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Gareth von Kallenbach (962 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
Chris Sawin (602 KP) rated Session 9 (2001) in Movies
Jun 22, 2019
Gordon Fleming specializes in removing asbestos, but is having a hard time finding work while him and his wife just had a baby. That is until he's contacted by Bill Griggs, the owner of an abandoned mental hospital. The hospital needs a lot of work and Gordon brings his second, Phil, along with him to check it out. What is originally a three week job gets negotiated down to one week that includes a $10,000 bonus for every man involved. Gordon leads a five man team that will have to work their hardest to get the job done on time, but what starts out as a great job slowly snowballs into the most horrific thing any of them could have imagined. The crew begins turning on each other as heated arguments seem to escalate as quickly as they began. Each man begins to act strangely and differently than when they first arrived. Something that used to be in the hospital still resides deep within its darkness infested corridors and is beginning to plague Gordon's team. Some would even say that fear isn't a feeling or an emotion. It's a place that preys on the weak and the wounded.
The atmosphere in this film is just brilliant. The setting puts you on edge to begin with since it takes place in an abandoned mental hospital, but even deserted there's just something about the building that doesn't seem right. It's like something has infected the structure down to its core. The setting seems to rely heavily on luminescence or the lack thereof. Even when a room in the hospital is illuminated, it still feels dark. Darkness still overwhelms it like it's hiding something. In addition to that, there's the Mary Hobbes subplot that makes the film that much more disturbing. But the less you know about that going into the film, the better.
While the film has a fantastic atmosphere, it seems to be lacking something to make it a superb film. Everything seems to be there as the script is good, the writing is top notch, can't complain about the acting, there's a bit of a twist in the ending that's really well done, and the film stays with you long after you watch it. The best explanation is that it had all the elements of a superb film, but it dropped the ball slightly in its execution. The pieces of the puzzle weren't put together in exactly the right way, but were put together in a way that still resulted in a good psychological horror film.
Session 9 is the perfect horror film for people who like films that mess with their head. It gets beneath your skin and stays there. While the film is practically a cult classic and contains all the elements of a great horror film, it seems to be lacking something. The best way to explain it is to say Session 9 is a superb psychological horror film that just wasn't as good to this reviewer as it is to others, but that could always change with repeat viewings of the film.
The atmosphere in this film is just brilliant. The setting puts you on edge to begin with since it takes place in an abandoned mental hospital, but even deserted there's just something about the building that doesn't seem right. It's like something has infected the structure down to its core. The setting seems to rely heavily on luminescence or the lack thereof. Even when a room in the hospital is illuminated, it still feels dark. Darkness still overwhelms it like it's hiding something. In addition to that, there's the Mary Hobbes subplot that makes the film that much more disturbing. But the less you know about that going into the film, the better.
While the film has a fantastic atmosphere, it seems to be lacking something to make it a superb film. Everything seems to be there as the script is good, the writing is top notch, can't complain about the acting, there's a bit of a twist in the ending that's really well done, and the film stays with you long after you watch it. The best explanation is that it had all the elements of a superb film, but it dropped the ball slightly in its execution. The pieces of the puzzle weren't put together in exactly the right way, but were put together in a way that still resulted in a good psychological horror film.
Session 9 is the perfect horror film for people who like films that mess with their head. It gets beneath your skin and stays there. While the film is practically a cult classic and contains all the elements of a great horror film, it seems to be lacking something. The best way to explain it is to say Session 9 is a superb psychological horror film that just wasn't as good to this reviewer as it is to others, but that could always change with repeat viewings of the film.
Gareth von Kallenbach (962 KP) rated Dark Shadows (2012) in Movies
Aug 7, 2019
Tim Burton has always been one of my all time favorite directors because of his strange-yet-humorous nature and the frequent use of my favorite actor, Johnny Depp. For the last decade or so we have been plagued with remakes of stories that we are all familiar with and the only thing that makes them different is the addition of the iconic Tim Burton style. Once again Tim Burton brings us yet another remake, only this time of the 70’s cult classic soap opera Dark Shadows.
Frequent collaborator, Johnny Depp, stars as Barnabas Collins in a role previously made famous by Jonathan Frid. Barnabas Collins and his parents leave Liverpool in 1760 for New Hampshire, in an attempt to expand their family business. They succeed and become the wealthiest family in the area, resulting in the town getting named after the family. Barnabas was a ladies’ man and scorned the heart of Angelique Bouchard (Eva Green) by falling in love with Josette DuPres (Bella Heathcote). Unbeknownst to him, Angelique is a witch and out of pure jealousy, she kills his one true love and has cursed Barnabas to be a vampire so that his suffering would be endless. Angelique rallies the townspeople to bury Barnabas alive.
After nearly 200 years, Barnabas is accidently unearthed in the year 1972. He heads to the one place that he can call home and encounters the remaining four dysfunctional members of his family and discovers that his family estate is in jeopardy. Barnabas soon learns that the evil person behind all his families turmoil is none other than Angelique herself.
Though this film does have the quirky Burton-esque feel that we are all familiar with, it lacks his signature energy. The plot itself is long and drawn out and makes the first half of the movie extremely slow and boring. Now don’t get me wrong, Depp did manage to slip in more than a few funny lines but even his best work was a strained attempt at humor. I do, on the other hand, appreciate that Burton brought back the original vampire myths, with all the burning in the sunlight and not being able to see a reflection. Though the script and story itself leaves much to be desired, Johnny Depp is as funny as the story and/or script allows him to be and as Barnabas, he carries the movie. Even Michelle Pfeiffer and Helena Bonham Carter couldn’t help save this movie from the pedantic pace of a very uneven but predictable story. Equally disappointing was the waste of the perfect casting of Chloe Moretz as Michelle’s daughter. Even though she looked and sounded a lot like her movie mom, she wasn’t given much to do but sulk and glare.
Even though you will experience an entertaining blast from the past with the characters, soundtrack and fashions, it is best to say that this film should be left as a rental. Being such a huge fan of Burton’s kooky and imaginative world, it sure pains me to say that this movie is a bit of a train wreck and lacks the enchanting storytelling that we’ve come to expect from him.
Frequent collaborator, Johnny Depp, stars as Barnabas Collins in a role previously made famous by Jonathan Frid. Barnabas Collins and his parents leave Liverpool in 1760 for New Hampshire, in an attempt to expand their family business. They succeed and become the wealthiest family in the area, resulting in the town getting named after the family. Barnabas was a ladies’ man and scorned the heart of Angelique Bouchard (Eva Green) by falling in love with Josette DuPres (Bella Heathcote). Unbeknownst to him, Angelique is a witch and out of pure jealousy, she kills his one true love and has cursed Barnabas to be a vampire so that his suffering would be endless. Angelique rallies the townspeople to bury Barnabas alive.
After nearly 200 years, Barnabas is accidently unearthed in the year 1972. He heads to the one place that he can call home and encounters the remaining four dysfunctional members of his family and discovers that his family estate is in jeopardy. Barnabas soon learns that the evil person behind all his families turmoil is none other than Angelique herself.
Though this film does have the quirky Burton-esque feel that we are all familiar with, it lacks his signature energy. The plot itself is long and drawn out and makes the first half of the movie extremely slow and boring. Now don’t get me wrong, Depp did manage to slip in more than a few funny lines but even his best work was a strained attempt at humor. I do, on the other hand, appreciate that Burton brought back the original vampire myths, with all the burning in the sunlight and not being able to see a reflection. Though the script and story itself leaves much to be desired, Johnny Depp is as funny as the story and/or script allows him to be and as Barnabas, he carries the movie. Even Michelle Pfeiffer and Helena Bonham Carter couldn’t help save this movie from the pedantic pace of a very uneven but predictable story. Equally disappointing was the waste of the perfect casting of Chloe Moretz as Michelle’s daughter. Even though she looked and sounded a lot like her movie mom, she wasn’t given much to do but sulk and glare.
Even though you will experience an entertaining blast from the past with the characters, soundtrack and fashions, it is best to say that this film should be left as a rental. Being such a huge fan of Burton’s kooky and imaginative world, it sure pains me to say that this movie is a bit of a train wreck and lacks the enchanting storytelling that we’ve come to expect from him.
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Gareth von Kallenbach (962 KP) rated Us (2019) in Movies
Jul 2, 2019
We’ve all heard that somewhere out in the world there is a true Doppelganger for each and every one of us. An almost exact copy which may not behave the same but would otherwise be indistinguishable from the other. In a common instance a Doppelganger might be a set of identical twins who share the same DNA, or in pop culture references we might look to the definition of a Doppelganger in Dungeons and Dragons, defined as a monstrous humanoid able to change the shape and read the minds of their intended target to mimic them completely. Somewhere in the middle is where Jordan Peele’s latest masterpiece takes us.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
Movie Metropolis (309 KP) rated Ghost in the Shell (2017) in Movies
Jun 10, 2019
Turning the beloved Ghost in the Shell manga franchise into a Hollywood film that’ll please picky Western audiences was always going to be a tough job for director Rupert Sanders (Snow White & the Huntsman).
Casting the central lead, The Major, proved even more difficult. When Scarlett Johansson’s name was attached to play the role, Hollywood was once again accused of white-washing, a tag lobbied at Gods of Egypt last year. The finished product is now in cinemas around the globe, but is it the disaster many predicted?
In the near future, Major (Scarlett Johansson) is the first of her kind: a human who has been cyber-enhanced to create a perfect soldier devoted to stopping the world’s most dangerous criminals. When terrorism reaches a new level that includes the ability to hack into people’s minds and control them, Major is uniquely qualified to stop it. As she prepares to face a new enemy, Major finds truths about her past that changes her view on the world forever.
The greatest accolade that can be given to Ghost in the Shell is that its pre-release detractors haven’t stopped people from going to see it. The cinema was busy on its opening night, with many itching to see how such a universally loved manga could be fine-tuned for a Western palate.
Visually; the film is absolutely stunning and is best viewed on the biggest screen possible. Each frame is dripping with detail and the naturally heavy use of CGI doesn’t detract from creating a vibrant metropolis that feels every bit alive.
The story is simple to follow and easy to enjoy. It’s exciting, emotional and boosted by a fine, if slightly uninspiring performance from Johansson. The rest of the cast can also be described as fine, with only Juliette Binoche’s mother-like Dr. Ouélet creating any sort of lasting impact.
And this is Ghost in the Shell’s fundamental weakness. Outside of Binoche, the rest of the cast are largely forgettable and that’s a real shame considering the characters in its excellent source material were, for want of a better word, magical. Even the villain is devoid any sort of tyranny.
Thankfully though, the impressive set design and well-choreographed action sequences mask the disappointing array of characters well and steamroll this thrilling adventure to a very satisfying conclusion. It’s also accompanied by a gorgeous soundtrack by Clint Mansell and Lorne Balfe that compliments the futuristic nature of the film beautifully.
Sitting in the theatre, it felt at times like I was watching an updated version of Total Recall, and that’s no bad thing. Comparing it to a cult classic is probably what director Rupert Sanders was trying to achieve and despite its poor characters, Ghost in the Shell has every opportunity to succeed as a film we look back on in 30 years and think “hey, that’s actually pretty good”.
Overall, Ghost in the Shell is one hell of a good-looking film. Couple this with impressive special effects and a rollercoaster ride of a story and you have a big screen experience that’s great for 106 minutes, but probably won’t have any lasting impact once the end credits roll.
https://moviemetropolis.net/2017/03/31/not-without-its-faults-ghost-in-the-shell-review/
Casting the central lead, The Major, proved even more difficult. When Scarlett Johansson’s name was attached to play the role, Hollywood was once again accused of white-washing, a tag lobbied at Gods of Egypt last year. The finished product is now in cinemas around the globe, but is it the disaster many predicted?
In the near future, Major (Scarlett Johansson) is the first of her kind: a human who has been cyber-enhanced to create a perfect soldier devoted to stopping the world’s most dangerous criminals. When terrorism reaches a new level that includes the ability to hack into people’s minds and control them, Major is uniquely qualified to stop it. As she prepares to face a new enemy, Major finds truths about her past that changes her view on the world forever.
The greatest accolade that can be given to Ghost in the Shell is that its pre-release detractors haven’t stopped people from going to see it. The cinema was busy on its opening night, with many itching to see how such a universally loved manga could be fine-tuned for a Western palate.
Visually; the film is absolutely stunning and is best viewed on the biggest screen possible. Each frame is dripping with detail and the naturally heavy use of CGI doesn’t detract from creating a vibrant metropolis that feels every bit alive.
The story is simple to follow and easy to enjoy. It’s exciting, emotional and boosted by a fine, if slightly uninspiring performance from Johansson. The rest of the cast can also be described as fine, with only Juliette Binoche’s mother-like Dr. Ouélet creating any sort of lasting impact.
And this is Ghost in the Shell’s fundamental weakness. Outside of Binoche, the rest of the cast are largely forgettable and that’s a real shame considering the characters in its excellent source material were, for want of a better word, magical. Even the villain is devoid any sort of tyranny.
Thankfully though, the impressive set design and well-choreographed action sequences mask the disappointing array of characters well and steamroll this thrilling adventure to a very satisfying conclusion. It’s also accompanied by a gorgeous soundtrack by Clint Mansell and Lorne Balfe that compliments the futuristic nature of the film beautifully.
Sitting in the theatre, it felt at times like I was watching an updated version of Total Recall, and that’s no bad thing. Comparing it to a cult classic is probably what director Rupert Sanders was trying to achieve and despite its poor characters, Ghost in the Shell has every opportunity to succeed as a film we look back on in 30 years and think “hey, that’s actually pretty good”.
Overall, Ghost in the Shell is one hell of a good-looking film. Couple this with impressive special effects and a rollercoaster ride of a story and you have a big screen experience that’s great for 106 minutes, but probably won’t have any lasting impact once the end credits roll.
https://moviemetropolis.net/2017/03/31/not-without-its-faults-ghost-in-the-shell-review/
Chris Sawin (602 KP) rated Re-Animator (1985) in Movies
Jun 22, 2019
Herbert West is no ordinary doctor. He's brilliant and obviously knows quite a bit about the field of medicine, but something is peculiar about him. He acts strangely and tends to keep to himself while getting absorbed into his work. Throughout his research, Dr. West may have finally perfected his serum. A serum that brings the dead back to life. The consequences of the serum are hectic, as expected. The sooner the serum is injected into a fresh corpse in comparison to one that's been lying around for a few hours, the better the results. Based on the H.P. Lovecraft tale, Herbert West-Reanimator, West finds himself at a medical college when his stint in Switzerland ends a bit abruptly. There he meets Dan Cain, a student at the college who is held in high regard, and Dan's girlfriend, Meg, whose father is the dean to the medical college. When Dan puts a notice up looking for a roommate in his dorm, West comes knocking. Things seem to be a constant downward spiral from there as West continues his research and the bodies begin to pile up.
Re-Animator is one of the few cult classics that I'll stick up for. I usually wind up feeling like most classic horror films that are recommended or held in such high regard aren't good at all or are extremely overrated. This film is a lot of fun though. It's definitely got its campy qualities with a headless corpse stumbling around the third act of the film, but it doesn't feel out of place for a film built around a concoction that's injected into the brain to bring corpses back from the dead. The music, especially the opening theme, tends to get a bad wrap because it blatantly rips off (or pays homage, depending on how you look at it) the Psycho score. While the similarities are crystal clear once they're heard, I honestly didn't mind it. It's kind of hard to imagine this film with different music, so I have no complaints.
The Herbert West role really fits Jeffrey Combs like a glove. His attraction to weird and quirky roles pretty much began with films like this one. As West's unusual personality is revealed throughout the film, you can't help but get a sense of uneasiness as his character traits unravel before your very eyes. The best example is when West brings Dan's cat Rufus back to life. After it's been killed for the second time, Dan is shocked to discover it's Rufus and turns to look at West. West points at the cat and tells Dan to, "Look out!" Dan quickly turns his attention back to poor Rufus, who's still lying there motionless. West begins to burst into maniacal laughter as Dan looks on in horror. With the upcoming remake on the horizon, it's hard to imagine anyone else in the role of Herbert West especially with Jeffrey Combs confirmed for a cameo.
While Re-Animator could definitely be considered cheesy and campy at times, its strengths outweigh its flaws. The story is simple, but tends to unfold nicely and the acting is solid (David Gale as Dr. Hill is up for debate though). The film is pretty much exactly what you would expect a horror film to be like from the eighties; gory, cheesy, tons of nudity and sex, and a few creative twists along the way. And when it comes to horror, what else could you really ask for?
Re-Animator is one of the few cult classics that I'll stick up for. I usually wind up feeling like most classic horror films that are recommended or held in such high regard aren't good at all or are extremely overrated. This film is a lot of fun though. It's definitely got its campy qualities with a headless corpse stumbling around the third act of the film, but it doesn't feel out of place for a film built around a concoction that's injected into the brain to bring corpses back from the dead. The music, especially the opening theme, tends to get a bad wrap because it blatantly rips off (or pays homage, depending on how you look at it) the Psycho score. While the similarities are crystal clear once they're heard, I honestly didn't mind it. It's kind of hard to imagine this film with different music, so I have no complaints.
The Herbert West role really fits Jeffrey Combs like a glove. His attraction to weird and quirky roles pretty much began with films like this one. As West's unusual personality is revealed throughout the film, you can't help but get a sense of uneasiness as his character traits unravel before your very eyes. The best example is when West brings Dan's cat Rufus back to life. After it's been killed for the second time, Dan is shocked to discover it's Rufus and turns to look at West. West points at the cat and tells Dan to, "Look out!" Dan quickly turns his attention back to poor Rufus, who's still lying there motionless. West begins to burst into maniacal laughter as Dan looks on in horror. With the upcoming remake on the horizon, it's hard to imagine anyone else in the role of Herbert West especially with Jeffrey Combs confirmed for a cameo.
While Re-Animator could definitely be considered cheesy and campy at times, its strengths outweigh its flaws. The story is simple, but tends to unfold nicely and the acting is solid (David Gale as Dr. Hill is up for debate though). The film is pretty much exactly what you would expect a horror film to be like from the eighties; gory, cheesy, tons of nudity and sex, and a few creative twists along the way. And when it comes to horror, what else could you really ask for?
Darren (1599 KP) rated Rabid (2019) in Movies
Oct 14, 2019
Characters – Rose is the quiet assistant to a fashion designer, she has her own ideas that she does want to see made, the girls come to her to get small adjustments, but the designer treats her like a carpet. She isn’t seen in the same light as the models and often keeps to herself. She gets involved in an accident which first sees her horribly disfigured and secondly lose her job, desperate to fix this, she turns to an experimental procedure which fixes everything, giving her a new lease for life and a taste for blood. Brad is one of the co-workers that does try to help Rose come out of her shell by inviting her to the party before the accident. Chelsea is the foster sister to Rose that has been working with her too, she is the one that opens up her home after the accident, helping her get back on her feet, supporting her through the treatment, not looking away like most the others in her life would.
Performances – Laura Vandervoort does give us a strong performance throughout, being able to balance the losing her mind and determined personality. Hanneke Talbot is strong too and the supportive friend, that does get to show the pushy personality her character has around Rose. Benjamin Hollingsworth does show us a strong friend or potential love interest in the film, while big names like Stephen McHattie and C.M. Punk make entertaining supporting appearance.
Story – The story here follows a young lady that sees her life turned upside down after an accident leaves her disfigured, only for an experiment procedure bringing out a new version of herself and an unwanted side effect along the way. This is a remake and one story that can remain similar is places, while bringing the social side of the film to new heights, the fashion world does make a wonderful backdrop for the story because it reflects the world that image needs to be fix with surgery. There are certain ways the story does feel weaker, that is mostly seeing how everything is spreading, which is important, but it doesn’t follow Rose, which is the important side of the story.
Horror/Sci-Fi – The horror side of the film comes from the real world situation that Rose goes through, with the accident before hitting the graphic violence of what is happening to Rose, which is also the sci-fi side of the film, the changes Rose goes through.
Settings – The film uses the fashion world as the main settings backdrop, it shows us just how important image is to Rose and the people close to her.
Special Effects – The complete highlight of this film comes from the practical effects, which look as graphic as they can, the injury suffered by Rose is one of the worst wounds you will see in this year’s horror films. We should give a shout out to the team (According to IMDB) Graham Chivers, Jeff Derushie, Anahita Loghmanifar, Emily O’Quinn and Omar Roessler
Scene of the Movie – The first reveal from the injury.
That Moment That Annoyed Me – We do move away from Rose, as the bigger problems spread around the city, we could have been given more fear from not seeing this, only hearing about it.
Final Thoughts – This is a practical effects masterclass in horror, it will use some of the best you will see this year even if the story is a modernised look at a cult classic.
Overall: Bloody graphic horror.
Performances – Laura Vandervoort does give us a strong performance throughout, being able to balance the losing her mind and determined personality. Hanneke Talbot is strong too and the supportive friend, that does get to show the pushy personality her character has around Rose. Benjamin Hollingsworth does show us a strong friend or potential love interest in the film, while big names like Stephen McHattie and C.M. Punk make entertaining supporting appearance.
Story – The story here follows a young lady that sees her life turned upside down after an accident leaves her disfigured, only for an experiment procedure bringing out a new version of herself and an unwanted side effect along the way. This is a remake and one story that can remain similar is places, while bringing the social side of the film to new heights, the fashion world does make a wonderful backdrop for the story because it reflects the world that image needs to be fix with surgery. There are certain ways the story does feel weaker, that is mostly seeing how everything is spreading, which is important, but it doesn’t follow Rose, which is the important side of the story.
Horror/Sci-Fi – The horror side of the film comes from the real world situation that Rose goes through, with the accident before hitting the graphic violence of what is happening to Rose, which is also the sci-fi side of the film, the changes Rose goes through.
Settings – The film uses the fashion world as the main settings backdrop, it shows us just how important image is to Rose and the people close to her.
Special Effects – The complete highlight of this film comes from the practical effects, which look as graphic as they can, the injury suffered by Rose is one of the worst wounds you will see in this year’s horror films. We should give a shout out to the team (According to IMDB) Graham Chivers, Jeff Derushie, Anahita Loghmanifar, Emily O’Quinn and Omar Roessler
Scene of the Movie – The first reveal from the injury.
That Moment That Annoyed Me – We do move away from Rose, as the bigger problems spread around the city, we could have been given more fear from not seeing this, only hearing about it.
Final Thoughts – This is a practical effects masterclass in horror, it will use some of the best you will see this year even if the story is a modernised look at a cult classic.
Overall: Bloody graphic horror.
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Kirk Bage (1775 KP) rated Knives Out (2019) in Movies
Jan 22, 2021
Murder mystery films tend to be more fun in theory and anticipation than they are to watch. It’s a genre that I very much enjoy and have indulged in over the years. Yet, if I look back in detail at it, I find that it is the books, especially those of Agatha Christie, that I like much more than anything lasting a couple of hours on the screen. There’s something about the mystery being rushed and squeezed into the cinema artform that is usually anti-climactic or even a full on let down.
Perhaps my favourite of the entire genre is a film that refuses to take itself seriously and is at once a pastiche of the multiple cliches that have accumulated over the years. And that film is, of course, the wonderfully camp, funny and charming 1985 romp Clue, starring Tim Curry and a slough of 80s B stars having the time of their lives. It isn’t a “good” film, it is a cult film, it’s joy being in its absolute lack of pretension or moral judgement. Like the board game that inspired it, it isn’t overly complicated or long, but has just enough cleverness, mirth and ambiance about it to always be a winner.
Rian Johnson’s take on the genre, Knives Out, is aware of these elements at all times, being above all things colourful, playful, arch and glib, but never convoluted or cerebral in an alienating way. He is something of a master at subverting a genre and wringing new life into it; take the invention of the teen noir in Brick, or the blend of assassin time travel sci-fi in Looper. He even gave an entire franchise a new breath of life by re-examining the use of humour and self referencing in Star Wars: The Last Jedi.
All of those previous films have as many detractors as mega fans, proving his style is devisive, for its audacity and its irreverence towards any idea of purism within an established model. And Knives Out is no exception to that. However, it may be the film of his that most people can agree on that they enjoyed, for one reason or another. I think it’s as interesting to ask why that is as it is to talk about the film itself… so, I will. At least, I’ll try to do both without losing my train of thought.
Firstly, it looks stunning; the palate of rich colours used in the poster and all marketing just make it look like something you want to immerse yourself in – every jacket, tie, dress, or piece of furniture is designed to precision, and it works like a dream of the genre you may have once had, as if it had been plucked directly from your subconscious. As in all good murder mysteries, the location, props and costumes should hold as much character as the actors, and the stately home of the Thrombey family certainly provides plenty of atmosphere in every texture and material on display.
Of course, the cast of characters is wonderfully put together with some inspired casting of familiar faces and actors you trust, such as Toni Collette and Michael Shannon, together with a few we don’t see enough of these days, such as Jamie Lee Curtis and Don Johnson, who both manage to create something as memorable as anything they did in their golden days. Add to the mix two bone fide action film superstars in Daniel Craig and Chris Evans, who leave the baggage of their most famous characters far behind and manage to convince you they are real actors again, the former with the aide of a jarring but hilarious Southern drawl, that grates at first but is a perfect choice on reflection.
Then there are the two lynchpins of this film’s ultimate success and joy: the exceptional legendary gravitas of 90 year old Christopher Plummer as the patriarch and victim at the centre of the intrigue, and the quite glorious revelation of Ana de Armas, whose charisma, beauty and skill in this delicately balanced role was the most impressive thing for me about the whole production. It may be Craig who is the ever present focus, as the detective tasked with solving the “crime”, but it is de Armas that you will remember most long after the credits roll.
As for the plot, well… I obviously can’t talk about it without ruining the whole thing. But, I can say that it isn’t far into the intricate web of motives, alibis and secrets before you start to sense this is going somewhere different, even unique. The examination of the relationships and personalities, and the extent to which they each demonstrate greed and selfishness is fascinating, superceding the crime that exists on the surface with a swamp of far seedier and unpleasant goings-on. Craig’s suave Benoit Blanc isn’t so much a detective here as a family therapist, or perhaps a supernatural presence in the style of the old classic, An Inspector Calls. Perhaps, it is suggested, no one completely escapes guilt and shame here… or do they? Are we looking for a murderer, or the only morally good person amidst a pack of dogs?
Another key element is how modern and unstuffy it feels, despite the country house and riches this is no play of manners, quite the opposite – no one here is on their best behaviour for the sake of decorum, and being upper class is an idea played with rather than enforced. The tea and cakes of the classic Christie, such as Murder on the Orient Express is replaced by smartphones and similar trappings, that identify it as definitely 2019 and no period piece. The concerns and themes are very much rooted in our present problems, and for that it engages and resonates in ways a costume drama just can’t do.
Upon finishing it for the first time, you may be thinking “sure, OK, I enjoyed that… but I’m not blown away here”. Then, as it sinks in over coming weeks, you find yourself recommending it to people, and thinking about how good it is in ways you didn’t initially think about. And that is surely why it was so embraced by the critics and paying public alike; it is a likeable, fun film, that can also stand some artistic scrutiny. It isn’t the smartest, or prettiest, or most meaningful film ever made, but it is enough of all three to make it an instant mini-classic, in my opinion.
I feel like there is maybe more to say about it, which is always a good sign, but that will do for now. I’d be happy to discuss it with anyone that feels the need. Or hear from anyone that didn’t like it! It would be interesting to hear that side of it, because I haven’t heard many negative comments on it at all. I don’t think I would defend it as a masterpiece to the end of the Earth, ‘cos it ain’t that good. I’m just hard pressed to find a serious fault. And it’s great when one of those sneaks up on you!
Perhaps my favourite of the entire genre is a film that refuses to take itself seriously and is at once a pastiche of the multiple cliches that have accumulated over the years. And that film is, of course, the wonderfully camp, funny and charming 1985 romp Clue, starring Tim Curry and a slough of 80s B stars having the time of their lives. It isn’t a “good” film, it is a cult film, it’s joy being in its absolute lack of pretension or moral judgement. Like the board game that inspired it, it isn’t overly complicated or long, but has just enough cleverness, mirth and ambiance about it to always be a winner.
Rian Johnson’s take on the genre, Knives Out, is aware of these elements at all times, being above all things colourful, playful, arch and glib, but never convoluted or cerebral in an alienating way. He is something of a master at subverting a genre and wringing new life into it; take the invention of the teen noir in Brick, or the blend of assassin time travel sci-fi in Looper. He even gave an entire franchise a new breath of life by re-examining the use of humour and self referencing in Star Wars: The Last Jedi.
All of those previous films have as many detractors as mega fans, proving his style is devisive, for its audacity and its irreverence towards any idea of purism within an established model. And Knives Out is no exception to that. However, it may be the film of his that most people can agree on that they enjoyed, for one reason or another. I think it’s as interesting to ask why that is as it is to talk about the film itself… so, I will. At least, I’ll try to do both without losing my train of thought.
Firstly, it looks stunning; the palate of rich colours used in the poster and all marketing just make it look like something you want to immerse yourself in – every jacket, tie, dress, or piece of furniture is designed to precision, and it works like a dream of the genre you may have once had, as if it had been plucked directly from your subconscious. As in all good murder mysteries, the location, props and costumes should hold as much character as the actors, and the stately home of the Thrombey family certainly provides plenty of atmosphere in every texture and material on display.
Of course, the cast of characters is wonderfully put together with some inspired casting of familiar faces and actors you trust, such as Toni Collette and Michael Shannon, together with a few we don’t see enough of these days, such as Jamie Lee Curtis and Don Johnson, who both manage to create something as memorable as anything they did in their golden days. Add to the mix two bone fide action film superstars in Daniel Craig and Chris Evans, who leave the baggage of their most famous characters far behind and manage to convince you they are real actors again, the former with the aide of a jarring but hilarious Southern drawl, that grates at first but is a perfect choice on reflection.
Then there are the two lynchpins of this film’s ultimate success and joy: the exceptional legendary gravitas of 90 year old Christopher Plummer as the patriarch and victim at the centre of the intrigue, and the quite glorious revelation of Ana de Armas, whose charisma, beauty and skill in this delicately balanced role was the most impressive thing for me about the whole production. It may be Craig who is the ever present focus, as the detective tasked with solving the “crime”, but it is de Armas that you will remember most long after the credits roll.
As for the plot, well… I obviously can’t talk about it without ruining the whole thing. But, I can say that it isn’t far into the intricate web of motives, alibis and secrets before you start to sense this is going somewhere different, even unique. The examination of the relationships and personalities, and the extent to which they each demonstrate greed and selfishness is fascinating, superceding the crime that exists on the surface with a swamp of far seedier and unpleasant goings-on. Craig’s suave Benoit Blanc isn’t so much a detective here as a family therapist, or perhaps a supernatural presence in the style of the old classic, An Inspector Calls. Perhaps, it is suggested, no one completely escapes guilt and shame here… or do they? Are we looking for a murderer, or the only morally good person amidst a pack of dogs?
Another key element is how modern and unstuffy it feels, despite the country house and riches this is no play of manners, quite the opposite – no one here is on their best behaviour for the sake of decorum, and being upper class is an idea played with rather than enforced. The tea and cakes of the classic Christie, such as Murder on the Orient Express is replaced by smartphones and similar trappings, that identify it as definitely 2019 and no period piece. The concerns and themes are very much rooted in our present problems, and for that it engages and resonates in ways a costume drama just can’t do.
Upon finishing it for the first time, you may be thinking “sure, OK, I enjoyed that… but I’m not blown away here”. Then, as it sinks in over coming weeks, you find yourself recommending it to people, and thinking about how good it is in ways you didn’t initially think about. And that is surely why it was so embraced by the critics and paying public alike; it is a likeable, fun film, that can also stand some artistic scrutiny. It isn’t the smartest, or prettiest, or most meaningful film ever made, but it is enough of all three to make it an instant mini-classic, in my opinion.
I feel like there is maybe more to say about it, which is always a good sign, but that will do for now. I’d be happy to discuss it with anyone that feels the need. Or hear from anyone that didn’t like it! It would be interesting to hear that side of it, because I haven’t heard many negative comments on it at all. I don’t think I would defend it as a masterpiece to the end of the Earth, ‘cos it ain’t that good. I’m just hard pressed to find a serious fault. And it’s great when one of those sneaks up on you!