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Gareth von Kallenbach (965 KP) rated Watchmen (2009) in Movies
Aug 14, 2019
In an alternate 1985, where Nixon is president, The U.S. won the Vietnam War, and costumed heroes have been banned by an act of the Senate, a superhero is killed. The death of the mercurial entity known as The Comedian (Jeffrey Dean Morgan) sets a string of events into motion that will soon see the world poised on the edge of nuclear annihilation, and the few remaining heroes locked in a life or death race against time to save the world. In the gritty and compelling new movie “Watchmen” by Director Zack Snyder, a clever blend of film noir and gumshoe style films of old combined with action and adventure as well as a deep examination of human frailties to create a film like no other.
No sooner has the death of the Comedian hit the streets (literally), when the edgy vigilante Rorschach (Jackie Earle Haley), begins to suspect that there is a larger and far more sinister plot in effect, one that has targeted the few remaining costumed avengers of New York City. Rorschach’s theory is disbelieved by his former associate Dan (Patrick Wilson), who prowled the streets as Night Owl and is now content to keep to himself, with his days of costumed glory behind him. He keeps his social circle limited to the first Night Owl and visiting with Laurie Jupiter ( Malin Akerman), and her husband, Dr. Manhattan (Billy Crudup).
With his concerns being dismissed, Rorschach is left to do the legwork on the mystery which soon shifts into high gear when he is framed for a murder he actually did not commit and an attempt is made on the life of the other former Watchmen, Ozymandias (Matthew Goode). With Rorschach in prison and surrounded by enemies, Dr. Manhattan, the all powerful and blue skinned being, is forced to take refuge on Mars after Laurie leaves him and a series of accusations are levied against him at a press conference .
It soon becomes clear to all that the death of The Comedian was not a random act of violence or a simple act of revenge, but rather the first salvo in a war against costumed heroes. With the former team in chaos, Laurie to take up residence with Dan, who has long held a torch for her, to defy the government order and suit up again. After saving a group of people from a fire, Laurie and Dan find the passion and purpose that has been missing from their post-hero lives and passionately unite and set out to free Rorschach and get to the bottom of the conspiracy before it is to late.
The film is an amazing mix of comic book action and mystery that includes a suprising amount of mature material that examines everything from humanity’s ultimate destiny to the inner psyche of tortured and flawed individuals. The characters all have their flaws and traumas and compensate by donning masks and taking on new personas. The deeply troubled Rorschach is filled in by some horrific and disturbing flashbacks that show how he became the disturbed and deeply dangerous crusader for justice that he is, so extreme in his measures that he is wanted by the police for his actions. Dan and Laurie try to move on from their past, but find that they are more comfortable in their costumed personas than they are in their day-to-day lives. Dr. Manhattan is perhaps the most dysfunctional of all as he has shut himself off from his wife, humanity, and joy. He has evolved beyond caring for anything but his experiments.
Snyder keeps the nearly three hour film moving at a brisk pace and deftly captures the look and tone of the graphic novel on which the film is based. The opening segment that shows alternate versions of great moments in history is amazing, as is the well choreographed action sequences. Despite being a superhero film, “Watchmen” is a superb mystery and drama that is loaded with interesting characters and clever social commentary. The cast is very strong, and Haley is remarkable as Rorschach. He is utterly captivating whenever he is on the screen and has crafted a true modern anti-hero for the masses.
Some may find the graphic violence and sex in the film a bit extreme, but in order to fully capture the duality of the characters and the dark world that they dwell in, it was in many ways restrained from what is actually implied by the source material. “Watchmen”, is a true marvel and is one of the most entertaining, diverse, and original action films in memory.
No sooner has the death of the Comedian hit the streets (literally), when the edgy vigilante Rorschach (Jackie Earle Haley), begins to suspect that there is a larger and far more sinister plot in effect, one that has targeted the few remaining costumed avengers of New York City. Rorschach’s theory is disbelieved by his former associate Dan (Patrick Wilson), who prowled the streets as Night Owl and is now content to keep to himself, with his days of costumed glory behind him. He keeps his social circle limited to the first Night Owl and visiting with Laurie Jupiter ( Malin Akerman), and her husband, Dr. Manhattan (Billy Crudup).
With his concerns being dismissed, Rorschach is left to do the legwork on the mystery which soon shifts into high gear when he is framed for a murder he actually did not commit and an attempt is made on the life of the other former Watchmen, Ozymandias (Matthew Goode). With Rorschach in prison and surrounded by enemies, Dr. Manhattan, the all powerful and blue skinned being, is forced to take refuge on Mars after Laurie leaves him and a series of accusations are levied against him at a press conference .
It soon becomes clear to all that the death of The Comedian was not a random act of violence or a simple act of revenge, but rather the first salvo in a war against costumed heroes. With the former team in chaos, Laurie to take up residence with Dan, who has long held a torch for her, to defy the government order and suit up again. After saving a group of people from a fire, Laurie and Dan find the passion and purpose that has been missing from their post-hero lives and passionately unite and set out to free Rorschach and get to the bottom of the conspiracy before it is to late.
The film is an amazing mix of comic book action and mystery that includes a suprising amount of mature material that examines everything from humanity’s ultimate destiny to the inner psyche of tortured and flawed individuals. The characters all have their flaws and traumas and compensate by donning masks and taking on new personas. The deeply troubled Rorschach is filled in by some horrific and disturbing flashbacks that show how he became the disturbed and deeply dangerous crusader for justice that he is, so extreme in his measures that he is wanted by the police for his actions. Dan and Laurie try to move on from their past, but find that they are more comfortable in their costumed personas than they are in their day-to-day lives. Dr. Manhattan is perhaps the most dysfunctional of all as he has shut himself off from his wife, humanity, and joy. He has evolved beyond caring for anything but his experiments.
Snyder keeps the nearly three hour film moving at a brisk pace and deftly captures the look and tone of the graphic novel on which the film is based. The opening segment that shows alternate versions of great moments in history is amazing, as is the well choreographed action sequences. Despite being a superhero film, “Watchmen” is a superb mystery and drama that is loaded with interesting characters and clever social commentary. The cast is very strong, and Haley is remarkable as Rorschach. He is utterly captivating whenever he is on the screen and has crafted a true modern anti-hero for the masses.
Some may find the graphic violence and sex in the film a bit extreme, but in order to fully capture the duality of the characters and the dark world that they dwell in, it was in many ways restrained from what is actually implied by the source material. “Watchmen”, is a true marvel and is one of the most entertaining, diverse, and original action films in memory.
Charlie Cobra Reviews (1840 KP) rated Scary Stories to Tell in the Dark (2019) in Movies
Jul 7, 2020
A New Take On Classic Story Horror
Scary Stories To Tell In The Dark is a 2019 horror movie directed by Andre Ovredal, with screenplay adapted by Dan and Kevin Hageman, from a screen story by producer Guillermo Del Toro, Patrick Melton and Marcus Dunstan. It's based on the children's book series by Alvin Schwartz and produced by CBS Films, Entertainment One, 1212 Entertainment, Double Dare You Productions and Sean Daniel Company, and distributed by Lionsgate. The film stars Zoe Colletti, Michael Garza, Gabriel Rush, Austin Zajur and Natalie Ganzhorn.
Three teenagers in the small town of Mill Valley, Pennsylvania, Stella (Zoe Colletti), Auggie (Gabriel Rush) and Chuck (Austin Zajur) incur the wrath of school bully Tommy Millner after playing a prank. They are chased by him and saved by a drifter named Ramon (Michael Garza) who let's them into his car. The group including Ramon explore a haunted house belonging to the Bellows, founders of the town, Inside of a secret room belonging to the Bellows' daughter Sarah, they find a book of scary stories written by her. After taking the book with them, they start to believe that there is more to the rumors about the house being haunted when stories in the book appear to happen in real life.
This movie was actually pretty good. I thought it could have been scarier but I think it was done well for being rated PG-13. Of course, I'm old enough to remember the books and they were really creepy, especially the illustrations. The movie was good at building suspense, and being creepy. I really liked the characters and felt that they were likeable and had a little something for everyone in how they were relatable. The character development could have been better for sure but the creature effects were spot on. The Monsters were definitely awesome and I like the way the made it an anthology movie without it actually being an anthology. It was pretty unique in that way and I can see how a sequel could work if it's financially successful enough to warrant one. I give this movie a 7/10.
Three teenagers in the small town of Mill Valley, Pennsylvania, Stella (Zoe Colletti), Auggie (Gabriel Rush) and Chuck (Austin Zajur) incur the wrath of school bully Tommy Millner after playing a prank. They are chased by him and saved by a drifter named Ramon (Michael Garza) who let's them into his car. The group including Ramon explore a haunted house belonging to the Bellows, founders of the town, Inside of a secret room belonging to the Bellows' daughter Sarah, they find a book of scary stories written by her. After taking the book with them, they start to believe that there is more to the rumors about the house being haunted when stories in the book appear to happen in real life.
This movie was actually pretty good. I thought it could have been scarier but I think it was done well for being rated PG-13. Of course, I'm old enough to remember the books and they were really creepy, especially the illustrations. The movie was good at building suspense, and being creepy. I really liked the characters and felt that they were likeable and had a little something for everyone in how they were relatable. The character development could have been better for sure but the creature effects were spot on. The Monsters were definitely awesome and I like the way the made it an anthology movie without it actually being an anthology. It was pretty unique in that way and I can see how a sequel could work if it's financially successful enough to warrant one. I give this movie a 7/10.
BankofMarquis (1832 KP) rated Prey (2022) in Movies
Aug 12, 2022
Less Is More - And It Works!
In 1987, at the height of the ‘80’s action movie craze with the likes of Stallone, Van Damme, Segal, Norris and Willis, Arnold Schwarzenegger came out with what on the surface looked like a throw away macho, sci-fi action flick, PREDATOR. What it turned out to be was one of the all-time classic action films.
It has taken 35 years for a sequel (in this case, a prequel) to be mentioned in the same stratosphere as the first.
While the other 5 sequels (if you count the Alien vs. Predator cross-over films) delve deeper and harder into the science fiction and macho-action of the first film, the straight-to-streaming prequel PREY (on Hulu and now on Disney+) decided to go in the other direction, it simplified the Predator/Prey dynamic, eschewing deep sci-fi mythology and settled on the “less is more” dictum of storytelling to great affect.
Set in the Midwestern Plains in the 1710’s, PREY follows a group of Comanches as they live their unassuming lifestyle - living off and giving back to the land. A lifestyle that is slowly being encroached upon by foreign entities. At first these “aliens” are terrestrial in nature (the approach of the White Man, in this case, they are in the guise of French Voyageurs), but later, in it takes the form of the extraterrestrial Predator. It’s an interesting juxtaposition of the duo forces outside of what this tribe of Native Americans know - and how they deal with it.
Leading us into the conflict are the main protagonists - the brother/sister combo of Naru (Amber Midthunder, HELL OR HIGHWATER) and her older brother, Taabe (Dakota Beavers, in what is his feature film debut). These 2 - along with their Comanche brethren track and then begin to understand what they are encountering and since they know they are out-gunned, they need to outsmart the Predator.
This could have devolved, quickly, into a gorey, CGI-fest of carnage, but in the careful hands of Director Dan Trachtenberg (10 CLOVERFIELD LANE) and with an interesting screenplay by Trachtenberg and Patrick Aison, this film becomes a thoughtful, intelligence game of wits that is satisfying on both sides.
Midthunder and Beavers are very strong in their roles of the brother and sister Comanches and they are 2 characters that you quickly start rooting for in their battle. These characters are drawn in an interesting, 3-dimensional, way and are a pair that you want to spend these 2 hours of struggle with.
Trachtenberg helps these 2 - and the story - by setting a deliberate pace, as if you the audience are thinking and encountering things along with these 2. There are long bits of thought and talk highlighted by spikes of action that are well choreographed and interesting, but really add to the depths of the characters.
I am as surprised as you are that I encountered an interesting character study in disguise in an action-packed Predator film - but that is just what this is…and very well done to boot.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
It has taken 35 years for a sequel (in this case, a prequel) to be mentioned in the same stratosphere as the first.
While the other 5 sequels (if you count the Alien vs. Predator cross-over films) delve deeper and harder into the science fiction and macho-action of the first film, the straight-to-streaming prequel PREY (on Hulu and now on Disney+) decided to go in the other direction, it simplified the Predator/Prey dynamic, eschewing deep sci-fi mythology and settled on the “less is more” dictum of storytelling to great affect.
Set in the Midwestern Plains in the 1710’s, PREY follows a group of Comanches as they live their unassuming lifestyle - living off and giving back to the land. A lifestyle that is slowly being encroached upon by foreign entities. At first these “aliens” are terrestrial in nature (the approach of the White Man, in this case, they are in the guise of French Voyageurs), but later, in it takes the form of the extraterrestrial Predator. It’s an interesting juxtaposition of the duo forces outside of what this tribe of Native Americans know - and how they deal with it.
Leading us into the conflict are the main protagonists - the brother/sister combo of Naru (Amber Midthunder, HELL OR HIGHWATER) and her older brother, Taabe (Dakota Beavers, in what is his feature film debut). These 2 - along with their Comanche brethren track and then begin to understand what they are encountering and since they know they are out-gunned, they need to outsmart the Predator.
This could have devolved, quickly, into a gorey, CGI-fest of carnage, but in the careful hands of Director Dan Trachtenberg (10 CLOVERFIELD LANE) and with an interesting screenplay by Trachtenberg and Patrick Aison, this film becomes a thoughtful, intelligence game of wits that is satisfying on both sides.
Midthunder and Beavers are very strong in their roles of the brother and sister Comanches and they are 2 characters that you quickly start rooting for in their battle. These characters are drawn in an interesting, 3-dimensional, way and are a pair that you want to spend these 2 hours of struggle with.
Trachtenberg helps these 2 - and the story - by setting a deliberate pace, as if you the audience are thinking and encountering things along with these 2. There are long bits of thought and talk highlighted by spikes of action that are well choreographed and interesting, but really add to the depths of the characters.
I am as surprised as you are that I encountered an interesting character study in disguise in an action-packed Predator film - but that is just what this is…and very well done to boot.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
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…