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Gareth von Kallenbach (965 KP) rated Father Figures (2018) in Movies
Jul 11, 2019
Expectations, all of us have them and occasionally our expectations live up to exactly as we assume they will; other times, we are wrong. The movie Father Figures, a comedy film directed by Lawrence Sher and written by Justin Malen is not only about two brothers searching for their biological father, but the journey and the expectations that go along with the journey.
Peter Reynolds (Ed Helms) is a man who is disenchanted with his life. He’s a doctor who’s still struggling with his divorce from three years ago, and the prospects of connecting with a son who wants nothing to do with him. His fraternal twin brother Kyle, on the other hand, has the picture-perfect life. Wealthy for being nothing more than a surf bum on the beach and being at the right place at the right time; with a new baby on the way with his long-term (6 month) relationship.
An unlikely event opens Peter’s eyes to the life he has known; a life where the father he believed to be his died of colon cancer, which dictated his career and life choices. The event exposed the lies that their mother had told them and the man they believed to be their father all along, never was.
The realization sends the two brothers on a mission to discover who their real father is, and also discover a bit about themselves along the way. Their journey of discovery will take them from Florida to Massachusetts, and several places in-between. All of this, with of hopes of unraveling the mystery of who their real father is and what role, if any, he could fill in their existing lives.
Ed Helms, portrays his character brilliantly. A man who is kind, good-hearted and responsible. The one who even with all his good intentions, never feels like he is able to get ahead. Owen Wilson plays what I feel is one of his best roles to date, as the ying to Ed Helms yang, the happy-go-lucky, never have a care in the world character. The two have a chemistry on the screen that draws you into their personal struggles with lots of laughter along the way.
The cast of “fathers”, are all brilliantly portrayed, whether it’s Terry Bradshaw portraying himself; J. K. Simons, as the lovable “jerk”; and the always talented Christopher Walken as the family veterinarian Dr. Walter Tinkler. Glenn Close does an absolutely amazing performance as the brother’s mother Helen Baxter.
There are plenty of laughs to be had through the movie, but it’s the amount of heart that the movie shows that really drew me in. As I spoke in the beginning, about expectations, I myself had expectations that the movie would be just another slap-stick comedy, with the characters getting into one hilarious situation after another. While this certainly did happen (it is still a comedy after-all), none of the bits seemed outrageous or done for the sake of shock value. As with most movies that fall into this genre, there are scenes which some may feel provided nothing to the story, and were there simply for adolescent humor or to justify the R rating, but none of these detracted from the film as a whole. I didn’t expect to come out of this movie not only quoting some of the very memorable lines, but also reflecting on where their journey began and where it ended.
Father Figures is much more than a simple comedy, and it’s far more than simply a “who’s your daddy” adventure. It’s a movie about self-discovery and more importantly, the journey to get you there. The folks at Warner Bros. Pictures should be commended on not only the casting of the roles, but for producing a story they can be proud of.
Peter Reynolds (Ed Helms) is a man who is disenchanted with his life. He’s a doctor who’s still struggling with his divorce from three years ago, and the prospects of connecting with a son who wants nothing to do with him. His fraternal twin brother Kyle, on the other hand, has the picture-perfect life. Wealthy for being nothing more than a surf bum on the beach and being at the right place at the right time; with a new baby on the way with his long-term (6 month) relationship.
An unlikely event opens Peter’s eyes to the life he has known; a life where the father he believed to be his died of colon cancer, which dictated his career and life choices. The event exposed the lies that their mother had told them and the man they believed to be their father all along, never was.
The realization sends the two brothers on a mission to discover who their real father is, and also discover a bit about themselves along the way. Their journey of discovery will take them from Florida to Massachusetts, and several places in-between. All of this, with of hopes of unraveling the mystery of who their real father is and what role, if any, he could fill in their existing lives.
Ed Helms, portrays his character brilliantly. A man who is kind, good-hearted and responsible. The one who even with all his good intentions, never feels like he is able to get ahead. Owen Wilson plays what I feel is one of his best roles to date, as the ying to Ed Helms yang, the happy-go-lucky, never have a care in the world character. The two have a chemistry on the screen that draws you into their personal struggles with lots of laughter along the way.
The cast of “fathers”, are all brilliantly portrayed, whether it’s Terry Bradshaw portraying himself; J. K. Simons, as the lovable “jerk”; and the always talented Christopher Walken as the family veterinarian Dr. Walter Tinkler. Glenn Close does an absolutely amazing performance as the brother’s mother Helen Baxter.
There are plenty of laughs to be had through the movie, but it’s the amount of heart that the movie shows that really drew me in. As I spoke in the beginning, about expectations, I myself had expectations that the movie would be just another slap-stick comedy, with the characters getting into one hilarious situation after another. While this certainly did happen (it is still a comedy after-all), none of the bits seemed outrageous or done for the sake of shock value. As with most movies that fall into this genre, there are scenes which some may feel provided nothing to the story, and were there simply for adolescent humor or to justify the R rating, but none of these detracted from the film as a whole. I didn’t expect to come out of this movie not only quoting some of the very memorable lines, but also reflecting on where their journey began and where it ended.
Father Figures is much more than a simple comedy, and it’s far more than simply a “who’s your daddy” adventure. It’s a movie about self-discovery and more importantly, the journey to get you there. The folks at Warner Bros. Pictures should be commended on not only the casting of the roles, but for producing a story they can be proud of.
Lee (2222 KP) rated Ad Astra (2019) in Movies
Sep 21, 2019
It’s the near future. Humans are trying to reach out to extraterrestrial life. Veteran astronaut Roy McBride (Brad Pitt) is working high up on an antenna built with the sole purpose of trying to communicate with aliens. And when I mean high up, Roy is literally in full astronaut gear, as this thing reaches from the Earths surface, all the way up into space! Suddenly, a mysterious power surge hits the antenna, triggering a series of explosions and sending other astronaut workers tumbling. Roy manages to leap between a few levels in order to shut off the power, but he eventually has no choice other than abandon the structure and tumble down to Earth. Obviously, he makes it, but it’s an impressive, intense opening – beautifully staged and shot and indicative of the kind of quality to come for the rest of the movie.
Fully recovered, and ready for debriefing, Roy learns that the power surge is one of many which are now hitting the Earth and threatening the stability of the solar system. Furthermore, it is believed that Roy’s father, Clifford McBride (Tommy Lee Jones), who embarked on a deep space mission some 30 years ago, is responsible for the surges. All contact was lost with that ship and it’s crew 16 years into their mission, known as The Lima Project, and the source of these surges is the region surrounding Neptune. Roy has been selected to send a message to his father in the hopes that he might respond and help to prevent further catastrophic surges.
Roy is a loner, committed to his work above all else. In an early scene we see his wife (Liv Tyler) walking out on him while he carries out a psych evaluation for work. He comes across as cold, distant and uncaring, and his pessimistic narration throughout the movie gives us a real insight into his character and history. He’s proved that he can keep his cool under pressure, always maintaining a low blood pressure, but suddenly losing his father 30 years ago has obviously resulted in some serious daddy issues for Roy. Issues which these latest events now bring to the forefront.
The message Roy must send to his father needs to be transmitted by laser from Mars to Neptune, so Roy must first travel to the moon and then onward to Mars. This being the near future, space travel has now been commercialised, so fairly easy to just hop on a flight, and the moon is now a hive of human activity – there’s even a Subway restaurant there for hungry travellers arriving from Earth! As Roy makes his way across the moon, to the rocket which will take him to Mars, we learn about it’s colonisation and the disputes that occur there involving the countries of Earth. Consequently, Roy’s journey is not without peril.
What is so incredible about the time we spend on the moon, and then Mars, is just how plausible and realistic it all feels. For the most part, I was totally mesmerised by it all – fully engrossed in what is an epic space adventure into the unknown, desperate to find out how it was all going to end. After emerging as one of the highlights of an otherwise disappointing movie recently in ‘Once Upon a Time in Hollywood’, Brad Pitt once again shows us just what a real star he is. Outstanding.
Despite the beautiful cinematography, the engrossing storyline and the occasional bursts of action though, Ad Astra is a real slow burn of a movie, which won’t be for everyone. What let the movie down for me was the last 20 minutes or so, which proved to be something of an anticlimax in my opinion. However, this is still an incredible movie, held together by an amazing actor and some beautiful visual storytelling.
Fully recovered, and ready for debriefing, Roy learns that the power surge is one of many which are now hitting the Earth and threatening the stability of the solar system. Furthermore, it is believed that Roy’s father, Clifford McBride (Tommy Lee Jones), who embarked on a deep space mission some 30 years ago, is responsible for the surges. All contact was lost with that ship and it’s crew 16 years into their mission, known as The Lima Project, and the source of these surges is the region surrounding Neptune. Roy has been selected to send a message to his father in the hopes that he might respond and help to prevent further catastrophic surges.
Roy is a loner, committed to his work above all else. In an early scene we see his wife (Liv Tyler) walking out on him while he carries out a psych evaluation for work. He comes across as cold, distant and uncaring, and his pessimistic narration throughout the movie gives us a real insight into his character and history. He’s proved that he can keep his cool under pressure, always maintaining a low blood pressure, but suddenly losing his father 30 years ago has obviously resulted in some serious daddy issues for Roy. Issues which these latest events now bring to the forefront.
The message Roy must send to his father needs to be transmitted by laser from Mars to Neptune, so Roy must first travel to the moon and then onward to Mars. This being the near future, space travel has now been commercialised, so fairly easy to just hop on a flight, and the moon is now a hive of human activity – there’s even a Subway restaurant there for hungry travellers arriving from Earth! As Roy makes his way across the moon, to the rocket which will take him to Mars, we learn about it’s colonisation and the disputes that occur there involving the countries of Earth. Consequently, Roy’s journey is not without peril.
What is so incredible about the time we spend on the moon, and then Mars, is just how plausible and realistic it all feels. For the most part, I was totally mesmerised by it all – fully engrossed in what is an epic space adventure into the unknown, desperate to find out how it was all going to end. After emerging as one of the highlights of an otherwise disappointing movie recently in ‘Once Upon a Time in Hollywood’, Brad Pitt once again shows us just what a real star he is. Outstanding.
Despite the beautiful cinematography, the engrossing storyline and the occasional bursts of action though, Ad Astra is a real slow burn of a movie, which won’t be for everyone. What let the movie down for me was the last 20 minutes or so, which proved to be something of an anticlimax in my opinion. However, this is still an incredible movie, held together by an amazing actor and some beautiful visual storytelling.
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Darren (1599 KP) rated Notorious (2009) in Movies
Jul 25, 2019
Story: Notorious starts with the final moments of Christopher ‘Biggie’ Wallace (Woolard) life, before he flashes back to his childhood, raised by his single mother Voletta (Bassett), getting given a chance to start making money from drug dealing where he becomes addicted to make money, until he gets busted.
At 19 he gets a chance to enter the music industry when Puffy Daddy (Luke) gives him a way to escape the life of drug dealing, however difficult it seems. When Biggie finally get the record deal, he soon becomes an international sensation grabbing the attention from another rapper Tupac Shakur (Mackie) who soon becomes a rival with deadly consequences.
Thoughts on Notorious
Characters – Christopher ‘Biggie’ Wallace was a rapper from Brooklyn, he started on the streets as a drug dealer, before showing his rapping skills that saw him become one of the biggest rap stars in the world in the 90’s, we get to see how he has to deal with his vices with women chasing his desire to have too much money. The film doesn’t show him to be a nice man, he cheats on his partners, commits crimes and gets violent when he gets upset, it is a shame for somebody with talent to be such a horrible person. Sean Puffy Combs is the man that takes a chance on Biggie even after losing his position in a record company, he had an eye for talent and knew how to make the most out of it. Tupac is a rival rapper that starts with respect, but because of his continuing side business in drugs, the tension grows and Tupac soon starts a war against Biggie which became a bigger story than any of their music. Faith is Biggie’s wife that has the talent he has though she does become the one that stays with him even if they have an abusive relationship toward each other, well that is what the film shows us.
Performances – Jamal Woolard is brilliant in this leading role, he shows the laidback style Biggie presented himself as, while showing just how easily he can snap. Derek Luke and Anthony Mackie are both strong in the supporting roles, while the rest of the cast give us strong performances too.
Story – The story here follows the life of Biggie one of the biggest rappers of the 90s that wanted to prove music could inspire change only to get drawn into a gang war with another rapper Tupac, one that made the two even more famous. We follow Biggie in and out of the music world, seeing how he was trying to escape a life of crime, but is drawn into relationship problems. The story doesn’t always paint him as a nice guy though, the way he handles the women in his life is getting into the abusive area. Otherwise this shows us how Biggie wasn’t interested in getting involved in the gang war, he just want to make honest money.
Biopic/Crime/Music – The biopic side of the film shows how Biggie was being drawn towards a life of crime or leaving it behind to become a big music sensation and how his life changed with the new, making him part of one of the biggest rap battles in history. The crime world is showing how Biggie was always trying to get out of this world and give you hope to others that are facing it. While I personally wasn’t a fan of the music involved, it will please the fans of his music.
Settings – The film is set in the backdrop Brooklyn shows where he has come from and how he wants to stay loyal to the people who supported him.
Scene of the Movie – Making the choice.
That Moment That Annoyed Me – The film doesn’t show him able to treat his women with respect.
Final Thoughts – This is a biopic that showed how easily a rivalry can start within the business that could end up becoming deadly between two biggest names in the music industry.
Overall: Music biopic that defined a decade.
At 19 he gets a chance to enter the music industry when Puffy Daddy (Luke) gives him a way to escape the life of drug dealing, however difficult it seems. When Biggie finally get the record deal, he soon becomes an international sensation grabbing the attention from another rapper Tupac Shakur (Mackie) who soon becomes a rival with deadly consequences.
Thoughts on Notorious
Characters – Christopher ‘Biggie’ Wallace was a rapper from Brooklyn, he started on the streets as a drug dealer, before showing his rapping skills that saw him become one of the biggest rap stars in the world in the 90’s, we get to see how he has to deal with his vices with women chasing his desire to have too much money. The film doesn’t show him to be a nice man, he cheats on his partners, commits crimes and gets violent when he gets upset, it is a shame for somebody with talent to be such a horrible person. Sean Puffy Combs is the man that takes a chance on Biggie even after losing his position in a record company, he had an eye for talent and knew how to make the most out of it. Tupac is a rival rapper that starts with respect, but because of his continuing side business in drugs, the tension grows and Tupac soon starts a war against Biggie which became a bigger story than any of their music. Faith is Biggie’s wife that has the talent he has though she does become the one that stays with him even if they have an abusive relationship toward each other, well that is what the film shows us.
Performances – Jamal Woolard is brilliant in this leading role, he shows the laidback style Biggie presented himself as, while showing just how easily he can snap. Derek Luke and Anthony Mackie are both strong in the supporting roles, while the rest of the cast give us strong performances too.
Story – The story here follows the life of Biggie one of the biggest rappers of the 90s that wanted to prove music could inspire change only to get drawn into a gang war with another rapper Tupac, one that made the two even more famous. We follow Biggie in and out of the music world, seeing how he was trying to escape a life of crime, but is drawn into relationship problems. The story doesn’t always paint him as a nice guy though, the way he handles the women in his life is getting into the abusive area. Otherwise this shows us how Biggie wasn’t interested in getting involved in the gang war, he just want to make honest money.
Biopic/Crime/Music – The biopic side of the film shows how Biggie was being drawn towards a life of crime or leaving it behind to become a big music sensation and how his life changed with the new, making him part of one of the biggest rap battles in history. The crime world is showing how Biggie was always trying to get out of this world and give you hope to others that are facing it. While I personally wasn’t a fan of the music involved, it will please the fans of his music.
Settings – The film is set in the backdrop Brooklyn shows where he has come from and how he wants to stay loyal to the people who supported him.
Scene of the Movie – Making the choice.
That Moment That Annoyed Me – The film doesn’t show him able to treat his women with respect.
Final Thoughts – This is a biopic that showed how easily a rivalry can start within the business that could end up becoming deadly between two biggest names in the music industry.
Overall: Music biopic that defined a decade.
Bob Mann (459 KP) rated Tomb Raider (2018) in Movies
Sep 29, 2021
A tremendously energetic and fun video game spin-off.
In this #TimesUp year, reviewing a film like “Tomb Raider” is just asking for trouble! So where shall I start digging my shallow grave?
Let’s start with the video game… “Tomb Raider” is of course the original video game phenomenon that started in 1993, featuring Lara Croft: someone that teenagers across the land mastur…. did their homework alongside in bedrooms up and down the land. Beauty; athleticism; a fierce independence; unfeasibly large breasts; ridiculously impossible leaps: in this film reboot, Alicia Vikander’s Lara differs from this ideal in just one respect. And before the Dora Milaje smash through my windows and drag me off for incarceration on Mysogeny Island, I’ll point out that this is OBVIOUSLY the least important omission! 🙂
For this film is good… very good.
“I’M SORRY….? WHAT DID YOU SAY DR BOB??” “But this is a film about a VIDEO GAME! … They are all uniformly s****e!”
Beauty, brains and talent: the GB Olympic team will likely be calling.
I know – I can barely bring myself to admit it. But this one really is good. Most of this is down to the reason I was looking forward so much to this one. Alicia Vikander (“Ex Machina“; “The Danish Girl“; “The Light Between Oceans“) is such a class act, and here she is so much more than just a one-dimensional action hero. She hurts, she mourns, she feels guilt, she’s vulnerable. And it’s all there on her face. Great acting skill. She also kicks ass like no woman on film since Emily Blunt in “Edge of Tomorrow“!
Don’t you just hate it when you drop a bag of flour in your kitchen?
The story by Evan Daugherty and Geneva Robertson-Dworet (with Alastair Siddons adding to the screenplay) rockets off in great style with a “fox and hounds” bike chase around the City of London which is brilliantly done and sets up Croft’s character with the minimum of tedious back story. Switch to the main story and Lara is struggling to face the fact that her father (Dominic West, “Money Monster“), seen in flashback, is finally dead after going off to Japan seven years previously in search of the legendary tomb of ancient sorceress Queen Himiko. The Croft corp. COO (Kristin Scott Thomas, “Darkest Hour“) persuades Lara its time to sign the necessary papers, but on the verge of this act the lawyer Mr Yaffe (Derek Jacobi, “Murder on the Orient Express“) lets a significant cat out of the bag and sets Lara off on the trail of her long-dead father’s original mission.
In happier times. Daddy (Dominic West) goes off on yet another trip from Croft Manor.
It’s a rollercoaster ride that’s really well done. But I reckon the writers should have named Jeffrey Boam, George Lucas and Menno Meyjes as co-collaborators, for the film plagerises terribly from “Indiana Jones and the Last Crusade”. In two or three places, the similarities are shocking! As in the best of Lucas traditions though there are some breathtaking set-pieces, with the best of them staged at the top of a raging waterfall that’s just plane ridiculous! (Even if it plagerises blatantly from “The Lost World”!).
English and patient. Kristin Scott Thomas as the guiding hand at the Croft corporation.
The movie’s tremendous to look at too, with cinematography by George Richmond (“Kingsman“; “Eddie the Eagle“) and (aside from a dodgy helicopter effect) good special effect by Max Poolman (“District 9”) and his team.
My one criticism would be that Vogel – the chief villain, played by Walton Goggins (“The Hateful Eight“) – is rather too unremittingly evil to have two sweetly smiling young children in his desk photo. One can only hope he faces a nasty demise!
Never trust a guy with a beard. Walton Goggins, a bit over the top as the villain of the piece.
The film is directed by Norwegian director Roar Uthaug, in what looks to be his first “non-Norwegian” film. Roar by name; roar by nature! He does a great job. An early “summer blockbuster” actioner that gets two thumbs up from me. What a pleasant surprise!
Let’s start with the video game… “Tomb Raider” is of course the original video game phenomenon that started in 1993, featuring Lara Croft: someone that teenagers across the land mastur…. did their homework alongside in bedrooms up and down the land. Beauty; athleticism; a fierce independence; unfeasibly large breasts; ridiculously impossible leaps: in this film reboot, Alicia Vikander’s Lara differs from this ideal in just one respect. And before the Dora Milaje smash through my windows and drag me off for incarceration on Mysogeny Island, I’ll point out that this is OBVIOUSLY the least important omission! 🙂
For this film is good… very good.
“I’M SORRY….? WHAT DID YOU SAY DR BOB??” “But this is a film about a VIDEO GAME! … They are all uniformly s****e!”
Beauty, brains and talent: the GB Olympic team will likely be calling.
I know – I can barely bring myself to admit it. But this one really is good. Most of this is down to the reason I was looking forward so much to this one. Alicia Vikander (“Ex Machina“; “The Danish Girl“; “The Light Between Oceans“) is such a class act, and here she is so much more than just a one-dimensional action hero. She hurts, she mourns, she feels guilt, she’s vulnerable. And it’s all there on her face. Great acting skill. She also kicks ass like no woman on film since Emily Blunt in “Edge of Tomorrow“!
Don’t you just hate it when you drop a bag of flour in your kitchen?
The story by Evan Daugherty and Geneva Robertson-Dworet (with Alastair Siddons adding to the screenplay) rockets off in great style with a “fox and hounds” bike chase around the City of London which is brilliantly done and sets up Croft’s character with the minimum of tedious back story. Switch to the main story and Lara is struggling to face the fact that her father (Dominic West, “Money Monster“), seen in flashback, is finally dead after going off to Japan seven years previously in search of the legendary tomb of ancient sorceress Queen Himiko. The Croft corp. COO (Kristin Scott Thomas, “Darkest Hour“) persuades Lara its time to sign the necessary papers, but on the verge of this act the lawyer Mr Yaffe (Derek Jacobi, “Murder on the Orient Express“) lets a significant cat out of the bag and sets Lara off on the trail of her long-dead father’s original mission.
In happier times. Daddy (Dominic West) goes off on yet another trip from Croft Manor.
It’s a rollercoaster ride that’s really well done. But I reckon the writers should have named Jeffrey Boam, George Lucas and Menno Meyjes as co-collaborators, for the film plagerises terribly from “Indiana Jones and the Last Crusade”. In two or three places, the similarities are shocking! As in the best of Lucas traditions though there are some breathtaking set-pieces, with the best of them staged at the top of a raging waterfall that’s just plane ridiculous! (Even if it plagerises blatantly from “The Lost World”!).
English and patient. Kristin Scott Thomas as the guiding hand at the Croft corporation.
The movie’s tremendous to look at too, with cinematography by George Richmond (“Kingsman“; “Eddie the Eagle“) and (aside from a dodgy helicopter effect) good special effect by Max Poolman (“District 9”) and his team.
My one criticism would be that Vogel – the chief villain, played by Walton Goggins (“The Hateful Eight“) – is rather too unremittingly evil to have two sweetly smiling young children in his desk photo. One can only hope he faces a nasty demise!
Never trust a guy with a beard. Walton Goggins, a bit over the top as the villain of the piece.
The film is directed by Norwegian director Roar Uthaug, in what looks to be his first “non-Norwegian” film. Roar by name; roar by nature! He does a great job. An early “summer blockbuster” actioner that gets two thumbs up from me. What a pleasant surprise!
Bob Mann (459 KP) rated Bridget Jones's Baby (2016) in Movies
Sep 29, 2021
Come the F*** on Bridget… who’s the Daddy?
The world’s favourite lonely-hearts diarist is back. Bridget (Renée Zellweger) once again starts the film ‘all by herself’, haunted by occasional meetings with ex-flame Mark D’Arcy (Colin Firth) – now married to Camilla (Agni Scott) – and facing the natural discomfort of the early funeral of another friend who has died way too young. And at 43, Bridget’s biological clock is also ticking towards parental midnight.
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Puke Flyswatter (7 KP) rated Star Wars: Episode V – The Empire Strikes Back (1980) in Movies
Sep 12, 2017
Incredible special effects for the time (1 more)
Story writing and characters
The Force is strong with this one
Contains spoilers, click to show
Most fans argue over which of its ongoing episodes, is the best in the Star Wars saga. The Empire Strikes Back took a darker approach than its predecessor in delivering the story of the Rebellion's fight to bring peace and freedom to the galaxy by destroying the Empire who now rule with far more than just iron fist, having snatched its power from the dead hands of the Old Republic. This in my opinion, is what made it not only the best of the saga, but the best science fiction movie of all time and more controversially- one of the best movies ever made; an accolade that has still to be taken by any other movie of the genre to date.
George Lucas, ("the daddy" and brains behind the series of stories of intergalactic war and oppression), had reportedly suffered from exhaustion to the point of near breakdown- even suffering a near heart attack and so decided for the sake of his health and mental well-being not to helm this project which led to Irvin Kershner taking the reins instead.
Kershner's change in approach is apparent throughout the movie and even from the opening scene on Hoth- the barren ice planet- there is a palpably hollow and sombre overall feel which is more than likely deliberate so as to reflect the apparent futility and hopelessness of the protagonists’ struggle. This cleverly generated more empathy toward the characters, meaning the viewer became more invested in the outcome of the story.
The scope and scale of each scene is also cleverly used to give the viewer insight into the characters' state of mind and the choice in lighting and colour (or lack thereof) to deliver more impact and focus on the subject matter in each scene.
As far as story writing and script go, this is also miles ahead of the first and brilliant instalment of the saga. This was apparently due to George Lucas not being happy with the direction of the original draft of the screenplay and being forced to write a further two drafts for the movie following the death of the original screenplay author- the renowned Leigh Brackett who sadly died losing her battle with cancer. Lucas felt it necessary to then bring in Lawrence Kasdan to complete the writing of the screenplay, Kasdan would also go on to pen the screenplays for Raiders Of The Lost Ark, Return Of The Jedi, Star Wars VII The Force Awakens (as co-writer) and is also currently penning the screenplay for the upcoming Han Solo...solo movie. His input and impact on Empire took the saga from the swashbuckling heroic scenes of A New Hope to the almost World War-esque style in which characters are somewhat downtrodden and clearly showing the negative psychological effects on their personalities that are associated with any and every war. This set it apart from A New Hope which, despite the deaths of countless poor and innocent Jawas, inhabitants of Alderaan and Obi-Wan Kenobi, still managed to keep an optimistic outlook which while being an immensely fun and thrilling watch, did not do much in the way of drawing the viewer in and having a connection with the characters. This did not in any way ruin my enjoyment of the movie, I was a kid after all, but upon watching Empire for the first time, I was introduced to a new concept in cinema for me- one where the heroes do not always win, but who still carry on the fight no matter how emotionally scarred or beaten they may be. As a kid, this was so much more of a compelling and exciting movie as it was near impossible to guess where the story would lead and what the future would hold for the then trilogy.
Another highly positive aspect, is that the viewer did not necessarily need to have watched the previous movie and could jump straight into the story, able to enjoy it as each of the characters and the movie’s histories are cleverly re-introduced and explained without the use of exhausting flashbacks or back stories, effectively allowing it to serve as a standalone movie.
For people- who for some reason unbeknownst to me- that are not fans of the genre, this remains as a compelling, well-written and visually stunning piece of movie-making that still stands the test of time and one that anyone of any age can enjoy.
George Lucas, ("the daddy" and brains behind the series of stories of intergalactic war and oppression), had reportedly suffered from exhaustion to the point of near breakdown- even suffering a near heart attack and so decided for the sake of his health and mental well-being not to helm this project which led to Irvin Kershner taking the reins instead.
Kershner's change in approach is apparent throughout the movie and even from the opening scene on Hoth- the barren ice planet- there is a palpably hollow and sombre overall feel which is more than likely deliberate so as to reflect the apparent futility and hopelessness of the protagonists’ struggle. This cleverly generated more empathy toward the characters, meaning the viewer became more invested in the outcome of the story.
The scope and scale of each scene is also cleverly used to give the viewer insight into the characters' state of mind and the choice in lighting and colour (or lack thereof) to deliver more impact and focus on the subject matter in each scene.
As far as story writing and script go, this is also miles ahead of the first and brilliant instalment of the saga. This was apparently due to George Lucas not being happy with the direction of the original draft of the screenplay and being forced to write a further two drafts for the movie following the death of the original screenplay author- the renowned Leigh Brackett who sadly died losing her battle with cancer. Lucas felt it necessary to then bring in Lawrence Kasdan to complete the writing of the screenplay, Kasdan would also go on to pen the screenplays for Raiders Of The Lost Ark, Return Of The Jedi, Star Wars VII The Force Awakens (as co-writer) and is also currently penning the screenplay for the upcoming Han Solo...solo movie. His input and impact on Empire took the saga from the swashbuckling heroic scenes of A New Hope to the almost World War-esque style in which characters are somewhat downtrodden and clearly showing the negative psychological effects on their personalities that are associated with any and every war. This set it apart from A New Hope which, despite the deaths of countless poor and innocent Jawas, inhabitants of Alderaan and Obi-Wan Kenobi, still managed to keep an optimistic outlook which while being an immensely fun and thrilling watch, did not do much in the way of drawing the viewer in and having a connection with the characters. This did not in any way ruin my enjoyment of the movie, I was a kid after all, but upon watching Empire for the first time, I was introduced to a new concept in cinema for me- one where the heroes do not always win, but who still carry on the fight no matter how emotionally scarred or beaten they may be. As a kid, this was so much more of a compelling and exciting movie as it was near impossible to guess where the story would lead and what the future would hold for the then trilogy.
Another highly positive aspect, is that the viewer did not necessarily need to have watched the previous movie and could jump straight into the story, able to enjoy it as each of the characters and the movie’s histories are cleverly re-introduced and explained without the use of exhausting flashbacks or back stories, effectively allowing it to serve as a standalone movie.
For people- who for some reason unbeknownst to me- that are not fans of the genre, this remains as a compelling, well-written and visually stunning piece of movie-making that still stands the test of time and one that anyone of any age can enjoy.
Cyn Armistead (14 KP) rated Alpha (Shifters, #6) in Books
Mar 1, 2018
Well, that was disappointing. I'm honestly sorry that I ever read that first book (which I got free somehow?). I remember being annoyed at the spelling of the main character's name, "Faythe." I should have stopped then.
The way the plot wound up, for the most part, had no real surprises. Anybody who has followed the series has to have figured out what was going to happen by now. It's been foreshadowed - heck, shouted from the rooftops.
No, my disappointment is in the way the damned romance thing was handled.
If you've bothered to read this but haven't read the series, I'm surprised. Anyway, we have a classic love triangle between Faythe, Marc, and Jace. The setting is supposed to be current day America with a twist - the characters are werecats, part of a hidden subculture.
We all know that mainstream Americans are supposedly monogamous but more serially monogamous and closet - something - in practice. Anyway, werecat society is fiercely monogamous. Females are rare, and they're supposed to hit puberty, get married, and produce the next generation with their One True Love. Period. No other options.
So Faythe has defied tradition so far. She went to college. Good for her! She had a boyfriend there. Even better! A non-Pride boyfriend. Great! (To my way of thinking, not her subculture's). She left her guy, Marc, standing at the altar to do all that, though. Eww - not classy.
But after she goes back home, she gets back together with Marc. Hmph.
Then she "connects" with Jace. That means "has sex with." Ooo, bad idea, since she was in a committed relationship with Marc at the time. Very bad idea. But Oh, They were Grieving! Together! For her brother and his best friend, who had just been treacherously killed by enemies! So of course the way to do that, instead of talking about their memories of him, is to roll around naked in the middle of a public room, right?
Um, not the way I'd do it, but, apparently that's their way. They do their grieving with a lot more alcohol than I would too, though.
They don't get caught, at least - not then. No, an enemy figures it out due to how the three interact, and tells Marc, and he believes the enemy (because everybody believes enemies over allies in the heat of battle). And they're all too immature to put the crap behind them and just deal with the fact that they're in the middle of a "war," too.
I kept wanting to spank all of them, and it wasn't because I found any of them sexy.
I did hope, at first, that bringing Jace in as a love interest - and Faythe does repeat, over and over and over again, that she loves Jace, that it wasn't "just sex" - might mean that there was hope for some sort of surprise in the end of the book. That would have been nice, right? Something of a twist that didn't lead to an unhappy ending? I would have loved to see that!
She's going to be the first female Alpha, so why not the first Alpha with two husbands? She'll be the first Alpha who has to deal with pregnancy, so why not have one husband to protect her while she's pregnant and another to get deal with what has to be done in person? What a concept?
My hope was buoyed by the fact that Vincent deliberately developed Jase as a decent potential partner, showing him taking care of Faythe well when she's injured, supporting her as she would need to be supporting when she takes over the Pride as Alpha, and working well with Marc and others repeatedly.
Marc, on the other hand, is a jerk, slamming doors, stomping around, and doing everything but pissing on the furniture to mark his territory.
Just once, I want to see a hero or heroine walk away when someone says, "I cant live without you!" I want to see someone say, "Whoa - that's WAY unhealthy, babe! You need THERAPY!"
Instead, Faythe's father tells her to "Choose the one you can't live without." UGH. Thanks, Daddy! Codependent much?
Do I think she chose the wrong Tom? Absolutely. But - she's a spoiled brat, and she chose a jealous ass. They deserve each other. Let the sweet, loving man go find the sweet, loving woman he deserves. Hopefully he'll stop the drunken escapades and keep it in his pants from now on. Maybe Kaci will grow up to be his Tabby?
Anyway, there you have it. Volume Eleventy Billion and thirteen of How To Do Dysfunctional Relationships.
Next, please!
The way the plot wound up, for the most part, had no real surprises. Anybody who has followed the series has to have figured out what was going to happen by now. It's been foreshadowed - heck, shouted from the rooftops.
No, my disappointment is in the way the damned romance thing was handled.
If you've bothered to read this but haven't read the series, I'm surprised. Anyway, we have a classic love triangle between Faythe, Marc, and Jace. The setting is supposed to be current day America with a twist - the characters are werecats, part of a hidden subculture.
We all know that mainstream Americans are supposedly monogamous but more serially monogamous and closet - something - in practice. Anyway, werecat society is fiercely monogamous. Females are rare, and they're supposed to hit puberty, get married, and produce the next generation with their One True Love. Period. No other options.
So Faythe has defied tradition so far. She went to college. Good for her! She had a boyfriend there. Even better! A non-Pride boyfriend. Great! (To my way of thinking, not her subculture's). She left her guy, Marc, standing at the altar to do all that, though. Eww - not classy.
But after she goes back home, she gets back together with Marc. Hmph.
Then she "connects" with Jace. That means "has sex with." Ooo, bad idea, since she was in a committed relationship with Marc at the time. Very bad idea. But Oh, They were Grieving! Together! For her brother and his best friend, who had just been treacherously killed by enemies! So of course the way to do that, instead of talking about their memories of him, is to roll around naked in the middle of a public room, right?
Um, not the way I'd do it, but, apparently that's their way. They do their grieving with a lot more alcohol than I would too, though.
They don't get caught, at least - not then. No, an enemy figures it out due to how the three interact, and tells Marc, and he believes the enemy (because everybody believes enemies over allies in the heat of battle). And they're all too immature to put the crap behind them and just deal with the fact that they're in the middle of a "war," too.
I kept wanting to spank all of them, and it wasn't because I found any of them sexy.
I did hope, at first, that bringing Jace in as a love interest - and Faythe does repeat, over and over and over again, that she loves Jace, that it wasn't "just sex" - might mean that there was hope for some sort of surprise in the end of the book. That would have been nice, right? Something of a twist that didn't lead to an unhappy ending? I would have loved to see that!
She's going to be the first female Alpha, so why not the first Alpha with two husbands? She'll be the first Alpha who has to deal with pregnancy, so why not have one husband to protect her while she's pregnant and another to get deal with what has to be done in person? What a concept?
My hope was buoyed by the fact that Vincent deliberately developed Jase as a decent potential partner, showing him taking care of Faythe well when she's injured, supporting her as she would need to be supporting when she takes over the Pride as Alpha, and working well with Marc and others repeatedly.
Marc, on the other hand, is a jerk, slamming doors, stomping around, and doing everything but pissing on the furniture to mark his territory.
Just once, I want to see a hero or heroine walk away when someone says, "I cant live without you!" I want to see someone say, "Whoa - that's WAY unhealthy, babe! You need THERAPY!"
Instead, Faythe's father tells her to "Choose the one you can't live without." UGH. Thanks, Daddy! Codependent much?
Do I think she chose the wrong Tom? Absolutely. But - she's a spoiled brat, and she chose a jealous ass. They deserve each other. Let the sweet, loving man go find the sweet, loving woman he deserves. Hopefully he'll stop the drunken escapades and keep it in his pants from now on. Maybe Kaci will grow up to be his Tabby?
Anyway, there you have it. Volume Eleventy Billion and thirteen of How To Do Dysfunctional Relationships.
Next, please!
Alice (12 KP) rated Summoned (Summoned, #1) in Books
Jul 3, 2018
<em>Summoned</em> follows a 23-year-old genie named Dimitri - who, in typical genie fashion - is bound by his master to fulfill wishes. The twist is that Dimitri's master isn't limited to just 3 but has no limit.
The story opens with Dimitri fulfilling a kidnapping request followed by his inevitable rest period directly after - where he meets Syd in a dive bar. From there the story just gets a little weird - Dimitri takes Syd home and they end up having sex literally right away (nothing against it cause whatever floats your boat right?) But it was practically as soon as they got in Dimitri's house.
For a book that generally is considered fantasy with a bit of romance thrown in there's an awful lot of sex and it's rushed sex - almost as if the author felt a little weird writing the scenes - Syd is all kinds of crazy stalker as well, like she steals his number from his phone, turns up on his doorstep unannounced and threatens to slash his tires kinda crazy.
<h2 style="text-align: center;"><span style="color: #f6c7b7;">∞</span></h2>
The master - Karl - is an millionaire arse. I have nothing good to say about him whatsoever. Generally, Dimitri can rest for a day or two before Karl makes another wish but Karl starts to make make a new wish every day - Silvia is Karl's daughter and she screams spoiled rich girl who wants to breed with Dimitri - her inheritance.
It's all kinds of messed up.
Dimitri does a job for Karl and goes home to rest only to get a call from Stalker Syd going a little crazy on him for abandoning her - I forgot to mention that when Karl wants a wish he summons Dimitri to a chamber - the following day after yet more rushed sex Karl has another wish for Dimitri where he has to steal a safe - only he <em>fails</em>.
When Dimitri fails to fulfill a wish the buzz in his head grows and he ends up getting a really bad migraine until he fulfills his wish or pigs fly and Karl recant the wish.
<h2 style="text-align: center;"><span style="color: #f6c7b7;">∞</span></h2>
Syd is all kinds of crazy. I don't think much of her character at all, it's like she's got her heart invested after a one night stand and then goes crazy everyone Dimitri doesn't do what she expects him to do.
<blockquote>"You're just gone so much." Syd's voice sounds so empty and hollow. "I never really know when you'll be back, what you're doing, or anything at all. I don't want to be that needy girlfriend, but it's so frustrating. I know it was meant to be casual, but I thought it could be... more. I just wanted some way to know you were thinking of me."</blockquote>
They've been having sex - not even dating - for what feels like 2 days but is more like 3 weeks or so. Little cray cray.
Silvia Walker is also all kinds of crazy - she wants to breed with Dimitri even if it's against his wishes, she murders small furry animals and she smokes like a chimney. She's got it into her head that Dimitri is the love of her life even though he makes it abundantly clear that he can't stand the sight of her. To make matters worse, she finds out that her daddy is trying to sire a son to make sure she doesn't receive her inheritance.
<h2 style="text-align: center;"><span style="color: #f6c7b7;">∞</span></h2>
Although it's a very good concept - a power hungry, slightly crazy millionaire with his own personal genie to fulfill any and every wish he wants - there was just something missing. I don't know maybe the book was too short and the story was a little rushed for me, the insta-love between Dimitri and Syd bugged the ever-loving crap out of me.
The story as a whole was just too rushed for my tastes and at times I didn't get why something was happening or why Dimitri sounded like a stupid teenager, or why for an "all-powerful" master Karl was an absolute douchebag about a lot of stuff.Like wishing Dimitri kills Syd for one - what's his deal?
It had one <em>hell</em> of a twist at the end though. I didn't expect that all which is what pushed this review up from a 3 to a 3.5.
<blockquote>I'm no longer Leo, or Alan, or Alex.
I'm Dimitri.
And I'm free.</blockquote>
The story opens with Dimitri fulfilling a kidnapping request followed by his inevitable rest period directly after - where he meets Syd in a dive bar. From there the story just gets a little weird - Dimitri takes Syd home and they end up having sex literally right away (nothing against it cause whatever floats your boat right?) But it was practically as soon as they got in Dimitri's house.
For a book that generally is considered fantasy with a bit of romance thrown in there's an awful lot of sex and it's rushed sex - almost as if the author felt a little weird writing the scenes - Syd is all kinds of crazy stalker as well, like she steals his number from his phone, turns up on his doorstep unannounced and threatens to slash his tires kinda crazy.
<h2 style="text-align: center;"><span style="color: #f6c7b7;">∞</span></h2>
The master - Karl - is an millionaire arse. I have nothing good to say about him whatsoever. Generally, Dimitri can rest for a day or two before Karl makes another wish but Karl starts to make make a new wish every day - Silvia is Karl's daughter and she screams spoiled rich girl who wants to breed with Dimitri - her inheritance.
It's all kinds of messed up.
Dimitri does a job for Karl and goes home to rest only to get a call from Stalker Syd going a little crazy on him for abandoning her - I forgot to mention that when Karl wants a wish he summons Dimitri to a chamber - the following day after yet more rushed sex Karl has another wish for Dimitri where he has to steal a safe - only he <em>fails</em>.
When Dimitri fails to fulfill a wish the buzz in his head grows and he ends up getting a really bad migraine until he fulfills his wish or pigs fly and Karl recant the wish.
<h2 style="text-align: center;"><span style="color: #f6c7b7;">∞</span></h2>
Syd is all kinds of crazy. I don't think much of her character at all, it's like she's got her heart invested after a one night stand and then goes crazy everyone Dimitri doesn't do what she expects him to do.
<blockquote>"You're just gone so much." Syd's voice sounds so empty and hollow. "I never really know when you'll be back, what you're doing, or anything at all. I don't want to be that needy girlfriend, but it's so frustrating. I know it was meant to be casual, but I thought it could be... more. I just wanted some way to know you were thinking of me."</blockquote>
They've been having sex - not even dating - for what feels like 2 days but is more like 3 weeks or so. Little cray cray.
Silvia Walker is also all kinds of crazy - she wants to breed with Dimitri even if it's against his wishes, she murders small furry animals and she smokes like a chimney. She's got it into her head that Dimitri is the love of her life even though he makes it abundantly clear that he can't stand the sight of her. To make matters worse, she finds out that her daddy is trying to sire a son to make sure she doesn't receive her inheritance.
<h2 style="text-align: center;"><span style="color: #f6c7b7;">∞</span></h2>
Although it's a very good concept - a power hungry, slightly crazy millionaire with his own personal genie to fulfill any and every wish he wants - there was just something missing. I don't know maybe the book was too short and the story was a little rushed for me, the insta-love between Dimitri and Syd bugged the ever-loving crap out of me.
The story as a whole was just too rushed for my tastes and at times I didn't get why something was happening or why Dimitri sounded like a stupid teenager, or why for an "all-powerful" master Karl was an absolute douchebag about a lot of stuff.Like wishing Dimitri kills Syd for one - what's his deal?
It had one <em>hell</em> of a twist at the end though. I didn't expect that all which is what pushed this review up from a 3 to a 3.5.
<blockquote>I'm no longer Leo, or Alan, or Alex.
I'm Dimitri.
And I'm free.</blockquote>
Bob Mann (459 KP) rated Coco (2017) in Movies
Sep 29, 2021
An animated masterpiece? I should Coco!
I had no great expectations of this film. In fact, I honestly went to see it solely because – with the lazy multiplex habit of milking films like Jedi, Jumanji and (God help us) Pitch Perfect 3 – this was the only film at my local cinemas that I hadn’t seen. But wow… just wow!
For this is a masterpiece, and with the Oscar nominations released yesterday, it almost seems a crime that it wasn’t included in the Best Picture list (it must surely follow its Golden Globes win and snatch the Best Animated film category… although I admit that “Loving Vincent” clearly looks like it took a lot more work!).
Miguel (voiced by Anthony Gonzalez) lives in the quaint Mexican village of Santa Cecilia with his extended shoe-making family, including his grandmother Abuelita (Renée Victor) and his wizened old great-grandmother Coco (Ana Ofelia Murguía, via a brilliant piece of animation). Coco was a child from a broken home, with music being the cause of all the trouble, and this has led to a multi-generational ban that Abuelita polices with fierce passion. Unfortunately, Miguel “has the music in him”, idolising the – now deceased – singing sensation and matinee idol Ernesto de la Cruz (Benjamin Bratt, “Doctor Strange“). Desperate to perform in the Piazza talent contest, held during the evening of the “Day of the Dead” festival, Miguel takes destiny into his own hands…. which might prove fatal as he is dragged, alive and kicking, into the ‘land of the dead’.
The film is a thing of beauty. Some of the scenes: notably the candlelit graveyard, the “petal bridge” and the first sight of the land of the dead are done with such majesty and art that they take your breath away. Literally jaw dropping! (Try to make sure you see it on the big screen). So there are similarities here with “Blade Runner 2049” which also had images that could easily grace the walls of any art gallery in the world.
Where the film deviates from “Blade Runner” though is the original story by Lee Unkrich (who also directs), Adrian Molina (who co-directs), Jason Katz and Matthew Aldrich. Whereas the sci-fi reboot was a bit flaccid, story-wise, Coco develops in a surprisingly non-linear way. The story you think you are on suddenly does unexpected switchbacks and gets very deep indeed.
Deep? But this is a kids film right? Well, no, not really. Sure it has a lot of fun skeleton action, in the style of the re-constituting Olaf from “Frozen”, and a cute but mangy dog with a ridiculously long tongue. But the themes exposed here are FAR from childish. They encompass family, ambition, work/life balance, death and remembrance in such a fashion that parents exposing the film to young kids (I would think, up to 7 or 8 years old) should be ready with sensitive answers to “Mummy/Daddy, why…” questions so as to avoid significant anxiety and nightmares. The relationship between Miguel and his grandmother Abuelita, switching from violent outbursts to sudden loving hugs, might – I think – also confuse and disturb young children. Its UK certificate is “PG”, not “U”, for good reason.
So be prepared to cry. If you are anything like me, there will be a point in this film where you are desperately trying to recall the faces and voices of all of those people in your life that you have lost over the years. And some of the final jolts in this film will leave you almost as drained (almost!) as the start of “Up”.
As befits the subject matter there is a great score, with a mariachi feel, by Michael Giacchino, including a nice rendition of “When You Wish Upon A Star” over the Disney castle production logo. And there are some great songs, including the pivotal “Remember Me” which is now Oscar nominated.
Passport control at Heathrow was never like this.
Watch out for some nice cameo voice performances as well: Cheech Marin (from Cheech and Chong) plays the ‘border control’ officer, and Pixar regular John Ratzenberger (Hamm in “Toy Story”) turns up again playing Juan Ortodoncia, a character whose dentist fondly remembers him (LOL)!
With John Lasseter recently dragged into the #metoo scandal, and taking 6 months off to ponder on his “missteps”, one hopes this will not knock Pixar off its track too much. For with this evidence the studio shouldn’t keep trying to milk existing “Incredibles” and “Toy Story” franchises, but come up with more original entertainments like this. Because, for me, this rises into my top-three favourite Pixar films of all time (along with Toy Story and Wall-E).
For this is a masterpiece, and with the Oscar nominations released yesterday, it almost seems a crime that it wasn’t included in the Best Picture list (it must surely follow its Golden Globes win and snatch the Best Animated film category… although I admit that “Loving Vincent” clearly looks like it took a lot more work!).
Miguel (voiced by Anthony Gonzalez) lives in the quaint Mexican village of Santa Cecilia with his extended shoe-making family, including his grandmother Abuelita (Renée Victor) and his wizened old great-grandmother Coco (Ana Ofelia Murguía, via a brilliant piece of animation). Coco was a child from a broken home, with music being the cause of all the trouble, and this has led to a multi-generational ban that Abuelita polices with fierce passion. Unfortunately, Miguel “has the music in him”, idolising the – now deceased – singing sensation and matinee idol Ernesto de la Cruz (Benjamin Bratt, “Doctor Strange“). Desperate to perform in the Piazza talent contest, held during the evening of the “Day of the Dead” festival, Miguel takes destiny into his own hands…. which might prove fatal as he is dragged, alive and kicking, into the ‘land of the dead’.
The film is a thing of beauty. Some of the scenes: notably the candlelit graveyard, the “petal bridge” and the first sight of the land of the dead are done with such majesty and art that they take your breath away. Literally jaw dropping! (Try to make sure you see it on the big screen). So there are similarities here with “Blade Runner 2049” which also had images that could easily grace the walls of any art gallery in the world.
Where the film deviates from “Blade Runner” though is the original story by Lee Unkrich (who also directs), Adrian Molina (who co-directs), Jason Katz and Matthew Aldrich. Whereas the sci-fi reboot was a bit flaccid, story-wise, Coco develops in a surprisingly non-linear way. The story you think you are on suddenly does unexpected switchbacks and gets very deep indeed.
Deep? But this is a kids film right? Well, no, not really. Sure it has a lot of fun skeleton action, in the style of the re-constituting Olaf from “Frozen”, and a cute but mangy dog with a ridiculously long tongue. But the themes exposed here are FAR from childish. They encompass family, ambition, work/life balance, death and remembrance in such a fashion that parents exposing the film to young kids (I would think, up to 7 or 8 years old) should be ready with sensitive answers to “Mummy/Daddy, why…” questions so as to avoid significant anxiety and nightmares. The relationship between Miguel and his grandmother Abuelita, switching from violent outbursts to sudden loving hugs, might – I think – also confuse and disturb young children. Its UK certificate is “PG”, not “U”, for good reason.
So be prepared to cry. If you are anything like me, there will be a point in this film where you are desperately trying to recall the faces and voices of all of those people in your life that you have lost over the years. And some of the final jolts in this film will leave you almost as drained (almost!) as the start of “Up”.
As befits the subject matter there is a great score, with a mariachi feel, by Michael Giacchino, including a nice rendition of “When You Wish Upon A Star” over the Disney castle production logo. And there are some great songs, including the pivotal “Remember Me” which is now Oscar nominated.
Passport control at Heathrow was never like this.
Watch out for some nice cameo voice performances as well: Cheech Marin (from Cheech and Chong) plays the ‘border control’ officer, and Pixar regular John Ratzenberger (Hamm in “Toy Story”) turns up again playing Juan Ortodoncia, a character whose dentist fondly remembers him (LOL)!
With John Lasseter recently dragged into the #metoo scandal, and taking 6 months off to ponder on his “missteps”, one hopes this will not knock Pixar off its track too much. For with this evidence the studio shouldn’t keep trying to milk existing “Incredibles” and “Toy Story” franchises, but come up with more original entertainments like this. Because, for me, this rises into my top-three favourite Pixar films of all time (along with Toy Story and Wall-E).