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Gareth von Kallenbach (980 KP) rated the PlayStation 4 version of Jurassic World Evolution in Video Games
Aug 14, 2019
People are fickle creatures by nature. They say they want to experience a time when dinosaurs roamed the earth and then they suddenly abandon you when they decide your park is too dangerous. So what if a few people got eaten when my cash flow dried up and my Ceratosaurus had no choice but to break free of its enclosure and snack on a few visitors. Is that really a reason to decide my park isn’t worth visiting any longer? I think not. That is just how things are when you are trying to build a combination of zoo and theme park in Frontier Developments’ latest park simulator game Jurassic World Evolution.
As a kid I used to spend time with my older sister playing dinosaur hunter with my old View-Master and some 3D slides of dinosaurs. We’d pretend that we had gone back in time to an age where dinosaurs walked the earth. As I got older, and technology improved dramatically, I had the opportunity to experience Jurassic Park when it was first released on the big screen and my simple exploration dream turned into a dream of what it would be like to experience this in real life. While dinosaur cloning hasn’t become an actual thing…yet, Jurassic World Evolution introduces you to a world of fossil digging, dinosaur incubating and park managing.
At it’s core, Jurassic World Evolution is a theme park management sim. It’s much less complex than Frontier’s other theme park sim, Planet Coaster, and of course brings with it the main draw of “living” dinosaurs. There are three major departments that you are trying to appease as you bring your park to life, Entertainment, Science and Security. As you play through the initial campaign, you will be given tasks from each department who are all trying to further their own agendas. Entertainment is focused on adding attractions, bringing people into your parks, and ensuring your profit margin is as high as possible. Science is focused on furthering the study of the dinosaurs, ensuring their survivability and tracking down and bringing to life numerous other species from around the globe. Finally, Security is trying to ensure that should a disaster strike, the proper fail-safes are in place to minimize the impact to the visitors and the park. While satisfying all three of these factions is the best way to make money and make your park a success, the tasks you do will impact your reputation with one department as you satisfy the requests of the others. It becomes a balancing act between ensuring each faction is as loyal and happy as possible (to avoid sabotage and espionage) and making enough money to ensure your park continues to function.
You begin the game with a sizable amount of money that you use to build your park and send teams on archeological digs around the world to unearth dinosaur fossils. The teams then bring back the fossils for you to practice your dinosaur cloning skills. Successful dinosaur cloning will result in absolutely breath-takingly detailed dinosaurs being added to your park. It’s up to you to ensure that the dinosaur enclosures are well suited and comfortable for the individual species of dinosaurs that will live in them. Each dinosaur has a specific set of traits that determine its’ comfort level. Some dinosaurs need grassland to run around in, while others are social creatures that don’t do well in solitary confinement. If your dinosaur’s comfort decreases below 50% they will attempt to break free of their enclosures and find what makes them happy and sometimes snacking on fear-stricken patrons is what they seek. So, keeping their comfort levels high is one key to avoiding major catastrophes in your park. After all, a happy dinosaur is one that is less likely to attempt an escape and snack on your paying patrons.
Ensuring your guest are happy and spending money is another key to running a successful park. Adding buildings and attractions for your guests to spend money on increases the rating of your park and adds additional cash flow. You will need all the cash you can get to keep things running smoothly and to prevent “accidents” from occurring. You will also need cash flow to research building improvements, finance other archeological digs, and ultimately continue to grow your park into what you had always envisioned it could be.
Graphically Jurassic World Evolution is absolutely stunning. The dinosaur models are gorgeous, and the weather effects (particularly when it’s raining) take on a near photo-realistic quality. This is easily one of the best-looking games available in this genre. When you aren’t busy managing the park, you’ll have the opportunity to pilot a helicopter and chase down escaped dinosaurs with your handy tranquilizer gun. You will also be given tasks where you will drive a Jeep through your park to do things such as replenish feeders or take pictures of your creations. The ability to traverse your park and get up close and personal with everything you have created is a real joy. As you progress, you can also unlock additional islands for you to create parks on and each island has its own unique challenges and adventures.
No game is perfect however, and Jurassic World Evolution certainly has a few issues. One of the more annoying issues I encountered is that some quests you are given are ones that you had already completed. Instead of the game recognizing I had already completed the quest, I had to redo what had already been done for the quest to continue. In the early stages of the game when you are asked to incubate a specific expensive breed of dinosaur when you have already done so (and it will cost you more than you can really afford to spend) it can get annoying fast. Some folks might also get tired of some of the more monotonous areas of the game, as flying a helicopter to tranquilize an escaped dinosaur the first dozen times you do it is exhilarating, but after that it can start to get a little stale. Additionally, there are some tasks that simply take time to complete such as waiting for a specific type of dinosaur to finish incubating before moving on to the next phase of the mission. As stated above there are ways to help pass the time (drive a Jeep and take some pictures for example), but an option to speed up the time just a bit would have been a real benefit. All-in-all though, these are pretty minor issues I had with an overall amazing game.
The developer Frontier is known for regularly updating their other games, including free (and paid) releases. While I think this game launches with an already incredible amount of variety, I suspect that Frontier will continue to add additional content and dinosaurs to the game. Considering the game launched without mod support (and whether mods will be supported in the future is still unclear) it’s important to have a developer who will continue to update the game and keep things fresh. This is an area that I believe Frontier will do an amazing job.
Jurassic World Evolution isn’t the perfect theme park simulation, but it’s pretty darn close. If you enjoy theme park simulators but have been intimidated by others on the market, you certainly should give this game a try. If you love dinosaurs or ever dreamed of owning your own Jurassic Park someday then this game is an absolute no brainer purchase. I was excited when I got my hands on it at E3, and the final release lived up to all my expectations and more. It’s truly an incredible game in one of this generations most beloved franchises. So, jump in the Jeep and “Welcome to Jurassic Park” (cue the Jurassic Park theme song).
What I liked: Stunning graphics, Accessible theme park management, Huge variety of dinosaurs
What I liked less: Some missions needing to be repeated for no reason
As a kid I used to spend time with my older sister playing dinosaur hunter with my old View-Master and some 3D slides of dinosaurs. We’d pretend that we had gone back in time to an age where dinosaurs walked the earth. As I got older, and technology improved dramatically, I had the opportunity to experience Jurassic Park when it was first released on the big screen and my simple exploration dream turned into a dream of what it would be like to experience this in real life. While dinosaur cloning hasn’t become an actual thing…yet, Jurassic World Evolution introduces you to a world of fossil digging, dinosaur incubating and park managing.
At it’s core, Jurassic World Evolution is a theme park management sim. It’s much less complex than Frontier’s other theme park sim, Planet Coaster, and of course brings with it the main draw of “living” dinosaurs. There are three major departments that you are trying to appease as you bring your park to life, Entertainment, Science and Security. As you play through the initial campaign, you will be given tasks from each department who are all trying to further their own agendas. Entertainment is focused on adding attractions, bringing people into your parks, and ensuring your profit margin is as high as possible. Science is focused on furthering the study of the dinosaurs, ensuring their survivability and tracking down and bringing to life numerous other species from around the globe. Finally, Security is trying to ensure that should a disaster strike, the proper fail-safes are in place to minimize the impact to the visitors and the park. While satisfying all three of these factions is the best way to make money and make your park a success, the tasks you do will impact your reputation with one department as you satisfy the requests of the others. It becomes a balancing act between ensuring each faction is as loyal and happy as possible (to avoid sabotage and espionage) and making enough money to ensure your park continues to function.
You begin the game with a sizable amount of money that you use to build your park and send teams on archeological digs around the world to unearth dinosaur fossils. The teams then bring back the fossils for you to practice your dinosaur cloning skills. Successful dinosaur cloning will result in absolutely breath-takingly detailed dinosaurs being added to your park. It’s up to you to ensure that the dinosaur enclosures are well suited and comfortable for the individual species of dinosaurs that will live in them. Each dinosaur has a specific set of traits that determine its’ comfort level. Some dinosaurs need grassland to run around in, while others are social creatures that don’t do well in solitary confinement. If your dinosaur’s comfort decreases below 50% they will attempt to break free of their enclosures and find what makes them happy and sometimes snacking on fear-stricken patrons is what they seek. So, keeping their comfort levels high is one key to avoiding major catastrophes in your park. After all, a happy dinosaur is one that is less likely to attempt an escape and snack on your paying patrons.
Ensuring your guest are happy and spending money is another key to running a successful park. Adding buildings and attractions for your guests to spend money on increases the rating of your park and adds additional cash flow. You will need all the cash you can get to keep things running smoothly and to prevent “accidents” from occurring. You will also need cash flow to research building improvements, finance other archeological digs, and ultimately continue to grow your park into what you had always envisioned it could be.
Graphically Jurassic World Evolution is absolutely stunning. The dinosaur models are gorgeous, and the weather effects (particularly when it’s raining) take on a near photo-realistic quality. This is easily one of the best-looking games available in this genre. When you aren’t busy managing the park, you’ll have the opportunity to pilot a helicopter and chase down escaped dinosaurs with your handy tranquilizer gun. You will also be given tasks where you will drive a Jeep through your park to do things such as replenish feeders or take pictures of your creations. The ability to traverse your park and get up close and personal with everything you have created is a real joy. As you progress, you can also unlock additional islands for you to create parks on and each island has its own unique challenges and adventures.
No game is perfect however, and Jurassic World Evolution certainly has a few issues. One of the more annoying issues I encountered is that some quests you are given are ones that you had already completed. Instead of the game recognizing I had already completed the quest, I had to redo what had already been done for the quest to continue. In the early stages of the game when you are asked to incubate a specific expensive breed of dinosaur when you have already done so (and it will cost you more than you can really afford to spend) it can get annoying fast. Some folks might also get tired of some of the more monotonous areas of the game, as flying a helicopter to tranquilize an escaped dinosaur the first dozen times you do it is exhilarating, but after that it can start to get a little stale. Additionally, there are some tasks that simply take time to complete such as waiting for a specific type of dinosaur to finish incubating before moving on to the next phase of the mission. As stated above there are ways to help pass the time (drive a Jeep and take some pictures for example), but an option to speed up the time just a bit would have been a real benefit. All-in-all though, these are pretty minor issues I had with an overall amazing game.
The developer Frontier is known for regularly updating their other games, including free (and paid) releases. While I think this game launches with an already incredible amount of variety, I suspect that Frontier will continue to add additional content and dinosaurs to the game. Considering the game launched without mod support (and whether mods will be supported in the future is still unclear) it’s important to have a developer who will continue to update the game and keep things fresh. This is an area that I believe Frontier will do an amazing job.
Jurassic World Evolution isn’t the perfect theme park simulation, but it’s pretty darn close. If you enjoy theme park simulators but have been intimidated by others on the market, you certainly should give this game a try. If you love dinosaurs or ever dreamed of owning your own Jurassic Park someday then this game is an absolute no brainer purchase. I was excited when I got my hands on it at E3, and the final release lived up to all my expectations and more. It’s truly an incredible game in one of this generations most beloved franchises. So, jump in the Jeep and “Welcome to Jurassic Park” (cue the Jurassic Park theme song).
What I liked: Stunning graphics, Accessible theme park management, Huge variety of dinosaurs
What I liked less: Some missions needing to be repeated for no reason
Matthew Krueger (10051 KP) rated Horrified: Universal Monsters Strategy Board Game in Tabletop Games
Jul 31, 2020 (Updated Aug 1, 2020)
The Universal Monsters (3 more)
The Strategy
Replay Value
Think Ten Steps Ahead
The Excellent Universal Monsters Board Game
When I heard about Horrorified, i wanted to buy it right away. A board game that has the universal monsters and it revolves around them, i really wanted to buy it. Cause i love the universal monsters. My favorite being The Invisible Man and Dracula. So lets talk more about it.
The Gameplay:
Horrified is a cooperative game in which all the players win or lose together. The players win if they defeat all of the Monsters they are playing against. In order to defeat a Monster, you must first complete a task.
Each Monster's task and subsequent defeat is unique:
Creature from the Black Lagoon: Find the Creature's hidden lair, then drive the Creature away.
Dracula: Smash Dracula's four coffins, then overcome Dracula.
Frankenstein and the Bride: Teach Frankenstein and the Bride what it means to be human so they can live peacefully.
The Invisible Man: Supply evidence to the police of the Invisible Man's existence, then trap him.
The Mummy: Break the Mummy's curse, then return him to his tomb.
The Wolf Man: Discover the cure for lycanthropy, then administer it to the Wolf Man.
The players lose immediately if one of the following occurs:
Terror: Each time a Hero or Villager is defeated, the Terror Level will increase. If the Terror Level reaches its maximum, indicated by the skull, the Monsters have overrun the village and the players lose.
Out Of Time: Each turn, you will draw a card from the Monster deck. If you need to draw a Monster card but the deck is empty, you have taken too long to defeat the Monsters and the players lose.
Each turn has two phases, performed in this order:
Hero Phase: Take as many actions as indicated on your Badge. In addition, any player may play any number of Perk cards.
Monster Phase: Draw one Monster card from the top of the Monster deck and resolve all three parts of the card. After completing both phases, play proceeds clockwise, starting with the next player's Hero Phase.
Hero Phase: Actions: Take up to the number of actions indicated on your Badge. You may choose to take fewer. Actions may be taken multiple times and in any order. The possible actions are:
Move: Move your Hero along a lit path to an adjacent space. You cannot move to water spaces and can only cross the river using one of the two bridge spaces. In addition, you may take any number of Villagers in your Hero's space with you when you move.
Guide: Move one Villager from your Hero's space to an adjacent space, or move one Villager from an adjacent space to your Hero's space. Villagers also cannot move to water spaces, and Monsters do not affect their movement.
Special Action: Some Heroes have a special action, as indicated on their Badge. Just like other actions, special actions count as one of the total number of actions for your turn and can be taken multiple times.
Pick Up: Take any number of Items from your Hero's space. Keep all your Items in front of you, next to your Badge.
Share: All Heroes in the same space as your Hero may freely give or take any number of Items from each other.
Advance: At a specific location, use one of your Items to advance a Monster's task.
Defeat: In a Monster's space, use your Items to defeat that Monster.
Monster Phase:
Draw a card from the top of the Monster deck and resolve the three parts of the card, from top to bottom. After resolving the entire Monster card, put it in a discard pile face up.
1. Items: Draw the number of Items listed at the top of the card, if any, from the Item bag. Place each Item at the location indicated on the Item.
If you need to draw an Item when the Item bag is empty, place all the Items from the discard pile into the bag, mix them up, and continue drawing.
2. Event: Each Event either involves one of the Monsters or the Villagers.
The card's color, as well as the symbol above the Event's name, indicates who the Event is about. Gray cards are about the Villagers. Colored cards are about a specific Monster.
If the Event Monster is not in your game, completely ignore the Event and continue with the Monster Strike. Otherwise, read the Event out loud and do what it says.
3. Monster Strike: Certain Monsters move and attack, as indicated by the symbols at the bottom of the card. In order from left to right, move and attack with the first Monster before proceeding to the next Monster.
If an indicated Monster is not in your game, ignore that symbol. If the Frenzy symbol is shown, the Monster with the Frenzy Marker moves and attacks. This could result in the same Monster moving and attacking twice in one turn.
Move the Monster the number of spaces indicated on the card towards the closest person (Hero or Villager). As soon as the Monster is in a space with a person, they stop moving. If the Monster started in a space with a person, they don't move at all.
Attack one person in the Monster's space by rolling the number of attack dice indicated. If there are no people in the Monster's space, the Monster does not attack-do not roll dice. If there are multiple people in that space, the Monster will attack a Hero rather than a Villager.
If there are still multiple people the Monster could attack, the current player chooses one to attack before rolling.
Perk Cards: Each player starts the game with a Perk card, and more Perk cards can be earned by getting Villagers to their safe locations. Keep all your Perk cards face up in front of you. It's a good idea to discuss your Perk cards, and when to play them, with the other players.
Perks may be played on any player's turn, but only during the Hero Phase. When you play a Perk card, do what the card says, and then put it in a discard pile face up. Playing a Perk card does not take an action.
Items: Items are important for advancing tasks and defeating Monsters, as well as defending yourself from the Monsters' attacks. Each Item has a color, indicating its type, and a strength, which is the number at the top. Each Item also has a location, which indicates where the Item is placed when it is drawn from the Item bag.
Hit by a Monster:
Heroes: To ignore being hit by a Monster's attack, a Hero may discard one Item for each Hit symbol rolled. If the Hero does not have enough Items, or does not wish to discard any Items, they are defeated. One hit defeats a Hero.
When a Hero is defeated, increase the Terror Level by moving the Terror Marker one space and remove that Hero from the board.
At the start of that player's next turn, they place their Hero at the Hospital and take their turn as normal, including their full number of actions. A defeated Hero does not lose any Items or Perk cards.
Villagers: A Villager does not have any Items and is therefore defeated immediately when hit. When a Villager is defeated, increase the Terror Level by moving the Terror Marker one space and remove that Villager from the board.
End of the Game: The game can end in one of three ways:
Heroes Triumph: If you defeat all the Monsters, the game immediately ends and the players have won! You've saved the village from a horrific fate, and perhaps even the Monsters themselves.
Terror!: If the Terror Level reaches its maximum, indicated by the skull, the game immediately ends and the players have lost. Everyone, including the Heroes, are too horrified to continue. You abandon the village to the Monsters.
Out Of Time: If you need to draw a card when the Monster deck is empty, the game immediately ends and the players have lost. You've taken too long to save the village. The Villagers have fled and you aren't able to continue.
Solo Play: The Villagers are more fearful if there is only one Hero trying to save the village. Begin the game with the Terror Marker on the "3" of the Terror Level Track.
All the rules remain the same. However, do not play as the Courier-that Hero's Special Action cannot be taken in a solo game. Also the Perk cards "Special Delivery" and "Conduct An Investigation" cannot be used.
Either remove these cards before playing, or when drawn, immediately discard and draw a new Perk card to replace it.
Its a fantasic excellent strategy game based around the universal monsters. I love it so much its such a fun game. If you want to learn more go to BoardGameGeek, Dice Tower Review or One Stop Co-Op Shop.
The Gameplay:
Horrified is a cooperative game in which all the players win or lose together. The players win if they defeat all of the Monsters they are playing against. In order to defeat a Monster, you must first complete a task.
Each Monster's task and subsequent defeat is unique:
Creature from the Black Lagoon: Find the Creature's hidden lair, then drive the Creature away.
Dracula: Smash Dracula's four coffins, then overcome Dracula.
Frankenstein and the Bride: Teach Frankenstein and the Bride what it means to be human so they can live peacefully.
The Invisible Man: Supply evidence to the police of the Invisible Man's existence, then trap him.
The Mummy: Break the Mummy's curse, then return him to his tomb.
The Wolf Man: Discover the cure for lycanthropy, then administer it to the Wolf Man.
The players lose immediately if one of the following occurs:
Terror: Each time a Hero or Villager is defeated, the Terror Level will increase. If the Terror Level reaches its maximum, indicated by the skull, the Monsters have overrun the village and the players lose.
Out Of Time: Each turn, you will draw a card from the Monster deck. If you need to draw a Monster card but the deck is empty, you have taken too long to defeat the Monsters and the players lose.
Each turn has two phases, performed in this order:
Hero Phase: Take as many actions as indicated on your Badge. In addition, any player may play any number of Perk cards.
Monster Phase: Draw one Monster card from the top of the Monster deck and resolve all three parts of the card. After completing both phases, play proceeds clockwise, starting with the next player's Hero Phase.
Hero Phase: Actions: Take up to the number of actions indicated on your Badge. You may choose to take fewer. Actions may be taken multiple times and in any order. The possible actions are:
Move: Move your Hero along a lit path to an adjacent space. You cannot move to water spaces and can only cross the river using one of the two bridge spaces. In addition, you may take any number of Villagers in your Hero's space with you when you move.
Guide: Move one Villager from your Hero's space to an adjacent space, or move one Villager from an adjacent space to your Hero's space. Villagers also cannot move to water spaces, and Monsters do not affect their movement.
Special Action: Some Heroes have a special action, as indicated on their Badge. Just like other actions, special actions count as one of the total number of actions for your turn and can be taken multiple times.
Pick Up: Take any number of Items from your Hero's space. Keep all your Items in front of you, next to your Badge.
Share: All Heroes in the same space as your Hero may freely give or take any number of Items from each other.
Advance: At a specific location, use one of your Items to advance a Monster's task.
Defeat: In a Monster's space, use your Items to defeat that Monster.
Monster Phase:
Draw a card from the top of the Monster deck and resolve the three parts of the card, from top to bottom. After resolving the entire Monster card, put it in a discard pile face up.
1. Items: Draw the number of Items listed at the top of the card, if any, from the Item bag. Place each Item at the location indicated on the Item.
If you need to draw an Item when the Item bag is empty, place all the Items from the discard pile into the bag, mix them up, and continue drawing.
2. Event: Each Event either involves one of the Monsters or the Villagers.
The card's color, as well as the symbol above the Event's name, indicates who the Event is about. Gray cards are about the Villagers. Colored cards are about a specific Monster.
If the Event Monster is not in your game, completely ignore the Event and continue with the Monster Strike. Otherwise, read the Event out loud and do what it says.
3. Monster Strike: Certain Monsters move and attack, as indicated by the symbols at the bottom of the card. In order from left to right, move and attack with the first Monster before proceeding to the next Monster.
If an indicated Monster is not in your game, ignore that symbol. If the Frenzy symbol is shown, the Monster with the Frenzy Marker moves and attacks. This could result in the same Monster moving and attacking twice in one turn.
Move the Monster the number of spaces indicated on the card towards the closest person (Hero or Villager). As soon as the Monster is in a space with a person, they stop moving. If the Monster started in a space with a person, they don't move at all.
Attack one person in the Monster's space by rolling the number of attack dice indicated. If there are no people in the Monster's space, the Monster does not attack-do not roll dice. If there are multiple people in that space, the Monster will attack a Hero rather than a Villager.
If there are still multiple people the Monster could attack, the current player chooses one to attack before rolling.
Perk Cards: Each player starts the game with a Perk card, and more Perk cards can be earned by getting Villagers to their safe locations. Keep all your Perk cards face up in front of you. It's a good idea to discuss your Perk cards, and when to play them, with the other players.
Perks may be played on any player's turn, but only during the Hero Phase. When you play a Perk card, do what the card says, and then put it in a discard pile face up. Playing a Perk card does not take an action.
Items: Items are important for advancing tasks and defeating Monsters, as well as defending yourself from the Monsters' attacks. Each Item has a color, indicating its type, and a strength, which is the number at the top. Each Item also has a location, which indicates where the Item is placed when it is drawn from the Item bag.
Hit by a Monster:
Heroes: To ignore being hit by a Monster's attack, a Hero may discard one Item for each Hit symbol rolled. If the Hero does not have enough Items, or does not wish to discard any Items, they are defeated. One hit defeats a Hero.
When a Hero is defeated, increase the Terror Level by moving the Terror Marker one space and remove that Hero from the board.
At the start of that player's next turn, they place their Hero at the Hospital and take their turn as normal, including their full number of actions. A defeated Hero does not lose any Items or Perk cards.
Villagers: A Villager does not have any Items and is therefore defeated immediately when hit. When a Villager is defeated, increase the Terror Level by moving the Terror Marker one space and remove that Villager from the board.
End of the Game: The game can end in one of three ways:
Heroes Triumph: If you defeat all the Monsters, the game immediately ends and the players have won! You've saved the village from a horrific fate, and perhaps even the Monsters themselves.
Terror!: If the Terror Level reaches its maximum, indicated by the skull, the game immediately ends and the players have lost. Everyone, including the Heroes, are too horrified to continue. You abandon the village to the Monsters.
Out Of Time: If you need to draw a card when the Monster deck is empty, the game immediately ends and the players have lost. You've taken too long to save the village. The Villagers have fled and you aren't able to continue.
Solo Play: The Villagers are more fearful if there is only one Hero trying to save the village. Begin the game with the Terror Marker on the "3" of the Terror Level Track.
All the rules remain the same. However, do not play as the Courier-that Hero's Special Action cannot be taken in a solo game. Also the Perk cards "Special Delivery" and "Conduct An Investigation" cannot be used.
Either remove these cards before playing, or when drawn, immediately discard and draw a new Perk card to replace it.
Its a fantasic excellent strategy game based around the universal monsters. I love it so much its such a fun game. If you want to learn more go to BoardGameGeek, Dice Tower Review or One Stop Co-Op Shop.
Phillip McSween (751 KP) rated Hell or High Water (2016) in Movies
Mar 11, 2019
Classic
Two brothers rob banks in west Texas to pay off overdue loans before their family home is foreclosed on.
Acting: 10
Beginning: 10
Characters: 10
From the first scene in the beginning with Tanner (Ben Foster) and Toby (Chris Pine), I knew I was going to like the two brothers. One’s a loose cannon while the other is more level-headed and calculated. They argue like typical brothers because they are so different and their interactions remind you of typical sibling hate/love. As a viewer, their personalities worked so well for me because you realize both were needed throughout the movie. Sometimes you needed cool, other times crazy was definitely needed to get the two out of a rough scrape.
I also enjoyed Jeff Bridges character playing the role of Sheriff Marcus, the area’s dedicated peacemaker. He speaks with a quick drawl straight out of an Eastwood western. He is overly truthful to a hilarious extent. He is on his way to retirement and feels like catching Tanner and Toby could be his last bit of peace.
Cinematography/Visuals: 9
Conflict: 7
While there truly are some impactful intense moments that help drive the narrative, Hell Or High Water is more drama than it is an action film. You do get a fair share of bank robberies, car chases, and shootouts. It just would have been nice if they had showed a bit more of that. Some of the parts that dragged on a bit would have served well with a bit more conflict.
Genre: 8
A powerful story about family helping family. Time will tell, but I think it’s a story that will keep its power years from now. The storytelling and direction is just as strong as any of my all-time favorites. Hell Or High Water packs a potent punch.
Memorability: 8
Pace: 10
Plot: 10
The bank robbery genre has been done and redone, but not quite like this. From its setting to the backdrop of the plot, this movie paves its own way within a crowded and successful genre. It succeeds with memorable dialogue and making every single scene count towards a definitive end.
Resolution: 10
The final scene features a conversation between Marcus and Toby. It’s hands-down the most memorable scene in the entire film as you get to see how this chain of events has ultimately affected both characters. They have both gained and lost and both face ghosts that will haunt them for the rest of their lives. It’s a scene that stuck with me long after I watched it.
Overall: 92
Set against a sprawling, yet compacted west Texas, Hell Or High Water gives you everything you look for in a movie. Memorable scenes abound keeping the movie entertaining and fresh. If you haven’t seen it yet, it’s a classic.
Acting: 10
Beginning: 10
Characters: 10
From the first scene in the beginning with Tanner (Ben Foster) and Toby (Chris Pine), I knew I was going to like the two brothers. One’s a loose cannon while the other is more level-headed and calculated. They argue like typical brothers because they are so different and their interactions remind you of typical sibling hate/love. As a viewer, their personalities worked so well for me because you realize both were needed throughout the movie. Sometimes you needed cool, other times crazy was definitely needed to get the two out of a rough scrape.
I also enjoyed Jeff Bridges character playing the role of Sheriff Marcus, the area’s dedicated peacemaker. He speaks with a quick drawl straight out of an Eastwood western. He is overly truthful to a hilarious extent. He is on his way to retirement and feels like catching Tanner and Toby could be his last bit of peace.
Cinematography/Visuals: 9
Conflict: 7
While there truly are some impactful intense moments that help drive the narrative, Hell Or High Water is more drama than it is an action film. You do get a fair share of bank robberies, car chases, and shootouts. It just would have been nice if they had showed a bit more of that. Some of the parts that dragged on a bit would have served well with a bit more conflict.
Genre: 8
A powerful story about family helping family. Time will tell, but I think it’s a story that will keep its power years from now. The storytelling and direction is just as strong as any of my all-time favorites. Hell Or High Water packs a potent punch.
Memorability: 8
Pace: 10
Plot: 10
The bank robbery genre has been done and redone, but not quite like this. From its setting to the backdrop of the plot, this movie paves its own way within a crowded and successful genre. It succeeds with memorable dialogue and making every single scene count towards a definitive end.
Resolution: 10
The final scene features a conversation between Marcus and Toby. It’s hands-down the most memorable scene in the entire film as you get to see how this chain of events has ultimately affected both characters. They have both gained and lost and both face ghosts that will haunt them for the rest of their lives. It’s a scene that stuck with me long after I watched it.
Overall: 92
Set against a sprawling, yet compacted west Texas, Hell Or High Water gives you everything you look for in a movie. Memorable scenes abound keeping the movie entertaining and fresh. If you haven’t seen it yet, it’s a classic.
Bong Mines Entertainment (15 KP) rated Focused - Single by Lilly Whyte in Music
Jun 17, 2019
Lilly Whyte is an Atlanta-based rapper-singer from Loris, South Carolina. Not too long ago, she released a motivational rap tune, entitled, “Focused”.
“I been working hard, I know its gonna take time. I can’t let down my guard, can’t let nobody take my shine, I need to just focus. Please just let me focus. I been down before and I ain’t never going back. I’m hungry for more so tell me where the money at. I’m just being honest. I’m gonna get it regardless.” – lyrics
‘Focused’ tells an encouraging tale of a determined young woman who is focused on getting what’s hers. But, as she gets closer to accomplishing her goals, there’s a guy in her life who’s trying to get close to her.
Even though she’s not looking for closure with him, she knows deep down she can’t afford to lose her concentration to distractions. Therefore, she chooses to stay motivated and refuses to let him come remotely close to disrupting her grind.
‘Focused’ contains a relatable storyline, harmonious rap vocals, and melodic instrumentation flavored with contemporary R&B and hip-hop elements.
“So excited about this record because it’s the first song I actually recorded all by myself. I literally wrote this song in my head as I was teaching myself how to engineer. FOCUSING on my craft and not letting anything stop me. FOCUSED is the product of me staying up all night in my little at-home-studio and not giving up. This song is very motivational which is why it’s one of my all-time favorites. I’ve always had a hard time focusing on what I’m supposed to be doing because I’m always so easily distracted. It can be really frustrating sometimes. I literally have to tell myself to just FOCUS, but this song is way more than that.” – Lilly Whyte
Lilly Whyte struggled with health and addiction issues, along with becoming a mother at a young age.
With a determination and drive inherent only to single mothers, she overcame her hardships by using music as an outlet for healing and growth.
She represents love, peace, and diversity, writing lyrics that are rich, fiery and full of meaning. Her stories cover themes such as empowerment, positivity, and self-acceptance.
Also, she’s an accomplished dancer, and her love for Lil Wayne’s music has garnered her the nickname, Lil Wheezy.
“I call out a certain someone for trying to come into my life and distract me. I have way too many trust issues from past experiences and I’m sure a few of you can relate. The beat was produced by DrellOnTheTrack and it has a guitar in the melody which is ironic as I also play the guitar. Hope you gain as much from this track as I did and don’t forget to STAY FOCUSED!” – Lilly Whyte
https://www.bongminesentertainment.com/lilly-whyte-focused/
“I been working hard, I know its gonna take time. I can’t let down my guard, can’t let nobody take my shine, I need to just focus. Please just let me focus. I been down before and I ain’t never going back. I’m hungry for more so tell me where the money at. I’m just being honest. I’m gonna get it regardless.” – lyrics
‘Focused’ tells an encouraging tale of a determined young woman who is focused on getting what’s hers. But, as she gets closer to accomplishing her goals, there’s a guy in her life who’s trying to get close to her.
Even though she’s not looking for closure with him, she knows deep down she can’t afford to lose her concentration to distractions. Therefore, she chooses to stay motivated and refuses to let him come remotely close to disrupting her grind.
‘Focused’ contains a relatable storyline, harmonious rap vocals, and melodic instrumentation flavored with contemporary R&B and hip-hop elements.
“So excited about this record because it’s the first song I actually recorded all by myself. I literally wrote this song in my head as I was teaching myself how to engineer. FOCUSING on my craft and not letting anything stop me. FOCUSED is the product of me staying up all night in my little at-home-studio and not giving up. This song is very motivational which is why it’s one of my all-time favorites. I’ve always had a hard time focusing on what I’m supposed to be doing because I’m always so easily distracted. It can be really frustrating sometimes. I literally have to tell myself to just FOCUS, but this song is way more than that.” – Lilly Whyte
Lilly Whyte struggled with health and addiction issues, along with becoming a mother at a young age.
With a determination and drive inherent only to single mothers, she overcame her hardships by using music as an outlet for healing and growth.
She represents love, peace, and diversity, writing lyrics that are rich, fiery and full of meaning. Her stories cover themes such as empowerment, positivity, and self-acceptance.
Also, she’s an accomplished dancer, and her love for Lil Wayne’s music has garnered her the nickname, Lil Wheezy.
“I call out a certain someone for trying to come into my life and distract me. I have way too many trust issues from past experiences and I’m sure a few of you can relate. The beat was produced by DrellOnTheTrack and it has a guitar in the melody which is ironic as I also play the guitar. Hope you gain as much from this track as I did and don’t forget to STAY FOCUSED!” – Lilly Whyte
https://www.bongminesentertainment.com/lilly-whyte-focused/
Charlie Cobra Reviews (1840 KP) rated Spider-Man: Into the Spider-Verse (2018) in Movies
Jul 3, 2020
Amazingly Spectacular Again - 9/10
Spider-Man: Into the Spider-Verse is a computer animated superhero film based off of the Spider-Man comics and movie franchise focusing on the Miles Morales/Spider-Man. Produced by Colombia Pictures and Sony Pictures Animation, it's set in a shared multiverse, which has alternate universes, called, the "Spider-Verse". The movie was directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman from a screenplay by Phil Lord and Rodney Rothman and story by Phil Lord. Starring Shameik Moore, Jake Johnson, Hailee Steinfield, and Mahershala Ali.
Miles Morales, (Shameik Moore) is a normal regular teenager from Brooklyn, whose parents, police officer Jefferson Davis (Brian Tyree Henry) and nurse Rio Morales (Luna Lauren Velez); have enrolled him in a new school. He visits his estranged Uncle Aaron Davis (Mahershala Ali) to vent and deal with pressures of living up to his parents expectations and making friends at a new school. His Uncle Aaron takes him to blow off steam to an abandoned subway station where he can paint graffiti and Miles is unknowingly bitten by "the Spider-Man" spider. After discovering his new powers, he returns to the subway searching for the spider and uncovers a secret lab where Spider-Man is in battle with the Green Goblin and the Prowler. Wilson Fisk, a.k.a. the Kingpin, is using the lab to test a particle accelerator which Spider-Man says could destroy the city. During the battle Spider-Man finds Miles hiding and entrusts him with a USB drive, when things don't go as planned. And that's just the beginning.
This movie is a must see. If you haven't seen this movie you are definitely missing out. My only complaints would be some of the Spider-Man felt unnecessary; also the style of movie was very dynamic and hard to adjust to, particularly the opening/intro. Once you get past that it's totally fine. The writers created a clear and captivating plot that truly encompasses the struggle of the "Spider-Man" character; such as dealing with normal problems like school, girls, parents, and hero problems like adjusting to powers, bad guys, and saving the city. This movie was rated PG so was made for kids but has a message and themes where it can be enjoyed by all ages and doesn't feel like a kid movie. This movie has quite a few entertaining characters including some of the alternate version spider men like, Spider-Woman/Gwen Stacy (Hailee Steinfield), Peter Porker/Spider-Ham (John Mulaney), and Peter Parker/Spider-Man Noir (Nicolas Cage). Although light hearted and funny, this movie definitely touched on more serious issues like loss, death, betrayal, responsibility and finding one's self. Probably the best Spider-Man movie, undoubtedly the best since Sam Raimi's first Spider-Man. I give it a 9/10.
Miles Morales, (Shameik Moore) is a normal regular teenager from Brooklyn, whose parents, police officer Jefferson Davis (Brian Tyree Henry) and nurse Rio Morales (Luna Lauren Velez); have enrolled him in a new school. He visits his estranged Uncle Aaron Davis (Mahershala Ali) to vent and deal with pressures of living up to his parents expectations and making friends at a new school. His Uncle Aaron takes him to blow off steam to an abandoned subway station where he can paint graffiti and Miles is unknowingly bitten by "the Spider-Man" spider. After discovering his new powers, he returns to the subway searching for the spider and uncovers a secret lab where Spider-Man is in battle with the Green Goblin and the Prowler. Wilson Fisk, a.k.a. the Kingpin, is using the lab to test a particle accelerator which Spider-Man says could destroy the city. During the battle Spider-Man finds Miles hiding and entrusts him with a USB drive, when things don't go as planned. And that's just the beginning.
This movie is a must see. If you haven't seen this movie you are definitely missing out. My only complaints would be some of the Spider-Man felt unnecessary; also the style of movie was very dynamic and hard to adjust to, particularly the opening/intro. Once you get past that it's totally fine. The writers created a clear and captivating plot that truly encompasses the struggle of the "Spider-Man" character; such as dealing with normal problems like school, girls, parents, and hero problems like adjusting to powers, bad guys, and saving the city. This movie was rated PG so was made for kids but has a message and themes where it can be enjoyed by all ages and doesn't feel like a kid movie. This movie has quite a few entertaining characters including some of the alternate version spider men like, Spider-Woman/Gwen Stacy (Hailee Steinfield), Peter Porker/Spider-Ham (John Mulaney), and Peter Parker/Spider-Man Noir (Nicolas Cage). Although light hearted and funny, this movie definitely touched on more serious issues like loss, death, betrayal, responsibility and finding one's self. Probably the best Spider-Man movie, undoubtedly the best since Sam Raimi's first Spider-Man. I give it a 9/10.
5 Minute Movie Guy (379 KP) rated The Big Sick (2017) in Movies
Jul 4, 2019
Propelled by its near perfect score on Rotten Tomatoes, I went cold turkey into The Big Sick, without so much as seeing a trailer. Although it took a worrisome amount of time, I did eventually warm up to the film and ultimately I ended up enjoying it quite a bit. The Big Sick is a movie that’s unflatteringly honest at times, and it’s a bit light in both of the romance and comedy departments, but it’s a well-rounded true story that makes up for its any of its shortcomings with a big heart.
The Big Sick tells the unique, real-life love story of how Kumail Nanjiani, played by himself in the film, met the love of his life, Emily. The film begins with Kumail working as a struggling stand-up comic. After a performance one night, he meets Emily at a bar and takes her back to his place. The two of them gradually begin dating, but Kumail keeps it a secret from his strict Pakistani parents, who expect him to abide by his culture’s custom of arranged marriages. When Emily’s health unexpectedly takes a dangerous and mysterious turn, Kumail must confront his family, as well as meet Emily’s family, to confess his true feelings of love.
Allow me to begin by addressing the fact that I spent a good half of The Big Sick feeling entirely ambivalent about it. While it seemed well made, I didn’t feel particularly entertained nor engaged by it. Slowly but surely, however, the movie began to win me over, thanks primarily to the help of Ray Romano and Holly Hunter, who co-star as Emily’s parents. By the end, I appreciated and enjoyed the film, and I feel as though I would probably like it even more with a second viewing.
The movie rubbed me the wrong way early on with its not-so-romantic romance that culminated from a one-night-stand. I found the relationship of Kumail and Emily to be somewhat dull, and I was perplexed by how unfavorably it depicts both characters. Though considering the screenplay was actually written by both of them, I suppose there’s something noble and courageous to be said about their honesty. This is not a typical romanticized love story. It has two decent but flawed characters, who I felt indifferent towards at the outset but learned to care about over the course of the film.
Kumail is quite enjoyable as the lead star and I suspect this will be a breakout role for him. He has a good sense of humor and really showcases it in a couple of hysterical scenes. My favorite being a late night visit to a restaurant drive-thru, which is one of the flat-out funniest moments I’ve seen in theaters all year. I also really loved both Romano and Hunter. They’re both complex and comical characters struggling with their own strained marriage, while hesitantly getting to know Kumail and coming to terms with their daughter’s grave illness. Certainly not the best circumstances to be meeting your girlfriend’s parents, and even worse considering they knew that Kumail and Emily had broken up shortly beforehand.
Hunter’s character is volatile and highly defensive of her daughter, yet she’s still wholly identifiable as a loving and concerned parent. I think she gives the strongest performance in the film. Ray Romano is also a pleasant addition, and his character ironically tries to be the voice of reason and balance, even as his own life is crumbling beneath him. I also liked Kumail’s parents, played by Anupam Kher and Zenobia Shroff. Kumail’s mother is amusing in her never-ending pursuit of potential female suitors to marry her son. However, having grown up with western values, Kumail’s own beliefs serve as a stark contrast to those of his strict and traditional family.
The way in which The Big Sick depicts the differences in American and Pakistani culture is what I think really helps to set it apart. It tackles these contrasts with both comedy and sincerity, while also drawing attention to the subtle and the not-so-subtle racism that’s often prevalent in the misunderstanding of other cultures. It’s an honest and respectful film that should be approached as open-mindedly as possible. Those of you willing to give this one a chance may find that it to be well worth your while.
(This review was originally posted at 5mmg.com on 9.5.17.)
The Big Sick tells the unique, real-life love story of how Kumail Nanjiani, played by himself in the film, met the love of his life, Emily. The film begins with Kumail working as a struggling stand-up comic. After a performance one night, he meets Emily at a bar and takes her back to his place. The two of them gradually begin dating, but Kumail keeps it a secret from his strict Pakistani parents, who expect him to abide by his culture’s custom of arranged marriages. When Emily’s health unexpectedly takes a dangerous and mysterious turn, Kumail must confront his family, as well as meet Emily’s family, to confess his true feelings of love.
Allow me to begin by addressing the fact that I spent a good half of The Big Sick feeling entirely ambivalent about it. While it seemed well made, I didn’t feel particularly entertained nor engaged by it. Slowly but surely, however, the movie began to win me over, thanks primarily to the help of Ray Romano and Holly Hunter, who co-star as Emily’s parents. By the end, I appreciated and enjoyed the film, and I feel as though I would probably like it even more with a second viewing.
The movie rubbed me the wrong way early on with its not-so-romantic romance that culminated from a one-night-stand. I found the relationship of Kumail and Emily to be somewhat dull, and I was perplexed by how unfavorably it depicts both characters. Though considering the screenplay was actually written by both of them, I suppose there’s something noble and courageous to be said about their honesty. This is not a typical romanticized love story. It has two decent but flawed characters, who I felt indifferent towards at the outset but learned to care about over the course of the film.
Kumail is quite enjoyable as the lead star and I suspect this will be a breakout role for him. He has a good sense of humor and really showcases it in a couple of hysterical scenes. My favorite being a late night visit to a restaurant drive-thru, which is one of the flat-out funniest moments I’ve seen in theaters all year. I also really loved both Romano and Hunter. They’re both complex and comical characters struggling with their own strained marriage, while hesitantly getting to know Kumail and coming to terms with their daughter’s grave illness. Certainly not the best circumstances to be meeting your girlfriend’s parents, and even worse considering they knew that Kumail and Emily had broken up shortly beforehand.
Hunter’s character is volatile and highly defensive of her daughter, yet she’s still wholly identifiable as a loving and concerned parent. I think she gives the strongest performance in the film. Ray Romano is also a pleasant addition, and his character ironically tries to be the voice of reason and balance, even as his own life is crumbling beneath him. I also liked Kumail’s parents, played by Anupam Kher and Zenobia Shroff. Kumail’s mother is amusing in her never-ending pursuit of potential female suitors to marry her son. However, having grown up with western values, Kumail’s own beliefs serve as a stark contrast to those of his strict and traditional family.
The way in which The Big Sick depicts the differences in American and Pakistani culture is what I think really helps to set it apart. It tackles these contrasts with both comedy and sincerity, while also drawing attention to the subtle and the not-so-subtle racism that’s often prevalent in the misunderstanding of other cultures. It’s an honest and respectful film that should be approached as open-mindedly as possible. Those of you willing to give this one a chance may find that it to be well worth your while.
(This review was originally posted at 5mmg.com on 9.5.17.)
Matthew Krueger (10051 KP) rated Cursed (2005) in Movies
Sep 18, 2020
the cgi (2 more)
production problems
PG-13 not R
Hollywood's Own Werewolves
Cursed- could of been better. It had a good young cast of people. Just the movie itself was so-so. The cgi/visual effects were bad, like really bad. So bad it made the movie bad.
The only thing making this film good is its young cast and the horror.
The plot: In Los Angeles, siblings Ellie (Christina Ricci) and Jimmy (Jesse Eisenberg) come across an accident on Mulholland Drive. As they try to help the woman caught in the wreckage, a ferocious creature attacks them, devouring the woman and scratching the terrified siblings. They slowly discover that the creature was a werewolf and that they have fallen victim to a deadly curse. Now that they have been sliced by the werewolf's claws, they will be transformed into werewolves themselves.
Originally planned for 2003, the film is a notable example of development hell, taking over two more years to be made than originally planned, during which producers Bob and Harvey Weinstein kept asking for reshoots and changes to the plot, re-edited the movie to give a PG-13 rating rather than the original intended R-rating, and fired legendary makeup artist Rick Baker to replace the werewolves he had created with computer-generated ones.
The film was a box-office failure and was panned by critics; Craven himself was very displeased with the final result.
The set used for the high school is Torrance High School, the same used for Sunnydale High on Buffy the Vampire Slayer, and West Beverly High on Beverly Hills, 90210 and its spin-off 90210.
However, the film soon suffered numerous production and script issues and was postponed for over a year. While production was stalled, several cast members had to be replaced due to scheduling conflicts with other films. When the movie was rewritten and reshot, many cast members had been cut entirely, including Skeet Ulrich, Mandy Moore, Omar Epps, Illeana Douglas, Heather Langenkamp, Scott Foley, Robert Forster, and Corey Feldman.
Only about 90% of the original version was filmed, leaving the original ending unfilmed. Although, while filming the original version, producer Bob Weinstein told Wes Craven he was happy with the film, he later changed his opinion and ordered for the movie to be reshot with a new plot. After massive reshoots which included filming a new ending, Weinstein told Craven he didn't like the new ending, leading to another ending where Jake attacks Ellie and Jimmy in their home, despite some incoherence with the rest of the film.
In the fall of 2004, Dimension cut the film to a PG-13 rating instead of the planned R rating. Speaking to the New York Post, Wes Craven commented, "The contract called for us to make an R-rated film. We did. It was a very difficult process. Then it was basically taken away from us and cut to PG-13 and ruined. It was two years of very difficult work and almost 100 days of shooting of various versions. Then at the very end, it was chopped up and the studio thought they could make more with a PG-13 movie, and trashed it ... I thought it was completely disrespectful, and it hurt them too, and it was like they shot themselves in the foot with a shotgun.
Its a decent movie.
The only thing making this film good is its young cast and the horror.
The plot: In Los Angeles, siblings Ellie (Christina Ricci) and Jimmy (Jesse Eisenberg) come across an accident on Mulholland Drive. As they try to help the woman caught in the wreckage, a ferocious creature attacks them, devouring the woman and scratching the terrified siblings. They slowly discover that the creature was a werewolf and that they have fallen victim to a deadly curse. Now that they have been sliced by the werewolf's claws, they will be transformed into werewolves themselves.
Originally planned for 2003, the film is a notable example of development hell, taking over two more years to be made than originally planned, during which producers Bob and Harvey Weinstein kept asking for reshoots and changes to the plot, re-edited the movie to give a PG-13 rating rather than the original intended R-rating, and fired legendary makeup artist Rick Baker to replace the werewolves he had created with computer-generated ones.
The film was a box-office failure and was panned by critics; Craven himself was very displeased with the final result.
The set used for the high school is Torrance High School, the same used for Sunnydale High on Buffy the Vampire Slayer, and West Beverly High on Beverly Hills, 90210 and its spin-off 90210.
However, the film soon suffered numerous production and script issues and was postponed for over a year. While production was stalled, several cast members had to be replaced due to scheduling conflicts with other films. When the movie was rewritten and reshot, many cast members had been cut entirely, including Skeet Ulrich, Mandy Moore, Omar Epps, Illeana Douglas, Heather Langenkamp, Scott Foley, Robert Forster, and Corey Feldman.
Only about 90% of the original version was filmed, leaving the original ending unfilmed. Although, while filming the original version, producer Bob Weinstein told Wes Craven he was happy with the film, he later changed his opinion and ordered for the movie to be reshot with a new plot. After massive reshoots which included filming a new ending, Weinstein told Craven he didn't like the new ending, leading to another ending where Jake attacks Ellie and Jimmy in their home, despite some incoherence with the rest of the film.
In the fall of 2004, Dimension cut the film to a PG-13 rating instead of the planned R rating. Speaking to the New York Post, Wes Craven commented, "The contract called for us to make an R-rated film. We did. It was a very difficult process. Then it was basically taken away from us and cut to PG-13 and ruined. It was two years of very difficult work and almost 100 days of shooting of various versions. Then at the very end, it was chopped up and the studio thought they could make more with a PG-13 movie, and trashed it ... I thought it was completely disrespectful, and it hurt them too, and it was like they shot themselves in the foot with a shotgun.
Its a decent movie.
Emma @ The Movies (1786 KP) rated 1917 (2020) in Movies
Jan 22, 2020
It has felt like a long wait to get to this film, there was a lot of talk when Midway was coming out so I was very glad it finally arrived.
Lance Corporal Blake has been told to report with another soldier, the respite from war was short but something important must be afoot. It's more than just important, it's life and death for Blake's older brother. His company have sent word that they're going to advance on the retreating German troops but communications are down and they don't know they're going headfirst into a trap.
Blake and Schofield are tasked with finding a way to their position to stop the advance before they lead 1,600 men into the ambush. Between them and their objective? No man's land, abandoned German trenches and large expanses of open land. One another and vigilance are all they have to get them to their objective.
I ended up seeing this twice on its opening weekend, mainly for technical reasons. When I completed my first watch I saw a lot of tweets about its "one-shot" filming and details of an interview about the filming techniques used, that all made me want to go back and watch for more detail.
If I'm honest with you I didn't notice the "one-shot" filming during my first trip to the cinema. In the interview I saw it said that there were no takes longer than 9 minutes, with its running time that meant that at the very least there were 14 cuts... of course I wanted to go and try to spot them. There were only a few "obvious" ones, but even then some of those felt so seamless that you wouldn't question if they said it was done in one (two) shot(s).
The effects in the film are fantastic, but also one of my only quibbles. There are several video clips with and without effects on floating around the internet and you'll see the massive effort that went into these effects. The major scene that comes to mind is in the trailer, Schofield is running across the field as the regiment is advancing around him. I had just assumed that the shot was aerial, but no, it was filmed from the back of a truck. That doesn't sound all that strange until you see in this video that the truck has a road to drive down that is then CGId out for the final cut. That was incredible to see. But this scene is also the only scene that made me doubt the effects too. When I watched it on the big screen it felt clear that some of the explosions were generated, and watching the clips proved that feeling to be right.
I could ramble on about the effects in this for ages but I need to remember there are other things to talk about... but well, I want to rave a little.
The nighttime scene is truly incredible to watch. It makes you paranoid and scared, you watch the shadows for soldiers and survivors, ugh, gripping and terrifying all at the same time.
Right, come one... move along, Emma!
Not much of a switch but I want to mention what I believe are mainly physical effects. One of the first scenes shows Blake and Schofield going through the trenches and over no man's land, walking through the trenches takes a long time, the fact they dug all of that and decked out the entire length for what is sometimes just a fleeting view. The soldiers as they sleep against the walls blending in like they're not there, the claustrophobic feeling as they walls creep higher and closer around them, and just the sheer volume of people down there. Both fast-paced and drawn out at the same time this whole sequence is complex and important.
After the trenches we see them go over the top into no man's land. The pair of them make an amazing job of playing in the mud. It's another part of the film that makes you look around. What's floating in the water? What's hidden in the mud? Truly spectacular additions and I imagine that on every viewing you'd see something different and horrific appear.
Come on, Emma... acting.
There are a lot of cameos from recognisable talented actors but the nature of the story means they're only the briefest of scenes. Mark Strong was probably my favourite of those, his tone at that critical part of the film was perfect.
To our main duo... Blake is played by Dean-Charles Chapman, a face I recognised but had to look up. I'd seen him most recently in The King and Blinded By The Light but clearly neither of those roles stuck with me. Schofield is played by George MacKay who I haven't seen in anything before. The pair had an interesting dynamic, there was certainly a camaraderie there but I swung between thinking they were good friends and just acquaintances because of their behaviour towards each other. Their characters felt very much at two ends of the scale, Blake optimistic and almost a little green, Schofield, battle-worn and sceptical.
Between the two I can easily say that George MacKay was the better performer. He does get some of the headier scenes to deal with but Chapman felt like he wasn't in a warzone. There were still good moments there but I wasn't as convinced by his performance. MacKay was acting even when he wasn't acting, his moments of silence were just as impressive as his scripted parts.
There is just so much in 1917 to look at, the background is so well thought out that you're drawn to it just as much as the action that's in the foreground. You're scanning everything as they move with them like you're a member of their regiment. It feels like it needs to be watched a couple of times. I watched it to see it, I watched it to watch the techniques and I feel like I want to see it again just to watch that background. None of these watches are for anything other than the technical side of things though. Even though I felt emotional connections with parts of the story it's still a basic quest with obstacles and while it's an interesting look at soldiers and their dedication it's not all that extraordinary.
This truly deserves to win a lot of technical awards. I'm not sure that the acting or script hit the same heights, but as a whole 1917 is definitely something special to see.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/1917-movie-review.html
Lance Corporal Blake has been told to report with another soldier, the respite from war was short but something important must be afoot. It's more than just important, it's life and death for Blake's older brother. His company have sent word that they're going to advance on the retreating German troops but communications are down and they don't know they're going headfirst into a trap.
Blake and Schofield are tasked with finding a way to their position to stop the advance before they lead 1,600 men into the ambush. Between them and their objective? No man's land, abandoned German trenches and large expanses of open land. One another and vigilance are all they have to get them to their objective.
I ended up seeing this twice on its opening weekend, mainly for technical reasons. When I completed my first watch I saw a lot of tweets about its "one-shot" filming and details of an interview about the filming techniques used, that all made me want to go back and watch for more detail.
If I'm honest with you I didn't notice the "one-shot" filming during my first trip to the cinema. In the interview I saw it said that there were no takes longer than 9 minutes, with its running time that meant that at the very least there were 14 cuts... of course I wanted to go and try to spot them. There were only a few "obvious" ones, but even then some of those felt so seamless that you wouldn't question if they said it was done in one (two) shot(s).
The effects in the film are fantastic, but also one of my only quibbles. There are several video clips with and without effects on floating around the internet and you'll see the massive effort that went into these effects. The major scene that comes to mind is in the trailer, Schofield is running across the field as the regiment is advancing around him. I had just assumed that the shot was aerial, but no, it was filmed from the back of a truck. That doesn't sound all that strange until you see in this video that the truck has a road to drive down that is then CGId out for the final cut. That was incredible to see. But this scene is also the only scene that made me doubt the effects too. When I watched it on the big screen it felt clear that some of the explosions were generated, and watching the clips proved that feeling to be right.
I could ramble on about the effects in this for ages but I need to remember there are other things to talk about... but well, I want to rave a little.
The nighttime scene is truly incredible to watch. It makes you paranoid and scared, you watch the shadows for soldiers and survivors, ugh, gripping and terrifying all at the same time.
Right, come one... move along, Emma!
Not much of a switch but I want to mention what I believe are mainly physical effects. One of the first scenes shows Blake and Schofield going through the trenches and over no man's land, walking through the trenches takes a long time, the fact they dug all of that and decked out the entire length for what is sometimes just a fleeting view. The soldiers as they sleep against the walls blending in like they're not there, the claustrophobic feeling as they walls creep higher and closer around them, and just the sheer volume of people down there. Both fast-paced and drawn out at the same time this whole sequence is complex and important.
After the trenches we see them go over the top into no man's land. The pair of them make an amazing job of playing in the mud. It's another part of the film that makes you look around. What's floating in the water? What's hidden in the mud? Truly spectacular additions and I imagine that on every viewing you'd see something different and horrific appear.
Come on, Emma... acting.
There are a lot of cameos from recognisable talented actors but the nature of the story means they're only the briefest of scenes. Mark Strong was probably my favourite of those, his tone at that critical part of the film was perfect.
To our main duo... Blake is played by Dean-Charles Chapman, a face I recognised but had to look up. I'd seen him most recently in The King and Blinded By The Light but clearly neither of those roles stuck with me. Schofield is played by George MacKay who I haven't seen in anything before. The pair had an interesting dynamic, there was certainly a camaraderie there but I swung between thinking they were good friends and just acquaintances because of their behaviour towards each other. Their characters felt very much at two ends of the scale, Blake optimistic and almost a little green, Schofield, battle-worn and sceptical.
Between the two I can easily say that George MacKay was the better performer. He does get some of the headier scenes to deal with but Chapman felt like he wasn't in a warzone. There were still good moments there but I wasn't as convinced by his performance. MacKay was acting even when he wasn't acting, his moments of silence were just as impressive as his scripted parts.
There is just so much in 1917 to look at, the background is so well thought out that you're drawn to it just as much as the action that's in the foreground. You're scanning everything as they move with them like you're a member of their regiment. It feels like it needs to be watched a couple of times. I watched it to see it, I watched it to watch the techniques and I feel like I want to see it again just to watch that background. None of these watches are for anything other than the technical side of things though. Even though I felt emotional connections with parts of the story it's still a basic quest with obstacles and while it's an interesting look at soldiers and their dedication it's not all that extraordinary.
This truly deserves to win a lot of technical awards. I'm not sure that the acting or script hit the same heights, but as a whole 1917 is definitely something special to see.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/1917-movie-review.html
KalJ95 (25 KP) rated The Last of Us Part II in Video Games
Jun 23, 2020
You Won't Find A Better Game In Terms Of Presentation. (4 more)
Level Design Is Astounding.
Like The First Game, This Will Create A Conversation For Years To Come
Sound Design Is Incredible.
Takes Risks, And Some Do Pay Off.
A Flawed Sequel. (4 more)
Awful Pacing.
Structure Of Narrative Is Bad.
Some Terrible Dialogue.
Shoehorned Agenda.
The last of The Last of Us.
The video game industry doesn't get enough credit as a source of entertainment, in my humble opinion. Time and time again, the industry has proven that it can produce something magical, memorable, mesmerising to play, and even more so, something engaging to watch as someone not even holding the controller. Naughty Dog’s 2013 masterpiece, The Last of Us, became an overnight classic game because it was cinematic in presentation, and a rollercoaster of emotions in narrative. I sat and played the remastered version on my PlayStation 4 in 2017, and fell in love with the chemistry, love and heartbreak Joel and Ellie took with them, as they crossed a post-apocalyptic America. I was satisfied with the conclusion, and felt the story of these two characters was finished. I didn't need, or ever want a sequel. Then a few months pass, The Last of Us Part II is announced. Obviously, I was ecstatic, but also concerned. Trailers came and went, delays happened over and over, and leaks began to drip onto the internet. I was even more concerned with the leaks, and how this game was taking shape, but I remained open minded, and began playing the game.
The Last of Us Part II is a strange beast. An ambitious, exquisite experience, mired by multiple flaws in structure, pacing and plot holes. I simultaneously adored and loathed the twenty five hour experience, and I’m ready to do it all again. Ellie’s thirst for revenge deals with many issues of morality and hate, and the consequences of ones actions. To coin a phrase, “violence begets violence”, and this is very violent. A flawed piece of art, that often shoehorns a political tick list so it can cater to a certain demographic of sexuality and gender. Whatever you think about Part II, it will create a conversation for years to come, for better or worse.
Narrative:
Ellie and Joel are settled in Jackson, Wyoming, living a relatively normal existence. Ellie is nineteen, and has a job, like the rest of the fighters in Jackson, by going out into the world on routes to clear out the wondering infected. When Ellie witnesses a violent event, she takes it into her own hands to take bloody revenge on the people responsible.
A big risk was taken by Naughty Dog to decide what they did for the first two hours, even the VP of the company, Neil Druckmann, said himself the game will be “divisive”, and that is probably an understatement judging by the fan backlash. I feel it worked to support the other twenty three hours, and shows the blurry line of being good and bad in this world.
Unfortunately, the narrative slogs through awful structuring and some dreadful, downright cringe-worthy dialogue. The structure goes back and forth from the present day, to months, and sometimes years previous, and this is all to cement the events that keep the narrative flowing. The flashbacks featuring Joel and Ellie give you brief moments of happiness, followed by devastating revelations. They are the best moments of the game, you can feel the warmth the characters have for each other, and the heartbreaking actions they take. It made me wonder why they simply didn't just create a game with these ideas in mind. Other flashbacks create more problems than they solve, particularly in the latter half of the game. The first half, for all its faults, really treats you to a vicious and bloodthirsty ride through Seattle, and you completely feel the motivation and drive Ellie has to complete the mission she's set out to do. Seattle is huge, and the perfect backdrop for this game.
Sadly, the second half of the game is an absolute mess. The whole experience becomes nothing more than “go to this location, collect something, go back” over and over again. Its a lazy trope that causes so much fatigue in terms of pacing, slowing down any momentum gained by the first half. The second half serves the most important purpose too, and while I did grow to understand the intention it was presenting me, I couldn't help but feel frequently bored of doing fetch quests. To remain as spoiler free as possible, the game is split into two perspectives of Ellie, and an entirely new character. Naughty Dog wants you to understand the perspectives of both sides, but the history thats been created with the original game, you cant help but sympathise with Ellie more. The fact that its half the game away from the main protagonist, and starts you fresh with a new character, with new skill sets and weapons, really feels out of place. This could of worked much better as an episodic entry, rather than just two stories, one after the other. I can understand people who love this way of storytelling, but for me it slows the pacing down.
Gameplay:
Part II is the most beautiful game I’ve ever played. Naughty Dog continue to set the bar extremely high in terms of surroundings and facial animations, and the seamless transitions from cutscene to gameplay made my jaw drop. Each facial movement shows the hurt, the honesty, the devastation the characters carry with them. It almost feels more like a film or tv series than a video game, featuring an excellent performance from Troy Baker, and a career defining show from Ashley Johnson. Unfortunately, some of the new cast members don't have enough time on screen to give a full understanding of their personality or perspective. Some are likeable, relatable even, but some are just annoying, saying some of the strangest, out of place dialogue.
In terms of its gameplay, Part II hasn't really changed anything from its predecessor. It feels the same, whether you enjoyed it first time round or not. I personally am in the middle ground, it works for what it is. The Last of Us has always been a game about surviving by any means necessary. Part II feels like multiple ideas all in one, all conflicting themselves. Let me explain:
The game actively tries to twist the act of killing people to make you seem like its an awful thing to do. This is an interesting idea that has been done many times before in games, but it works in the oddest of ways here. I have completed the game twice now, and found it almost impossible to not kill anyone, yet cutscenes display remorse within the characters after they’ve murdered someone. This conflicts the idea of the whole game, where one moment I'm slicing a persons throat with a knife, the next I do the exact same, but this time I regret that decision. Again, its adding less weight to the story, and actively contradicting everything that happens.
Extra Notes:
The environments of Part II are some of the best in a video game. A sandbox of lush greenery and worn down buildings follows the same formula that Naughty Dog designed in Uncharted: The Lost Legacy, where you can explore a massive space to do what you find the objectives, but also see the sights and collect items. The level design of the entire game is absolutely masterful, but this level astounded me graphically and structurally.
By this point, it probably feels like I utterly hated Part II. I did, and didn’t, and thats the line I'm sticking on. The Last of Us always presented a commentary as to the nature of relationships, love, life and death. At the core was Ellie and Joel, two wayward strangers forced together on a journey across America. Everyone has a reason to love that game, for me its their chemistry and progression. Joel was hardened, standoffish, only to warm to Ellie, and love her by the end. Ellie, the immune girl who's humorous, optimistic and full of life, who ultimately becomes cold, quiet and sceptical of Joel.
Part II presents a different commentary, one of revenge and hate. I firmly believe Part II is weak in most areas, a downgrade in fact compared to its counterpart, but its so beautiful and bleak, with so many incapsulated moments of joy, heartbreak, love, shock. Its uncompromising, relentless and essential for anyone with a PS4. This will be a game I will constantly change my opinion on the more I think about it. As I said at the beginning, I never felt a sequel was necessary, and I firmly believe the story must end here.
(P.S. I must mention that Naughty Dog and Sony have only themselves to blame when it comes to the reception Part II has received during its release and promotional material. Early reviewers were told that they could only go into detail about the first ten or so hours, not mentioning the other fifteen. The other fifteen hours are incredibly important to mention, and they either make or break this game, so not letting reviewers do their job feels disingenuous, and from my point of view shows that they had no faith in their product to be criticised. The promotional material is also hugely misleading. The trailers show a completely different game, and characters are swapped for others in key scenes. That is wrong, and once again, shows your audience you had zero faith in your product based on the actual plot of your game.)
The Last of Us Part II is a strange beast. An ambitious, exquisite experience, mired by multiple flaws in structure, pacing and plot holes. I simultaneously adored and loathed the twenty five hour experience, and I’m ready to do it all again. Ellie’s thirst for revenge deals with many issues of morality and hate, and the consequences of ones actions. To coin a phrase, “violence begets violence”, and this is very violent. A flawed piece of art, that often shoehorns a political tick list so it can cater to a certain demographic of sexuality and gender. Whatever you think about Part II, it will create a conversation for years to come, for better or worse.
Narrative:
Ellie and Joel are settled in Jackson, Wyoming, living a relatively normal existence. Ellie is nineteen, and has a job, like the rest of the fighters in Jackson, by going out into the world on routes to clear out the wondering infected. When Ellie witnesses a violent event, she takes it into her own hands to take bloody revenge on the people responsible.
A big risk was taken by Naughty Dog to decide what they did for the first two hours, even the VP of the company, Neil Druckmann, said himself the game will be “divisive”, and that is probably an understatement judging by the fan backlash. I feel it worked to support the other twenty three hours, and shows the blurry line of being good and bad in this world.
Unfortunately, the narrative slogs through awful structuring and some dreadful, downright cringe-worthy dialogue. The structure goes back and forth from the present day, to months, and sometimes years previous, and this is all to cement the events that keep the narrative flowing. The flashbacks featuring Joel and Ellie give you brief moments of happiness, followed by devastating revelations. They are the best moments of the game, you can feel the warmth the characters have for each other, and the heartbreaking actions they take. It made me wonder why they simply didn't just create a game with these ideas in mind. Other flashbacks create more problems than they solve, particularly in the latter half of the game. The first half, for all its faults, really treats you to a vicious and bloodthirsty ride through Seattle, and you completely feel the motivation and drive Ellie has to complete the mission she's set out to do. Seattle is huge, and the perfect backdrop for this game.
Sadly, the second half of the game is an absolute mess. The whole experience becomes nothing more than “go to this location, collect something, go back” over and over again. Its a lazy trope that causes so much fatigue in terms of pacing, slowing down any momentum gained by the first half. The second half serves the most important purpose too, and while I did grow to understand the intention it was presenting me, I couldn't help but feel frequently bored of doing fetch quests. To remain as spoiler free as possible, the game is split into two perspectives of Ellie, and an entirely new character. Naughty Dog wants you to understand the perspectives of both sides, but the history thats been created with the original game, you cant help but sympathise with Ellie more. The fact that its half the game away from the main protagonist, and starts you fresh with a new character, with new skill sets and weapons, really feels out of place. This could of worked much better as an episodic entry, rather than just two stories, one after the other. I can understand people who love this way of storytelling, but for me it slows the pacing down.
Gameplay:
Part II is the most beautiful game I’ve ever played. Naughty Dog continue to set the bar extremely high in terms of surroundings and facial animations, and the seamless transitions from cutscene to gameplay made my jaw drop. Each facial movement shows the hurt, the honesty, the devastation the characters carry with them. It almost feels more like a film or tv series than a video game, featuring an excellent performance from Troy Baker, and a career defining show from Ashley Johnson. Unfortunately, some of the new cast members don't have enough time on screen to give a full understanding of their personality or perspective. Some are likeable, relatable even, but some are just annoying, saying some of the strangest, out of place dialogue.
In terms of its gameplay, Part II hasn't really changed anything from its predecessor. It feels the same, whether you enjoyed it first time round or not. I personally am in the middle ground, it works for what it is. The Last of Us has always been a game about surviving by any means necessary. Part II feels like multiple ideas all in one, all conflicting themselves. Let me explain:
The game actively tries to twist the act of killing people to make you seem like its an awful thing to do. This is an interesting idea that has been done many times before in games, but it works in the oddest of ways here. I have completed the game twice now, and found it almost impossible to not kill anyone, yet cutscenes display remorse within the characters after they’ve murdered someone. This conflicts the idea of the whole game, where one moment I'm slicing a persons throat with a knife, the next I do the exact same, but this time I regret that decision. Again, its adding less weight to the story, and actively contradicting everything that happens.
Extra Notes:
The environments of Part II are some of the best in a video game. A sandbox of lush greenery and worn down buildings follows the same formula that Naughty Dog designed in Uncharted: The Lost Legacy, where you can explore a massive space to do what you find the objectives, but also see the sights and collect items. The level design of the entire game is absolutely masterful, but this level astounded me graphically and structurally.
By this point, it probably feels like I utterly hated Part II. I did, and didn’t, and thats the line I'm sticking on. The Last of Us always presented a commentary as to the nature of relationships, love, life and death. At the core was Ellie and Joel, two wayward strangers forced together on a journey across America. Everyone has a reason to love that game, for me its their chemistry and progression. Joel was hardened, standoffish, only to warm to Ellie, and love her by the end. Ellie, the immune girl who's humorous, optimistic and full of life, who ultimately becomes cold, quiet and sceptical of Joel.
Part II presents a different commentary, one of revenge and hate. I firmly believe Part II is weak in most areas, a downgrade in fact compared to its counterpart, but its so beautiful and bleak, with so many incapsulated moments of joy, heartbreak, love, shock. Its uncompromising, relentless and essential for anyone with a PS4. This will be a game I will constantly change my opinion on the more I think about it. As I said at the beginning, I never felt a sequel was necessary, and I firmly believe the story must end here.
(P.S. I must mention that Naughty Dog and Sony have only themselves to blame when it comes to the reception Part II has received during its release and promotional material. Early reviewers were told that they could only go into detail about the first ten or so hours, not mentioning the other fifteen. The other fifteen hours are incredibly important to mention, and they either make or break this game, so not letting reviewers do their job feels disingenuous, and from my point of view shows that they had no faith in their product to be criticised. The promotional material is also hugely misleading. The trailers show a completely different game, and characters are swapped for others in key scenes. That is wrong, and once again, shows your audience you had zero faith in your product based on the actual plot of your game.)
