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Darren (1599 KP) rated Scream 4 (2011) in Movies
Oct 31, 2019
Characters – Sidney has made a career in books after the events in the films, she is completing her latest book tour right where it all started. With her back in town the killings start up again, Sidney must be the role model for her cousin who is going through the same situation she once did. Gale is now married to Dewey, she has given up the spotlight, but craves getting back into the field with the new killings offering her the chance. Dewey is now the sheriff who must now control the situation before it gets out of hand. We get the new potential victims or suspects here with Jill being Sidney’s cousin always tired of being in the shadow of her more famous family member, Kirby the rebellious teenager, Robbie who is filming every moment of his life for a reality YouTube network and Charlie is the leader of the film club. These characters do fit around the moulds of the original teens too.
Performances – Neve Campbell, Courteney Cox and David Arquette all return giving us good performances without needing to bring anything new to the performances. Of the new cast members nobody comes off in a shining performance which can disappoint in places as we have a wonderful set of talents in the film.
Story – The story here brings back our original characters just as a new killing spree has started in the area where it all started, with a new generation of victims and horror fans. The idea for this story comes from the idea that we have too many sequels or reboots, which does help take away the serious nature from the film, the Ghostface does seem flat for the most part because they seem to get mixed into being too intense without a reason behind the killings. Of course this is more about poking fun with the meta of everything in the horror genre which is does achieve.
Horror/Mystery – The horror in this film comes from the slasher angle, only this time we get a bloodier version of the kills showing the change in the genre. The mystery in this film comes from just who the killer is going to be this time, though we don’t get enough signs this time.
Settings – The film returns to the original town which does help with the idea of a reboot sequel piss take that we are dealing with.
Special Effects – The effects are the most disappointing side of this film because we have moments of CGI that don’t look as true as the practical moments.
Scene of the Movie – Deputy Judy being like Dewey is the funniest moments.
That Moment That Annoyed Me – The kids are not really likeable.
Final Thoughts – This is a solid look at the horror genre with the countless sequels and remakes that we are seeing, it brings back enough relevant characters back but does fail to give us enough interest new ones.
Overall: Simple fun sequel.
Performances – Neve Campbell, Courteney Cox and David Arquette all return giving us good performances without needing to bring anything new to the performances. Of the new cast members nobody comes off in a shining performance which can disappoint in places as we have a wonderful set of talents in the film.
Story – The story here brings back our original characters just as a new killing spree has started in the area where it all started, with a new generation of victims and horror fans. The idea for this story comes from the idea that we have too many sequels or reboots, which does help take away the serious nature from the film, the Ghostface does seem flat for the most part because they seem to get mixed into being too intense without a reason behind the killings. Of course this is more about poking fun with the meta of everything in the horror genre which is does achieve.
Horror/Mystery – The horror in this film comes from the slasher angle, only this time we get a bloodier version of the kills showing the change in the genre. The mystery in this film comes from just who the killer is going to be this time, though we don’t get enough signs this time.
Settings – The film returns to the original town which does help with the idea of a reboot sequel piss take that we are dealing with.
Special Effects – The effects are the most disappointing side of this film because we have moments of CGI that don’t look as true as the practical moments.
Scene of the Movie – Deputy Judy being like Dewey is the funniest moments.
That Moment That Annoyed Me – The kids are not really likeable.
Final Thoughts – This is a solid look at the horror genre with the countless sequels and remakes that we are seeing, it brings back enough relevant characters back but does fail to give us enough interest new ones.
Overall: Simple fun sequel.
Eilidh G Clark (177 KP) rated Goblin in Books
Jul 2, 2019
Brilliant book, well wriiten, original
Winner of the Saltire Society first book of the year award 2017, Goblin, by Ever Dundas is a brilliant and brave first novel. Set in both London during WW2 and in Edinburgh in 2011, the story is told in flashback. For me, the first half of the novel is the best, we meet Goblin as a nine-year-old tomboy with a love for animals and a passion for storytelling - both of which the protagonist collects.
Goblin has a difficult family life; a mother who doesn’t want her, 'Goblin-runt born blue. Nothing can kill you. [...] You're like a cockroach,' (p.5) a father who mends radio’s and barely talks and a brother (David) who spends most of his time in his bedroom. Left to her own devices, the protagonist, her dog Devil, and her two friends Mac and Stevie roam the neighbourhood and hang around in an abandoned worksite. As a collector of stories, Goblin enthusiastically attends the local church with Mac, 'I loved the stories, turning them over in my head, weaving my own.' (p.24) before meeting The Crazy Pigeon Lady who tells her tales of Lizards people from the realm below. The childhood innocence in these chapters, mixed with magic realism, break down the walls of adult reasoning and creates a wonderful suspension of disbelief.
But without giving away the story plot, the suspension of disbelief serves another purpose; to divert the reader (as well as the adult protagonist) from the truth. So, while the adult Goblin searches amongst her tangled past, she takes the reader along for the ride. We meet multiple parents, live life on the road, come alive on the streets and in the circus, explore love, death, desire, and hate – and somewhere in the middle we meet an impressive collection of animals - Goblin has it all. And as far as strong female protagonists go, she’s right up there with Anais Hendricks from Jenni Fagan’s Panopticon, to Janie Ryan in Kerry Hudson’s Tony Hogan Bought Me an Ice Cream Float Before He Stole My Ma, characters who are so real you might just walk by them on the street.
The only teeny tiny criticism about the novel is that the second half spans over a lengthy period of time and it felt a little rushed. However, there is so much to say about this novel, so many angles to discuss, from Queer Theory to Religion, from Myth to Realism, and as a graduate of English Literature I could have a field day studying this book but for now, as a lover of good books, I’ll give it a big thumbs up and a huge recommendation, it’ll be finding a space on my ‘keep’ book shelve.
Goblin, Ever Dundas (2017) published by Saraband
Goblin has a difficult family life; a mother who doesn’t want her, 'Goblin-runt born blue. Nothing can kill you. [...] You're like a cockroach,' (p.5) a father who mends radio’s and barely talks and a brother (David) who spends most of his time in his bedroom. Left to her own devices, the protagonist, her dog Devil, and her two friends Mac and Stevie roam the neighbourhood and hang around in an abandoned worksite. As a collector of stories, Goblin enthusiastically attends the local church with Mac, 'I loved the stories, turning them over in my head, weaving my own.' (p.24) before meeting The Crazy Pigeon Lady who tells her tales of Lizards people from the realm below. The childhood innocence in these chapters, mixed with magic realism, break down the walls of adult reasoning and creates a wonderful suspension of disbelief.
But without giving away the story plot, the suspension of disbelief serves another purpose; to divert the reader (as well as the adult protagonist) from the truth. So, while the adult Goblin searches amongst her tangled past, she takes the reader along for the ride. We meet multiple parents, live life on the road, come alive on the streets and in the circus, explore love, death, desire, and hate – and somewhere in the middle we meet an impressive collection of animals - Goblin has it all. And as far as strong female protagonists go, she’s right up there with Anais Hendricks from Jenni Fagan’s Panopticon, to Janie Ryan in Kerry Hudson’s Tony Hogan Bought Me an Ice Cream Float Before He Stole My Ma, characters who are so real you might just walk by them on the street.
The only teeny tiny criticism about the novel is that the second half spans over a lengthy period of time and it felt a little rushed. However, there is so much to say about this novel, so many angles to discuss, from Queer Theory to Religion, from Myth to Realism, and as a graduate of English Literature I could have a field day studying this book but for now, as a lover of good books, I’ll give it a big thumbs up and a huge recommendation, it’ll be finding a space on my ‘keep’ book shelve.
Goblin, Ever Dundas (2017) published by Saraband
BankofMarquis (1832 KP) rated Airplane! in Apps
Mar 27, 2020
Holds Up Well
Doctor: Can you fly this plane, and land it?
Striker: Surely you can't be serious.
Doctor: I am serious... and don't call me Shirley.
And that, in a nutshell, is the humor to be found in the 1980 laugh-a-minute comedy AIRPLANE brought to us by the demented minds of David Zucker, Jim Abrahams and Jerry Zucker. If you haven't seen this flick in awhile - or if you have NEVER seen it - check it out, you'll be glad you did.
Parodying Disaster Movies that were all the rage in the 1970's, AIRPLANE tells the tale of an airliner who's flight crew is incapacitated by food poisoning and it is up to a Stewardess and her on again/off again former fighter pilot (fighting PTSD) boyfriend to land the plane and save the passengers.
And...along the way we have a hodgepodge of quirky, weird characters that are not afraid to sling a joke in a deadpan style. It is an unusual film to watch.
And...make sure you put your phone down and actually WATCH this film, for there is quite a bit of visual humor that you need to be paying attention to to catch it...humor such as...
Kramer: Steve, I want every light you can get poured onto that field.
Steve: Bein' done right now.
[On the runway, a truck dumps a full load of lamps onto the ground]
Also...the verbal humor needs to be paid attention to...
Doctor: What was it we had for dinner tonight?
Elaine: Well, we had a choice of steak or fish.
Doctor: Yes, yes, I remember, I had lasagna.
All of this delivered with a deadpan wink in the eye by such dramatic 1960's and '70's TV stalwarts as Leslie Nielsen, Lloyd Bridges and Robert Stack. Add to that the wholesome cuteness of leads Robert Hayes and Julie Hagerty with fun cameos by the likes of Kareem Abdul-Jabbar and Mrs. Cleaver herself, Barbara Billingsly ("Excuse me stewardess, I speak jive) and a fun time was had by all.
Finally, I would be remiss if I didn't single out the craziness of the character Johnny (Stephen Stucker). He flits in and out of this film (in some cases quite literally) throwing non-sequiturs at the screen that had me laughing out loud on my umpteenth viewing of this film. Non-sequiturs like...
Steve: Johnny, what can you make out of this?
[Hands him the weather briefing]
Johnny: This? Why, I can make a hat or a brooch or a pterodactyl...
This film gave myself and my family some much need yuks - even my "eye rolling" 19 year old College Freshman was heard guffawing out loud from time to time.
So...check out AIRPLANE - you'll be glad you did.
Letter Grade:: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Oh...and one other thing...
Kramer: Do you know what it's like to fall in the mud and get kicked... in the head... with an iron boot? Of course you don't, no one does. It never happens. Sorry, Ted, that's a dumb question... skip that...
Striker: Surely you can't be serious.
Doctor: I am serious... and don't call me Shirley.
And that, in a nutshell, is the humor to be found in the 1980 laugh-a-minute comedy AIRPLANE brought to us by the demented minds of David Zucker, Jim Abrahams and Jerry Zucker. If you haven't seen this flick in awhile - or if you have NEVER seen it - check it out, you'll be glad you did.
Parodying Disaster Movies that were all the rage in the 1970's, AIRPLANE tells the tale of an airliner who's flight crew is incapacitated by food poisoning and it is up to a Stewardess and her on again/off again former fighter pilot (fighting PTSD) boyfriend to land the plane and save the passengers.
And...along the way we have a hodgepodge of quirky, weird characters that are not afraid to sling a joke in a deadpan style. It is an unusual film to watch.
And...make sure you put your phone down and actually WATCH this film, for there is quite a bit of visual humor that you need to be paying attention to to catch it...humor such as...
Kramer: Steve, I want every light you can get poured onto that field.
Steve: Bein' done right now.
[On the runway, a truck dumps a full load of lamps onto the ground]
Also...the verbal humor needs to be paid attention to...
Doctor: What was it we had for dinner tonight?
Elaine: Well, we had a choice of steak or fish.
Doctor: Yes, yes, I remember, I had lasagna.
All of this delivered with a deadpan wink in the eye by such dramatic 1960's and '70's TV stalwarts as Leslie Nielsen, Lloyd Bridges and Robert Stack. Add to that the wholesome cuteness of leads Robert Hayes and Julie Hagerty with fun cameos by the likes of Kareem Abdul-Jabbar and Mrs. Cleaver herself, Barbara Billingsly ("Excuse me stewardess, I speak jive) and a fun time was had by all.
Finally, I would be remiss if I didn't single out the craziness of the character Johnny (Stephen Stucker). He flits in and out of this film (in some cases quite literally) throwing non-sequiturs at the screen that had me laughing out loud on my umpteenth viewing of this film. Non-sequiturs like...
Steve: Johnny, what can you make out of this?
[Hands him the weather briefing]
Johnny: This? Why, I can make a hat or a brooch or a pterodactyl...
This film gave myself and my family some much need yuks - even my "eye rolling" 19 year old College Freshman was heard guffawing out loud from time to time.
So...check out AIRPLANE - you'll be glad you did.
Letter Grade:: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Oh...and one other thing...
Kramer: Do you know what it's like to fall in the mud and get kicked... in the head... with an iron boot? Of course you don't, no one does. It never happens. Sorry, Ted, that's a dumb question... skip that...
The Extraordinary Leader: Turning Good Managers into Great Leaders by John Zenger & Joseph Folkman
Business and Book
4.0
Rate It
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This free sample contains the first chapter and access to the full book requires an in-app purchase...
Gareth von Kallenbach (971 KP) rated Moneyball (2011) in Movies
Aug 7, 2019
Baseball economics has long a source of serious debate amongst fans, players, and teams. The contentious issues of how to divide the revenue in an equitable manner led to the cancellation of the playoffs and World Series in 1994 and is still largely unresolved today. While smaller market teams are given funds from a luxury tax imposed on larger payroll teams, it still fails to provide an even competitive playing field when large market teams, such as the New York Yankees, can field teams with a $225 million-plus payroll while the smaller market teams have to make do with budgets often under $40 million.
Naturally, this has put many teams at a competitive disadvantage and most feel that they have no chance to win long-term, even as they develop cheap homegrown talent in their minor-league systems. They lose said talent to the larger market clubs once players become eligible for free agency. It is against this backdrop that the new film “Moneyball” starring Brad Pitt is set.
The film was based on the book of the same name which tells the story and philosophy of Oakland A’s general manager Billy Beane. Beane was a highly recruited baseball player at a high school who turned down a scholarship to Stanford for his shot at the major leagues. Unfortunately for Beane, his career was a major disappointment punctuated with numerous stops between the pros and the minor leagues which resulted in a very mediocre and forgettable career.
Beane got himself a job as a scout and in time worked his way to being the general manager of the Oakland A’s. As the film opens, Oakland has just lost a deciding Game 5 the New York Yankees, whose payroll at the time was almost $120 million greater than Oaklands. Adding further insult to injury, Oakland is unable to re-sign its three biggest stars as they accept large contracts with the Yankees, Red Sox, and other large market teams.
Unable to get any additional funds from his owner, Beane travels to Cleveland in an attempt to find affordable talent via trades. Beane is categorically rebuffed and told that he couldn’t afford many of the players that he’s asking about and that the ones he can afford are not be available to him.
Beane notices a young man, Peter Brand (Jonah Hill) during the negotiations, whose quiet input was heeded by the Indians, even though this is Peter’s first job since graduating from Yale with an economics degree. Beane gets Peter to confide in him about his beliefs that the traditional baseball method for evaluating talent is all wrong and that there is a better way to do it.
Intrigued, Beane hires Brand to be his assistant general manager and the two set out to rebuild the Oakland A’s on a budget. Needless to say this does not sit well with many of the talent scouts or manager Art Howe (a very believable Phillip Seymour Hoffman), who sees the recruiting of washed-up has-beens and never-weres by Beane as misguided and ridiculous.
But Beane and Brand are determined, and using statistical formula that looks at such things as on-base percentages and runs scored as opposed to batting average, home runs, and RBIs, the A’s quickly put together an unlikely team. It doesn’t immediately play out well for the hopeful general manager because Howe is unwilling to play many of the new players that have been brought on. Oakland quickly sinks to the bottom of the league, and many begin to question the sanity of Bean’s approach, to the point that even his young daughter worries that his days as a general manager are numbered.
The film does a good job at showing the inner workings of baseball and Pitt does an amazing job showing the complex nature of Beane. He is a single father dealing with the failure of his playing career, and his inability to get Oakland to be a consistant winner. He puts everything he has into this so-called outrageous scheme and is willing to see it through no matter the cost. Chris Pratt does great supporting work as Scott Hatteberg, one of Beane’s reclamation projects as does Stephen Bisop as aging major-league slugger David Justice.
The film stays very true to historical events and shows the characters as they are, flaws and all. While a true story, Peter Brand, is a fictional charcter based on Paul DePodesta who introduced Beane to the analytical principles of sabermetrics. The movie remains a very interesting character study as well as an examination of the delicate relationships between players, front offices, and ownership where wins and dollars are paramount even when many teams are struggling to make do with less.
That being said the film was a very enjoyable and realistic look at the inner workings of baseball that should not be missed.
Naturally, this has put many teams at a competitive disadvantage and most feel that they have no chance to win long-term, even as they develop cheap homegrown talent in their minor-league systems. They lose said talent to the larger market clubs once players become eligible for free agency. It is against this backdrop that the new film “Moneyball” starring Brad Pitt is set.
The film was based on the book of the same name which tells the story and philosophy of Oakland A’s general manager Billy Beane. Beane was a highly recruited baseball player at a high school who turned down a scholarship to Stanford for his shot at the major leagues. Unfortunately for Beane, his career was a major disappointment punctuated with numerous stops between the pros and the minor leagues which resulted in a very mediocre and forgettable career.
Beane got himself a job as a scout and in time worked his way to being the general manager of the Oakland A’s. As the film opens, Oakland has just lost a deciding Game 5 the New York Yankees, whose payroll at the time was almost $120 million greater than Oaklands. Adding further insult to injury, Oakland is unable to re-sign its three biggest stars as they accept large contracts with the Yankees, Red Sox, and other large market teams.
Unable to get any additional funds from his owner, Beane travels to Cleveland in an attempt to find affordable talent via trades. Beane is categorically rebuffed and told that he couldn’t afford many of the players that he’s asking about and that the ones he can afford are not be available to him.
Beane notices a young man, Peter Brand (Jonah Hill) during the negotiations, whose quiet input was heeded by the Indians, even though this is Peter’s first job since graduating from Yale with an economics degree. Beane gets Peter to confide in him about his beliefs that the traditional baseball method for evaluating talent is all wrong and that there is a better way to do it.
Intrigued, Beane hires Brand to be his assistant general manager and the two set out to rebuild the Oakland A’s on a budget. Needless to say this does not sit well with many of the talent scouts or manager Art Howe (a very believable Phillip Seymour Hoffman), who sees the recruiting of washed-up has-beens and never-weres by Beane as misguided and ridiculous.
But Beane and Brand are determined, and using statistical formula that looks at such things as on-base percentages and runs scored as opposed to batting average, home runs, and RBIs, the A’s quickly put together an unlikely team. It doesn’t immediately play out well for the hopeful general manager because Howe is unwilling to play many of the new players that have been brought on. Oakland quickly sinks to the bottom of the league, and many begin to question the sanity of Bean’s approach, to the point that even his young daughter worries that his days as a general manager are numbered.
The film does a good job at showing the inner workings of baseball and Pitt does an amazing job showing the complex nature of Beane. He is a single father dealing with the failure of his playing career, and his inability to get Oakland to be a consistant winner. He puts everything he has into this so-called outrageous scheme and is willing to see it through no matter the cost. Chris Pratt does great supporting work as Scott Hatteberg, one of Beane’s reclamation projects as does Stephen Bisop as aging major-league slugger David Justice.
The film stays very true to historical events and shows the characters as they are, flaws and all. While a true story, Peter Brand, is a fictional charcter based on Paul DePodesta who introduced Beane to the analytical principles of sabermetrics. The movie remains a very interesting character study as well as an examination of the delicate relationships between players, front offices, and ownership where wins and dollars are paramount even when many teams are struggling to make do with less.
That being said the film was a very enjoyable and realistic look at the inner workings of baseball that should not be missed.
Lucy Buglass (45 KP) rated Mad To Be Normal (2018) in Movies
Jun 20, 2019
Mental Health in the 60s
I’ll admit, whenever I see David Tennant’s name on a cast list I get excited. As a long time fan, I’ve watched him play a variety of roles brilliantly. So when I was given the opportunity to review Mad To Be Normal and I learned what the plot was, how could I refuse? Set in the 60s, the film follows Scottish psychiatrist R.D. Laing and his unconventional approach to mental health treatment, causing controversy within the psychiatry field.
Although I don’t know much about Laing, Tennant really shone in the central role and delivered a truly captivating character who was riddled with his own underlying issues. He’s a tricky one because sometimes you really sympathise and agree with him, but other times he’s so utterly frustrating. The film showed us many different sides to him, and created a well-rounded exploration of the man in question. He’s compassionate but also terribly naive, and that’s a dangerous combination indeed. Tennant is joined by Elisabeth Moss, Michael Gambon and Gabriel Byrne which is an excellent line up.
One of the best things about this film is the characters, because everyone does such an amazing job of portraying complex characters with equally as complex relationships. Moss plays student Angie who quickly becomes a love interest of Laing’s, and joins him in his work. Much like Laing, she is also well-rounded and has good traits and bad ones, the latter resulting in rather turbulent moments throughout the film.
I especially enjoyed the way mental health was portrayed by characters, as you could tell they were struggling and trying so hard to deal with their illnesses. It was dealt with respectfully and honestly, whilst still showing the risks of untreated mental health conditions. Gabriel Byrne in particular stands out in his portrayal of Jim, going from someone friendly and sentimental to someone violent and dangerous very quickly. It would have been good to learn more about each character and their individual backgrounds for context’s sake, replacing the unnecessary scenes with this. Nevertheless, the insight into mental health in this era was fascinating, particularly scenes involving the inhumane treatment known as electroshock therapy. It shows we have come a long way since then, but we still have a long way to go.
The stellar performances are accompanied with some great set design, which I imagine would provide some welcome nostalgia for those familiar with the era. I loved Laing’s quirky style both in his interior design, behaviour and clothing choices, making him stand out even more. He’s flamboyant in every sense of the word, but not always for the right reasons. For his time, Laing was clearly very open minded, caring and in favour of self-expression, further conflicting with the beliefs of wider society. Although open mindedness is a good thing, his goes too far which ultimately would lead to his eventual downfall.
Robert Mullan has done a great job bringing this important figure to life on screen, putting together a cast that perfectly delivered this story. Whilst I would have liked more context around both the patients and Laing himself, the film still delivered a powerful message in its 1 hour 45 minute run time. It’s definitely worth a watch.
https://lucygoestohollywood.com/2018/08/04/mental-health-in-the-60s-mad-to-be-normal-review/
Although I don’t know much about Laing, Tennant really shone in the central role and delivered a truly captivating character who was riddled with his own underlying issues. He’s a tricky one because sometimes you really sympathise and agree with him, but other times he’s so utterly frustrating. The film showed us many different sides to him, and created a well-rounded exploration of the man in question. He’s compassionate but also terribly naive, and that’s a dangerous combination indeed. Tennant is joined by Elisabeth Moss, Michael Gambon and Gabriel Byrne which is an excellent line up.
One of the best things about this film is the characters, because everyone does such an amazing job of portraying complex characters with equally as complex relationships. Moss plays student Angie who quickly becomes a love interest of Laing’s, and joins him in his work. Much like Laing, she is also well-rounded and has good traits and bad ones, the latter resulting in rather turbulent moments throughout the film.
I especially enjoyed the way mental health was portrayed by characters, as you could tell they were struggling and trying so hard to deal with their illnesses. It was dealt with respectfully and honestly, whilst still showing the risks of untreated mental health conditions. Gabriel Byrne in particular stands out in his portrayal of Jim, going from someone friendly and sentimental to someone violent and dangerous very quickly. It would have been good to learn more about each character and their individual backgrounds for context’s sake, replacing the unnecessary scenes with this. Nevertheless, the insight into mental health in this era was fascinating, particularly scenes involving the inhumane treatment known as electroshock therapy. It shows we have come a long way since then, but we still have a long way to go.
The stellar performances are accompanied with some great set design, which I imagine would provide some welcome nostalgia for those familiar with the era. I loved Laing’s quirky style both in his interior design, behaviour and clothing choices, making him stand out even more. He’s flamboyant in every sense of the word, but not always for the right reasons. For his time, Laing was clearly very open minded, caring and in favour of self-expression, further conflicting with the beliefs of wider society. Although open mindedness is a good thing, his goes too far which ultimately would lead to his eventual downfall.
Robert Mullan has done a great job bringing this important figure to life on screen, putting together a cast that perfectly delivered this story. Whilst I would have liked more context around both the patients and Laing himself, the film still delivered a powerful message in its 1 hour 45 minute run time. It’s definitely worth a watch.
https://lucygoestohollywood.com/2018/08/04/mental-health-in-the-60s-mad-to-be-normal-review/
Chris Sawin (602 KP) rated Re-Animator (1985) in Movies
Jun 22, 2019
Herbert West is no ordinary doctor. He's brilliant and obviously knows quite a bit about the field of medicine, but something is peculiar about him. He acts strangely and tends to keep to himself while getting absorbed into his work. Throughout his research, Dr. West may have finally perfected his serum. A serum that brings the dead back to life. The consequences of the serum are hectic, as expected. The sooner the serum is injected into a fresh corpse in comparison to one that's been lying around for a few hours, the better the results. Based on the H.P. Lovecraft tale, Herbert West-Reanimator, West finds himself at a medical college when his stint in Switzerland ends a bit abruptly. There he meets Dan Cain, a student at the college who is held in high regard, and Dan's girlfriend, Meg, whose father is the dean to the medical college. When Dan puts a notice up looking for a roommate in his dorm, West comes knocking. Things seem to be a constant downward spiral from there as West continues his research and the bodies begin to pile up.
Re-Animator is one of the few cult classics that I'll stick up for. I usually wind up feeling like most classic horror films that are recommended or held in such high regard aren't good at all or are extremely overrated. This film is a lot of fun though. It's definitely got its campy qualities with a headless corpse stumbling around the third act of the film, but it doesn't feel out of place for a film built around a concoction that's injected into the brain to bring corpses back from the dead. The music, especially the opening theme, tends to get a bad wrap because it blatantly rips off (or pays homage, depending on how you look at it) the Psycho score. While the similarities are crystal clear once they're heard, I honestly didn't mind it. It's kind of hard to imagine this film with different music, so I have no complaints.
The Herbert West role really fits Jeffrey Combs like a glove. His attraction to weird and quirky roles pretty much began with films like this one. As West's unusual personality is revealed throughout the film, you can't help but get a sense of uneasiness as his character traits unravel before your very eyes. The best example is when West brings Dan's cat Rufus back to life. After it's been killed for the second time, Dan is shocked to discover it's Rufus and turns to look at West. West points at the cat and tells Dan to, "Look out!" Dan quickly turns his attention back to poor Rufus, who's still lying there motionless. West begins to burst into maniacal laughter as Dan looks on in horror. With the upcoming remake on the horizon, it's hard to imagine anyone else in the role of Herbert West especially with Jeffrey Combs confirmed for a cameo.
While Re-Animator could definitely be considered cheesy and campy at times, its strengths outweigh its flaws. The story is simple, but tends to unfold nicely and the acting is solid (David Gale as Dr. Hill is up for debate though). The film is pretty much exactly what you would expect a horror film to be like from the eighties; gory, cheesy, tons of nudity and sex, and a few creative twists along the way. And when it comes to horror, what else could you really ask for?
Re-Animator is one of the few cult classics that I'll stick up for. I usually wind up feeling like most classic horror films that are recommended or held in such high regard aren't good at all or are extremely overrated. This film is a lot of fun though. It's definitely got its campy qualities with a headless corpse stumbling around the third act of the film, but it doesn't feel out of place for a film built around a concoction that's injected into the brain to bring corpses back from the dead. The music, especially the opening theme, tends to get a bad wrap because it blatantly rips off (or pays homage, depending on how you look at it) the Psycho score. While the similarities are crystal clear once they're heard, I honestly didn't mind it. It's kind of hard to imagine this film with different music, so I have no complaints.
The Herbert West role really fits Jeffrey Combs like a glove. His attraction to weird and quirky roles pretty much began with films like this one. As West's unusual personality is revealed throughout the film, you can't help but get a sense of uneasiness as his character traits unravel before your very eyes. The best example is when West brings Dan's cat Rufus back to life. After it's been killed for the second time, Dan is shocked to discover it's Rufus and turns to look at West. West points at the cat and tells Dan to, "Look out!" Dan quickly turns his attention back to poor Rufus, who's still lying there motionless. West begins to burst into maniacal laughter as Dan looks on in horror. With the upcoming remake on the horizon, it's hard to imagine anyone else in the role of Herbert West especially with Jeffrey Combs confirmed for a cameo.
While Re-Animator could definitely be considered cheesy and campy at times, its strengths outweigh its flaws. The story is simple, but tends to unfold nicely and the acting is solid (David Gale as Dr. Hill is up for debate though). The film is pretty much exactly what you would expect a horror film to be like from the eighties; gory, cheesy, tons of nudity and sex, and a few creative twists along the way. And when it comes to horror, what else could you really ask for?
Heiner Muller After Shakespeare: Macbeth and Anatomy of Titus -- Fall of Rome
William Shakespeare, Carl Weber and Heiner Muller
Book
Heiner Muller After Shakespeare makes available for the first time Macbeth and Anatomy Titus Fall of...
Andy K (10821 KP) rated Existenz (1999) in Movies
Sep 23, 2019
The 1999 body horror version of Ready Player One
Famed, innovative but reclusive software developer Allegra Geller is ready to unveil her latest virtual augmented reality game, eXistenZ, and has invited her biggest fans and followers to the first best test launch party ever. The game features bio-mechanical controller ports which actually get plugged into the gamer's spine for the fully immersive experience.
Unfortunately, her party was rudely interrupted by a would-be assassin who wants to put an end to Geller before the game is released. Wounded but not executed, her fate is given to be marketing assistant who has never played a game in his life. The two escape and begin a road trip like no other trying to navigate their situation and figure out who they can trust.
The game novice, Ted Pikul, soon gets himself a "port" so he can join Gellar in the game and to also ascertain whether her main controller hub was severely damaged in the attempt on her lie. Once jacked in, he begins to slowly morph into a more submersive version of the same gradually losing control of himself an becoming his in game character.
The other "participants" they meet serve to enhance the game experience either with conflict or assistance, but it is hard to tell which side everyone plays for. The two become passionate for each other, but still are unable to comprehend whether their feelings are real or just part of the game.
They need to figure out how to finish the game so they can return back to reality.
The last of David Cronenberg's "Body Horror" films before he took his career in a different direction in the 2000s with films like "Eastern Promises" and "A History of Violence", eXistenZ is one truly wild and unique ride. If you have seen some of his other film in the genre like "The Fly" or "The Brood" you would be used to the over-the-top gore, brutality and strange way of storytelling he has made his career.
His characters are flawed, but motivated and that is why you are interested in their situation and go along with them. This film has some remarkable visceral, macabre elements that make it extremely unique, which is why you watch a movie like this. The internet was only a few years old in 1999 and games like World of Warcraft were still years away; however, this film underscores the dangers of becoming too close to the online world and the dangers it could cause.
At many points during the film, you wonder whether you are still within the game itself similar to watching a "Nightmare on Elm Street" film and wondering if you are still dreaming.
Jennifer Jason Leigh has never really gotten the respect she deserves. Whether in the recent "The Hateful Eight" or in films like "Dolores Claiborne" or "Single White Female" she has shown longevity and the ability to play complex, sometimes unlikable characters with the charisma and charm. I liked the fact she was a female game designer, leading in her field, in 1999 when there were probably not many like her at the time.
This film will keep you guessing all the way to the end and even leave you to interpret what you have just seen as the credits roll.
Easily recommended for gruesome horror fans.
Unfortunately, her party was rudely interrupted by a would-be assassin who wants to put an end to Geller before the game is released. Wounded but not executed, her fate is given to be marketing assistant who has never played a game in his life. The two escape and begin a road trip like no other trying to navigate their situation and figure out who they can trust.
The game novice, Ted Pikul, soon gets himself a "port" so he can join Gellar in the game and to also ascertain whether her main controller hub was severely damaged in the attempt on her lie. Once jacked in, he begins to slowly morph into a more submersive version of the same gradually losing control of himself an becoming his in game character.
The other "participants" they meet serve to enhance the game experience either with conflict or assistance, but it is hard to tell which side everyone plays for. The two become passionate for each other, but still are unable to comprehend whether their feelings are real or just part of the game.
They need to figure out how to finish the game so they can return back to reality.
The last of David Cronenberg's "Body Horror" films before he took his career in a different direction in the 2000s with films like "Eastern Promises" and "A History of Violence", eXistenZ is one truly wild and unique ride. If you have seen some of his other film in the genre like "The Fly" or "The Brood" you would be used to the over-the-top gore, brutality and strange way of storytelling he has made his career.
His characters are flawed, but motivated and that is why you are interested in their situation and go along with them. This film has some remarkable visceral, macabre elements that make it extremely unique, which is why you watch a movie like this. The internet was only a few years old in 1999 and games like World of Warcraft were still years away; however, this film underscores the dangers of becoming too close to the online world and the dangers it could cause.
At many points during the film, you wonder whether you are still within the game itself similar to watching a "Nightmare on Elm Street" film and wondering if you are still dreaming.
Jennifer Jason Leigh has never really gotten the respect she deserves. Whether in the recent "The Hateful Eight" or in films like "Dolores Claiborne" or "Single White Female" she has shown longevity and the ability to play complex, sometimes unlikable characters with the charisma and charm. I liked the fact she was a female game designer, leading in her field, in 1999 when there were probably not many like her at the time.
This film will keep you guessing all the way to the end and even leave you to interpret what you have just seen as the credits roll.
Easily recommended for gruesome horror fans.
Bob Mann (459 KP) rated Johnny English Strikes Again (2018) in Movies
Sep 28, 2021
Spy spoof caper that’s only passably amusing.
It’s a HILARIOUS concept. It’s Bond but not as we know it: a suave, sophisticated, well-dressed hero but someone who’s a complete klutz when it comes to the spy business. Rowan Atkinson is perfect in the role: because when he plays his face ”straight” he IS strangely good-looking and certainly pulls off the air of confidence, intelligence and sophistication well.
So it was that 2003’s Johnny English was a refreshing novelty. Roll forwards 15 years (via 2011’s “Johnny English Reborn”) and the concoction needs… you know… actual JOKES.
For “Johnny English Strikes Again” is unfortunately a pretty lame affair.
The Plot
Johnny English (Atkinson) is retired from MI7 and living life as a Geography teacher at a public school. Aside from teaching them about sheep farming in Australia and magma, English delights in teaching his young pupils the tricks of the spy trade: “You’re looking particularly beautiful tonight”, with a twinkle and a vodka martini in hand. “You’re looking particularly beautiful tonight” repeats the class.
But the quiet life of English is about to end, since a cyber-attack has exposed all of MI7’s current agents and the Prime Minister (Emma Thompson) needs to re-hire a retired agent who is currently ‘off the grid’. But noone – friend or foe – is safe when the bumbling English and his faithful helper Bough (Ben Miller) go back into the field.
The Turns
As UK comedy professionals, Atkinson and Miller deliver their English/Bough schtick serviceably enough. The brilliant Emma Thompson though is woefully underused as a straight-woman, being asked to do little more than an exasperated Theresa May impersonation.
If you need a sexy and sophisticated femme fatale for a Bond spoof, what better than a real ex-Bond girl? So the extremely sexy and sophisticated Olga Kurylenko (Camille from “Quantum of Solace”) plays Ophelia Bhuletova, which sounds much funnier when pronounced by Atkinson. And a very good job she does too.
The Review
To emphasise the positive for a moment, the film is suitably glossy, which are table stakes for a spy caper like this or Austin Powers.
But the script by William Davies (who did the previous Johnny Englishes, but nothing much since “Reborn”) doesn’t deliver any real laugh-out-loud moments. My hopes were raised when the “pensioner interviews” happened and Charles Dance, Edward Fox and Michael Gambon turned up. Great, I thought… having the old timers play off Atkinson will be fun. But unfortunately they were nothing but cameos and (although one of the film’s comedy highlights) they came and went in the blink of an eye.
Elsewhere the film relied too much on a few running jokes: ostensibly the need for health and safety in MI7, where guns are rather frowned upon, given their potential to caused injury or worse. A ‘virtual reality’ training mission also delivers smiles but outstays its welcome.
The film is a first-time feature for TV-comedy director David Kerr.
Final thoughts
There are films which are wildly offensive. There are films that are just plain bad. This is neither: it is as Douglas Adams might have described it as “Mostly Harmless”. But to get any more than the rating I have given it, a comedy film has to make me laugh and this one failed miserably. It’s a watchable TV film for a rainy afternoon, but not worth heading out to the cinema to watch.
So it was that 2003’s Johnny English was a refreshing novelty. Roll forwards 15 years (via 2011’s “Johnny English Reborn”) and the concoction needs… you know… actual JOKES.
For “Johnny English Strikes Again” is unfortunately a pretty lame affair.
The Plot
Johnny English (Atkinson) is retired from MI7 and living life as a Geography teacher at a public school. Aside from teaching them about sheep farming in Australia and magma, English delights in teaching his young pupils the tricks of the spy trade: “You’re looking particularly beautiful tonight”, with a twinkle and a vodka martini in hand. “You’re looking particularly beautiful tonight” repeats the class.
But the quiet life of English is about to end, since a cyber-attack has exposed all of MI7’s current agents and the Prime Minister (Emma Thompson) needs to re-hire a retired agent who is currently ‘off the grid’. But noone – friend or foe – is safe when the bumbling English and his faithful helper Bough (Ben Miller) go back into the field.
The Turns
As UK comedy professionals, Atkinson and Miller deliver their English/Bough schtick serviceably enough. The brilliant Emma Thompson though is woefully underused as a straight-woman, being asked to do little more than an exasperated Theresa May impersonation.
If you need a sexy and sophisticated femme fatale for a Bond spoof, what better than a real ex-Bond girl? So the extremely sexy and sophisticated Olga Kurylenko (Camille from “Quantum of Solace”) plays Ophelia Bhuletova, which sounds much funnier when pronounced by Atkinson. And a very good job she does too.
The Review
To emphasise the positive for a moment, the film is suitably glossy, which are table stakes for a spy caper like this or Austin Powers.
But the script by William Davies (who did the previous Johnny Englishes, but nothing much since “Reborn”) doesn’t deliver any real laugh-out-loud moments. My hopes were raised when the “pensioner interviews” happened and Charles Dance, Edward Fox and Michael Gambon turned up. Great, I thought… having the old timers play off Atkinson will be fun. But unfortunately they were nothing but cameos and (although one of the film’s comedy highlights) they came and went in the blink of an eye.
Elsewhere the film relied too much on a few running jokes: ostensibly the need for health and safety in MI7, where guns are rather frowned upon, given their potential to caused injury or worse. A ‘virtual reality’ training mission also delivers smiles but outstays its welcome.
The film is a first-time feature for TV-comedy director David Kerr.
Final thoughts
There are films which are wildly offensive. There are films that are just plain bad. This is neither: it is as Douglas Adams might have described it as “Mostly Harmless”. But to get any more than the rating I have given it, a comedy film has to make me laugh and this one failed miserably. It’s a watchable TV film for a rainy afternoon, but not worth heading out to the cinema to watch.