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Tim McGuire (301 KP) rated Ad Astra (2019) in Movies
Sep 27, 2019
Space, its deep man!
356. Ad Astra. BRAAAD PIIITTTT'S INNNN SPPPAAACCCCEEEEE. Anyone? Anyone? I'm old. Anyways, so a pretty awesome space adventure flick, that's not really about a space adventure. There's messages in there man, like if humans start living in space, it will eventually be covered in billboards and fought over for resources just like home, and of course the overall message of... Well you have to see it. Back to the space adventure part. The future, man has ventured out into the solar system, and now that solar system is being smacked upside the head with a surge of energy causing all kinds of death and destruction, and it looks like its all stemming from the Lima project, headed by Clifford McBride, who's way out there in the outer solar system searching for life. So the people in charge send his son Roy McBride, another genius astronaut to find out what happened out there. On the way to set up a long distance call to his dad from Mars, Roy fights space pirates on the moon, starved baboons on a abandoned research facility, even secretly stows away aboard a spaceship to commander it to go save daddy!! And in the end, Roy may find some answers he was looking for! Definitely worth a watch in IMAX!! Filmbufftim on FB.
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.
Janicza Bravo recommended All That Jazz (1979) in Movies (curated)
Nicole Hadley (380 KP) rated P.S. I Miss You in Books
Jun 14, 2018
P.S. I Miss You by Jen Petro-Roy is a captivating and authentic story of a young girl as she writes letters to her sister about the issues of their lives. Evie's voice drives the action in a way that feels real and true, with the urgency and intensity of a young woman opening her heart to her older sister and confidante.
This beautiful, moving story celebrates the deep connection between sisters. Evie's letters to her older sister Cilla, sent away by conservative Catholic parents after becoming pregnant in high school, give such a detailed glimpse into the life and mind of the seventh grade protagonist. Evie's admiration for Cilla shines throughout, as well as the way she sees herself as akin to her sister -- is she a sinner in her parents' eyes, too, because she has a crush on her female friend, June? I loved following along as Evie turns over so many deep questions in her mind. I yearned for Cilla and Evie's parents to reconsider their strongly held beliefs and become more compassionate, yet their portrayal is unfortunately true to life in this very polarized historical moment we find ourselves in.
I received an ARC from Macmillan Children's Publishing Group and Feiwel & Friends via NetGalley in exchange for an honest review.
I give this book 5/5 stars.
This beautiful, moving story celebrates the deep connection between sisters. Evie's letters to her older sister Cilla, sent away by conservative Catholic parents after becoming pregnant in high school, give such a detailed glimpse into the life and mind of the seventh grade protagonist. Evie's admiration for Cilla shines throughout, as well as the way she sees herself as akin to her sister -- is she a sinner in her parents' eyes, too, because she has a crush on her female friend, June? I loved following along as Evie turns over so many deep questions in her mind. I yearned for Cilla and Evie's parents to reconsider their strongly held beliefs and become more compassionate, yet their portrayal is unfortunately true to life in this very polarized historical moment we find ourselves in.
I received an ARC from Macmillan Children's Publishing Group and Feiwel & Friends via NetGalley in exchange for an honest review.
I give this book 5/5 stars.
Gareth von Kallenbach (965 KP) rated Ad Astra (2019) in Movies
Sep 16, 2019
My first experience in IMAX was at the IMAX theater at the Grand Canyon. This was before IMAX theaters could easily be found within easy driving distance in most large cities. The movie, which interestingly still is showing today from those early years took viewers on the magical journey through the Grand Canyon. Throwing in a bit of history, with incredible visages, viewers could experience the canyon without ever hiking within its depths. It may seem odd to compare a big budget title like Ad Astra written and directed by James Gray (The Immigrant / The Lost City of Z) to a short thirty-minute experience film about the Grand Canyon, but both are equally awe inspiring and beautiful if experienced in the same way.
Ad Astra features Brad Pitt as Astronaut Roy McBride, a film that takes place in the not so distant future where the moon has become a commercialized tourist destination. A place where outside the safe tourist zones corporations fight for control of resources, and convoys are regularly ransacked by pirates looking to make a quick buck off the wares they are able to obtain. Mars has become a staging location for deep exploration ships hoping to discover if intelligent life exists outside our solar system.
Strange power surges begin to emanate deep within the galaxy, threatening to destroy everything in their path (Earth not excluded) and the top scientist are brought together to identify the threat and propose a theory to stop it. Roy McBride after suffering a near fatal fall from aboard a space station is brought into a top-secret meeting to discuss these surges. It is in this meeting that Roy is informed that the surges appear to be manifesting near Neptune and even more interestingly they are identified as anti-matter surges that are being generated from a ship that Roy’s father Clifford (Tommy Lee Jones) was in charge of nearly 29 years ago. The mission was a search for extra terrestrial life that Clifford was overseeing and presumed dead after Earth had lost contact with his ship. Roy must put his personal feelings aside regarding his father and must travel to the outer reaches of our solar system to put a stop to the surges, in any way possible.
Ad Astra is an incredible achievement in cinematography. The visions of the moon, mars and the numerous rockets taken to get there are spectacular. Much like the Grand Canyon film I spoke of earlier, in IMAX Ad Astra gives you a front row seat exploring the solar system as we know it. It takes a realistic approach while not bogging the viewers in all the technical details that would be necessary to achieve this flight. You would be doing yourself a disservice to see this film on any but the largest of movie screens. While it might be an acceptable experience in a normal theater, much of the grandiose vistas and beautiful sets would be wasted. This is not a movie to wait for on Netflix if you have any interest in seeing it at all.
From a story perspective, there isn’t a whole lot to tell. Brad Pitt brings his amazing acting abilities to a film that features more inner dialogue to himself, then to others on the screen. It is reminiscent to the original Dune movie from the 80s combined with 2001: A space odyssey. For a movie that literally is about a voyage to deep space, there are some scenes sprinkled throughout that provide some action and even a bit of suspense. Supporting characters such as Tommy Lee Jones and Donald Sutherland provide outstanding performances, even if their screen time is extremely limited. Liv Tyler once again reprises a role similar to the one from Armageddon as the reluctant wife of a man who is tasked with saving the world.
Ad Astra is a cinematic experience, the story alone is passable if not particularly quick moving and at time rarely engaging. However, when you combine this with the technological wizardry used to bring the Solar System to life it makes for an adventure that certainly lives up to the hype and will delight your visual senses. If you’ve ever dreamed of what it would be like to live on the moon or adventure into the stars, then Ad Astra might just be the closest we ever get in our lifetime. It’s beautiful, deadly and overall an achievement to behold, just make sure you see it on the biggest screen you can.
4 out of 5 stars
Ad Astra features Brad Pitt as Astronaut Roy McBride, a film that takes place in the not so distant future where the moon has become a commercialized tourist destination. A place where outside the safe tourist zones corporations fight for control of resources, and convoys are regularly ransacked by pirates looking to make a quick buck off the wares they are able to obtain. Mars has become a staging location for deep exploration ships hoping to discover if intelligent life exists outside our solar system.
Strange power surges begin to emanate deep within the galaxy, threatening to destroy everything in their path (Earth not excluded) and the top scientist are brought together to identify the threat and propose a theory to stop it. Roy McBride after suffering a near fatal fall from aboard a space station is brought into a top-secret meeting to discuss these surges. It is in this meeting that Roy is informed that the surges appear to be manifesting near Neptune and even more interestingly they are identified as anti-matter surges that are being generated from a ship that Roy’s father Clifford (Tommy Lee Jones) was in charge of nearly 29 years ago. The mission was a search for extra terrestrial life that Clifford was overseeing and presumed dead after Earth had lost contact with his ship. Roy must put his personal feelings aside regarding his father and must travel to the outer reaches of our solar system to put a stop to the surges, in any way possible.
Ad Astra is an incredible achievement in cinematography. The visions of the moon, mars and the numerous rockets taken to get there are spectacular. Much like the Grand Canyon film I spoke of earlier, in IMAX Ad Astra gives you a front row seat exploring the solar system as we know it. It takes a realistic approach while not bogging the viewers in all the technical details that would be necessary to achieve this flight. You would be doing yourself a disservice to see this film on any but the largest of movie screens. While it might be an acceptable experience in a normal theater, much of the grandiose vistas and beautiful sets would be wasted. This is not a movie to wait for on Netflix if you have any interest in seeing it at all.
From a story perspective, there isn’t a whole lot to tell. Brad Pitt brings his amazing acting abilities to a film that features more inner dialogue to himself, then to others on the screen. It is reminiscent to the original Dune movie from the 80s combined with 2001: A space odyssey. For a movie that literally is about a voyage to deep space, there are some scenes sprinkled throughout that provide some action and even a bit of suspense. Supporting characters such as Tommy Lee Jones and Donald Sutherland provide outstanding performances, even if their screen time is extremely limited. Liv Tyler once again reprises a role similar to the one from Armageddon as the reluctant wife of a man who is tasked with saving the world.
Ad Astra is a cinematic experience, the story alone is passable if not particularly quick moving and at time rarely engaging. However, when you combine this with the technological wizardry used to bring the Solar System to life it makes for an adventure that certainly lives up to the hype and will delight your visual senses. If you’ve ever dreamed of what it would be like to live on the moon or adventure into the stars, then Ad Astra might just be the closest we ever get in our lifetime. It’s beautiful, deadly and overall an achievement to behold, just make sure you see it on the biggest screen you can.
4 out of 5 stars
Joe Elliott recommended Mott by Mott The Hoople in Music (curated)
TheDefunctDiva (304 KP) rated Charlie and the Chocolate Factory (2005) in Movies
Sep 27, 2017
C is for Candy
Contains spoilers, click to show
And yes, I certainly mean eye candy. Johnny Depp is gorgeous despite the makeup artists’ attempts to make him seem pale and awkward. My brain isn’t working properly due to lack of sleep so I’ll just go ahead and warn you that this is more a regurgitation than a review. Read at your own risk, because I even give the entire ending of the movie away…
This is the story of Charlie Bucket, an impoverished but genuinely good-natured child. His dream is one of millions: to win a Golden Ticket, and tour Willy Wonka’s chocolate factory in the hopes of obtaining an even bigger prize. If this plot sounds familiar, it’s because you’ve seen Willy Wonka and the Chocolate Factory, or have read the book. I profess my ignorance, for I haven’t read the book Roald Dahl wrote, and therefore have no idea which movie version adheres more strictly to the original text.
Let’s move on by more closely examining Burton’s version. Despite some of the world’s most recalcitrant children winning the four other tickets, Charlie lucks out and becomes the recipient of the last Golden Ticket. This brings great joy to his family and even makes the bed-ridden Grandpa Joe ambulatory again. I love Charlie’s family, especially because his Dad works in a toothpaste factory but everyone in the family has nasty teeth.
The glorious day of the tour arrives and each child shows up with a parental or grandparental guardian. They are introduced first to Willy Wonka by means of a puppet show, which ends in a glorious and unintentional fire. With the smoldering puppets dying disturbingly in the background, Wonka appears with cue cards, giving the impression that the man has no idea how to socially interact. The group then enters the factory.
The first child to be eliminated from the contest is Augustus Gloop. The group has been given free reign of a room made entirely of candy. Augustus cannot resist the lake of chocolate, and he falls in. He is sucked up a tube that leads to the fudge room. Then the Oompa Loompas appear and perform a song engineered for this particular predictable tragedy.
The Oompa Loompas in Burton’s version are short, and they do not have orange hair, but they all have the same face and body. Deep Roy, the actor portraying the Oompa Loompas, deserved an Oscar for effort in my book, for the special features indicate how very involved he was with this production. The songs sung by the Oompa Loompas varied significantly from those in the older version. In fact, I enjoyed how each song of admonishment involved a specific genre of music.
Next Violet Beauregard, the competitive one, is turned into a blueberry by chewing gum. And then we have the case of the sad and supremely spoiled Veruca Salt, who ends up getting thrown down a garbage chute by some very judgmental and highly trained squirrels. After each young lady has been expelled from the contest, the Oompa Loompas say adieu with a musical number.
Throughout the film, Wonka has flashbacks about his father. It seems the elder Wonka was a dentist, and he forbade the young Willy to eat candy. Several scenes show Willy Wonka defying the will of his father, which ultimately led Willy to be a world-renowned chocolatier. Though it was nice to have this subplot as an explanation for some of Wonka’s erratic behavior, I found that I like Gene Wilder’s portrayal of Willy Wonka better. He was whimsical and strange, but the film and the actor seemed to offer no explanation as to how he got that way.
Mike Teavee, a young boy with the attention span of a gnat on amphetamines, is the last of the factory’s victims. He decides to teleport himself into a television screen, which I’m sure seemed like a good idea at the time. Teavee is shown in peril as an Oompa Loompa flips the channels. Now incredibly small, Wonka decides that the best remedy for Mike is the taffy pulling machine.
Charlie is the only child left, and Wonka ushers Charlie and Grandpa Joe into the glass elevator. According to the button, they are going up and out. Indeed, they do, eventually stopping when they crash through the roof of the Bucket house. The grand prize is revealed: Willy Wonka is giving Charlie the factory. This becomes impossible when Wonka forces Charlie to choose between factory and family. Eventually, Wonka reconciles his Daddy issues and allows Charlie’s family to stay at the factory.
The visual effects in this film were amazing. As mentioned previously, Deep Roy was incredible as the face of the many Oompa Loompas. I thought the child actors in this film were also impressive in how they perfectly captured their respective vices. Overall, this was a good film. And yet I still miss moments from the older film, especially the poem with “the grisly reaper mowing.” Call me sentimental…
This is the story of Charlie Bucket, an impoverished but genuinely good-natured child. His dream is one of millions: to win a Golden Ticket, and tour Willy Wonka’s chocolate factory in the hopes of obtaining an even bigger prize. If this plot sounds familiar, it’s because you’ve seen Willy Wonka and the Chocolate Factory, or have read the book. I profess my ignorance, for I haven’t read the book Roald Dahl wrote, and therefore have no idea which movie version adheres more strictly to the original text.
Let’s move on by more closely examining Burton’s version. Despite some of the world’s most recalcitrant children winning the four other tickets, Charlie lucks out and becomes the recipient of the last Golden Ticket. This brings great joy to his family and even makes the bed-ridden Grandpa Joe ambulatory again. I love Charlie’s family, especially because his Dad works in a toothpaste factory but everyone in the family has nasty teeth.
The glorious day of the tour arrives and each child shows up with a parental or grandparental guardian. They are introduced first to Willy Wonka by means of a puppet show, which ends in a glorious and unintentional fire. With the smoldering puppets dying disturbingly in the background, Wonka appears with cue cards, giving the impression that the man has no idea how to socially interact. The group then enters the factory.
The first child to be eliminated from the contest is Augustus Gloop. The group has been given free reign of a room made entirely of candy. Augustus cannot resist the lake of chocolate, and he falls in. He is sucked up a tube that leads to the fudge room. Then the Oompa Loompas appear and perform a song engineered for this particular predictable tragedy.
The Oompa Loompas in Burton’s version are short, and they do not have orange hair, but they all have the same face and body. Deep Roy, the actor portraying the Oompa Loompas, deserved an Oscar for effort in my book, for the special features indicate how very involved he was with this production. The songs sung by the Oompa Loompas varied significantly from those in the older version. In fact, I enjoyed how each song of admonishment involved a specific genre of music.
Next Violet Beauregard, the competitive one, is turned into a blueberry by chewing gum. And then we have the case of the sad and supremely spoiled Veruca Salt, who ends up getting thrown down a garbage chute by some very judgmental and highly trained squirrels. After each young lady has been expelled from the contest, the Oompa Loompas say adieu with a musical number.
Throughout the film, Wonka has flashbacks about his father. It seems the elder Wonka was a dentist, and he forbade the young Willy to eat candy. Several scenes show Willy Wonka defying the will of his father, which ultimately led Willy to be a world-renowned chocolatier. Though it was nice to have this subplot as an explanation for some of Wonka’s erratic behavior, I found that I like Gene Wilder’s portrayal of Willy Wonka better. He was whimsical and strange, but the film and the actor seemed to offer no explanation as to how he got that way.
Mike Teavee, a young boy with the attention span of a gnat on amphetamines, is the last of the factory’s victims. He decides to teleport himself into a television screen, which I’m sure seemed like a good idea at the time. Teavee is shown in peril as an Oompa Loompa flips the channels. Now incredibly small, Wonka decides that the best remedy for Mike is the taffy pulling machine.
Charlie is the only child left, and Wonka ushers Charlie and Grandpa Joe into the glass elevator. According to the button, they are going up and out. Indeed, they do, eventually stopping when they crash through the roof of the Bucket house. The grand prize is revealed: Willy Wonka is giving Charlie the factory. This becomes impossible when Wonka forces Charlie to choose between factory and family. Eventually, Wonka reconciles his Daddy issues and allows Charlie’s family to stay at the factory.
The visual effects in this film were amazing. As mentioned previously, Deep Roy was incredible as the face of the many Oompa Loompas. I thought the child actors in this film were also impressive in how they perfectly captured their respective vices. Overall, this was a good film. And yet I still miss moments from the older film, especially the poem with “the grisly reaper mowing.” Call me sentimental…
BankofMarquis (1832 KP) rated Ad Astra (2019) in Movies
Sep 27, 2019
A missed opportunity
Like crossing the vast expanse of oceans in a sailing ship, rocketing across the vast expanse of our Galaxy would, naturally, lead one to self-contemplation. In the film AD ASTRA Brad Pitt spends a lot of time contemplating.
Unfortunately, that is pretty much all PItt - and this film - does.
AD ASTRA follows the adventure of Astronaut Roy McBride (Pitt) who's father Clifford McBride (Tommy Lee Jones) is a fabled Astronaut who disappeared while on a deep space mission to Neptune. When a Galaxy-wide energy pulse emanating from Neptune threatens life on Earth, suspicion is that Clifford is still alive in orbit around Neptune and the hope is that Roy can contact him and stop this life threatening force.
Sounds like an interesting premise, doesn't it? And it could have been. And the world that was built for this movie - a world set in the "near future", one where we did not stop going to the moon and space and there are now space stations - and colonies and pirates(!) - on the Moon and Mars, is an interesting concept and I really wanted to explore that world.
Unfortunately, Director and Writer James Gray (THE LOST CITY OF Z) was not interested in exploring this (so why build it?!?) - he was more interested in contemplating the meaning of life's purpose and fate and legacies and do the sins of the father really come back to seek payment by the son? And I do mean contemplate, for that is what Pitt's character does through most of this film - sit and think (which we hear through voice over), while contemplative music plays wistfully.
It's a good recipe to cure insomnia.
While Pitt does a nice enough job in the lead - an actor can only do so much with looking, thoughtfully, out the window. Ruth Negga and Donald Sutherland both try to inject some life in this film, but their parts are, in essence, extended cameos and the likes of "that guy" actors like Donnie Kashawarz, John Finn and John Ortiz pop up for a scene or two along the way as we travel across our Galaxy with Pitt but don't really register Only Tommy Lee Jones manages to liven things up...but his presence is too little too late.
Like a parent, I am not upset at this film, just disappointed at the choices that were made. I thought Pitt and Gray knew better.
Letter Grade: B- (it is well made and pretty to look at)
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Unfortunately, that is pretty much all PItt - and this film - does.
AD ASTRA follows the adventure of Astronaut Roy McBride (Pitt) who's father Clifford McBride (Tommy Lee Jones) is a fabled Astronaut who disappeared while on a deep space mission to Neptune. When a Galaxy-wide energy pulse emanating from Neptune threatens life on Earth, suspicion is that Clifford is still alive in orbit around Neptune and the hope is that Roy can contact him and stop this life threatening force.
Sounds like an interesting premise, doesn't it? And it could have been. And the world that was built for this movie - a world set in the "near future", one where we did not stop going to the moon and space and there are now space stations - and colonies and pirates(!) - on the Moon and Mars, is an interesting concept and I really wanted to explore that world.
Unfortunately, Director and Writer James Gray (THE LOST CITY OF Z) was not interested in exploring this (so why build it?!?) - he was more interested in contemplating the meaning of life's purpose and fate and legacies and do the sins of the father really come back to seek payment by the son? And I do mean contemplate, for that is what Pitt's character does through most of this film - sit and think (which we hear through voice over), while contemplative music plays wistfully.
It's a good recipe to cure insomnia.
While Pitt does a nice enough job in the lead - an actor can only do so much with looking, thoughtfully, out the window. Ruth Negga and Donald Sutherland both try to inject some life in this film, but their parts are, in essence, extended cameos and the likes of "that guy" actors like Donnie Kashawarz, John Finn and John Ortiz pop up for a scene or two along the way as we travel across our Galaxy with Pitt but don't really register Only Tommy Lee Jones manages to liven things up...but his presence is too little too late.
Like a parent, I am not upset at this film, just disappointed at the choices that were made. I thought Pitt and Gray knew better.
Letter Grade: B- (it is well made and pretty to look at)
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Star Trek Into Darkness (2013) in Movies
Sep 28, 2021
This one seems to have received a very mixed reception among Trek fans, but I absolutely loved it when it first came out, giving it 4.5/5 in one of my early One Mann’s Movies reviews.
I find the pre-titles sequence on this one a real blast, both thrilling in content and enormously funny with the primitive stone age race trashing their previous relic in favour of their new Enterprise-shaped deity! And then the dramatic pseudo-blackmailing of Harewood, (an impressive Noel Clarke, when he was being given better roles that he is at the moment), to Michael Giacchino’s awesome “London Calling” music, is a truly memorable bit of movie-making.
The cast have all settled into their roles nicely. Chris Pine’s Kirk is still the arrogant ladies man (e.g. bedding twin aliens and chatting up the starfleet totty…. “Hi Ladies… Jim Kirk”), but learning the hard way that with great power comes at least a modicum of responsibility. He actually needs to act in this movie. And I find Scotty (Simon Pegg) slightly less grating in this outing (though his sidekick Keenser (Deep Roy) is still the annoying Jar Jar Binks of these films).
Benedict Cumberbatch adds great gravitas as the arch villain, and his announcement of his name was one of those “I am your father” movie-moments for me on first viewing.
It’s also the last screen appearance of Leonard Nimoy as Spock Prime – indeed, his last movie appearance period. A nice and fitting way to bow out.
My rating here is a little lower than my previous OMM rating. It’s attempts to shoehorn-in scenes and dialogue from an earlier Trek movie are a misstep by the writers, and grate on repeat viewing. But it’s still a cracking episode in the Trek saga, and another of my personal favourites.
I find the pre-titles sequence on this one a real blast, both thrilling in content and enormously funny with the primitive stone age race trashing their previous relic in favour of their new Enterprise-shaped deity! And then the dramatic pseudo-blackmailing of Harewood, (an impressive Noel Clarke, when he was being given better roles that he is at the moment), to Michael Giacchino’s awesome “London Calling” music, is a truly memorable bit of movie-making.
The cast have all settled into their roles nicely. Chris Pine’s Kirk is still the arrogant ladies man (e.g. bedding twin aliens and chatting up the starfleet totty…. “Hi Ladies… Jim Kirk”), but learning the hard way that with great power comes at least a modicum of responsibility. He actually needs to act in this movie. And I find Scotty (Simon Pegg) slightly less grating in this outing (though his sidekick Keenser (Deep Roy) is still the annoying Jar Jar Binks of these films).
Benedict Cumberbatch adds great gravitas as the arch villain, and his announcement of his name was one of those “I am your father” movie-moments for me on first viewing.
It’s also the last screen appearance of Leonard Nimoy as Spock Prime – indeed, his last movie appearance period. A nice and fitting way to bow out.
My rating here is a little lower than my previous OMM rating. It’s attempts to shoehorn-in scenes and dialogue from an earlier Trek movie are a misstep by the writers, and grate on repeat viewing. But it’s still a cracking episode in the Trek saga, and another of my personal favourites.
Cristov Russell (3 KP) rated Admist the Chaos by Sara Bareilles in Music
May 25, 2019 (Updated May 25, 2019)
Sara's latest has her working with T Bone Burnett (one of my favorite producers) who has worked with artists like Sam Phillips, Elvis Costello, Roy Orbison and Cassandra Wilson. Burnett, who is himself a recording artists and songwriter is a perfect choice, giving Bareilles a cohesive sound that suits her rich tone like a deep cushioned coach wrapped in a soft warm blanket.
Each of the tracks were written or co-workers by Bareilles and none disappoint. From the jangly mid-tempo Fire about a relationship that just isn't working to A Safe Place to Land; a beautifully sorrow drenched but hopeful duet with John Legend.
My favorite, Orpheus, about giving someone comfort and a peaceful space admist the chaos is where the album gets its name and many of the songs themes circle around the idea of finding peace or coming to terms with life.
Armor, a feminist anthem, pays tribute to those who paved the way and warns misogynists that those standing up to them today pale in comparison to the coming generation. It was inspired by the #metoo movement and released early as a response to Brett Kavanagh hearings.
If I Can't Have You deals with trying to get over the loss of a love. It's a breezy after the tears track best enjoyed with a glass of wine.
Burnett's influence shows on Eyes On You with its just inside the barn door toe tapping country tinges.
Miss Simone is a love letter to the lady herself for providing the soundtrack to an enduring romance.
The album closes with a track that fits well with its siblings but I can't say I like it quite as much. It's not a bad track and Bareilles and Legend sound great together but it feels like a leftover song. It was inspired by the immigrant families being separated.
Each of the tracks were written or co-workers by Bareilles and none disappoint. From the jangly mid-tempo Fire about a relationship that just isn't working to A Safe Place to Land; a beautifully sorrow drenched but hopeful duet with John Legend.
My favorite, Orpheus, about giving someone comfort and a peaceful space admist the chaos is where the album gets its name and many of the songs themes circle around the idea of finding peace or coming to terms with life.
Armor, a feminist anthem, pays tribute to those who paved the way and warns misogynists that those standing up to them today pale in comparison to the coming generation. It was inspired by the #metoo movement and released early as a response to Brett Kavanagh hearings.
If I Can't Have You deals with trying to get over the loss of a love. It's a breezy after the tears track best enjoyed with a glass of wine.
Burnett's influence shows on Eyes On You with its just inside the barn door toe tapping country tinges.
Miss Simone is a love letter to the lady herself for providing the soundtrack to an enduring romance.
The album closes with a track that fits well with its siblings but I can't say I like it quite as much. It's not a bad track and Bareilles and Legend sound great together but it feels like a leftover song. It was inspired by the immigrant families being separated.