctor Sleep explores and expands the "shining" universe and gives audiences another look into that world. I was reminded when watching for some reason the sequence in Ready Player One where the characters go back to the Overlook and interact with the unique setting and art direction the film possessed. The homages and settings in Doctor Sleep feel both modernized and a fond look back of what everyone loved from The Shining. I could tell writer/director Mike Flanagan loved this universe so intensely, he decided to adapt the Stephen King sequel novel and it is well done.
Most main characters from the original Shining film make an appearance here as well, most with smaller cameo type roles which I don't want to spoil here. The new characters of both Abra Stone and Rose The Hat are great additions and acting by Rebecca Ferguson (who is quickly becoming one of my faves) and young Kyliegh Curran really bring them to life. Other than the obvious Trainspotting, Ewan McGregor usually plays such happy and likable characters that it was interesting to see him in a darker light, especially at the beginning of the film.
The musical score felt much like The Shining at times (the best parts), but also foraged new ground and was truly haunting and beautiful throughout. The cinematography and art direction were beautiful when showing the dark forest and suburban landscapes as well as the recreation of some of the more familiar elements.
Doctor Sleep is the ceiling threshold of how good a sequel to a Kubrick classic iconic perfection piece of movie artwork onscreen. The feeling and fun of seeing new interpretations of classic characters was fine with me as the screenplay does them justice. Comparing it to The Shining is moot since Kubrick was the master and his films should be studied indefinitely by film students worldwide and Doctor Sleep is an admirable compliment to that.
I tried to find an instance where Kubrick made comment about the film 2010, but I could not other than he said he wished the director well with it. I would imagine he would have the same reaction here. I think he would feel his work stands on its own without need for further explanation or additional narrative, but that is not a criticism, just an observation.
Acanthea Grimscythe (300 KP) rated The Ritual (2017) in Movies
May 12, 2018
Contains spoilers, click to show
If you’re browsing Netflix for a horror movie, The Ritual is definitely one worth checking out. Set in a foreboding, heavily wooded landscape of the Swedish mountains, this horror film reminds viewers that maybe, just maybe you should think twice about taking that shortcut – because you know, clearly that horror movie trope hasn’t been done enough.
Nevermind that, though. Starting off with a group of friends discussing their next vacation, we soon learn which character is the biggest coward of the troupe – Luke, The Ritual‘s first bloodletting comes fairly early on. Unintentionally, Luke and Robert (Rafe Spall and Paul Reid, respectively) stumble upon a robbery whilst they are inside a liquor store. Luke, in a cowardly manner, retreats and in his endeavor to do so, hits a few bottles and makes a noise, alerting the robbers to Robert’s presence and thus resulting directly in Robert’s murder. The guilt eats at him later on, but during the entire fiasco, Luke makes no attempt to come to Robert’s aid; he only watches as his friend is brutally slaughtered. (Okay, that one might be a bit of a hyperbole compared to later scenes, but I digress.)
As a direct result of this incident, the remaining quartet, which consists of Hutch (Robert James-Collier), Phil (Arsher Ali), and Dom (Sam Troughton) in addition to Luke, decide to go hiking in memory of Robert – a trip they’d originally ridiculed him about in the earlier bar scene. And thus, we have the set up of The Ritual.
Plotwise, I felt The Ritual was fairly solid as far as cult movies go – if a bit overplayed. Group of guys goes on a trip. Someone gets injured. They try to take a shortcut back. Things go badly. Of course, there’s a bit more of an occult flavor to it, one that’s a bit more haunting in quality which is nice, but overall it’s nothing new. The difference here is it is something that is done well as opposed to half-assed.
When we get to characters though, the only one that’s even remotely likable in my opinion is Phil. The others are all self-centered assholes or, in Luke’s case, cowards. Dom’s got the luck of a bag of rocks tossed into a lake and told to float, and Hutch… we’ll leave it at that. Luke’s character, on the other hand, experiences major growth. Earlier in the film, we watch him suffer from the inability to act; by the end of the film he is forced into action: either he redeems himself, or he dies.
Another aspect of this film that I love is its absolutely breathtaking shots. I hate using adverbs that I’ve already used earlier in a review, but haunting is such an apt description of the shots taken of the Swedish forests and mountains that we see in The Ritual. Those scenes, coupled with the disturbing echoes of Luke’s guilt really have a way of balancing out the movie.
Nevermind that, though. Starting off with a group of friends discussing their next vacation, we soon learn which character is the biggest coward of the troupe – Luke, The Ritual‘s first bloodletting comes fairly early on. Unintentionally, Luke and Robert (Rafe Spall and Paul Reid, respectively) stumble upon a robbery whilst they are inside a liquor store. Luke, in a cowardly manner, retreats and in his endeavor to do so, hits a few bottles and makes a noise, alerting the robbers to Robert’s presence and thus resulting directly in Robert’s murder. The guilt eats at him later on, but during the entire fiasco, Luke makes no attempt to come to Robert’s aid; he only watches as his friend is brutally slaughtered. (Okay, that one might be a bit of a hyperbole compared to later scenes, but I digress.)
As a direct result of this incident, the remaining quartet, which consists of Hutch (Robert James-Collier), Phil (Arsher Ali), and Dom (Sam Troughton) in addition to Luke, decide to go hiking in memory of Robert – a trip they’d originally ridiculed him about in the earlier bar scene. And thus, we have the set up of The Ritual.
Plotwise, I felt The Ritual was fairly solid as far as cult movies go – if a bit overplayed. Group of guys goes on a trip. Someone gets injured. They try to take a shortcut back. Things go badly. Of course, there’s a bit more of an occult flavor to it, one that’s a bit more haunting in quality which is nice, but overall it’s nothing new. The difference here is it is something that is done well as opposed to half-assed.
When we get to characters though, the only one that’s even remotely likable in my opinion is Phil. The others are all self-centered assholes or, in Luke’s case, cowards. Dom’s got the luck of a bag of rocks tossed into a lake and told to float, and Hutch… we’ll leave it at that. Luke’s character, on the other hand, experiences major growth. Earlier in the film, we watch him suffer from the inability to act; by the end of the film he is forced into action: either he redeems himself, or he dies.
Another aspect of this film that I love is its absolutely breathtaking shots. I hate using adverbs that I’ve already used earlier in a review, but haunting is such an apt description of the shots taken of the Swedish forests and mountains that we see in The Ritual. Those scenes, coupled with the disturbing echoes of Luke’s guilt really have a way of balancing out the movie.
Phillip McSween (751 KP) rated Drive Angry (2011) in Movies
Mar 13, 2020
What Happens When a Movie Meets Zero Effort
Ok, let’s not waste time with this: Drive Angry is easily one of the worst movies I’ve ever watched in my life. To be more specific, third worst behind the awful 1994 version of Fantastic Four (look that doozy up when you have a chance) and Battlefield Earth where we got to see John Travolta sporting dreads. Yes, folks, Drive Angry is bad in every single way imaginable. It is a movie you will long to forget. As far as the plot is concerned, there is a lot I tried to blot out about this movie but I’m pretty sure it’s about a man who has returned from Hell in a car he stole from the set of Fast and the Furious to prevent the sacrifice of his granddaughter by an evil cult. You say what now?
Acting: 5
I feel like these actors knew after the first week of filming that this was going to be a shit-show so they all mailed it in. Nicholas Cage, star of said shit-show, delivers his lines with the excitement of someone getting a flu shot. I won’t linger on this point, but let’s just say I’ve seen the cast of a Hallmark movie do better than these lame-duck performances.
Beginning: 1
Much like the middle and the end, the beginning is an awful disaster. It sports one of the worst setups I think I have ever seen for a movie. After ten minutes, I knew I was in for a world of pain.
Characters: 2
Cinematography/Visuals: 8
Honestly, the visuals could be a lot worse. There were some decent moments particularly when things slowed down that were bordering on looking pretty cool. While a lot of action sequences were pretty cheesy it was nice to see they at least put in a smidgeon of effort with the special effects.
Conflict: 5
Entertainment Value: 2
Memorability: 0
After the movie was over, I instantly started thinking, “Is there a time machine that I can use to get part of my life back?” There is absolutely no value in this movie, nothing to remember with the exception of the absolutely horrid filmmaking. I am still appalled this project made it through completion.
Pace: 0
Plot: 0
Story? We don’t need no stinking story! Oh, how I would have loved to be a fly on the wall during this pitch meeting. It seriously made my head hurt. They try and give you a story then throw it all out the window with repeated implausible occurrences that beat you into submission.
Resolution: 1
Overall: 24
In light of the Black Mamba Kobe Bryant’s passing, the number 24 should represent greatness. Not with my scoring of Drive Angry. Unless, of course, I’m referring to the greatness of sucking. If that’s the case, then yes, this movie is indeed great. Great and terrible.
Acting: 5
I feel like these actors knew after the first week of filming that this was going to be a shit-show so they all mailed it in. Nicholas Cage, star of said shit-show, delivers his lines with the excitement of someone getting a flu shot. I won’t linger on this point, but let’s just say I’ve seen the cast of a Hallmark movie do better than these lame-duck performances.
Beginning: 1
Much like the middle and the end, the beginning is an awful disaster. It sports one of the worst setups I think I have ever seen for a movie. After ten minutes, I knew I was in for a world of pain.
Characters: 2
Cinematography/Visuals: 8
Honestly, the visuals could be a lot worse. There were some decent moments particularly when things slowed down that were bordering on looking pretty cool. While a lot of action sequences were pretty cheesy it was nice to see they at least put in a smidgeon of effort with the special effects.
Conflict: 5
Entertainment Value: 2
Memorability: 0
After the movie was over, I instantly started thinking, “Is there a time machine that I can use to get part of my life back?” There is absolutely no value in this movie, nothing to remember with the exception of the absolutely horrid filmmaking. I am still appalled this project made it through completion.
Pace: 0
Plot: 0
Story? We don’t need no stinking story! Oh, how I would have loved to be a fly on the wall during this pitch meeting. It seriously made my head hurt. They try and give you a story then throw it all out the window with repeated implausible occurrences that beat you into submission.
Resolution: 1
Overall: 24
In light of the Black Mamba Kobe Bryant’s passing, the number 24 should represent greatness. Not with my scoring of Drive Angry. Unless, of course, I’m referring to the greatness of sucking. If that’s the case, then yes, this movie is indeed great. Great and terrible.
Gareth von Kallenbach (965 KP) rated John Wick. Chapter 4 (2023) in Movies
Mar 18, 2023
John Wick is back and you know what to expect! The action is bigger, the fight scenes are more elaborate, and the killing is…normalized. It is an awesome and fun two-hour and forty-nine-minute joyride that is constantly moving and does not feel nearly that long.
It is crazy to think that in the world of John Wick, after how many bodies he has left in his wake over the last three movies, that anyone would bother even going after him. And yet, this is a popcorn action film in the trustiest since because if you aren’t suspending disbelief and enjoying the ride, you aren’t doing it right.
While it's normally John Wick against the world, this time he seeks help from old friends who help him reign death and destruction upon anyone in his way as he attempts to kill his way to freedom from the “high table.” It is this comradery that sets this film apart from its predecessors. For the first time since the first film, we actually get character development and emotional investment for Wick and his friends.
Most notably joining Keanu Reeves this time is Donnie Yen of Ip Man fame. Channeling traditional martial arts films, Yen plays a blind master assassin in his own right, who like Wick, was retired, but was brought back to save his family and hunt down his friend John Wick. Fans of his martial arts films will recognize Yen’s movement that is both graceful and precise as a dance. Additionally, Hiroyuki Sanada (Bullet Train, The Twilight Samurai), brings his strong and stoic presence as a loyal friend to help John Wick, despite the potential danger it will bring to him and his family. While Shamier Anderson (Race, Bruiser) introduces a new character to the series, tracking John Wick to score a payday. These three delightfully add story depth to series mainstays Ian McShane and Laurence Fishburne as we dive deeper into the lore of “everything under the table.”
Opposite them, Bill Skarsgard, plays a ranking Marquis, given the power to hunt down Wick and make an example of all those who fail to “serve under the high table.” He is exactly the type of pompous and ruthless villain that we all love to hate. It is through the exhibition of his power and arrogance that we learn more about the lore and rules of this world of assassins, which is intriguing and entertaining as John Wick must navigate not only people trying to kill him but also the “old rules” on his path to freedom.
These fresh faces and story elements help the John Wick series to feel more enjoyable than ever, while, fans of martial arts films, samurai films, and a certain 1979 cult classic, will recognize the various homage paid in John Wick Chapter 4. Making this the best addition to the series since the first film.
4.5 out of 5 stars
It is crazy to think that in the world of John Wick, after how many bodies he has left in his wake over the last three movies, that anyone would bother even going after him. And yet, this is a popcorn action film in the trustiest since because if you aren’t suspending disbelief and enjoying the ride, you aren’t doing it right.
While it's normally John Wick against the world, this time he seeks help from old friends who help him reign death and destruction upon anyone in his way as he attempts to kill his way to freedom from the “high table.” It is this comradery that sets this film apart from its predecessors. For the first time since the first film, we actually get character development and emotional investment for Wick and his friends.
Most notably joining Keanu Reeves this time is Donnie Yen of Ip Man fame. Channeling traditional martial arts films, Yen plays a blind master assassin in his own right, who like Wick, was retired, but was brought back to save his family and hunt down his friend John Wick. Fans of his martial arts films will recognize Yen’s movement that is both graceful and precise as a dance. Additionally, Hiroyuki Sanada (Bullet Train, The Twilight Samurai), brings his strong and stoic presence as a loyal friend to help John Wick, despite the potential danger it will bring to him and his family. While Shamier Anderson (Race, Bruiser) introduces a new character to the series, tracking John Wick to score a payday. These three delightfully add story depth to series mainstays Ian McShane and Laurence Fishburne as we dive deeper into the lore of “everything under the table.”
Opposite them, Bill Skarsgard, plays a ranking Marquis, given the power to hunt down Wick and make an example of all those who fail to “serve under the high table.” He is exactly the type of pompous and ruthless villain that we all love to hate. It is through the exhibition of his power and arrogance that we learn more about the lore and rules of this world of assassins, which is intriguing and entertaining as John Wick must navigate not only people trying to kill him but also the “old rules” on his path to freedom.
These fresh faces and story elements help the John Wick series to feel more enjoyable than ever, while, fans of martial arts films, samurai films, and a certain 1979 cult classic, will recognize the various homage paid in John Wick Chapter 4. Making this the best addition to the series since the first film.
4.5 out of 5 stars
Movie Metropolis (309 KP) rated The DUFF (2015) in Movies
Jun 11, 2019
Disappointingly Generic
The school-set comedy genre has been done to death over the last two decades. From body swap comedies like 17 Again that hang on the pulling power of their stars, to films that now have a cult following like 10 Things I Hate About You, each of them has little to offer once the end credits roll.
With the brilliant Mean Girls being one of the only exceptions to the trend, the latest film to tackle the genre is The DUFF, but is Ari Sandel’s directorial debut worthy of a recommendation?
The DUFF follows daily life at a typical American high-school with typical US teens separated into categories depending on their social standing.
Enter Bianca Piper, played by the brilliant Mae Whitman, a vastly intelligent girl who is unaware of her place in the rankings as the DUFF – Designated Ugly Fat Friend – that is until her hunky next door neighbour Wesley (Robbie Amell) informs her of that fact.
What ensues is a selection of mildly amusing scenes interspersed with some touching social commentary about what it means to be normal in an ever-changing world as Bianca tries to come to terms with her place in the school hierarchy.
Despite the obvious focus on looks and beauty, the film does have a deeper message of self-worth and it’s a shame this is rarely touched upon outside of the finale.
Perhaps The DUFF’s strongest suit is in its unique filming style. The use of technology and social media helps distinguish it from its rivals and what it lacks in story is made up for with clever uses of animation and an engaging soundtrack.
Just when you think the film has decided to settle in a rut and remain there for the duration, it throws you off course with a clever cut-scene or use of technology and there are two moments in particular that had the audience in stitches.
Unfortunately, the rest of the film isn’t that funny. The story is predictable and the will-they-won’t-they romantic subplot is massively clichéd and dull because the characters, apart from Bianca, simply don’t register – there is no reason to care for them.
Mae Whitman is a force to be reckoned with as Bianca and is by far the most intriguing member of a disappointingly bland cast. Elsewhere, Ken Jeong (Community, The Hangover) and Allison Janney (Hairspray) pop up as a concerned teacher and Bianca’s mother, but they are both wasted in ultimately thankless roles.
Overall, it’s easy to feel sorry for films like The DUFF. The school-set genre has fizzled out in recent years and hasn’t got its mojo back despite numerous efforts from movies much less accomplished than this one.
Mae Whitman and the use of Family Guy-esque cut-scenes are the main plus points here, but despite its best intentions, it’s hard to give it too much of a recommendation and is probably best reserved for a late-night DVD viewing.
https://moviemetropolis.net/2015/04/12/disappointingly-generic-the-duff-review/
With the brilliant Mean Girls being one of the only exceptions to the trend, the latest film to tackle the genre is The DUFF, but is Ari Sandel’s directorial debut worthy of a recommendation?
The DUFF follows daily life at a typical American high-school with typical US teens separated into categories depending on their social standing.
Enter Bianca Piper, played by the brilliant Mae Whitman, a vastly intelligent girl who is unaware of her place in the rankings as the DUFF – Designated Ugly Fat Friend – that is until her hunky next door neighbour Wesley (Robbie Amell) informs her of that fact.
What ensues is a selection of mildly amusing scenes interspersed with some touching social commentary about what it means to be normal in an ever-changing world as Bianca tries to come to terms with her place in the school hierarchy.
Despite the obvious focus on looks and beauty, the film does have a deeper message of self-worth and it’s a shame this is rarely touched upon outside of the finale.
Perhaps The DUFF’s strongest suit is in its unique filming style. The use of technology and social media helps distinguish it from its rivals and what it lacks in story is made up for with clever uses of animation and an engaging soundtrack.
Just when you think the film has decided to settle in a rut and remain there for the duration, it throws you off course with a clever cut-scene or use of technology and there are two moments in particular that had the audience in stitches.
Unfortunately, the rest of the film isn’t that funny. The story is predictable and the will-they-won’t-they romantic subplot is massively clichéd and dull because the characters, apart from Bianca, simply don’t register – there is no reason to care for them.
Mae Whitman is a force to be reckoned with as Bianca and is by far the most intriguing member of a disappointingly bland cast. Elsewhere, Ken Jeong (Community, The Hangover) and Allison Janney (Hairspray) pop up as a concerned teacher and Bianca’s mother, but they are both wasted in ultimately thankless roles.
Overall, it’s easy to feel sorry for films like The DUFF. The school-set genre has fizzled out in recent years and hasn’t got its mojo back despite numerous efforts from movies much less accomplished than this one.
Mae Whitman and the use of Family Guy-esque cut-scenes are the main plus points here, but despite its best intentions, it’s hard to give it too much of a recommendation and is probably best reserved for a late-night DVD viewing.
https://moviemetropolis.net/2015/04/12/disappointingly-generic-the-duff-review/
Sarah (7798 KP) rated Monty Python's Life of Brian (1979) in Movies
Mar 15, 2021
A classic
Film #16 on the 100 Movies Bucket List: Monty Python’s Life of Brian
Life of Brian (1979] is an old school comedy classic, and alongside Python’s take on the Holy Grail, were fairly revered comedies when I was growing up and I doubt there’s many people over a certain age that haven’t seen these films. Films like this are my favourite type of comedy, and I just wish they still made films similar today.
Life of Brian follows Brian (Graham Chapman), who was born on the same night one stable down from Jesus, yet has lived an entirely different life. Fed up of the Romans, Brian joins the People’s Front of Judea led by Reggie (John a Cleese), whose aim is to get the Romans out of Judea. After being caught infiltrating the palace and put in front of Pontius Pilate (Michael Palin), Brian escapes capture and in his bid to hide from the Romans, winds up relaying some of the teachings he learnt from Jesus. This spurs a crowd into thinking he is the next Messiah, leaving Brian to try and evade his followers as well as the Romans, with rather dire consequences.
This is the Pythons second proper feature film, following on from the hugely successful Holy Grail and their tv series, Flying Circus. Directed by Terry Jones, the purpose of Life of Brian was to lampoon and satirise the New Testament, and more specifically, to make fun of followers of mistaken religious figures. To be quite honest, I don’t think they could make comedy films like this anymore. This lampoon, satire style was fairly rife even up until the 90s (with the likes of Hot Shots and The Naked Gun sequels), but I think they’d struggle to make anything like this nowadays which is a great shame. The humour in this isn’t offensive at all, it’s intelligent and adult and whipsmart and wonderfully done. Admittedly there are a few scenes that may cause some offence purely because it was made when times were different over 40 years ago, but there’s also a lot in here that is surprisingly relevant even in today’s society – one scene where the People’s Front of Judea discuss women’s rights and a request from Stan to be known as Loretta is unexpectedly well done and respectful, albeit with a Python comedy edge. There are some genius works of comedy in this film too that have become cult favourites, from Palin’s depiction of Pontius Pilate with a speech impediment (“Stwike him centuwion, vewy wuffly!”) to Terry Jones’ mother crying out to Brian’s followers that “he’s not the Messiah, he’s a very naughty boy!”. Personally, Palin’s take on Pilate and all of his scenes are my favourite of the entire film.
This isn’t to say that Life of Brian is perfect. There are some scenes and acting that are maybe a little too pantomime-esque (even for a parody) and there are some jokes and scenes that don’t quite land - the alien scene (yes I did say “alien”) is one that jumps to mind. Because of this some scenes can seem rather drawn out if you don’t get the gag. Humour like this isn’t for everyone, although for me it’s my favourite kind. This is British comedy at its best and a shining example that humour doesn’t be crude to be funny. I mean who else other than the Monty Python troupe could pull off crucified men singing “Always Look on the Bright Side of Life”?
Life of Brian (1979] is an old school comedy classic, and alongside Python’s take on the Holy Grail, were fairly revered comedies when I was growing up and I doubt there’s many people over a certain age that haven’t seen these films. Films like this are my favourite type of comedy, and I just wish they still made films similar today.
Life of Brian follows Brian (Graham Chapman), who was born on the same night one stable down from Jesus, yet has lived an entirely different life. Fed up of the Romans, Brian joins the People’s Front of Judea led by Reggie (John a Cleese), whose aim is to get the Romans out of Judea. After being caught infiltrating the palace and put in front of Pontius Pilate (Michael Palin), Brian escapes capture and in his bid to hide from the Romans, winds up relaying some of the teachings he learnt from Jesus. This spurs a crowd into thinking he is the next Messiah, leaving Brian to try and evade his followers as well as the Romans, with rather dire consequences.
This is the Pythons second proper feature film, following on from the hugely successful Holy Grail and their tv series, Flying Circus. Directed by Terry Jones, the purpose of Life of Brian was to lampoon and satirise the New Testament, and more specifically, to make fun of followers of mistaken religious figures. To be quite honest, I don’t think they could make comedy films like this anymore. This lampoon, satire style was fairly rife even up until the 90s (with the likes of Hot Shots and The Naked Gun sequels), but I think they’d struggle to make anything like this nowadays which is a great shame. The humour in this isn’t offensive at all, it’s intelligent and adult and whipsmart and wonderfully done. Admittedly there are a few scenes that may cause some offence purely because it was made when times were different over 40 years ago, but there’s also a lot in here that is surprisingly relevant even in today’s society – one scene where the People’s Front of Judea discuss women’s rights and a request from Stan to be known as Loretta is unexpectedly well done and respectful, albeit with a Python comedy edge. There are some genius works of comedy in this film too that have become cult favourites, from Palin’s depiction of Pontius Pilate with a speech impediment (“Stwike him centuwion, vewy wuffly!”) to Terry Jones’ mother crying out to Brian’s followers that “he’s not the Messiah, he’s a very naughty boy!”. Personally, Palin’s take on Pilate and all of his scenes are my favourite of the entire film.
This isn’t to say that Life of Brian is perfect. There are some scenes and acting that are maybe a little too pantomime-esque (even for a parody) and there are some jokes and scenes that don’t quite land - the alien scene (yes I did say “alien”) is one that jumps to mind. Because of this some scenes can seem rather drawn out if you don’t get the gag. Humour like this isn’t for everyone, although for me it’s my favourite kind. This is British comedy at its best and a shining example that humour doesn’t be crude to be funny. I mean who else other than the Monty Python troupe could pull off crucified men singing “Always Look on the Bright Side of Life”?
Andy K (10821 KP) rated The Fly (1986) in Movies
Oct 3, 2019
Be Afraid...Be Very Afraid
Seth Brundle is his own version of Dr Frankenstein. Instead of reanimating dead issue, his desire is to teleport flesh from one "telepod" to another.
After a chance meeting at a social magazine function, Veronica "Ronnie" Quaife meets the eccentric genius Brundle. She agrees to come back to his spacious, warehouse studio loft to see what he has been working on. He tells her about his masterpiece that will change the concept of travel throughout the world. After a short demonstration, Ronnie is not sure what to believe.
The next day, she explains what happened to her editor and scummy, sexist former boyfriend who suggests Brundle is just a con man. Eventually, Ronnie takes the offer to be Brundle's exclusive recorder of the evolution of his creation which has still one major flaw, it can only teleport inanimate objects. When tried on something living, the computer doesn't understand "the flesh" turn disembowels its subjects.Ronnie and Brundle begin a torrid affair amidst more work on the pods ultimately concluding with the successful teleportation of a baboon.
After Ronnie's boss and former lover threatens to publish her story early, Brundle gets drunk and decides it is time for a human trial of his newly perfected equipment. In his haste, he does not notice an insect guest present within his pod with him. Although successful, Brundle is not aware of his transformation yet to come.
His evolution from man to man/insect begins slowly, but continues relentlessly though Brundle does not know the cause. Once he looks through his records and discovers the genesis of his misfortune, he may be too late to stop it.
The Fly has to be director David Cronenberg's biggest financial hit grossing north of $40 million in 1986. Adjusted for inflation and considering the subject matter, genre and R rating, that would have to be much more if released today. It's hard to say the film would be Cronenberg's highest critical success, although most of his early films are now considered cult classics since they had a hard time finding mainstream audiences due to their "body horror" often gruesome visuals and offbeat subject matter.
Although most would classify as horror due to the shocking visuals within the last 30 minutes of the film, I have always felt it was more of a thriller. Once Bundle is infected, he has to use his sharp, but now deteriorating wits to figure a solution to his problem before it is too late. Every subsequent Ronnie visit to Brundle's loft finds unexpected results which keep the viewer on edge and wondering what horrors they will view next.
The make up effects in the film rivaled any of the top work ever at that time and garnered effect artist Chris Walas an Academy Award in 1986. By today's standards of CGI and film perfection, some elements could look a bit dated to modern audiences, but I believe still hold up to present day scrutiny.
The film score by frequent Cronenberg collaborator Howard Shore is haunting, bleak somber, and excellent.
Too often mesmerizing acting performances in horror/thriller movies get overlooked for the Oscars (except if you are Anthony Hopkins) which is a shame here. Jeff Goldblum undergoes not only a physical transformation, but his mannerisms, ticks and speech all go from human to insect and he deserves a lot of credit for what he did to bring "Brundlefly" to life.
After a chance meeting at a social magazine function, Veronica "Ronnie" Quaife meets the eccentric genius Brundle. She agrees to come back to his spacious, warehouse studio loft to see what he has been working on. He tells her about his masterpiece that will change the concept of travel throughout the world. After a short demonstration, Ronnie is not sure what to believe.
The next day, she explains what happened to her editor and scummy, sexist former boyfriend who suggests Brundle is just a con man. Eventually, Ronnie takes the offer to be Brundle's exclusive recorder of the evolution of his creation which has still one major flaw, it can only teleport inanimate objects. When tried on something living, the computer doesn't understand "the flesh" turn disembowels its subjects.Ronnie and Brundle begin a torrid affair amidst more work on the pods ultimately concluding with the successful teleportation of a baboon.
After Ronnie's boss and former lover threatens to publish her story early, Brundle gets drunk and decides it is time for a human trial of his newly perfected equipment. In his haste, he does not notice an insect guest present within his pod with him. Although successful, Brundle is not aware of his transformation yet to come.
His evolution from man to man/insect begins slowly, but continues relentlessly though Brundle does not know the cause. Once he looks through his records and discovers the genesis of his misfortune, he may be too late to stop it.
The Fly has to be director David Cronenberg's biggest financial hit grossing north of $40 million in 1986. Adjusted for inflation and considering the subject matter, genre and R rating, that would have to be much more if released today. It's hard to say the film would be Cronenberg's highest critical success, although most of his early films are now considered cult classics since they had a hard time finding mainstream audiences due to their "body horror" often gruesome visuals and offbeat subject matter.
Although most would classify as horror due to the shocking visuals within the last 30 minutes of the film, I have always felt it was more of a thriller. Once Bundle is infected, he has to use his sharp, but now deteriorating wits to figure a solution to his problem before it is too late. Every subsequent Ronnie visit to Brundle's loft finds unexpected results which keep the viewer on edge and wondering what horrors they will view next.
The make up effects in the film rivaled any of the top work ever at that time and garnered effect artist Chris Walas an Academy Award in 1986. By today's standards of CGI and film perfection, some elements could look a bit dated to modern audiences, but I believe still hold up to present day scrutiny.
The film score by frequent Cronenberg collaborator Howard Shore is haunting, bleak somber, and excellent.
Too often mesmerizing acting performances in horror/thriller movies get overlooked for the Oscars (except if you are Anthony Hopkins) which is a shame here. Jeff Goldblum undergoes not only a physical transformation, but his mannerisms, ticks and speech all go from human to insect and he deserves a lot of credit for what he did to bring "Brundlefly" to life.
