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Emma @ The Movies (1786 KP) rated Wonder Woman 1984 (2020) in Movies
Jan 22, 2021
I swung between wanting to see this and not, had it been a normal world then of course I would have gone regardless, but as it is I wasn't having strong feelings about this one.
Diana's dreams come true at the hands of an ancient artefact that can grant wishes. But as a wish is given something is taken away, and when Maxwell Lord, businessman and entrepreneur, makes a wish, the world is about to learn the lesson of the phrase... "be careful what you wish for".
First off... this absolutely would have been better on the big screen. It's never been so apparent to me that a cinema experience of a film holds so much power, it's making me understand the differences in early reviews and home viewing reviews a lot more these days.
The story of WW84 is really a very simple one. Doodad does magic, people are evil, goodie must make them good again. And that somehow fills a whole 2 hour 31 minutes of film... it doesn't feel like a very satisfying experience. For all that opener, the conclusion seems to be fleeting and dare I say it... not entirely believable. Overall the whole thing doesn't get particularly deep at any point despite there being a lot of opportunities around the wishes, and there are some questionable moments that could fill several blog posts.
There's been a long pause between me writing the first part and continuing here. That pause involved me staring at my notes and contemplating just writing "meh" and finishing the review there. I'm really going to try and elaborate on my feelings though.
For a film with two villains it's not got much proper villainy in it. Barbara Minerva becoming Cheetah is massively underwhelming from what felt like a promising build-up, and Maxwell Lord, despite having the potential, was not big bad material. Neither had the drive in them to be a truly powerful force in the film, and what's the point in a villain if you can't get on board to hate them?
Kristen Wiig did give a great performance as Barbara, it was a smooth and interesting transition as she progressed, and it left me a lot less "meh" than everything else. But did anyone else just keep thinking Catwoman though?
I thought Pedro Pascal had 80's businessman down pretty well, but I found him to be a little lacklustre, and the character's story felt like the reason for that.
As with the first film, Gal Gadot is majestic on screen as Diana and Wonder Woman... but even here I found myself shrugging at what was going on, and cringing at some problematic plot points. I'm trying to work out if the appeal of the first film was partially due to the amusement of Diana discovering the world for the first time. Here she's savvy and elegant (even for the 0s), and she didn't have the same humour. Instead, we've got that role filled by Steve (Chris Pine). His discovery of the 80s world was fairly amusing, but the way in which he came back bugged me.
All in all characters really didn't grab me, out two main newbies felt very much like rip-offs of other things rather than a great recreation of their source material.
Visually the film was amazing, the bright colours, the style, all fit the era and you gotta love some parachute pants. But outside of that it just merged into other films for me.
That CGI... how can you get so many things right but somehow not do the villains? It's Steppenwolf all over again, Cheetah looked bad. Not only that, but it took an immense amount of time for us to even get to that full effect... so why wasn't it on point? How are DC incapable of animating their villains?
Will I watch this again? Probably, but I'm not overly fussed about it being anytime soon. It wasn't anywhere near as entertaining as the first for me, and didn't have enough action to cover up the disappointing story and character work. I really wish I felt strongly one way or the other on this and not having just another sitting on the fence swinging my feet review. I did appreciate some early vaguely Quidditchy vibes at the beginning though.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/01/wonder-woman-1984-movie-review.html
Diana's dreams come true at the hands of an ancient artefact that can grant wishes. But as a wish is given something is taken away, and when Maxwell Lord, businessman and entrepreneur, makes a wish, the world is about to learn the lesson of the phrase... "be careful what you wish for".
First off... this absolutely would have been better on the big screen. It's never been so apparent to me that a cinema experience of a film holds so much power, it's making me understand the differences in early reviews and home viewing reviews a lot more these days.
The story of WW84 is really a very simple one. Doodad does magic, people are evil, goodie must make them good again. And that somehow fills a whole 2 hour 31 minutes of film... it doesn't feel like a very satisfying experience. For all that opener, the conclusion seems to be fleeting and dare I say it... not entirely believable. Overall the whole thing doesn't get particularly deep at any point despite there being a lot of opportunities around the wishes, and there are some questionable moments that could fill several blog posts.
There's been a long pause between me writing the first part and continuing here. That pause involved me staring at my notes and contemplating just writing "meh" and finishing the review there. I'm really going to try and elaborate on my feelings though.
For a film with two villains it's not got much proper villainy in it. Barbara Minerva becoming Cheetah is massively underwhelming from what felt like a promising build-up, and Maxwell Lord, despite having the potential, was not big bad material. Neither had the drive in them to be a truly powerful force in the film, and what's the point in a villain if you can't get on board to hate them?
Kristen Wiig did give a great performance as Barbara, it was a smooth and interesting transition as she progressed, and it left me a lot less "meh" than everything else. But did anyone else just keep thinking Catwoman though?
I thought Pedro Pascal had 80's businessman down pretty well, but I found him to be a little lacklustre, and the character's story felt like the reason for that.
As with the first film, Gal Gadot is majestic on screen as Diana and Wonder Woman... but even here I found myself shrugging at what was going on, and cringing at some problematic plot points. I'm trying to work out if the appeal of the first film was partially due to the amusement of Diana discovering the world for the first time. Here she's savvy and elegant (even for the 0s), and she didn't have the same humour. Instead, we've got that role filled by Steve (Chris Pine). His discovery of the 80s world was fairly amusing, but the way in which he came back bugged me.
All in all characters really didn't grab me, out two main newbies felt very much like rip-offs of other things rather than a great recreation of their source material.
Visually the film was amazing, the bright colours, the style, all fit the era and you gotta love some parachute pants. But outside of that it just merged into other films for me.
That CGI... how can you get so many things right but somehow not do the villains? It's Steppenwolf all over again, Cheetah looked bad. Not only that, but it took an immense amount of time for us to even get to that full effect... so why wasn't it on point? How are DC incapable of animating their villains?
Will I watch this again? Probably, but I'm not overly fussed about it being anytime soon. It wasn't anywhere near as entertaining as the first for me, and didn't have enough action to cover up the disappointing story and character work. I really wish I felt strongly one way or the other on this and not having just another sitting on the fence swinging my feet review. I did appreciate some early vaguely Quidditchy vibes at the beginning though.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/01/wonder-woman-1984-movie-review.html
BankofMarquis (1832 KP) rated Joker (2019) in Movies
Oct 10, 2019
Joaquin's Performance Elevates This Film
Give Joaquin Phoenix the Oscar right now. His bravura performance as the titular character in JOKER is one for the ages. He is on the screen in every scene of this film and captivates and repulses you at the same time. This performance raises this film to another level.
The question is - what level was this film at, and where does this performance raise it to?
Set in Gotham City right around the time of the murder of Bruce Wayne's parents, JOKER tells the origin story of...well...a character that calls himself JOKER. This sad sack, with the name of Arthur Fleck, is a part-time clown (standing outside of store closings with a spinning sign or going to Children's Hospital). We watch his origins as he rises (or perhaps...falls?) to the anarchic symbol that is JOKER. And that's the interesting thing about this film. You are watching the fall of a man and the rise of a symbol - does Fleck find comfort or madness in this journey - or, perhaps, maybe he finds comfort in madness?
Embodying this broken spirit that keeps getting up despite whatever beatings (sometimes physical, sometimes mental, always with the potential to finally break him) is the unique talent that is Joaquin Phoenix. You can tell from his portrayal of Arthur that there is something just "off" with him and you continually wait for the breaking point that will drive him down the road of JOKER. But it is not only his acting that is on display here, it the manipulation and movements of his body that is amazing and outstanding. Much like a professional dancer, Phoenix/Fleck waltzes through this film like there is a musical score that only he can hear - and that is both fascinating and disturbing at the same time. There is a fine line that needs to be trod here, for if you don't, this character and performance can easily be one of total madness (a.k.a. Jack Nicholson as Jack Torrance in the SHINING) but Phoenix balances sanity/insanity very well and you are waiting for the final blow that will send him, inevitably, over the edge. It's like watching a ticking time bomb that you cannot see the clock counting down to zero - but count down to zero you are sure it will do.
Exchanging blows with Phoenix for about 1/3 of this film is Robert DeNiro as talk show host Murray Franklin (think a meaner version of Johnny Carson). DeNiro is VERY good in this role and it is good to see that he still can "bring it" as a serious actor when he wants to. Unfortunately, DeNiro's character isn't really in the first 2/3 of this film and that's too bad. Phoenix' Arthur Fleck is a force to be reckoned with and he really could have used another character just as strong to play against.
Unfortunately, Writer/Director Todd Phillips (THE HANGOVER films) doesn't really give Phoenix anyone strong to play against for the first 2/3 of this film though Frances Conroy (overbearing mother), Zazie Beetz (potential love interest) and Brett Cullen (billionaire Thomas Wayne, father of Bruce) come and go in all too brief appearances that never really are on screen long enough to stand their ground (though Conroy comes close). This makes the first part of this film very on-sided, dreary, depressing and dark. I get that Director/Writer Phillips was going for the "Decaying of Gotham" theme as seen through the eyes of Fleck, but it became a slog after awhile. I wanted to yell at the screen at about the 1 hour mark "All right, I get it!"
Now...to give Phillips credit, he creates an interesting version of this world that we all know well (through the Dark Knight and various other DC Universe films), so I give him points for originality. And...he really NAILS the ending (the last 1/3 of the film - the part WITH DeNiro). I thought it was effective and potent and left it's mark.
Which brings me back to my opening thought. Phoenix raises this film up with his performance - the question is "from where to where". I'd have to say (because of the slowness of the first 2/3 of this film) that Phoenix fearless performance raises this dark and dreary film from a "C" to a "B". So with that in mind, I give JOKER...
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
The question is - what level was this film at, and where does this performance raise it to?
Set in Gotham City right around the time of the murder of Bruce Wayne's parents, JOKER tells the origin story of...well...a character that calls himself JOKER. This sad sack, with the name of Arthur Fleck, is a part-time clown (standing outside of store closings with a spinning sign or going to Children's Hospital). We watch his origins as he rises (or perhaps...falls?) to the anarchic symbol that is JOKER. And that's the interesting thing about this film. You are watching the fall of a man and the rise of a symbol - does Fleck find comfort or madness in this journey - or, perhaps, maybe he finds comfort in madness?
Embodying this broken spirit that keeps getting up despite whatever beatings (sometimes physical, sometimes mental, always with the potential to finally break him) is the unique talent that is Joaquin Phoenix. You can tell from his portrayal of Arthur that there is something just "off" with him and you continually wait for the breaking point that will drive him down the road of JOKER. But it is not only his acting that is on display here, it the manipulation and movements of his body that is amazing and outstanding. Much like a professional dancer, Phoenix/Fleck waltzes through this film like there is a musical score that only he can hear - and that is both fascinating and disturbing at the same time. There is a fine line that needs to be trod here, for if you don't, this character and performance can easily be one of total madness (a.k.a. Jack Nicholson as Jack Torrance in the SHINING) but Phoenix balances sanity/insanity very well and you are waiting for the final blow that will send him, inevitably, over the edge. It's like watching a ticking time bomb that you cannot see the clock counting down to zero - but count down to zero you are sure it will do.
Exchanging blows with Phoenix for about 1/3 of this film is Robert DeNiro as talk show host Murray Franklin (think a meaner version of Johnny Carson). DeNiro is VERY good in this role and it is good to see that he still can "bring it" as a serious actor when he wants to. Unfortunately, DeNiro's character isn't really in the first 2/3 of this film and that's too bad. Phoenix' Arthur Fleck is a force to be reckoned with and he really could have used another character just as strong to play against.
Unfortunately, Writer/Director Todd Phillips (THE HANGOVER films) doesn't really give Phoenix anyone strong to play against for the first 2/3 of this film though Frances Conroy (overbearing mother), Zazie Beetz (potential love interest) and Brett Cullen (billionaire Thomas Wayne, father of Bruce) come and go in all too brief appearances that never really are on screen long enough to stand their ground (though Conroy comes close). This makes the first part of this film very on-sided, dreary, depressing and dark. I get that Director/Writer Phillips was going for the "Decaying of Gotham" theme as seen through the eyes of Fleck, but it became a slog after awhile. I wanted to yell at the screen at about the 1 hour mark "All right, I get it!"
Now...to give Phillips credit, he creates an interesting version of this world that we all know well (through the Dark Knight and various other DC Universe films), so I give him points for originality. And...he really NAILS the ending (the last 1/3 of the film - the part WITH DeNiro). I thought it was effective and potent and left it's mark.
Which brings me back to my opening thought. Phoenix raises this film up with his performance - the question is "from where to where". I'd have to say (because of the slowness of the first 2/3 of this film) that Phoenix fearless performance raises this dark and dreary film from a "C" to a "B". So with that in mind, I give JOKER...
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
Emma @ The Movies (1786 KP) rated The Suicide Squad (2021) in Movies
Aug 15, 2021
Much like the recent Justice League redo we have Suicide Squad... sorry, The Suicide Squad.
The bad guys (and gals) club together to protect America... and by default, the world.
So it's not really a sequel, it's not really a reboot, but it's sort of a rebooted sequel while being a standalone film in the same universe. I've got no idea, but what we've got doesn't really bring out the same character dynamics as we've had previously.
Harley, Flag, Boomerang and Waller make repeat visits to the franchise. Harley and Boomerang are their usual, slightly off the wall, selves to bring the outlandish humour element. But Flag and Waller aren't anywhere near the versions they were in their last outing. Flag isn't sceptical, and that could be acceptance after the previous missions, but he's less of a leader and altogether more... bland. Waller on the other hand is still a hardass, but on a much different level. Before, she was sinister evil with a smidge of understated terrifying. Now... she's just shouty. It didn't make for a good viewing experience.
The dynamic change also left me cold. Harley and Boomerang have great chemistry together, what they did to her and Flag though, that was an odd mood. At least last time he was firm and decisive, now we're getting lingering camera shots that feel like they have romantic undertones. They also took Harley out of a lot of group activity, for a storyline that could easily have been summed up in another way.
Supporting the old familiars are a lot of new faces. In fact, there are over a dozen new named characters in The Suicide Squad.
Idris Elba is obviously a big pull in the advertising of this. Bloodsport isn't a character I know well, but it's handy that there are several, almost identical, characters they could swap in for Deadshot in case they want to bring Will Smith back later. But whether or not the comic book characters are the same, the story on the screen comes across almost identical.
And then there's Peacemaker, played by John Cena... another highly trained marksman. But this one with a penchant for tighty-whities. With this and F9, I'm not sure I have enough words. This is the last in a string of roles for him that I really haven't enjoyed. I'm even more distressed now that I know there's an 8 episode Peacemaker series coming in 2022. Heavy "do not want" vibes.
I couldn't go through this review without talking about King Shark... that would be criminal. Sylvester Stallone did this perfectly. Nanaue has humour, vulnerability, anger, wonder... and that was all conveyed with animation and a minimal script. I will not apologise for saying he was the best thing about the whole movie.
The rest of the characters are a steep learning curve. There was a lot of opportunity, but some rash decisions meant there was also a lot of wasted IP.
Our bad guys were a little all over the place. Front and centre we had Peter Capaldi as Thinker. He's not exactly a force to be reckoned with though, and honestly, I kind of expected more considering his prominence in the trailer. Starro was more of a challenger as a baddie, but they did ignore a lot of his abilities and left him as more of a novelty... and those armpits... *shudder*
Effects were as you'd expect for a DC film, not bad, but nothing that blows your mind. Animating a giant starfish is never going to look all that believable though, so there's a certain amount of leeway you need to give them for that.
The vibrant colours felt very on brand for James Gunn, and almost made this a bit of a companion piece to Birds of Prey... but those flowers... Yes, Harley has her hallucinatory moments, those flowers felt entirely pointless and out of place.
While The Suicide Squad was watchable, I really didn't find it to be the redemption that a lot of people are praising it to be. In fact, it felt like a solid step back for some characters and an excessive waste of others. Had they made the entire movie from King Shark's point of view then this obviously would have been a 5 star film, but as it was I didn't like the tone it had, and a lot of the action felt way too lighthearted for me. This wasn't an improvement on the previous iteration.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/08/the-suicide-squad-movie-review.html
The bad guys (and gals) club together to protect America... and by default, the world.
So it's not really a sequel, it's not really a reboot, but it's sort of a rebooted sequel while being a standalone film in the same universe. I've got no idea, but what we've got doesn't really bring out the same character dynamics as we've had previously.
Harley, Flag, Boomerang and Waller make repeat visits to the franchise. Harley and Boomerang are their usual, slightly off the wall, selves to bring the outlandish humour element. But Flag and Waller aren't anywhere near the versions they were in their last outing. Flag isn't sceptical, and that could be acceptance after the previous missions, but he's less of a leader and altogether more... bland. Waller on the other hand is still a hardass, but on a much different level. Before, she was sinister evil with a smidge of understated terrifying. Now... she's just shouty. It didn't make for a good viewing experience.
The dynamic change also left me cold. Harley and Boomerang have great chemistry together, what they did to her and Flag though, that was an odd mood. At least last time he was firm and decisive, now we're getting lingering camera shots that feel like they have romantic undertones. They also took Harley out of a lot of group activity, for a storyline that could easily have been summed up in another way.
Supporting the old familiars are a lot of new faces. In fact, there are over a dozen new named characters in The Suicide Squad.
Idris Elba is obviously a big pull in the advertising of this. Bloodsport isn't a character I know well, but it's handy that there are several, almost identical, characters they could swap in for Deadshot in case they want to bring Will Smith back later. But whether or not the comic book characters are the same, the story on the screen comes across almost identical.
And then there's Peacemaker, played by John Cena... another highly trained marksman. But this one with a penchant for tighty-whities. With this and F9, I'm not sure I have enough words. This is the last in a string of roles for him that I really haven't enjoyed. I'm even more distressed now that I know there's an 8 episode Peacemaker series coming in 2022. Heavy "do not want" vibes.
I couldn't go through this review without talking about King Shark... that would be criminal. Sylvester Stallone did this perfectly. Nanaue has humour, vulnerability, anger, wonder... and that was all conveyed with animation and a minimal script. I will not apologise for saying he was the best thing about the whole movie.
The rest of the characters are a steep learning curve. There was a lot of opportunity, but some rash decisions meant there was also a lot of wasted IP.
Our bad guys were a little all over the place. Front and centre we had Peter Capaldi as Thinker. He's not exactly a force to be reckoned with though, and honestly, I kind of expected more considering his prominence in the trailer. Starro was more of a challenger as a baddie, but they did ignore a lot of his abilities and left him as more of a novelty... and those armpits... *shudder*
Effects were as you'd expect for a DC film, not bad, but nothing that blows your mind. Animating a giant starfish is never going to look all that believable though, so there's a certain amount of leeway you need to give them for that.
The vibrant colours felt very on brand for James Gunn, and almost made this a bit of a companion piece to Birds of Prey... but those flowers... Yes, Harley has her hallucinatory moments, those flowers felt entirely pointless and out of place.
While The Suicide Squad was watchable, I really didn't find it to be the redemption that a lot of people are praising it to be. In fact, it felt like a solid step back for some characters and an excessive waste of others. Had they made the entire movie from King Shark's point of view then this obviously would have been a 5 star film, but as it was I didn't like the tone it had, and a lot of the action felt way too lighthearted for me. This wasn't an improvement on the previous iteration.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/08/the-suicide-squad-movie-review.html
Ryan Hill (152 KP) rated Suicide Squad (2016) in Movies
May 9, 2019 (Updated May 26, 2019)
"Oh, I'm not gonna kill you... I'm just gonna hurt you really, really bad."
Suicide Squad, aka Suicide Squandered, was one of my most anticipated movies of 2016. It would bring back to the big screen one of the most iconic comic book characters, Mr. J, and Harley Quinn would make her long awaited movie debut. It also promised to offer a different approach on the superhero genre, as it would star the villains instead of the good guys.
However, the movie delivers much less than what it teases. It begins on a high note, by introducing some characters in a fun, energetic and fast-paced way, in spite of the messy editing that makes these segments look like mini trailers. It goes downhill from there, showing only a couple of scenes more that could justify all the love these superhero movies get. Ultimately, what distinguishes these sequences from the mediocre ones are the characters in them and whether the audience cares for them or not.
Displaying some information on the screen about certain characters or telling their backstory doesn't necessarily contribute to their development, nor to the knowledge the viewer has about them. Therefore, it's impossible to care about all the characters and only those who are played by the (more) famous actors have any meaning to the audience.
Will Smith's Deadshot is the best of the bunch. Smith has this unique ability to deliver comedic lines that many comedians wish they had. His charisma drives most of the movie and so does his character's motivation. Right now, he could be the only character capable of leading a franchise of his own. Deadshot ended up establishing a mildly interesting dynamic with Joel Kinnaman's forgettable Rick Flag.
Margot Robbie's Harley Quinn is the other character we end up caring about. Robbie provides a fantastic performance and hits all the right notes. Her amazing backstory is only slightly explored and it has potential for a future psychological thriller movie. With the right script and direction, it could be an incredible film. People have already talked about her body and I can only add that she could possibly be right below Kate Hudson's Penny Lane on the sexiest female movie characters. She could.
I love all sorts of crazy and psychotic performances on screen. In fact, one of my favourites is Gary Oldman's in Leon. Jared Leto delivers another one of those performances. It's truly stellar, I loved his interpretation of the Joker and I believe Leto can still receive high praise for his extraordinary efforts. It could happen in the form of that Batman movie, by Matt Reeves.
Just to conclude my thought on the performances, I would like to add that Viola Davis is an excellent Amanda Waller, even more menacing that Cara Delevingne's witch, more on that later. Jai Courtney was great , he got all the best jokes. Jay Hernandez sounds a lot like Jon Bernthal's Frank Castle, doesn't he? His Diablo is the best character, out of the less interesting ones. I love Katana from CW's Arrow and it was disappointing to see that the screenwriters didn't care about her, even more so because Karen Fukuhara seems perfect for the role. Killer Croc has the best entrance on water ever.
A movie is as good as its villain, right? Indeed. Cara Delevingne's Enchantress could very well be the worst movie villain ever. Malekith is relegated to second place. Honestly, I don't know who's to blame. Sure, Delevingne's acting isn't top-notch, but the screenwriters made her dance (?) in a weird way and her voice is laughable. The final result is ridiculous and by far the worst aspect of the movie.
While Batman v Superman: Dawn of Justice was a dark film and proud to 'own that shit', Suicide Squad is ashamed to exhibit that dark side, which results in confusing tone shifts. One moment, it's clearly a DC movie, and another, it is a Marvel family friendly one. Therefore, the comedy sometimes doesn't land, at all. Besides, I also didn't find anything special about the way the action was shot. It was generic stuff, mostly.
Suicide Squad is a huge waste of potential, that could have benefited from some character development and sharp editing. Its greatest strenght is undoubtedly the work done by the talented cast. Could a different cut fix some of these issues? Probably, yes. I was going to attribute 6 stars to this, but a second watch didn't help, either. By the way, what was your favourite sequence? Spoiler alert: mine was the one in which Joker jumps into the acid to Harley.
However, the movie delivers much less than what it teases. It begins on a high note, by introducing some characters in a fun, energetic and fast-paced way, in spite of the messy editing that makes these segments look like mini trailers. It goes downhill from there, showing only a couple of scenes more that could justify all the love these superhero movies get. Ultimately, what distinguishes these sequences from the mediocre ones are the characters in them and whether the audience cares for them or not.
Displaying some information on the screen about certain characters or telling their backstory doesn't necessarily contribute to their development, nor to the knowledge the viewer has about them. Therefore, it's impossible to care about all the characters and only those who are played by the (more) famous actors have any meaning to the audience.
Will Smith's Deadshot is the best of the bunch. Smith has this unique ability to deliver comedic lines that many comedians wish they had. His charisma drives most of the movie and so does his character's motivation. Right now, he could be the only character capable of leading a franchise of his own. Deadshot ended up establishing a mildly interesting dynamic with Joel Kinnaman's forgettable Rick Flag.
Margot Robbie's Harley Quinn is the other character we end up caring about. Robbie provides a fantastic performance and hits all the right notes. Her amazing backstory is only slightly explored and it has potential for a future psychological thriller movie. With the right script and direction, it could be an incredible film. People have already talked about her body and I can only add that she could possibly be right below Kate Hudson's Penny Lane on the sexiest female movie characters. She could.
I love all sorts of crazy and psychotic performances on screen. In fact, one of my favourites is Gary Oldman's in Leon. Jared Leto delivers another one of those performances. It's truly stellar, I loved his interpretation of the Joker and I believe Leto can still receive high praise for his extraordinary efforts. It could happen in the form of that Batman movie, by Matt Reeves.
Just to conclude my thought on the performances, I would like to add that Viola Davis is an excellent Amanda Waller, even more menacing that Cara Delevingne's witch, more on that later. Jai Courtney was great , he got all the best jokes. Jay Hernandez sounds a lot like Jon Bernthal's Frank Castle, doesn't he? His Diablo is the best character, out of the less interesting ones. I love Katana from CW's Arrow and it was disappointing to see that the screenwriters didn't care about her, even more so because Karen Fukuhara seems perfect for the role. Killer Croc has the best entrance on water ever.
A movie is as good as its villain, right? Indeed. Cara Delevingne's Enchantress could very well be the worst movie villain ever. Malekith is relegated to second place. Honestly, I don't know who's to blame. Sure, Delevingne's acting isn't top-notch, but the screenwriters made her dance (?) in a weird way and her voice is laughable. The final result is ridiculous and by far the worst aspect of the movie.
While Batman v Superman: Dawn of Justice was a dark film and proud to 'own that shit', Suicide Squad is ashamed to exhibit that dark side, which results in confusing tone shifts. One moment, it's clearly a DC movie, and another, it is a Marvel family friendly one. Therefore, the comedy sometimes doesn't land, at all. Besides, I also didn't find anything special about the way the action was shot. It was generic stuff, mostly.
Suicide Squad is a huge waste of potential, that could have benefited from some character development and sharp editing. Its greatest strenght is undoubtedly the work done by the talented cast. Could a different cut fix some of these issues? Probably, yes. I was going to attribute 6 stars to this, but a second watch didn't help, either. By the way, what was your favourite sequence? Spoiler alert: mine was the one in which Joker jumps into the acid to Harley.
Movie Metropolis (309 KP) rated Aquaman (2018) in Movies
Jun 10, 2019
Bad Wigs aside it's really rather good
You could be forgiven for being rather sceptical walking into the cinema to see Aquaman, and it’s easy to see why. An uninspiring set of trailers preceded by the DCEU’s shall we say reluctance to resonate with audiences.
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/
Alexandra Hammond and her family are living in Washington DC, and on the outside, they are a typical modern family. But Alexandra and her husband, Josh, are exhausted and frustrated as parents of two children: eleven-year-old Iris and thirteen-year-old Tilly. Tilly, you see, has been diagnosed with PDD-NOS, a form of autism, and it means that Alexandra's lovely, intelligent daughter, who could read by the age of three, is also prone to violent outbursts where she yells out curse words, has an inability to control many of her thoughts and actions, and truly, just doesn't seem to fit into the mold society wishes to place our children. When yet another school kicks Tilly out, Alexandra and Josh are at a loss. So Alexandra turns to Scott Bean, a self-professed expert with "difficult" children whose seminars and private sessions she's been attending for several years now. Scott is starting Camp Harmony in New Hampshire: an isolated society for families struggling with children like Tilly, free of outside influences, electronics, harmful foods and stimulants, and most of all, free from judgement. So Alexandra and Josh do the unthinkable: they sell everything and pack up the kids and head to New Hampshire, joining Scott and two other families in making Camp Harmony work. But will it work? Can it work?
If you haven't read anything by Carolyn Parkhurst, you're missing out. She's a wonderful author, whose books are simply beautiful. My particular favorite is [b:The Dogs of Babel|89691|The Dogs of Babel|Carolyn Parkhurst|https://d.gr-assets.com/books/1344269639s/89691.jpg|1585061], a lovely, haunting novel about a woman, her husband, and her dog that I read 10 years ago and still touches me to this day. While I wasn't as affected by this novel, it still has many flashes of the amazing brilliance of Parkhurst and her wonderful way with the written word. Her characters form before you eyes.
In [b:Harmony|29236564|Harmony|Carolyn Parkhurst|https://d.gr-assets.com/books/1469411954s/29236564.jpg|49477924], Parkhurst does an excellent job conveying Alexandra's fear and anxiety over the frightening aspects of our society and its effects on our children, and how our society has changed, with things like autism and food allergies seemingly becoming more prevalent each year. She doesn't preach, she just paints a picture with her words and Alexandra's thoughts. The book is told between alternating points of view and time periods. We hear from Alexandra in the past, telling the story of Tilly (and Iris) growing up and how things have reached this point and then we hear from Iris, in the present, at Camp Harmony.
Alexandra captures a life and marriage in moments and snapshots, with Parkhurst easily depicting the desperation that parents of children that are different feel. You can sense her terror and why she would actually consider packing up entire family and moving them to an isolated camp in the middle of nowhere, led by a man they really know nothing about.
Iris' perspective, meanwhile, is just beautiful and touching. Parkhurst wonderfully conveys her voice. There were times when I felt Iris was a bit "old" for an eleven-year-old, but I chalked a lot of that up to having a sister such as Tilly and having to grow up rather quickly. And as the book progressed, there were many moments where Iris came across as a scared, naive kid, after all. Iris' depiction of the camp-through her innocent eyes-is perfect, and she has a wonderful way of portraying her sister, where you will grow to love Tilly, as well, and understand Alexandra's fierce desire to protect both her children.
All in all, despite its serious subject matter, the book is often humorous, and I loved its portrayal of real characters and situations, despite the fact that they all gathered in an isolated camp site in New Hampshire. My only real issue with the book was the camp's leader, Scott Bean. To me, he was the least developed character of the bunch, and while you sensed that perhaps we were hurtling toward trouble, the ending seemed a little quick and too pat for such a well-written and developed book.
Still, this book was quite well-done and certainly a must for any parent struggling with a child who feels different, or really, any parent struggling to raise a child in today's modern society. Parkhurst is a wonderful writer, and she will not disappoint with her latest. 3.5+ stars.
I received a copy of this novel from the publisher and Edelweiss - thank you! It is available everywhere as of 08/02/2016.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>;
If you haven't read anything by Carolyn Parkhurst, you're missing out. She's a wonderful author, whose books are simply beautiful. My particular favorite is [b:The Dogs of Babel|89691|The Dogs of Babel|Carolyn Parkhurst|https://d.gr-assets.com/books/1344269639s/89691.jpg|1585061], a lovely, haunting novel about a woman, her husband, and her dog that I read 10 years ago and still touches me to this day. While I wasn't as affected by this novel, it still has many flashes of the amazing brilliance of Parkhurst and her wonderful way with the written word. Her characters form before you eyes.
In [b:Harmony|29236564|Harmony|Carolyn Parkhurst|https://d.gr-assets.com/books/1469411954s/29236564.jpg|49477924], Parkhurst does an excellent job conveying Alexandra's fear and anxiety over the frightening aspects of our society and its effects on our children, and how our society has changed, with things like autism and food allergies seemingly becoming more prevalent each year. She doesn't preach, she just paints a picture with her words and Alexandra's thoughts. The book is told between alternating points of view and time periods. We hear from Alexandra in the past, telling the story of Tilly (and Iris) growing up and how things have reached this point and then we hear from Iris, in the present, at Camp Harmony.
Alexandra captures a life and marriage in moments and snapshots, with Parkhurst easily depicting the desperation that parents of children that are different feel. You can sense her terror and why she would actually consider packing up entire family and moving them to an isolated camp in the middle of nowhere, led by a man they really know nothing about.
Iris' perspective, meanwhile, is just beautiful and touching. Parkhurst wonderfully conveys her voice. There were times when I felt Iris was a bit "old" for an eleven-year-old, but I chalked a lot of that up to having a sister such as Tilly and having to grow up rather quickly. And as the book progressed, there were many moments where Iris came across as a scared, naive kid, after all. Iris' depiction of the camp-through her innocent eyes-is perfect, and she has a wonderful way of portraying her sister, where you will grow to love Tilly, as well, and understand Alexandra's fierce desire to protect both her children.
All in all, despite its serious subject matter, the book is often humorous, and I loved its portrayal of real characters and situations, despite the fact that they all gathered in an isolated camp site in New Hampshire. My only real issue with the book was the camp's leader, Scott Bean. To me, he was the least developed character of the bunch, and while you sensed that perhaps we were hurtling toward trouble, the ending seemed a little quick and too pat for such a well-written and developed book.
Still, this book was quite well-done and certainly a must for any parent struggling with a child who feels different, or really, any parent struggling to raise a child in today's modern society. Parkhurst is a wonderful writer, and she will not disappoint with her latest. 3.5+ stars.
I received a copy of this novel from the publisher and Edelweiss - thank you! It is available everywhere as of 08/02/2016.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>;
Andy Meakin (5 KP) rated Thor: Ragnarok (2017) in Movies
Jul 11, 2018
Thor-oughly entertaining.
Thor has always come across as the weaker of the Marvel film series’. The first film was well made, but never really demanded a repeat watch. The second, whilst not as bad as some people will attest, still felt more like a stop gap filler. You can’t blame the casting for the feeling of nonchalance that the films, so far, have delivered. Hemsworth is great in the role, and the support cast have always given their all, from Hiddleston as Loki, to Anthony Hopkins as Odin. But the stories have just felt superfluous, generic, and lacking in anything fantastical or mystical. In addition they have made the same error that DC made when they adapted Green Lantern – they spent too much time on Earth! You see, there are enough super-hero films that focus on a threat to Earth, so even though you could argue that it is faithful to the comics to have Thor defending Midgard against some mythical enemy, it has the unfortunate effect of making it seem just a little too…familiar. Wisely the decision was made for this third film to break away from Midgard, and go ‘cosmic’ with the story – and the end result is a damn sight better as a result.
The film spends the first act tying up some loose ends from the previous film, and returning Thor to Asgard. There he finds things are not as he left, and pretty soon Hela (Cate Blanchett) arrives to take control of Asgard, and threaten all the kingdoms with her army. Thor himself finds himself stranded on a remote junk-planet called Sakaar, where he finds himself thrown into gladiatorial combat against…well…an old friend. Can Thor unite an army to return to Asgard and save his people?
To say the film is immense fun would be an understatement! Director Taika Waititi, known for comedy dramas such as Hunt for the Wilderpeople and What We Do In The Shadows, definitely had an aim to explore the somewhat sillier side of the character, and the film is funny from the outset. Thor, who has always been a little naïve and shown some more awkward moments, is really given a lot of great lines, jibes, and clumsy aspects to round him out as more than just a ‘dumb, cocky Asgardian’. Throughout the film, characters quip and riff on ideas, creating genuine laughs and quotable moments, with even the newer characters getting their moments to impress on the audience. Amongst those newer additions, Karl Urban as Skurge, Jeff Goldblum as Grandmaster, and Tessa Thompson as Valkyrie steal any moments they appear on screen (Goldblum in particular just needs to have a wry grin and a raised eyebrow and all focus is on him). But Waititi himself gets to play with the best new addition to the cast, and one we will apparently see more of in the future, as Korg, a Kronan warrior.
So far, so entertaining, but is it all comedy and no substance? Far from it! The comedy serves well to balance against the dark drama of the story. This is titled Ragnarok, and Hela’s assault on Asgard is chilling indeed. In addition, the weaving in of elements from the Planet Hulk storyline, to give the mid-point journey part of the film some meat, ensures that there is never any dip in the tale, and there is plenty going on. The delicate balance of drama, emotion, and comedy is very reminiscent of the Guardians of the Galaxy films, and the franchise is so much better for it. After all, Asgardians are an alien race, so why not explore the cosmos a little with them? Even the soundtrack feels a little ‘Guardians-esque’ in style, with Led Zeppelin’s fabulous Immigrant Song being utilised perfectly for battle moments, but a somewhat electro-pop-synth score resonating throughout the film.
This is a film that flies by in run time (130 minutes, but never dragging), and finally gives Thor an identity in the Marvel Cinematic Universe. As the end credits finish rolling, the immediate desire is to watch it all again – which is not a feeling that the other two films left in me at all. Jostling for position in the top three Marvel films to date (Avengers and Guardians for those who are curious – yes, I know Winter Soldier and Civil War are damned good too, but these films are just fun). Thor: Ragnarok looks amazing, and entertains thoroughly. Ragnarok may mean the end of Asgard according to myth and legend, but it signals the true start of Thor as a character in his own right. All of that positive without even mentioning Ruffalo as Hulk (which you just knew was going to be great anyway)! Just watch the film for yourself, and enjoy.
The film spends the first act tying up some loose ends from the previous film, and returning Thor to Asgard. There he finds things are not as he left, and pretty soon Hela (Cate Blanchett) arrives to take control of Asgard, and threaten all the kingdoms with her army. Thor himself finds himself stranded on a remote junk-planet called Sakaar, where he finds himself thrown into gladiatorial combat against…well…an old friend. Can Thor unite an army to return to Asgard and save his people?
To say the film is immense fun would be an understatement! Director Taika Waititi, known for comedy dramas such as Hunt for the Wilderpeople and What We Do In The Shadows, definitely had an aim to explore the somewhat sillier side of the character, and the film is funny from the outset. Thor, who has always been a little naïve and shown some more awkward moments, is really given a lot of great lines, jibes, and clumsy aspects to round him out as more than just a ‘dumb, cocky Asgardian’. Throughout the film, characters quip and riff on ideas, creating genuine laughs and quotable moments, with even the newer characters getting their moments to impress on the audience. Amongst those newer additions, Karl Urban as Skurge, Jeff Goldblum as Grandmaster, and Tessa Thompson as Valkyrie steal any moments they appear on screen (Goldblum in particular just needs to have a wry grin and a raised eyebrow and all focus is on him). But Waititi himself gets to play with the best new addition to the cast, and one we will apparently see more of in the future, as Korg, a Kronan warrior.
So far, so entertaining, but is it all comedy and no substance? Far from it! The comedy serves well to balance against the dark drama of the story. This is titled Ragnarok, and Hela’s assault on Asgard is chilling indeed. In addition, the weaving in of elements from the Planet Hulk storyline, to give the mid-point journey part of the film some meat, ensures that there is never any dip in the tale, and there is plenty going on. The delicate balance of drama, emotion, and comedy is very reminiscent of the Guardians of the Galaxy films, and the franchise is so much better for it. After all, Asgardians are an alien race, so why not explore the cosmos a little with them? Even the soundtrack feels a little ‘Guardians-esque’ in style, with Led Zeppelin’s fabulous Immigrant Song being utilised perfectly for battle moments, but a somewhat electro-pop-synth score resonating throughout the film.
This is a film that flies by in run time (130 minutes, but never dragging), and finally gives Thor an identity in the Marvel Cinematic Universe. As the end credits finish rolling, the immediate desire is to watch it all again – which is not a feeling that the other two films left in me at all. Jostling for position in the top three Marvel films to date (Avengers and Guardians for those who are curious – yes, I know Winter Soldier and Civil War are damned good too, but these films are just fun). Thor: Ragnarok looks amazing, and entertains thoroughly. Ragnarok may mean the end of Asgard according to myth and legend, but it signals the true start of Thor as a character in his own right. All of that positive without even mentioning Ruffalo as Hulk (which you just knew was going to be great anyway)! Just watch the film for yourself, and enjoy.
Gareth von Kallenbach (965 KP) rated Green Lantern (2011) in Movies
Aug 7, 2019
Bursting onto the screen with a winning combination of action and dazzling effects DC Comics’ “The Green Lantern” has arrived to the delight of comic fans the world over. The film stars Ryan Reynolds as Hal Jordan, a talented but cocky test pilot who is haunted by the untimely passing of his father during a test flight when young Hal was a child.
Hal avoids commitment and leads his life as a brash individual who does things his way and answers to no one.
After a close call during a training flight that puts him at odds with his employer, Hal is enveloped by a green ball of energy which transports him to a crash site where he encounters a dying alien. While unsure of what he is seeing, Hal attempts to comfort and aid the alien creature who informs Hal that he has been selected for great honor. The dying alien bestows upon him a ring and a lantern and leaves Hal with far more questions than answers.
In time, through the powers of the ring, Hal is transported to an alien world called Oa where he encounters a myriad of alien creatures and learns that he has been selected by the ring to become a member of the Green Lantern Corps. The Lanterns act as interstellar peacekeepers with each of the 3600 members assigned to a sector of space to patrol and defend. Since there’s never been a human selected, the noble and fearless Lanterns believe that the ring must have made an error in selecting an individual who is more full of bravado than real courage.
The fact that Jordan is human and replacing the revered Abin Sur (Temuera Morrison), does not sit well with a powerful Lantern named Sinestro (Mark Strong), who torments and mocks Hal, literally pounding into Hal how unworthy he is. All the while, a deadly menace with the power to destroy Oa and the Green Lantern Corps named Parallax, freed from the prison he was placed in by Abin Sur, is laying waste to everything in his path including several Lanterns who seem powerless to stop him.
Jordan must also deal with Hector (Peter Sarsgaard) who, unbeknownst to Hal, has become infected by Parallax. As if his life wasn’t complicated enough, Jordan also has to address his feelings for his childhood friend Carole (Blake Lively). Hector, fueled by jealousy over Carole and Jordan’s relationship, and resentment for his for his politico father (Tim Robbins), becomes the embodiment of evil, requiring Hal battle his own doubts and shortcomings and stand alone against an enemy that is bent on destroying all life on earth.
While Lively is relegated to little more than a love interest in the film, Reynolds seizes the character and gives Jordan a vulnerability and sense of humor rather than making him all brawn and fooldhardiness. While much of the film that is devoted to the interplay between the characters and setting up the Green Lantern universe, the film has some amazing visual effects and solid action sequences that, although are presented in converted 3-D, come cross in a spectacular fashion.
While I avoid reading reviews in advance of the screener it had not escaped my attention that the film was getting severely panned by many old guard reviewers. I would question whether any of them had actually read the comic in which the film was based. Director Martin Campbell and his team of writers have crafted a solid summer action picture that not only delivers but is faithful to the source material. This is a comicbook based movie after all and whoever is looking for dynamic plots, award-winning acting, and complex and intertwined character development, will certainly miss the point. Plot and dialogue are usually kept in a simple and straightforward manner in summer action films and I believe Lantern actually goes a step beyond the usual summer offerings in this regard.
While the film is certainly resplendent with its amazing visual effects, it is, at its core, a human story about overcoming weaknesses and finding qualities we did not know we possessed. Many people are quick to lambaste films that focus solely on action and effects yet “The Green Lantern” attempts to add depth to the characters by touching on their past associations and their deep understanding of each other. While it would be impossible in a two-hour movie to go into the depth that a comicbook can, it was nice to see that some effort was made to flesh out the characters.
Yes, the film does follow a formulaic route in terms of a hero rising to the occasion and dealing with some inner turmoil and emotional conflicts which has been the staple ever since stories were first written. That being said, there is a delightful energy about the film and Reynolds’ enthusiasm for his part.
Hal avoids commitment and leads his life as a brash individual who does things his way and answers to no one.
After a close call during a training flight that puts him at odds with his employer, Hal is enveloped by a green ball of energy which transports him to a crash site where he encounters a dying alien. While unsure of what he is seeing, Hal attempts to comfort and aid the alien creature who informs Hal that he has been selected for great honor. The dying alien bestows upon him a ring and a lantern and leaves Hal with far more questions than answers.
In time, through the powers of the ring, Hal is transported to an alien world called Oa where he encounters a myriad of alien creatures and learns that he has been selected by the ring to become a member of the Green Lantern Corps. The Lanterns act as interstellar peacekeepers with each of the 3600 members assigned to a sector of space to patrol and defend. Since there’s never been a human selected, the noble and fearless Lanterns believe that the ring must have made an error in selecting an individual who is more full of bravado than real courage.
The fact that Jordan is human and replacing the revered Abin Sur (Temuera Morrison), does not sit well with a powerful Lantern named Sinestro (Mark Strong), who torments and mocks Hal, literally pounding into Hal how unworthy he is. All the while, a deadly menace with the power to destroy Oa and the Green Lantern Corps named Parallax, freed from the prison he was placed in by Abin Sur, is laying waste to everything in his path including several Lanterns who seem powerless to stop him.
Jordan must also deal with Hector (Peter Sarsgaard) who, unbeknownst to Hal, has become infected by Parallax. As if his life wasn’t complicated enough, Jordan also has to address his feelings for his childhood friend Carole (Blake Lively). Hector, fueled by jealousy over Carole and Jordan’s relationship, and resentment for his for his politico father (Tim Robbins), becomes the embodiment of evil, requiring Hal battle his own doubts and shortcomings and stand alone against an enemy that is bent on destroying all life on earth.
While Lively is relegated to little more than a love interest in the film, Reynolds seizes the character and gives Jordan a vulnerability and sense of humor rather than making him all brawn and fooldhardiness. While much of the film that is devoted to the interplay between the characters and setting up the Green Lantern universe, the film has some amazing visual effects and solid action sequences that, although are presented in converted 3-D, come cross in a spectacular fashion.
While I avoid reading reviews in advance of the screener it had not escaped my attention that the film was getting severely panned by many old guard reviewers. I would question whether any of them had actually read the comic in which the film was based. Director Martin Campbell and his team of writers have crafted a solid summer action picture that not only delivers but is faithful to the source material. This is a comicbook based movie after all and whoever is looking for dynamic plots, award-winning acting, and complex and intertwined character development, will certainly miss the point. Plot and dialogue are usually kept in a simple and straightforward manner in summer action films and I believe Lantern actually goes a step beyond the usual summer offerings in this regard.
While the film is certainly resplendent with its amazing visual effects, it is, at its core, a human story about overcoming weaknesses and finding qualities we did not know we possessed. Many people are quick to lambaste films that focus solely on action and effects yet “The Green Lantern” attempts to add depth to the characters by touching on their past associations and their deep understanding of each other. While it would be impossible in a two-hour movie to go into the depth that a comicbook can, it was nice to see that some effort was made to flesh out the characters.
Yes, the film does follow a formulaic route in terms of a hero rising to the occasion and dealing with some inner turmoil and emotional conflicts which has been the staple ever since stories were first written. That being said, there is a delightful energy about the film and Reynolds’ enthusiasm for his part.
BankofMarquis (1832 KP) rated The Suicide Squad (2021) in Movies
Aug 8, 2021
More Fun Than I Expected
It is almost an effort in futility to review a movie such as THE SUICIDE SQUAD, for most folks fall into 1 of 2 camps:
1). Are a DC (or Comic Book Movie) Fan, and will go see this no matter what.
2). Are not of fan of the darker DCEU movies (as compared to the MCU films) and might have checked out the first SUICIDE SQUAD, but have no intention to watch this one.
This review is for the folks in the 2nd camp - for THE SUICIDE SQUAD is a fun summer action flick with silliness, action, humor and HEART at it’s core.
Directed by James Gunn (GUARDIANS OF THE GALAXY), THE SUICIDE SQUAD starts out like the first SUICIDE SQUAD film (and most of the DCEU films) - dark, gritty and intense - with a new pack of anti-heroes joining in on a fight that absolutely cements this team as THE SUICIDE SQUAD.
After that, the film makes an interesting adjustment, actually giving the audience anti-heroes that you can root for with just enough of a balance between the dark grittiness that one has come to expect from a DCEU film with a bit more humane touch that really is the hallmark of the MCU.
And, under the Direction of James Gunn, this film finds that balance very, very well.
Gunn, of course, knows how to make these films - his balance of action and character moments is accurate, his action sequences are well plotted and choreographed (no need for “shaky cam” to hide the faults) and he populates this Suicide Squad with some memorable characters.
Margot Robbie, of course, is in another stratosphere in her portrayal of Harley Quinn. This is the 3rd film that Robbie stars as Quinn and she has this part down pat. The problem with the other 2 films that she starred in as Quinn (2016’s SUICIDE SQUAD and 2020’s BIRDS OF PREY) is that she was SO GOOD in those films, that everyone else paled in comparison, but in this film, she has some strong actors/characters to play off of, and this benefits the movie.
Starting with Idris Elba as Bloodsport the “Leader” of the Squad (in essence, replacing Will Smith) and this is a smart move for Elba has the commanding presence of a Leader with that sense of foreboding that he might not be such a good guy underneath - a quality that I just didn’t buy from Smith in the first movie.
Joining Elba as characters that were interesting and strong were RatCatcher 1 (Taiki Waititi - in an extended cameo) and RatCatcher 2 (Daniela Melchior), Savant (Michael Rooker), freedom fighter Sol Soria (Sonya Braga), Thinker (Peter Capaldi) and the “Groot” of this piece, King Shark (Sylvester Stallone).
Oh…and special notice needs to be made of the character of Polka Dot Man (David Dastmalchian). Director Gunn has stated he wanted to find the dumbest villain in the DCEU and make him into one of the heroes of this piece. He found him in Polka Dot Man and is played with great pathos by Dastmalchian.
Fairing less well is the great Viola Davis as the hard-nosed Amanda Waller who seems to be still acting in the gritty, dark style of the first SUICIDE SQUAD film, so misses out on some of the fun of this film as well as Joel Kinneman as Colonel Rick Flagg (the military leader of the group). I really wasn’t invested in Flagg (or Kinneman’s portrayal of Flagg) in the first film - and I am not in this one either. He just isn’t at nearly the same level of performance as the others listed above.
Also…a note about John Cena (and his character PeaceMaker). This is the 2nd 2021 Summer Blockbuster Action flick that I have seen Cena in (following his turn in F9) and in both these films I found his performance to be “flat”. It just didn’t fill the screen, nor does he have enough charisma (a la The Rock) to charm his way through. I was bored by him in this film (as well as in F9).
But…this is a James Gunn film - and he doesn’t spend much time with the characters/actors that don’t really work, but rather, spends his camera time on the ones that do - and the over-the-top action sequences (and villain) that are filmed with a slight grin and a wink-in-the-eye.
It’s a much needed shot-in-the-arm for DCEU films, but - I’m afraid - it might be too little too late, as most folks have already tuned out the DCEU for being “too dark”. Which is too bad, for this is the fun summer blockbuster film action and comic book fans have been looking for.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
1). Are a DC (or Comic Book Movie) Fan, and will go see this no matter what.
2). Are not of fan of the darker DCEU movies (as compared to the MCU films) and might have checked out the first SUICIDE SQUAD, but have no intention to watch this one.
This review is for the folks in the 2nd camp - for THE SUICIDE SQUAD is a fun summer action flick with silliness, action, humor and HEART at it’s core.
Directed by James Gunn (GUARDIANS OF THE GALAXY), THE SUICIDE SQUAD starts out like the first SUICIDE SQUAD film (and most of the DCEU films) - dark, gritty and intense - with a new pack of anti-heroes joining in on a fight that absolutely cements this team as THE SUICIDE SQUAD.
After that, the film makes an interesting adjustment, actually giving the audience anti-heroes that you can root for with just enough of a balance between the dark grittiness that one has come to expect from a DCEU film with a bit more humane touch that really is the hallmark of the MCU.
And, under the Direction of James Gunn, this film finds that balance very, very well.
Gunn, of course, knows how to make these films - his balance of action and character moments is accurate, his action sequences are well plotted and choreographed (no need for “shaky cam” to hide the faults) and he populates this Suicide Squad with some memorable characters.
Margot Robbie, of course, is in another stratosphere in her portrayal of Harley Quinn. This is the 3rd film that Robbie stars as Quinn and she has this part down pat. The problem with the other 2 films that she starred in as Quinn (2016’s SUICIDE SQUAD and 2020’s BIRDS OF PREY) is that she was SO GOOD in those films, that everyone else paled in comparison, but in this film, she has some strong actors/characters to play off of, and this benefits the movie.
Starting with Idris Elba as Bloodsport the “Leader” of the Squad (in essence, replacing Will Smith) and this is a smart move for Elba has the commanding presence of a Leader with that sense of foreboding that he might not be such a good guy underneath - a quality that I just didn’t buy from Smith in the first movie.
Joining Elba as characters that were interesting and strong were RatCatcher 1 (Taiki Waititi - in an extended cameo) and RatCatcher 2 (Daniela Melchior), Savant (Michael Rooker), freedom fighter Sol Soria (Sonya Braga), Thinker (Peter Capaldi) and the “Groot” of this piece, King Shark (Sylvester Stallone).
Oh…and special notice needs to be made of the character of Polka Dot Man (David Dastmalchian). Director Gunn has stated he wanted to find the dumbest villain in the DCEU and make him into one of the heroes of this piece. He found him in Polka Dot Man and is played with great pathos by Dastmalchian.
Fairing less well is the great Viola Davis as the hard-nosed Amanda Waller who seems to be still acting in the gritty, dark style of the first SUICIDE SQUAD film, so misses out on some of the fun of this film as well as Joel Kinneman as Colonel Rick Flagg (the military leader of the group). I really wasn’t invested in Flagg (or Kinneman’s portrayal of Flagg) in the first film - and I am not in this one either. He just isn’t at nearly the same level of performance as the others listed above.
Also…a note about John Cena (and his character PeaceMaker). This is the 2nd 2021 Summer Blockbuster Action flick that I have seen Cena in (following his turn in F9) and in both these films I found his performance to be “flat”. It just didn’t fill the screen, nor does he have enough charisma (a la The Rock) to charm his way through. I was bored by him in this film (as well as in F9).
But…this is a James Gunn film - and he doesn’t spend much time with the characters/actors that don’t really work, but rather, spends his camera time on the ones that do - and the over-the-top action sequences (and villain) that are filmed with a slight grin and a wink-in-the-eye.
It’s a much needed shot-in-the-arm for DCEU films, but - I’m afraid - it might be too little too late, as most folks have already tuned out the DCEU for being “too dark”. Which is too bad, for this is the fun summer blockbuster film action and comic book fans have been looking for.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
Movie Metropolis (309 KP) rated Joker (2019) in Movies
Oct 14, 2019
I’ve never left the cinema more unnerved than I did after watching Todd Phillips’ first foray in the superhero genre. Joker is a frequently violent, often grotesque and regularly intense portrayal of the iconic character that’s already receiving praise and backlash in equal measure from those in the critic community.
With development originally beginning way back in 2016, Joaquin Phoenix walking out of interviews and the press junket being cancelled altogether, it’s safe to say that the path to release has not been easy, but what’s the finished product like?
Forever alone in a crowd, failed comedian Arthur Fleck (Phoenix) seeks connection as he walks the streets of Gotham City. Arthur wears two masks, the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director of The Hangover trilogy, you’d be forgiven for thinking that Phillips is an odd choice to helm a picture like this, but his darkly comedic roots shine through in Joker and add a much-needed lightness of touch over the course of the running time. Without these pockets of humour, Joker would just be far too murky, more so than it already is.
Phoenix is absolutely astounding and his physical transformation defies words. Alongside Heath Ledger, these two very different portrayals of this iconic character are fully deserving of as much recognition as possible. Arguably however, Phoenix delivers the best iteration yet and one that perhaps needed even more commitment – this is a two-hour film dedicated to the character, whereas the Joker has always been a supporting part of previous films.
From the frame devoid of any muscle, dark circles under his eyes and wrinkles etched on his face, Phoenix’s dedication to this role is on another level to anything we have seen before. As his transformation from troubled Arthur Fleck to criminal mastermind gets underway, this only serves to highlight the acting prowess of this incredible performer. Elsewhere, supporting cast members like Robert De Niro, Frances Conroy and Zazie Beets are also wonderful in their roles of varying screen-time, but as Joker is a film about the singular character, they stay in the background, and rightly so.
The script too is exceptionally written. Phillips and co-writer Scott Silver, who also wrote 8 Mile, deliver a tightly wound screenplay that is at times just too tense for its own good. This is never a film you can sit back and relax to, it feels like you’re on the edge of your seat for the full two hours. The comedic notes that I alluded to earlier nicely round off some of the sharp edges however, but make no mistake, this is a brutal and unforgiving film.
The comedic notes… nicely round off some of the sharp edges
Criticism has been levelled already about the significance this film may have on those who already actively promote the character’s actions, and it’s easy to see why people are concerned. However, as an art form, Joker doesn’t need to be processed in such a way. Yes, it’s brutal, yes, it’s bloody and yes it sometimes hits too close to home about the issues we face in the real world, but cinema is escapism and that’s what it offers.
To look at it’s clear that the very modest of budget of $55million has been put to good use. The city of Gotham feels dirty, grimy and about to erupt and this is exactly how we as the audience want it to be. The uprising is coming and with each grimace from Phoenix’s face, we get closer and closer to that critical moment.
For me that critical moment occurs a little too late into the film and with not a lot of time left after this point, Joker tries to wrap up its loose ends too quickly, but this is a miniscule criticism in a deeply impressive and immersive cinema experience.
The score too is excellent. Icelandic composer Hildur Ingveldardóttir Guðnadóttir has worked on films like The Revenant and Sicario 2 and that gritty realism she brought to those films has been replicated here. It’s a soaring orchestral score populated with some sharp string solos that work perfectly with the character.
Overall, Joker is a masterpiece. Phoenix’s performance is one of the best I’ve ever had the pleasure of witnessing in the cinema and to go alongside that commitment the audience is treated to an engrossing script and beautiful score. Where DC has failed in the past is in forgetting to carve their own niche. Marvel has the 12A game all sewn up and there’s no point in competing there. Joker is the direction that should have been taken from the very beginning and it’s one of the best films I’ve seen in years.
Brutal? Yes. Beautiful? Absolutely.
With development originally beginning way back in 2016, Joaquin Phoenix walking out of interviews and the press junket being cancelled altogether, it’s safe to say that the path to release has not been easy, but what’s the finished product like?
Forever alone in a crowd, failed comedian Arthur Fleck (Phoenix) seeks connection as he walks the streets of Gotham City. Arthur wears two masks, the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director of The Hangover trilogy, you’d be forgiven for thinking that Phillips is an odd choice to helm a picture like this, but his darkly comedic roots shine through in Joker and add a much-needed lightness of touch over the course of the running time. Without these pockets of humour, Joker would just be far too murky, more so than it already is.
Phoenix is absolutely astounding and his physical transformation defies words. Alongside Heath Ledger, these two very different portrayals of this iconic character are fully deserving of as much recognition as possible. Arguably however, Phoenix delivers the best iteration yet and one that perhaps needed even more commitment – this is a two-hour film dedicated to the character, whereas the Joker has always been a supporting part of previous films.
From the frame devoid of any muscle, dark circles under his eyes and wrinkles etched on his face, Phoenix’s dedication to this role is on another level to anything we have seen before. As his transformation from troubled Arthur Fleck to criminal mastermind gets underway, this only serves to highlight the acting prowess of this incredible performer. Elsewhere, supporting cast members like Robert De Niro, Frances Conroy and Zazie Beets are also wonderful in their roles of varying screen-time, but as Joker is a film about the singular character, they stay in the background, and rightly so.
The script too is exceptionally written. Phillips and co-writer Scott Silver, who also wrote 8 Mile, deliver a tightly wound screenplay that is at times just too tense for its own good. This is never a film you can sit back and relax to, it feels like you’re on the edge of your seat for the full two hours. The comedic notes that I alluded to earlier nicely round off some of the sharp edges however, but make no mistake, this is a brutal and unforgiving film.
The comedic notes… nicely round off some of the sharp edges
Criticism has been levelled already about the significance this film may have on those who already actively promote the character’s actions, and it’s easy to see why people are concerned. However, as an art form, Joker doesn’t need to be processed in such a way. Yes, it’s brutal, yes, it’s bloody and yes it sometimes hits too close to home about the issues we face in the real world, but cinema is escapism and that’s what it offers.
To look at it’s clear that the very modest of budget of $55million has been put to good use. The city of Gotham feels dirty, grimy and about to erupt and this is exactly how we as the audience want it to be. The uprising is coming and with each grimace from Phoenix’s face, we get closer and closer to that critical moment.
For me that critical moment occurs a little too late into the film and with not a lot of time left after this point, Joker tries to wrap up its loose ends too quickly, but this is a miniscule criticism in a deeply impressive and immersive cinema experience.
The score too is excellent. Icelandic composer Hildur Ingveldardóttir Guðnadóttir has worked on films like The Revenant and Sicario 2 and that gritty realism she brought to those films has been replicated here. It’s a soaring orchestral score populated with some sharp string solos that work perfectly with the character.
Overall, Joker is a masterpiece. Phoenix’s performance is one of the best I’ve ever had the pleasure of witnessing in the cinema and to go alongside that commitment the audience is treated to an engrossing script and beautiful score. Where DC has failed in the past is in forgetting to carve their own niche. Marvel has the 12A game all sewn up and there’s no point in competing there. Joker is the direction that should have been taken from the very beginning and it’s one of the best films I’ve seen in years.
Brutal? Yes. Beautiful? Absolutely.