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Movie Metropolis (309 KP) rated Christopher Robin (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
A Future Classic
The characters of Pooh, Eeyore, Piglet and Tigger are synonymous with the childhood of millions of adults across the globe. A.A. Milne’s classic creatures are etched into the memories of many, passed down through generations with tatty old story books and stuffed animals.
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/
Amanda (96 KP) rated The Diary: Book One of Cursed in Books
Mar 25, 2019
So this is a first in an upcoming series. Reading it kind of gave me a Harry Potter and the Chamber of Secrets vibe - that's my favorite book in the series by the way. Anyway, two girls named Ana and Sophie come across a new shop that has opened. It sells crystals, some dresses, and spell books. Ana comes across this blank book, a diary, and decides to purchase it and record everything going on in her life - like most teenage girls want to do. I certainly did, and I still do to an extent.
It seems like everything Ana writes in this diary seems to come true - for instance, wanting her friend to finally stop whining about a boy she likes and asks him out. It's pointed out quite a few times how 'out of character' it was for Sophie to ask a boy out. She describes it as an out of body experience where she was watching herself just simply go up to the the boy and ask him on a date.
In a sense of 'be careful what you wish for' in this case it's, 'be careful what you write.' The diary, however, has a mind of its own and it slowly starts to take over Ana.
Does anybody else hear Smeegal's voice and wishing that Ana would once say, 'My Precious!'? No? Okay, I'm really that nerdy, but I don't care. I wear it like a badge of honor.
I won't lie it say it wasn't a tad but cheesy. Almost like watching some parts of it as a Disney show, at least the ones that include someone falling from a Ferris wheel or getting an allergic reaction. I'm not saying that's a bad thing, because it's not overpowering like the new Disney shows these days are, gag me.
The writing style was simplistic and it's one that I liked. It wasn't told from Ana's point of view, which is surprising because most of the YA novels I've read are told from the main character's point of view. It's not a terrible thing, but it's not always the best. In this book, you get more than just Ana's views which is important to a story like this.
The ending did, of course, leave a cliffhanger and a small excerpt for the next book in the series.
All in all, the book was a quick read for the most part. I like the three main characters of the story and I enjoyed how it was written. Can you imagine finding a diary and it making things you write in it come true? The good will come with bad.
It seems like everything Ana writes in this diary seems to come true - for instance, wanting her friend to finally stop whining about a boy she likes and asks him out. It's pointed out quite a few times how 'out of character' it was for Sophie to ask a boy out. She describes it as an out of body experience where she was watching herself just simply go up to the the boy and ask him on a date.
In a sense of 'be careful what you wish for' in this case it's, 'be careful what you write.' The diary, however, has a mind of its own and it slowly starts to take over Ana.
Does anybody else hear Smeegal's voice and wishing that Ana would once say, 'My Precious!'? No? Okay, I'm really that nerdy, but I don't care. I wear it like a badge of honor.
I won't lie it say it wasn't a tad but cheesy. Almost like watching some parts of it as a Disney show, at least the ones that include someone falling from a Ferris wheel or getting an allergic reaction. I'm not saying that's a bad thing, because it's not overpowering like the new Disney shows these days are, gag me.
The writing style was simplistic and it's one that I liked. It wasn't told from Ana's point of view, which is surprising because most of the YA novels I've read are told from the main character's point of view. It's not a terrible thing, but it's not always the best. In this book, you get more than just Ana's views which is important to a story like this.
The ending did, of course, leave a cliffhanger and a small excerpt for the next book in the series.
All in all, the book was a quick read for the most part. I like the three main characters of the story and I enjoyed how it was written. Can you imagine finding a diary and it making things you write in it come true? The good will come with bad.
Gareth von Kallenbach (980 KP) rated Mary Poppins Returns (2018) in Movies
Jun 19, 2019
Following up a beloved classic is never easy task but that is what Disney is attempting to do with “Mary Poppins Returns”. This time out Emily Blunt takes on the magical umbrella of the no-nonsense but whimsical Nanny made famous by the series of books by PL Travers and of course the beloved classic starring Julie Andrews and Dick Van Dyke.
When hardship strikes the Banks family; Mary returns to assist Michael and Jane as well is Michael’s young children in much the magical way that she helped Michael and Jane all those years ago.
Joining her is local lamplighter Jack (Lin-Manuel Miranda), who remembers Mary and Jane Banks from his childhood.
Shocked that Mary has returned after all these years and not looking a day older; Michael Michaels three younger children are with delay on a magical adventure that only Mary Poppins can provide. Along the way they will dabble in animated environments, meet all manner of quirky characters, and of course bring the house down with magical and show stopping musical numbers as they attempt to help Michael and Jane save their beloved family home from ruthless bankers.
The film captures much of the joy and magic that you remember from the characters and it is likely to evoke an emotional response from you throughout the film.
Blunt does an amazing job taking over the role and her singing and dancing is very impressive. Miranda while struggling much as Van Dyke did with the Cockney accent; throws himself into the various musical numbers with passion and energy that helps take the scenes to a new level.
As I was watching the film and enjoying it thoroughly; I thought to myself the only real quality it lacked where the show stopping tunes that made the original such an unforgettable event. The Sherman Brothers set an impossibly high standard to follow as the score for the original film is peppered with Disney mainstays that have endured the test of time. No sooner had I thought that to myself; than to amazing musical numbers lit up the second half of the film to the point where I found myself not only humming one of them after the screening, but singing parts of them for several weeks after.
“Mary Poppins Returns” is a magical and musical film that the entire family can enjoy and takes viewers back to the simpler and nostalgic times of old. Let us hope that there will be new adventures for Mary to grace the cinema screen in the not-too-distant future as her absence has been far too long and dearly missed.
http://sknr.net/2018/12/12/mary-poppins-returns/
When hardship strikes the Banks family; Mary returns to assist Michael and Jane as well is Michael’s young children in much the magical way that she helped Michael and Jane all those years ago.
Joining her is local lamplighter Jack (Lin-Manuel Miranda), who remembers Mary and Jane Banks from his childhood.
Shocked that Mary has returned after all these years and not looking a day older; Michael Michaels three younger children are with delay on a magical adventure that only Mary Poppins can provide. Along the way they will dabble in animated environments, meet all manner of quirky characters, and of course bring the house down with magical and show stopping musical numbers as they attempt to help Michael and Jane save their beloved family home from ruthless bankers.
The film captures much of the joy and magic that you remember from the characters and it is likely to evoke an emotional response from you throughout the film.
Blunt does an amazing job taking over the role and her singing and dancing is very impressive. Miranda while struggling much as Van Dyke did with the Cockney accent; throws himself into the various musical numbers with passion and energy that helps take the scenes to a new level.
As I was watching the film and enjoying it thoroughly; I thought to myself the only real quality it lacked where the show stopping tunes that made the original such an unforgettable event. The Sherman Brothers set an impossibly high standard to follow as the score for the original film is peppered with Disney mainstays that have endured the test of time. No sooner had I thought that to myself; than to amazing musical numbers lit up the second half of the film to the point where I found myself not only humming one of them after the screening, but singing parts of them for several weeks after.
“Mary Poppins Returns” is a magical and musical film that the entire family can enjoy and takes viewers back to the simpler and nostalgic times of old. Let us hope that there will be new adventures for Mary to grace the cinema screen in the not-too-distant future as her absence has been far too long and dearly missed.
http://sknr.net/2018/12/12/mary-poppins-returns/
Jesters_folly (230 KP) rated Tron Legacy (2010) in Movies
Nov 20, 2020
Contains spoilers, click to show
Ok this was actually good which is a bit surprising as there have been a few sequels to older films released over the past few years and they haven't all be great, not that they haven't necessarily been bad but, depending on how they continuing they have been a bit problematic. Either by using now outdated concepts or trying to to match modern political standards and missing the mark, Ghostbusters I'm looking at you. Tron: Legacy goes down the path of of handing the franchise over to the next generation in a similar manner to Bill and Ted Face the Music and I think Tron does it better.
I'll start by saying that Tron: Legacy is not as original or forward thinking as it's predecessor but that is to be expected. The original had Ideas that were slightly before it's time which i talk about in my review of that film. Tron: Legacy can't re do that originality, partly because its a sequel and so is constrained by the world built in the original but also because a lot of the ideas have been used since, we've had the likes of 'The Matrix' and 'Wreck-it Ralph' and so Tron: Legacy seems to concentrate on being a Tron film and nothing more.
The film keeps close to the original by bringing back quite a few things, we have Jeff Bridges and Bruce Boxleitner reprising their roles of Kevin Flynn And Alan Bradley, with Kevin now trapped in the computer world known as the Grid. The light cycles are back as well as few other craft. The effects have been updated but the grid and it's games are still very recognisable and there are a few through back lines and scenes.
Tron: Legacy does feel a bit Matrixy at times, neither of the flynns are Neo but it does draw on the familiar God/Devil tropes that you often see. The costumes are more cyber punk than the original, still using the red/blue lighting but also being more PVC and trench coat in its aesthetic with many characters supporting visors or crash helmets, to the point that Daft Punk actually look like they belong there.
Like a lot of Cyberpunk films there is a night club and this has one of the films stand out characters, Castor, played by Michael Sheen who is doing his best 'Ziggy Stardust' impression.
The strange thing is, this is a good film, with good franchise potential and Disney don't seem to have marketed it well, it's 10 years old (at the time of writing) and isn't mentioned much and it's only due to watching this on Disney+ that I now know about the spin off animated series, Tron: Uprising, which I'm going to have to watch.
I'll start by saying that Tron: Legacy is not as original or forward thinking as it's predecessor but that is to be expected. The original had Ideas that were slightly before it's time which i talk about in my review of that film. Tron: Legacy can't re do that originality, partly because its a sequel and so is constrained by the world built in the original but also because a lot of the ideas have been used since, we've had the likes of 'The Matrix' and 'Wreck-it Ralph' and so Tron: Legacy seems to concentrate on being a Tron film and nothing more.
The film keeps close to the original by bringing back quite a few things, we have Jeff Bridges and Bruce Boxleitner reprising their roles of Kevin Flynn And Alan Bradley, with Kevin now trapped in the computer world known as the Grid. The light cycles are back as well as few other craft. The effects have been updated but the grid and it's games are still very recognisable and there are a few through back lines and scenes.
Tron: Legacy does feel a bit Matrixy at times, neither of the flynns are Neo but it does draw on the familiar God/Devil tropes that you often see. The costumes are more cyber punk than the original, still using the red/blue lighting but also being more PVC and trench coat in its aesthetic with many characters supporting visors or crash helmets, to the point that Daft Punk actually look like they belong there.
Like a lot of Cyberpunk films there is a night club and this has one of the films stand out characters, Castor, played by Michael Sheen who is doing his best 'Ziggy Stardust' impression.
The strange thing is, this is a good film, with good franchise potential and Disney don't seem to have marketed it well, it's 10 years old (at the time of writing) and isn't mentioned much and it's only due to watching this on Disney+ that I now know about the spin off animated series, Tron: Uprising, which I'm going to have to watch.
Zach Smith (62 KP) rated Aladdin (2019) in Movies
May 27, 2019
Will definitely keep your attention.
So I'm a big fan of the Disney classic and was looking forward to this. Right from the start I believe they got Aladdin cast member wrong. Sorry he has a freaking 5 o clock shadow through the majority of the film and hairy ass arms. I thought part of the magic was that the love story between two people at most 20 years of age. So yea not a fan of the post puberty Aladdin. The man sings and acts great however.
Will Smith as the genie was a welcome surprise. He brought his own majic to the part so not to dishonor the legend Robin Williams. The film is great because it is based off of Disney's Aladdin so it is not a word for word live action and even includes two new songs that hold up to the originals.
Another cast member I thought was missing major personality was Jasmine's father. Sure he looked the part but he was not fat or jolly and had a droll type manor. Despite these few differences the movie entertained my son and I and almost felt like a new movie. Snore factor of 0/10 great.
PS I miss Gilbert Godfrey as the birds voice.
Will Smith as the genie was a welcome surprise. He brought his own majic to the part so not to dishonor the legend Robin Williams. The film is great because it is based off of Disney's Aladdin so it is not a word for word live action and even includes two new songs that hold up to the originals.
Another cast member I thought was missing major personality was Jasmine's father. Sure he looked the part but he was not fat or jolly and had a droll type manor. Despite these few differences the movie entertained my son and I and almost felt like a new movie. Snore factor of 0/10 great.
PS I miss Gilbert Godfrey as the birds voice.
David McK (3473 KP) rated Star Wars: Aftermath: Life Debt in Books
Jan 28, 2019
The second entry in [a:Chuck Wendig|17152|Chuck Wendig|https://images.gr-assets.com/authors/1294919586p2/17152.jpg]'s Star Wars: Aftermath series (trilogy) - a series in which the author was given the unenviable task of rebooting the whole Star Wars continuity, after Disney threw the old EU (Expanded Universe) out the window while reserving the rights to cherry-pick the best aspects (Grand Admiral Thrawn, anyone?) from that EU.
I was completely unaware while reading the first entry ([b:Aftermath|25131600|Aftermath (Star Wars Aftermath, #1)|Chuck Wendig|https://images.gr-assets.com/books/1426620007s/25131600.jpg|44828548] that the author was also actually a screen writer, only finding this out by chance later.
That, perhaps, explains why I found the first book so choppy.
While I did find this better than that earlier entry, I'm not sure whether that is because I'm now coming at it with that fresh knowledge, or because (perhaps) the author had picked up on some oif the criticism aimed at that earlier work. There's also the fact, now, that the groundwork has been laid and the fuss died down somewhat: no longer do we have to worry about the sometimes vitriolic accusations aimed at the work.
With all that in mind, I have to say: I still prefer the Heir to the Empire series.
I was completely unaware while reading the first entry ([b:Aftermath|25131600|Aftermath (Star Wars Aftermath, #1)|Chuck Wendig|https://images.gr-assets.com/books/1426620007s/25131600.jpg|44828548] that the author was also actually a screen writer, only finding this out by chance later.
That, perhaps, explains why I found the first book so choppy.
While I did find this better than that earlier entry, I'm not sure whether that is because I'm now coming at it with that fresh knowledge, or because (perhaps) the author had picked up on some oif the criticism aimed at that earlier work. There's also the fact, now, that the groundwork has been laid and the fuss died down somewhat: no longer do we have to worry about the sometimes vitriolic accusations aimed at the work.
With all that in mind, I have to say: I still prefer the Heir to the Empire series.
David McK (3473 KP) rated A Princess of Mars (Barsoom, #1) in Books
Jan 30, 2019
To most people, if you mention the name Edgar Rice Burroughs the first thing that they will think of, in all likelihood, is his creation of the character Tarzan. Alongside this, however, he also wrote the <i>Barsoom</i> series of books, of which this is the first (published in 1912).
Commonly regarded as classics of the Pulp Sci-Fi genre of books, and with the new Disney movie <i>John Carter of Mars</i> recently released (even if it is getting a panning from the critics), and finally with <i>The John Carter collection</i> (consisting of <i>A Princess of Mars</i>, <i>The Gods of Mars</i>, <i>The Warlord of Mars</i>, <i>Thuvia, Maid of Mars</i> and <i>The Chessmen of Mars</i>) available on Apple's ibooks stores for 99p, how could I resist picking them up?
Having now read the first book, it's easy to see the influence these particular novels had on later writings and popular culture. James Cameron is on record as stating this particular work as an influence on his movie <i>Avatar</i>, while it is also possible to trace elements of <i>Star Wars</i> (inspired by <i>Flash Gordon</i>, itself inspired by this) back to this work.
In short: this is pretty much a prime example of early pulp SF!
Commonly regarded as classics of the Pulp Sci-Fi genre of books, and with the new Disney movie <i>John Carter of Mars</i> recently released (even if it is getting a panning from the critics), and finally with <i>The John Carter collection</i> (consisting of <i>A Princess of Mars</i>, <i>The Gods of Mars</i>, <i>The Warlord of Mars</i>, <i>Thuvia, Maid of Mars</i> and <i>The Chessmen of Mars</i>) available on Apple's ibooks stores for 99p, how could I resist picking them up?
Having now read the first book, it's easy to see the influence these particular novels had on later writings and popular culture. James Cameron is on record as stating this particular work as an influence on his movie <i>Avatar</i>, while it is also possible to trace elements of <i>Star Wars</i> (inspired by <i>Flash Gordon</i>, itself inspired by this) back to this work.
In short: this is pretty much a prime example of early pulp SF!
Barry Newman (204 KP) rated Star Wars: Episode IX - The Rise of Skywalker (2019) in Movies
Jan 11, 2020
Contains spoilers, click to show
Well JJ Abrams certainly had a helluva job to do here, wrapping up a 42 year saga whilst addressing the criticisms made of episode 8 and creating an entertaining movie. Whilst this isn't a complete disaster like the 'Game Of Thrones' ending I still couldn't help but come out of this feeling underwhelmed and disappointed. I wanted wow instead it was just ok and completely lacking in the magic and memorable moments we have come to expect from the series. The first half of the film felt very muddled and disjointed, it did get better in the second half but overall the storytelling felt very safe. I think that was particularly reflected in the decision to resurrect Emperor Palpatine which personally I didn't like. Whilst certainly the weakest of the new trilogy it's not boring, it's a fast paced adventure that does answer some unanswered questions and there's still plenty of fun to be had seeing all the spectacular effects millions of Disney dollars can buy. Adam Driver and Daisy Ridley also continue to turn in decent performances as Rey and Kylo Ren (shame the same can't really be said for the rest of the cast). So as the finale to the 9 film Star Wars saga it's sorely lacking but as a bog standard action blockbuster it's reasonably entertaining.
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