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Gareth von Kallenbach (980 KP) rated American Reunion (2012) in Movies
Aug 7, 2019
It has often been said that you cannot turn back the hands of time, but thankfully Hollywood is a place where magical things happen. In the case of the gang from American Pie and the creative talents of writer directors Jon Hurwitz Hayden Schlossberg, the gang is back, better than ever, for another slice if pie. Hurwitz and Schlossberg are the creative team behind the ” Harold and Kumar” series and have been entrusted by Universal to carry on the American Pie series which had recently been relegated to four direct-to-DVD releases.
The new film reunites the entire cast from the original three films and centers around the gang’s 13 year high school reunion. Life has definitely taken them all in some unexpected directions. Jim (Jason Biggs) is married to Michelle (Alyson Hannigan), and are now parents to a little boy and enjoying a comfortable, if a tad uneventful, suburban lifestyle.
Oz (Chris Klein), is a successful Los Angeles sportscaster as well as a recent contestant on a popular national dance show. He spends his time mixing with celebrities and indulging a girlfriend who loves to party just a bit too much. Meanwhile, Kevin (Thomas Ian Nicholas), is happily married but needs an escape from a domestic routine that includes watching reality shows with his wife.
Finch (Eddie Kaye Thomas) fancies himself a nomadic spirit who wanders the globe from one esoteric adventure to another, still looking for his true love while Stiffler (Seann William Scott), works at a prestigious firm and remains the guy who never misses an opportunity to wisecrack or sexually harass any female who crosses his path.
As reunion-type movies go, there are the expected moments of awkwardness and hilarity. And of course, it wouldn’t be an American Pie movie without moments of ridiculously crude antics, mainly from Stifler. What separates the film from the bevy of raunchy comedies that flooded the market after the success of the initial film, is that there is some maturity amongst the mayhem.
In between the outrageous antics, the various characters are forced to take deep examinations of their lives since graduation and in some cases grow up for the first time in their lives. Oz must comes to grips with his feelings for his former girlfriend Heather (Mena Suvari), as does Kevin when his former flame Vicky (Tara Reid), returns to town for the reunion. Jim and Michelle have to find a way to bring some sexual spark back into their lives while Finch needs to accept the mundane reality of his. And Stifler. Well, let’s just say he needs to find his true calling.
What really sold the film for me was not just the great chemistry between the cast but the way the script deftly moved the raunchy comedy along while combining character development and depth that is not normally found in films of this type. As I watched, I found that I had really missed this crew of unlikely friends, and really enjoyed catching up with them even when they were not extricating themselves from one over-the-top situation after another.
While the film did drag a bit slightly there was always an outrageous moment right around the corner that had the theater errupting in laughter or shrieking in disbelief. This film is rated R for good reason. The cast worked really great together and it was especially nice to see Klein back in the mix, as he had been noticeably absent from the last film in no small part due to his offscreen issues.
Eugene Levy and Jennifer Coolidge (Stifler’s mom) have some absolutely hysterical moments in film especially when Mr. Levenstein, widowed now for three years, decides to cut loose at a party and we get to see has wild side. I would also encourage viewers to make sure to stay through the credits as there is more comedy from this pair that must not be missed.
The supporting characters from the previous films were all given their moments to shine even if it is just in a small cameo. Shannon Elizabeth, Natasha Lyonne, John Cho, and of course, the Sherminator were all given a chance to bring back some memories, making this film is welcome and enjoyably nostalgic trip. It proves that there’s still some life and good times left in the series, and if the creative talents can keep quality to this level I, for one, would certainly welcome another slice of pie in the future.
The new film reunites the entire cast from the original three films and centers around the gang’s 13 year high school reunion. Life has definitely taken them all in some unexpected directions. Jim (Jason Biggs) is married to Michelle (Alyson Hannigan), and are now parents to a little boy and enjoying a comfortable, if a tad uneventful, suburban lifestyle.
Oz (Chris Klein), is a successful Los Angeles sportscaster as well as a recent contestant on a popular national dance show. He spends his time mixing with celebrities and indulging a girlfriend who loves to party just a bit too much. Meanwhile, Kevin (Thomas Ian Nicholas), is happily married but needs an escape from a domestic routine that includes watching reality shows with his wife.
Finch (Eddie Kaye Thomas) fancies himself a nomadic spirit who wanders the globe from one esoteric adventure to another, still looking for his true love while Stiffler (Seann William Scott), works at a prestigious firm and remains the guy who never misses an opportunity to wisecrack or sexually harass any female who crosses his path.
As reunion-type movies go, there are the expected moments of awkwardness and hilarity. And of course, it wouldn’t be an American Pie movie without moments of ridiculously crude antics, mainly from Stifler. What separates the film from the bevy of raunchy comedies that flooded the market after the success of the initial film, is that there is some maturity amongst the mayhem.
In between the outrageous antics, the various characters are forced to take deep examinations of their lives since graduation and in some cases grow up for the first time in their lives. Oz must comes to grips with his feelings for his former girlfriend Heather (Mena Suvari), as does Kevin when his former flame Vicky (Tara Reid), returns to town for the reunion. Jim and Michelle have to find a way to bring some sexual spark back into their lives while Finch needs to accept the mundane reality of his. And Stifler. Well, let’s just say he needs to find his true calling.
What really sold the film for me was not just the great chemistry between the cast but the way the script deftly moved the raunchy comedy along while combining character development and depth that is not normally found in films of this type. As I watched, I found that I had really missed this crew of unlikely friends, and really enjoyed catching up with them even when they were not extricating themselves from one over-the-top situation after another.
While the film did drag a bit slightly there was always an outrageous moment right around the corner that had the theater errupting in laughter or shrieking in disbelief. This film is rated R for good reason. The cast worked really great together and it was especially nice to see Klein back in the mix, as he had been noticeably absent from the last film in no small part due to his offscreen issues.
Eugene Levy and Jennifer Coolidge (Stifler’s mom) have some absolutely hysterical moments in film especially when Mr. Levenstein, widowed now for three years, decides to cut loose at a party and we get to see has wild side. I would also encourage viewers to make sure to stay through the credits as there is more comedy from this pair that must not be missed.
The supporting characters from the previous films were all given their moments to shine even if it is just in a small cameo. Shannon Elizabeth, Natasha Lyonne, John Cho, and of course, the Sherminator were all given a chance to bring back some memories, making this film is welcome and enjoyably nostalgic trip. It proves that there’s still some life and good times left in the series, and if the creative talents can keep quality to this level I, for one, would certainly welcome another slice of pie in the future.
BankofMarquis (1832 KP) rated Da 5 Bloods (2020) in Movies
Jun 19, 2020
Delroy Lindo shines in a mostly good film
Over the years, I have become a fan of Spike Lee. I think he has a singular vision as a filmmaker with his films putting a spotlight on the black experience and the prejudices and injustices that prevail.
DA 5 BLOODS - Lee's Vietnam War movie - is no exception.
Set in present(ish) day and in the memories of the main characters from their time "in country", DA 5 BLOODS tells the tale of 4 Vietnam Veterans who return to find the body of their squadron leader - and the gold that they buried under his body.
Part Vietnam war flick, part gold heist (and the cost of this theft on the hearts and minds of the participants) and part reflection on the treatment of the black soldiers, Lee reaches high to combine 3 separate - and complex - films into one (any one of which could have been a film of their own) and it is here that this films succeeds - and fails. For this film is at moments riveting, at moments unflinching and hard to watch, at moments confusing and at moments...surprisingly... dull. Spike had a lot of movie to tell and he took 2 and a 1/2 hours to tell it. He would have been better suited to cut some of this down to a more palatable 2-ish hour length. The film bogs down on itself at times.
But when it crackles - it crackles. Especially when the 4 veteran soldiers interact with each other. Led by the great Delroy Lindo (TV's THE GOOD FIGHT). I hope that this film gets a theatrical release sometime (to make it eligible for the Oscars) for Lindo's portrayal of MAGA Hat wearing, PTSD suffering Paul is powerful and captivating. I was riveted by his performance and I was willing to follow him to the ends of the Earth. Also standing out is Clarke Peters as Otis - the heart and soul of this group and Norm Lewis, the pigeon-toed Eddie who has a secret that he is hiding. Both of these characters shine at moments - but are not in the spotlight nearly often enough. The same can be said for Isaih Whitlock Jr as Melvin, a character that is undeserved until the end and by then I felt myself wanting more of him. (Side Note: Lee named these characters after members of THE TEMPTATIONS).
Lee makes an interesting choice in the flashback scenes of the war. Instead of casting younger actors or spending the $$ on "de-aging" the actors (Lee would say that the de-aging was "cost prohibitive"), Lee chooses to have these old guys just play their younger versions of themselves just as they are now, claiming that these are not flashbacks, but "memories" of these soldiers - and I gotta admit that this tactic works very, very well - especially when these 4 older gentlemen are in the Vietnam War scenes with their Platoon Leader played, charismatically, by the much younger Chadwick Boseman. His character is killed in action and since these scenes are memories, it works well that he is younger (he never got a chance to grow old) while all the others are older. Boseman has a an attraction to him that helps the audience buy into the fact that all these years later these 4 men still hold him front and center in their memories. Unfortunately, the combat scenes looks to me like they were done on a shoe-string budget, so Lee has to use "tricks" to pull these scenes off and these tricks bring these scenes down a peg.
As I've stated, this film is really 3 films in one and the effects of the gold on the men is the most interesting part of this film for me, it touches on the desires of the human soul and brings some of the strongest acting and emotions.
This being a Spike Lee joint, this film is peppered with scenes from the black experience - from Martin Luther KIng to Malcom X to "Hanoi Hannah" telling the black troops that their country is abandoning them. These are important events in the lives and psyche of these men (and African Americans) and Mr. Lee is uniquely positioned to bring the attention of the public to these events, and he does it well.
DA 5 BLOODS in now streaming on Netflix.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
DA 5 BLOODS - Lee's Vietnam War movie - is no exception.
Set in present(ish) day and in the memories of the main characters from their time "in country", DA 5 BLOODS tells the tale of 4 Vietnam Veterans who return to find the body of their squadron leader - and the gold that they buried under his body.
Part Vietnam war flick, part gold heist (and the cost of this theft on the hearts and minds of the participants) and part reflection on the treatment of the black soldiers, Lee reaches high to combine 3 separate - and complex - films into one (any one of which could have been a film of their own) and it is here that this films succeeds - and fails. For this film is at moments riveting, at moments unflinching and hard to watch, at moments confusing and at moments...surprisingly... dull. Spike had a lot of movie to tell and he took 2 and a 1/2 hours to tell it. He would have been better suited to cut some of this down to a more palatable 2-ish hour length. The film bogs down on itself at times.
But when it crackles - it crackles. Especially when the 4 veteran soldiers interact with each other. Led by the great Delroy Lindo (TV's THE GOOD FIGHT). I hope that this film gets a theatrical release sometime (to make it eligible for the Oscars) for Lindo's portrayal of MAGA Hat wearing, PTSD suffering Paul is powerful and captivating. I was riveted by his performance and I was willing to follow him to the ends of the Earth. Also standing out is Clarke Peters as Otis - the heart and soul of this group and Norm Lewis, the pigeon-toed Eddie who has a secret that he is hiding. Both of these characters shine at moments - but are not in the spotlight nearly often enough. The same can be said for Isaih Whitlock Jr as Melvin, a character that is undeserved until the end and by then I felt myself wanting more of him. (Side Note: Lee named these characters after members of THE TEMPTATIONS).
Lee makes an interesting choice in the flashback scenes of the war. Instead of casting younger actors or spending the $$ on "de-aging" the actors (Lee would say that the de-aging was "cost prohibitive"), Lee chooses to have these old guys just play their younger versions of themselves just as they are now, claiming that these are not flashbacks, but "memories" of these soldiers - and I gotta admit that this tactic works very, very well - especially when these 4 older gentlemen are in the Vietnam War scenes with their Platoon Leader played, charismatically, by the much younger Chadwick Boseman. His character is killed in action and since these scenes are memories, it works well that he is younger (he never got a chance to grow old) while all the others are older. Boseman has a an attraction to him that helps the audience buy into the fact that all these years later these 4 men still hold him front and center in their memories. Unfortunately, the combat scenes looks to me like they were done on a shoe-string budget, so Lee has to use "tricks" to pull these scenes off and these tricks bring these scenes down a peg.
As I've stated, this film is really 3 films in one and the effects of the gold on the men is the most interesting part of this film for me, it touches on the desires of the human soul and brings some of the strongest acting and emotions.
This being a Spike Lee joint, this film is peppered with scenes from the black experience - from Martin Luther KIng to Malcom X to "Hanoi Hannah" telling the black troops that their country is abandoning them. These are important events in the lives and psyche of these men (and African Americans) and Mr. Lee is uniquely positioned to bring the attention of the public to these events, and he does it well.
DA 5 BLOODS in now streaming on Netflix.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Kara Skinner (332 KP) rated The Mistletoe Bride in Books
Sep 10, 2019
Sometimes we all need a little bit of a pick-me-up during the holiday season. It’s supposed to be the most wonderful time of the year and all that, but it’s frickin’ stressful. Between the in-laws and the holiday shopping (not to mention the calories. Yikes!), December can quickly turn into a jolly nightmare. However, The Mistletoe Bride is perfect for getting into the holiday season.
You see, Eve is having her own trouble this Christmas season. Two weeks before Christmas, her fiance breaks everything off with her because he had been having an affair with his secretary and had gotten her pregnant. This leaves her single and with two tickets to paradise she had been going to surprise her husband with. And she plans to do something crazy. Instead of moping at home, or going on vacation by herself, she plans on asking a perfect stranger on going on vacation with her.
Nick Christmas is shocked when a beautiful and mysterious woman asks him to go on a trip with her, and he’s a little wary, too. But after talking with her for a few minutes in a coffee shop, he’s drawn to her. He’s more than ready to go on vacation with Eve and help her forget her sorrows, but he knows there’s more to everything than an innocent holiday when she starts hearing bells in his laugh. After all, Nick is destined to become the next Santa Claus– and it looks like Eve is destined to be his bride.
First of all, “Two Tickets to Paradise” by Eddie Money will get stuck in your head when you’re reading this. So if you know the song but hate it (but why would you hate it, unless you’re insane?), this might not be the best stress reliever. (I happen to like the song just fine, so no harm done to me.)
Like I said before, this is a great pick-me-up for the holiday season. And that’s all it is: a pick me up to enjoy that will get you in the mood for Christmas. If you like made-for-TV Christmas romances, then you’ll probably like The Mistletoe Bride. It’s adorable. Eve is all innocent and vulnerable and kind, and Nick is all strong and protective and kind. He really wants to help Eve heal from the damage done from her last relationship, and he doesn’t rush her even though he knows she’s his mistletoe bride. It’s incredibly sweet. And I really like how Scarlett Jade build the magic and myth of Santa Claus like she did. Inheriting the role of Santa, a magic suit that fits all Santas perfectly, the knowledge of everyone, as if he’s a god…. it’s pretty awesome.
But the book isn’t perfect. It was anticlimactic, honestly. Yes, there was a lot of suspense what with the Winter Elf trying to destroy Christmas and the race to the altar and everything, but it was rushed. The Winter Elf didn’t even come in until later and probably just to add a little spice to the mainly bland aftermath of Eve’s and Nick’s betrothal. The big villain in the whole book just wanted to make toys for Santa’s workshop. That’s it. I mean really? It’s a romance, not a thriller, I know, but we could have drawn it out a little bit more.
There also shouldn’t have been any sex scenes in this book. I know, this is a really strange complaint for me. After all I love sex scenes and they’re never a problem, right? (But hell is not freezing over right now because the Winter Elf is too effing busy making toys for Santa to cause some damn chaos!) The thing is, the love interest is Santa. Even if he’s young and about to marry his soul mate, he should not have sex appeal. Why? Because he’s Santa. He defined at least a third of my childhood (I really love Christmas) and he’s supposed to be a jolly gift-giver who loves cookies. Having a Santa Clause with sex appeal is like having a Mickey Mouse with sex appeal. Just. Don’t. Do it.
Even Spock thinks a sexy Santa is weird.
Since I was in the right mood for this book when I read it, I’m giving it four out of five stars. But most days I would probably only give it three.
You see, Eve is having her own trouble this Christmas season. Two weeks before Christmas, her fiance breaks everything off with her because he had been having an affair with his secretary and had gotten her pregnant. This leaves her single and with two tickets to paradise she had been going to surprise her husband with. And she plans to do something crazy. Instead of moping at home, or going on vacation by herself, she plans on asking a perfect stranger on going on vacation with her.
Nick Christmas is shocked when a beautiful and mysterious woman asks him to go on a trip with her, and he’s a little wary, too. But after talking with her for a few minutes in a coffee shop, he’s drawn to her. He’s more than ready to go on vacation with Eve and help her forget her sorrows, but he knows there’s more to everything than an innocent holiday when she starts hearing bells in his laugh. After all, Nick is destined to become the next Santa Claus– and it looks like Eve is destined to be his bride.
First of all, “Two Tickets to Paradise” by Eddie Money will get stuck in your head when you’re reading this. So if you know the song but hate it (but why would you hate it, unless you’re insane?), this might not be the best stress reliever. (I happen to like the song just fine, so no harm done to me.)
Like I said before, this is a great pick-me-up for the holiday season. And that’s all it is: a pick me up to enjoy that will get you in the mood for Christmas. If you like made-for-TV Christmas romances, then you’ll probably like The Mistletoe Bride. It’s adorable. Eve is all innocent and vulnerable and kind, and Nick is all strong and protective and kind. He really wants to help Eve heal from the damage done from her last relationship, and he doesn’t rush her even though he knows she’s his mistletoe bride. It’s incredibly sweet. And I really like how Scarlett Jade build the magic and myth of Santa Claus like she did. Inheriting the role of Santa, a magic suit that fits all Santas perfectly, the knowledge of everyone, as if he’s a god…. it’s pretty awesome.
But the book isn’t perfect. It was anticlimactic, honestly. Yes, there was a lot of suspense what with the Winter Elf trying to destroy Christmas and the race to the altar and everything, but it was rushed. The Winter Elf didn’t even come in until later and probably just to add a little spice to the mainly bland aftermath of Eve’s and Nick’s betrothal. The big villain in the whole book just wanted to make toys for Santa’s workshop. That’s it. I mean really? It’s a romance, not a thriller, I know, but we could have drawn it out a little bit more.
There also shouldn’t have been any sex scenes in this book. I know, this is a really strange complaint for me. After all I love sex scenes and they’re never a problem, right? (But hell is not freezing over right now because the Winter Elf is too effing busy making toys for Santa to cause some damn chaos!) The thing is, the love interest is Santa. Even if he’s young and about to marry his soul mate, he should not have sex appeal. Why? Because he’s Santa. He defined at least a third of my childhood (I really love Christmas) and he’s supposed to be a jolly gift-giver who loves cookies. Having a Santa Clause with sex appeal is like having a Mickey Mouse with sex appeal. Just. Don’t. Do it.
Even Spock thinks a sexy Santa is weird.
Since I was in the right mood for this book when I read it, I’m giving it four out of five stars. But most days I would probably only give it three.
Bob Mann (459 KP) rated Kingsman: The Golden Circle (2017) in Movies
Sep 29, 2021
Vaughn and Golding cross the pond to deliver more of the same.
You would probably need to be living under a rock not to know that “Kingsman: The Golden Circle” is the follow-up film to Matthew Vaughn and Jane Goldman’s highly successful 2015 offering “Kingsman: The Secret Service”: a raucous, violent and rude entry into the spy-caper genre. And the sequel is more of the same: why mess with a crowd-pleasing formula?
The fledgling agent Eggsy (Taron Egerton (“Eddie the Eagle“), curiously called “Eggy” at various points in the film for reasons I didn’t understand) is now the new “Galahad” following the demise in the first film of the original, played by Colin Firth (“Magic in the Moonlight“, “Bridget Jones’ Baby“). But just as he’s getting into his stride the whole Kingsman organisation, now headed by Michael Gambon (“Harry Potter”) as Arthur , is ripped apart by an evil drugs cartel called “The Golden Circle” headed by smiling but deadly Poppy (Juliane Moore, “Still Alice”).
Eggsy and Lancelot (Mark Strong, “Miss Sloane“) in desperation turn to Statesman – the US equivalent organisation – and together with some surprising allies set out to defeat the evil plot to poison all casual drug users.
Subtle this film certainly is not, featuring brash and absurdly unrealistic action scenes that are 90% CGI but – for me at least – enormous fun to watch. As with the first film (and I’m thinking of the grotesquely violent church scene here) the action moves however from ‘edgy’ to “over-the-top/offensive” at times. The ‘burger scene’ and (particularly) the ‘Glastonbury incident’ are the standout moments for all the wrong reasons. I have a theory about how these *might* have come about…
One Mann’s Movies Showcase Theatre
The scene: Matthew Vaughn and Jane Golding are working “The Golden Circle” script at Goldman’s English home.
Vaughn: “OK, so Eggsy is in the tent with Clara and needs to plant the tracking device on her.”
Goldman’s husband Jonathan Ross sticks his head round the door.
Ross: “Hey Guys, I’ve an idea about that. I was on the phone to Wussell Bwand and we came up with a GWEAT idea.”
Vaughn: (rolling his eyes, mutters to himself): “Oh God, not again…”
Ross: “We thought that Eggsy could use his finger to stick the tracker right up her – ahem – ‘lady canal’ and… and… here’s the really great bit… the camera’s gonna be his finger. A camera up the muff! It’ll be weally weally funny!”
Vaughn: “But Jonathan…”.
Goldman nudges him hard.
Goldman (whispering): “Just let it go Matthew… you know what he’s like if he doesn’t get at least a couple of his ideas into the film”.
You can only hope a stunt vagina was used for this scene, else Poppy Delavigne (older sister of Cara) is going to find it very hard to find credible future work. One can only guess what tasteful interlude is being planned for Kingsman 3 – – a prostate-based tracker perhaps?
The film works best when the core team of Taron Egerton, Mark Strong and Colin Firth (yes, Colin Firth!) are together. Jeff Bridges (“Hell or High Water“), Channing Tatum (“Foxcatcher“) and Halle Berry (“Monster’s Ball”) all turn up as key members of ‘Statesman’ – adding star power but not a lot else – together with Pedro Pascal (“The Great Wall“) as ‘Whiskey’…. who I expected to be someone equally famous behind the moustache but wasn’t!
There’s also a very entertaining cameo from a star (no spoilers from me) whose foul-mouthed tirades I found very funny, and who also has the funniest line in the film (playing off one of the most controversial elements of the first film). It’s fair to say though that others I’ve spoken to didn’t think this appearance fitted the film at all.
Julianne Moore makes for an entertaining – if less than credible – villain, as does Bruce Greenwood (“Star Trek: Into Darkness”) as a barely disguised Trump. None of the motivations of the bad ‘uns however support any scrutiny whatsoever: this is very much a “park your brain at the door” film.
I really shouldn’t enjoy this crass, brash, brainless movie fast-food… and I know many have hated it! But my guilty secret is that I really did like it – one of the best nights of unadulterated escapist fun I’ve had since “Baby Driver”. Classy it’s certainly NOT, but I enjoyed this just as much as the original.
The fledgling agent Eggsy (Taron Egerton (“Eddie the Eagle“), curiously called “Eggy” at various points in the film for reasons I didn’t understand) is now the new “Galahad” following the demise in the first film of the original, played by Colin Firth (“Magic in the Moonlight“, “Bridget Jones’ Baby“). But just as he’s getting into his stride the whole Kingsman organisation, now headed by Michael Gambon (“Harry Potter”) as Arthur , is ripped apart by an evil drugs cartel called “The Golden Circle” headed by smiling but deadly Poppy (Juliane Moore, “Still Alice”).
Eggsy and Lancelot (Mark Strong, “Miss Sloane“) in desperation turn to Statesman – the US equivalent organisation – and together with some surprising allies set out to defeat the evil plot to poison all casual drug users.
Subtle this film certainly is not, featuring brash and absurdly unrealistic action scenes that are 90% CGI but – for me at least – enormous fun to watch. As with the first film (and I’m thinking of the grotesquely violent church scene here) the action moves however from ‘edgy’ to “over-the-top/offensive” at times. The ‘burger scene’ and (particularly) the ‘Glastonbury incident’ are the standout moments for all the wrong reasons. I have a theory about how these *might* have come about…
One Mann’s Movies Showcase Theatre
The scene: Matthew Vaughn and Jane Golding are working “The Golden Circle” script at Goldman’s English home.
Vaughn: “OK, so Eggsy is in the tent with Clara and needs to plant the tracking device on her.”
Goldman’s husband Jonathan Ross sticks his head round the door.
Ross: “Hey Guys, I’ve an idea about that. I was on the phone to Wussell Bwand and we came up with a GWEAT idea.”
Vaughn: (rolling his eyes, mutters to himself): “Oh God, not again…”
Ross: “We thought that Eggsy could use his finger to stick the tracker right up her – ahem – ‘lady canal’ and… and… here’s the really great bit… the camera’s gonna be his finger. A camera up the muff! It’ll be weally weally funny!”
Vaughn: “But Jonathan…”.
Goldman nudges him hard.
Goldman (whispering): “Just let it go Matthew… you know what he’s like if he doesn’t get at least a couple of his ideas into the film”.
You can only hope a stunt vagina was used for this scene, else Poppy Delavigne (older sister of Cara) is going to find it very hard to find credible future work. One can only guess what tasteful interlude is being planned for Kingsman 3 – – a prostate-based tracker perhaps?
The film works best when the core team of Taron Egerton, Mark Strong and Colin Firth (yes, Colin Firth!) are together. Jeff Bridges (“Hell or High Water“), Channing Tatum (“Foxcatcher“) and Halle Berry (“Monster’s Ball”) all turn up as key members of ‘Statesman’ – adding star power but not a lot else – together with Pedro Pascal (“The Great Wall“) as ‘Whiskey’…. who I expected to be someone equally famous behind the moustache but wasn’t!
There’s also a very entertaining cameo from a star (no spoilers from me) whose foul-mouthed tirades I found very funny, and who also has the funniest line in the film (playing off one of the most controversial elements of the first film). It’s fair to say though that others I’ve spoken to didn’t think this appearance fitted the film at all.
Julianne Moore makes for an entertaining – if less than credible – villain, as does Bruce Greenwood (“Star Trek: Into Darkness”) as a barely disguised Trump. None of the motivations of the bad ‘uns however support any scrutiny whatsoever: this is very much a “park your brain at the door” film.
I really shouldn’t enjoy this crass, brash, brainless movie fast-food… and I know many have hated it! But my guilty secret is that I really did like it – one of the best nights of unadulterated escapist fun I’ve had since “Baby Driver”. Classy it’s certainly NOT, but I enjoyed this just as much as the original.
Ryan Hill (152 KP) rated Spider-Man 3 (2007) in Movies
Jul 1, 2019 (Updated Jul 3, 2019)
"None of that matters now, you're my friend"
After the worldwide success of the first two "Spider-Man" films, director Sam Raimi and the cast decided to take a break. The first two had been shot almost back-to-back, with very little "down time" in between. So, in late 2005, about 18 months after the release of "Spider-Man 2", Raimi began fleshing out ideas for a third storyline. For this chapter, the director wanted to teach Peter Parker about forgiveness; to do so, he'd need a villain with personal ties. The problem was that, besides the Osborn family and Otto Octavius, no villains in the comics had such a huge connection. Raimi didn't want to contradict a well-established character, so he sought one out whose backstory had never been fully realized: the Sandman, whose literary incarnation was little more than a random thief. Connecting the character to the death of Ben Parker gave Peter a huge obstacle that needed facing. Wrapping up Harry Osborn's story was also necessary, since Marvel wasn't sure if James Franco would agree to more chapters in the franchise. The addition of Gwen Stacy (who in the comics, was Peter's first love) was done mainly for the fans, and to create a conflicted love triangle with Peter & Mary Jane. Satisfied with his concept, Raimi told his plans to Marvel Comics; the result was less than expected.
Therein lies my biggest problem with "Spider-Man 3". I liked the Venom character as a kid, but in all honesty having 4 villains in the same film (Harry, Marko, the black symbiote itself, and eventually Venom) was just too much at once. From the standpoint of a fan, I'd have preferred that Venom be saved for a future entry, so he could have taken center stage. By having him alongside both Marko and Harry Osborn, the story became rather confusing for many fans, and the film's box office suffered as a direct result. Overall, this film made less money across the board than its predecessor...all because of corporate greed.
That being said, I still enjoy the film on many levels, but knowing what caused the multi-arc story makes some moments bittersweet. The actors clearly enjoyed this ride, but something in general seemed a bit lacking. Looking back, I realize it was the Venom character. The fact of it essentially being forced into the narrative only made the tale confusing and hard to follow. It became one of those films many people have to watch more than once, just to understand it...and these days, audiences don't have a lot of patience for films with too many angles. Rightfully so, in my opinion.
Tobey Maguire, slipping into the spandex suit for a third try, really shows his acting range here, even more so than his diverse performance in "Spider-Man 2". From intense love to seething hatred (and everything in between), he really brings his game up to a whole new level. Kirsten Dunst shines again as Parker's star-crossed love, Mary Jane Watson. I liked her performance very much, and her singing in the film is beautiful. She's less helpless than in either prior entry, and far more confident. Bryce Dallas Howard (daughter of acclaimed director Ron) makes her first apearance in the franchise as the bubbling, exuberant, and gorgeous Gwen Stacy. I liked her character, but felt she didn't have much to do in the long run.
James Franco does an equally-remarkable turn, finally completing the journey that began at the end of the original film. He gives Harry a blend of jealousy, mystique, and severe determination. He also revisits the lighter tones of his role, for the scenes where Harry has amnesia. And in the finale, he shows that in his heart, Harry was truly a hero. Thomas Haden Church gave Marko both sentiment and menace, and turned what was originally a two-bit thug into a far more interesting character. Topher Grace played the "creepy" card as Venom, and gave Eddie Brock a know-it-all arrogance that makes you almost feel disgusted.
Aside from the criticisms surrounding Venom, I honestly didn't have a lot for this entry. Mary Jane is no longer in a water-drenched position (thank God!), so I was very relieved. I guess my main concern was that there were too many villians should of just stuck with Harry and Venom or Harry and sandman. And for anyone who asks why i haven't put the dancing scenes as a negative. I get a kick out of them what can i say?
Therein lies my biggest problem with "Spider-Man 3". I liked the Venom character as a kid, but in all honesty having 4 villains in the same film (Harry, Marko, the black symbiote itself, and eventually Venom) was just too much at once. From the standpoint of a fan, I'd have preferred that Venom be saved for a future entry, so he could have taken center stage. By having him alongside both Marko and Harry Osborn, the story became rather confusing for many fans, and the film's box office suffered as a direct result. Overall, this film made less money across the board than its predecessor...all because of corporate greed.
That being said, I still enjoy the film on many levels, but knowing what caused the multi-arc story makes some moments bittersweet. The actors clearly enjoyed this ride, but something in general seemed a bit lacking. Looking back, I realize it was the Venom character. The fact of it essentially being forced into the narrative only made the tale confusing and hard to follow. It became one of those films many people have to watch more than once, just to understand it...and these days, audiences don't have a lot of patience for films with too many angles. Rightfully so, in my opinion.
Tobey Maguire, slipping into the spandex suit for a third try, really shows his acting range here, even more so than his diverse performance in "Spider-Man 2". From intense love to seething hatred (and everything in between), he really brings his game up to a whole new level. Kirsten Dunst shines again as Parker's star-crossed love, Mary Jane Watson. I liked her performance very much, and her singing in the film is beautiful. She's less helpless than in either prior entry, and far more confident. Bryce Dallas Howard (daughter of acclaimed director Ron) makes her first apearance in the franchise as the bubbling, exuberant, and gorgeous Gwen Stacy. I liked her character, but felt she didn't have much to do in the long run.
James Franco does an equally-remarkable turn, finally completing the journey that began at the end of the original film. He gives Harry a blend of jealousy, mystique, and severe determination. He also revisits the lighter tones of his role, for the scenes where Harry has amnesia. And in the finale, he shows that in his heart, Harry was truly a hero. Thomas Haden Church gave Marko both sentiment and menace, and turned what was originally a two-bit thug into a far more interesting character. Topher Grace played the "creepy" card as Venom, and gave Eddie Brock a know-it-all arrogance that makes you almost feel disgusted.
Aside from the criticisms surrounding Venom, I honestly didn't have a lot for this entry. Mary Jane is no longer in a water-drenched position (thank God!), so I was very relieved. I guess my main concern was that there were too many villians should of just stuck with Harry and Venom or Harry and sandman. And for anyone who asks why i haven't put the dancing scenes as a negative. I get a kick out of them what can i say?
Bob Mann (459 KP) rated Six Minutes to Midnight (2021) in Movies
Apr 4, 2021 (Updated Apr 4, 2021)
Historical story (Potential for a great film) (1 more)
Judi Dench
B-grade spy caper antics (1 more)
Some ridiculous plot-points
A "39 Steps-esque" thriller that doesn't match its potential
In "Six Minutes to Midnight", it's the summer of 1939 (so we are in a parallel time-flow here with the events of "The Dig"). A private girl's school - the Augusta Victoria College in Bexhill-on-Sea - is run with loving care by the spinster Miss Rocholl (Judi Dench). But the 'finishing school' is unusual, in that all its teenage students are German. Indeed, they are the offspring of prominent Nazis.
When half-German English teacher Thomas Miller (Eddie Izzard) applies for a suddenly vacant position, he is taken on to share the teaching duties with Rocholl and Ilse (Carla Juri). But in snooping into the activities going on there, he finds mystery and danger.
Positives:
This is a fascinating premise for a movie that will appeal to an older generation, along the lines of "They don't make them like this anymore". It has elements of the 'good guy on the run' that struck parallels with "The 39 Steps" for me.
It's great that the school is all based on historical fact. Miss Rochol did indeed run the school, as a part of a plan to infiltrate British high-society with pro-Nazi sympathies ahead of an invasion. In real-life, one of the pupils was the god-daughter of Heinrich Himmler and one - Bettina von Ribbentrop - was the daughter of the German foreign minister.
After a comic "Family Guy"-style set of production logos to kick off with (for a full one and a half minutes!!), the pre-title sequence is a superb scene-setter. What exactly is going on here? A frantic scrabbling in a bookcase. A pier-end disappearance. The school badge (a genuine reproduction!) with its Union flag and Nazi Swastika insignia. The girls performing a ballet-like ritual on the beach with batons. (This looks to be a cracker, I thought).
Judi Dench. Superb as always.
Chris Seager does the cinematography, and impressively so. Most of Seager's CV has been TV work, so it must be delightful to be given the breadth of a cinema screen to capture landscapes like this.
I like the clever title: "Six Minutes to Midnight". I assumed it was intended solely to reflect the imminence of war. But it actually has another meaning entirely.
Negatives:
For me, was a highly frustrating film. All of the great credibility and atmosphere it builds up in the first 30 minutes, it then squanders by diving off into sub-Hitchcock spy capers.
Izzard becomes a 'man on the run', and doesn't seem credible at that. (I appreciate the irony of this statement given that this is the man who ran 32 marathons in 31 days for charity!) But Izzard is built for distance and not for speed, and some of the police chase scenes in the movie strain credibility to breaking point. Another actor might have been able to pull this off better.
There's a lack of continuity in the film: was it perhaps cut down from a much longer running time? At one point, Miller is a wanted murderer with his face plastered on the front pages. The next, kindly bus driver Charlie (Jim Broadbent) is unaccountably aiding him and Rochol seems to have assumed his innocence in later scenes.
Various spy caper clichés are mined to extreme - including those old classics 'swerve to avoid bullets'; 'gun shot but different gun'; and 'shot guy seems to live forever'. And there are double-agent 'twists' occurring that are utterly predictable.
A very specific continuity irritation for me was in an 'aircraft landing' scene. Markers are separated by nine paces (I went back and counted them!) yet a view from a plane shows them a 'runway-width' apart. This might have escaped scrutiny were it shown just once. But no... we have ground shot; air shot; ground shot; air shot..... repeatedly!
Summary thoughts: This was one of the cinema trailers that most appealed to me over a year ago, in those heady days in the sunlit-uplands of life before Covid-19. It's a movie that showed a great deal of promise, since the history is fascinating. And there is probably a really great TV serial in here: showing the 'alternate history' consequences of these high-society German girls penetrating British society and steering the war in a different direction (screenplay idea (C) RJ Mann!) But the potential is squandered with a non-credible spy caper bolted onto the side.
So with "Six Minutes to Midnight", Downton-director Andy Goddard has made a perfectly watchable 'rainy Sunday afternoon' film, that I enjoyed in part for its 'old-school' quirkiness. But it's frustrating that all the promise couldn't be transitioned into a more satisfying movie.
(For the full graphical review, please check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/04/six-minutes-to-midnight-a-39-steps-esque-thriller-but-not-quite-pulling-it-off/. Thanks).
When half-German English teacher Thomas Miller (Eddie Izzard) applies for a suddenly vacant position, he is taken on to share the teaching duties with Rocholl and Ilse (Carla Juri). But in snooping into the activities going on there, he finds mystery and danger.
Positives:
This is a fascinating premise for a movie that will appeal to an older generation, along the lines of "They don't make them like this anymore". It has elements of the 'good guy on the run' that struck parallels with "The 39 Steps" for me.
It's great that the school is all based on historical fact. Miss Rochol did indeed run the school, as a part of a plan to infiltrate British high-society with pro-Nazi sympathies ahead of an invasion. In real-life, one of the pupils was the god-daughter of Heinrich Himmler and one - Bettina von Ribbentrop - was the daughter of the German foreign minister.
After a comic "Family Guy"-style set of production logos to kick off with (for a full one and a half minutes!!), the pre-title sequence is a superb scene-setter. What exactly is going on here? A frantic scrabbling in a bookcase. A pier-end disappearance. The school badge (a genuine reproduction!) with its Union flag and Nazi Swastika insignia. The girls performing a ballet-like ritual on the beach with batons. (This looks to be a cracker, I thought).
Judi Dench. Superb as always.
Chris Seager does the cinematography, and impressively so. Most of Seager's CV has been TV work, so it must be delightful to be given the breadth of a cinema screen to capture landscapes like this.
I like the clever title: "Six Minutes to Midnight". I assumed it was intended solely to reflect the imminence of war. But it actually has another meaning entirely.
Negatives:
For me, was a highly frustrating film. All of the great credibility and atmosphere it builds up in the first 30 minutes, it then squanders by diving off into sub-Hitchcock spy capers.
Izzard becomes a 'man on the run', and doesn't seem credible at that. (I appreciate the irony of this statement given that this is the man who ran 32 marathons in 31 days for charity!) But Izzard is built for distance and not for speed, and some of the police chase scenes in the movie strain credibility to breaking point. Another actor might have been able to pull this off better.
There's a lack of continuity in the film: was it perhaps cut down from a much longer running time? At one point, Miller is a wanted murderer with his face plastered on the front pages. The next, kindly bus driver Charlie (Jim Broadbent) is unaccountably aiding him and Rochol seems to have assumed his innocence in later scenes.
Various spy caper clichés are mined to extreme - including those old classics 'swerve to avoid bullets'; 'gun shot but different gun'; and 'shot guy seems to live forever'. And there are double-agent 'twists' occurring that are utterly predictable.
A very specific continuity irritation for me was in an 'aircraft landing' scene. Markers are separated by nine paces (I went back and counted them!) yet a view from a plane shows them a 'runway-width' apart. This might have escaped scrutiny were it shown just once. But no... we have ground shot; air shot; ground shot; air shot..... repeatedly!
Summary thoughts: This was one of the cinema trailers that most appealed to me over a year ago, in those heady days in the sunlit-uplands of life before Covid-19. It's a movie that showed a great deal of promise, since the history is fascinating. And there is probably a really great TV serial in here: showing the 'alternate history' consequences of these high-society German girls penetrating British society and steering the war in a different direction (screenplay idea (C) RJ Mann!) But the potential is squandered with a non-credible spy caper bolted onto the side.
So with "Six Minutes to Midnight", Downton-director Andy Goddard has made a perfectly watchable 'rainy Sunday afternoon' film, that I enjoyed in part for its 'old-school' quirkiness. But it's frustrating that all the promise couldn't be transitioned into a more satisfying movie.
(For the full graphical review, please check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/04/six-minutes-to-midnight-a-39-steps-esque-thriller-but-not-quite-pulling-it-off/. Thanks).
Lee (2222 KP) rated It: Chapter Two (2019) in Movies
Sep 6, 2019 (Updated Sep 6, 2019)
Bloated, messy at times, not quite as good as chapter 1 :(
It's fair to say that IT Chapter 2 has been one of my most anticipated movies this year. The trailer, which I've probably watched just as many times now as I watched the Endgame trailer, gives me goosebumps every time, and I couldn't wait to rejoin the losers club for another battle with Pennywise the clown. I was lucky enough to secure tickets to the immersive IT experience in London last weekend, adding further fuel to my excitement, and I decided to book the double bill showing of both chapters at the cinema in order to fully enjoy the complete story. Watching chapter 1 up on the big screen again proved to be just as enjoyable for me as the first time I saw it. Sadly though, I feel that chapter 2 didn't quite measure up to chapter 1.
It's now been 27 years since the events of chapter 1. One night, at the Derry funfair, a prolonged and brutal homophobic attack takes place, seemingly serving no other purpose than to provide us with a lengthy setup for the return of Pennywise. Yes, the clown is back and looking for revenge. It falls to Mike (Isaiah Mustafa), the only member of the losers club still living in Derry, to call on the others, to tell them they need to come home and to fulfill the oath they all pledged as children - no matter where they are, if "It" ever comes back, they'll come back to finish it. They all take the call they never thought they'd get and immediately their lives feel the impact - Bill (James McAvoy) is now a famous writer and suddenly starts to regain his stutter, Beverly (Jessica Chastain) clearly hasn't managed to escape a life of abuse, Ben (Jay Ryan) has managed to shed a lot of weight, Richie (Bill Hader) throws up before going on stage to perform stand-up, Eddie (James Ransome) simply refuses to believe what he's hearing. And Stanley (Andy Bean), well he fully appreciates the horror that lies ahead of them all.
The adult versions of the losers club are all perfectly cast, and just as entertaining in adult form as they are as children. Any reviews you read for this movie will no doubt mention Bill Hader as adult Richie, and all praise for him is well deserved. Just as Finn Wolfhard stole the show as the young, wise cracking and potty mouthed Richie in chapter 1, so does Bill Hader here. But the entire adult cast is all simply spot on.
They all meet up at a Chinese restaurant in Derry, gradually recalling forgotten events from their childhood over a meal and falling back into old friendships once again. We get multiple flashbacks of them all as teenagers, new scenes that help to flesh out the story-line, and these continue throughout the entire movie. It's a real nostalgic joy to revisit these younger versions again, and to immediately see how each flashback moment ultimately affects them as adults. The threat of Pennywise constantly lingers though, and they know they have work to do.
They go their separate ways, remaining in Derry but taking time to reacquainte themselves with the town and their own personal history there. Mike has a theory on how to defeat Pennywise once and for all, but first they must face him individually - grow stronger and more confident so that they can hopefully overcome him together as a team.
Unfortunately though, Pennywise never really feels as much of a threat as he did in the first movie. The slow brooding, creepy scares that worked so effectively then are all but lost here. There certainly are still a handful of those in chapter 2, and those do work extremely well, but they're simply outnumbered by a constant barrage of jump scares and CGI monsters. I lost count of the number of times we got a random CGI creature rapidly approaching us and the over-reliance on CGI is noticeably jarring, even more so in the final act. The use of practical, psychological scares is sorely missed and the whole thing is nowhere near as scary as chapter 1.
The run-time clocks in at 2hr 50, compared to a tighter 2hr 15 for chapter 1, and it really notices. Admittedly, the Stephen King source material is pretty hefty anyway (so I hear), but at times this just felt bloated and messy in its interpretation, too much being thrown at you and not enough of it sticking. That CG heavy finale I mentioned is also way too long, and really drags. It's a shame because I really enjoyed the introduction of the adult losers and the interweaving of their lives with the flashbacks from 27 years earlier. There's talk of an extended cut being out there and potentially being released. Personally, I would prefer a much leaner, shorter cut.
It's now been 27 years since the events of chapter 1. One night, at the Derry funfair, a prolonged and brutal homophobic attack takes place, seemingly serving no other purpose than to provide us with a lengthy setup for the return of Pennywise. Yes, the clown is back and looking for revenge. It falls to Mike (Isaiah Mustafa), the only member of the losers club still living in Derry, to call on the others, to tell them they need to come home and to fulfill the oath they all pledged as children - no matter where they are, if "It" ever comes back, they'll come back to finish it. They all take the call they never thought they'd get and immediately their lives feel the impact - Bill (James McAvoy) is now a famous writer and suddenly starts to regain his stutter, Beverly (Jessica Chastain) clearly hasn't managed to escape a life of abuse, Ben (Jay Ryan) has managed to shed a lot of weight, Richie (Bill Hader) throws up before going on stage to perform stand-up, Eddie (James Ransome) simply refuses to believe what he's hearing. And Stanley (Andy Bean), well he fully appreciates the horror that lies ahead of them all.
The adult versions of the losers club are all perfectly cast, and just as entertaining in adult form as they are as children. Any reviews you read for this movie will no doubt mention Bill Hader as adult Richie, and all praise for him is well deserved. Just as Finn Wolfhard stole the show as the young, wise cracking and potty mouthed Richie in chapter 1, so does Bill Hader here. But the entire adult cast is all simply spot on.
They all meet up at a Chinese restaurant in Derry, gradually recalling forgotten events from their childhood over a meal and falling back into old friendships once again. We get multiple flashbacks of them all as teenagers, new scenes that help to flesh out the story-line, and these continue throughout the entire movie. It's a real nostalgic joy to revisit these younger versions again, and to immediately see how each flashback moment ultimately affects them as adults. The threat of Pennywise constantly lingers though, and they know they have work to do.
They go their separate ways, remaining in Derry but taking time to reacquainte themselves with the town and their own personal history there. Mike has a theory on how to defeat Pennywise once and for all, but first they must face him individually - grow stronger and more confident so that they can hopefully overcome him together as a team.
Unfortunately though, Pennywise never really feels as much of a threat as he did in the first movie. The slow brooding, creepy scares that worked so effectively then are all but lost here. There certainly are still a handful of those in chapter 2, and those do work extremely well, but they're simply outnumbered by a constant barrage of jump scares and CGI monsters. I lost count of the number of times we got a random CGI creature rapidly approaching us and the over-reliance on CGI is noticeably jarring, even more so in the final act. The use of practical, psychological scares is sorely missed and the whole thing is nowhere near as scary as chapter 1.
The run-time clocks in at 2hr 50, compared to a tighter 2hr 15 for chapter 1, and it really notices. Admittedly, the Stephen King source material is pretty hefty anyway (so I hear), but at times this just felt bloated and messy in its interpretation, too much being thrown at you and not enough of it sticking. That CG heavy finale I mentioned is also way too long, and really drags. It's a shame because I really enjoyed the introduction of the adult losers and the interweaving of their lives with the flashbacks from 27 years earlier. There's talk of an extended cut being out there and potentially being released. Personally, I would prefer a much leaner, shorter cut.
Bob Mann (459 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Sep 28, 2021
Good popcorn nonsense.
“Remember who we are. The Shaw family. We never, never, never give up.”
(That title is especially for my friends the Shaw family!).
Well, the patchy British summer’s just about up, and autumn’s chilly fingers are touching up the UK. And yet I still hadn’t seen the summer hit “Hobbs and Shaw”! Until last night.
It’s utter nonsense of course, like most of the “Fast and Furious” films, but I have to admit it’s done with some tongue in cheek style.
The plot
A vicious cyber-soldier, Brixton (Idris Elba) tries to steal a deadly virus but is thwarted by brave MI6 agent Hattie (Vanessa Kirby). To help recover the virus, Deckard Shaw (Jason Statham) is recruited in London by CIA agent Loeb (Rob Delaney, the “non-super” hero Peter in “Deadpool 2“). In an interesting piece of related casting, the Eteon Director (Champ Nightengale – LoL, a cameo for someone far more famous) recruits Luke Hobbs (Dwayne Johnson) in LA as a part of the team.
Both agents know they are heading for trouble… but do they really appreciate how much the pair hate each other’s guts?
The trail leads from London to the Ukraine to (a very picturesque) Samoa in a race against time to both defeat the undefeatable Brixton and save Hattie: now a ticking time bomb of global destruction. And Hattie has relations!
Absurd stunts.
As a “Fast and Furious” film there are of course some truly absurd car stunts involved and – unlike the Mission Impossible films – you are never quite sure what is “real” and what is CGI generated. Which is a shame.
For me, the gold standard for chases remains Tom Cruise‘s chase through Paris in “Mission Impossible: Fallout“. Here, the car chase through London – whilst impressive – never quite reaches the seat clenching tension of MI6.
And a final stunt with a helicopter is – I’m sorry – just plain ridiculous. If a chopper can partially lift 5 x load then why can’t it completely lift 1 x load. Give me a break!
To round things off, there is one of the most unbelievable “100% survival of a car crashing off a cliff” scenes in movie history!
Acting
The acting is largely from the Arnie Swartzenegger school, with Johnson and Statham giving it the old shtick. Dwayne Johnson may be one of Hollywood’s most bankable stars (the boy has done REAL good for himself), but he can’t do serious acting. His “pathos” scenes with his daughter (a vibrant Eliana Sua) are excruciating.
Dropping in as class acts are Helen Mirren as the elder Shaw and the excellent Vanessa Kirby as Hattie. Kirby gets a lot more to get her teeth into than in the last Mission Impossible movie, and is really very good. Mirren is rather too posh to be the incarcerated East End con, but is a fun turn nevertheless.
Also excellent, as always, is Eddie Marsan as the key scientist. Marsan really turns in a splendid performance in every film he’s in. He’s top of “Division 2” in my books. Never the star, but always starring.
Mexican actress Eiza González (from “Baby Driver“) also crops up as an unfeasibly good-looking Russian femme fatale.
“I hate you”. “No, I hate you”. Blah, blah, blah.
Writers Chris Morgan and Drew Pearce do a good job at keeping the script light and fluffy. The animosity between Hobbs and Shaw is played to 110%, and for me the interplay frankly became a bit tiresome. But it’s a fun-enough film to entertain, although it’s bladder-testing running time of 2 hours 17 minutes is at least 30 minutes too long. There is a natural Ukraine-based finale, but it’s not taken, and the film goes on… and on… and on…. and on. Enough already.
I’ve said many times before that comedies shouldn’t last more than 90 minutes, and although an “action film” this is fundamentally a comedy and the rule should apply. It would have been a much better film if it was compacted.
Sexism diverted.
I did criticize “Fast and Furious 8” for scenes that brazenly objectified women. And there was a moment – just one, fortunately – with a gyrating bikini-clad beauty – where I thought “uh, oh” – this franchise has not moved with the times.
But actually, this was the only scene where I thought that. Cinema has moved along massively in the last two years, driven by the “Times Up” movement. Here the women are all given pretty leading “kick-ass” roles, and they generally show the muscle-bound morons up, often saving their arses.
Final Thoughts.
It’s summer popcorn nonsense, but its well done popcorn nonsense. Probably not a film high on my list of films I want to see again, but as an entertainment vehicle it was not too shabby.
(That title is especially for my friends the Shaw family!).
Well, the patchy British summer’s just about up, and autumn’s chilly fingers are touching up the UK. And yet I still hadn’t seen the summer hit “Hobbs and Shaw”! Until last night.
It’s utter nonsense of course, like most of the “Fast and Furious” films, but I have to admit it’s done with some tongue in cheek style.
The plot
A vicious cyber-soldier, Brixton (Idris Elba) tries to steal a deadly virus but is thwarted by brave MI6 agent Hattie (Vanessa Kirby). To help recover the virus, Deckard Shaw (Jason Statham) is recruited in London by CIA agent Loeb (Rob Delaney, the “non-super” hero Peter in “Deadpool 2“). In an interesting piece of related casting, the Eteon Director (Champ Nightengale – LoL, a cameo for someone far more famous) recruits Luke Hobbs (Dwayne Johnson) in LA as a part of the team.
Both agents know they are heading for trouble… but do they really appreciate how much the pair hate each other’s guts?
The trail leads from London to the Ukraine to (a very picturesque) Samoa in a race against time to both defeat the undefeatable Brixton and save Hattie: now a ticking time bomb of global destruction. And Hattie has relations!
Absurd stunts.
As a “Fast and Furious” film there are of course some truly absurd car stunts involved and – unlike the Mission Impossible films – you are never quite sure what is “real” and what is CGI generated. Which is a shame.
For me, the gold standard for chases remains Tom Cruise‘s chase through Paris in “Mission Impossible: Fallout“. Here, the car chase through London – whilst impressive – never quite reaches the seat clenching tension of MI6.
And a final stunt with a helicopter is – I’m sorry – just plain ridiculous. If a chopper can partially lift 5 x load then why can’t it completely lift 1 x load. Give me a break!
To round things off, there is one of the most unbelievable “100% survival of a car crashing off a cliff” scenes in movie history!
Acting
The acting is largely from the Arnie Swartzenegger school, with Johnson and Statham giving it the old shtick. Dwayne Johnson may be one of Hollywood’s most bankable stars (the boy has done REAL good for himself), but he can’t do serious acting. His “pathos” scenes with his daughter (a vibrant Eliana Sua) are excruciating.
Dropping in as class acts are Helen Mirren as the elder Shaw and the excellent Vanessa Kirby as Hattie. Kirby gets a lot more to get her teeth into than in the last Mission Impossible movie, and is really very good. Mirren is rather too posh to be the incarcerated East End con, but is a fun turn nevertheless.
Also excellent, as always, is Eddie Marsan as the key scientist. Marsan really turns in a splendid performance in every film he’s in. He’s top of “Division 2” in my books. Never the star, but always starring.
Mexican actress Eiza González (from “Baby Driver“) also crops up as an unfeasibly good-looking Russian femme fatale.
“I hate you”. “No, I hate you”. Blah, blah, blah.
Writers Chris Morgan and Drew Pearce do a good job at keeping the script light and fluffy. The animosity between Hobbs and Shaw is played to 110%, and for me the interplay frankly became a bit tiresome. But it’s a fun-enough film to entertain, although it’s bladder-testing running time of 2 hours 17 minutes is at least 30 minutes too long. There is a natural Ukraine-based finale, but it’s not taken, and the film goes on… and on… and on…. and on. Enough already.
I’ve said many times before that comedies shouldn’t last more than 90 minutes, and although an “action film” this is fundamentally a comedy and the rule should apply. It would have been a much better film if it was compacted.
Sexism diverted.
I did criticize “Fast and Furious 8” for scenes that brazenly objectified women. And there was a moment – just one, fortunately – with a gyrating bikini-clad beauty – where I thought “uh, oh” – this franchise has not moved with the times.
But actually, this was the only scene where I thought that. Cinema has moved along massively in the last two years, driven by the “Times Up” movement. Here the women are all given pretty leading “kick-ass” roles, and they generally show the muscle-bound morons up, often saving their arses.
Final Thoughts.
It’s summer popcorn nonsense, but its well done popcorn nonsense. Probably not a film high on my list of films I want to see again, but as an entertainment vehicle it was not too shabby.
Bob Mann (459 KP) rated Fantastic Beasts: Crimes of Grindelwald (2018) in Movies
Sep 28, 2021
Lestranger than fiction.
I must be one of the last people to watch this in the cinema, thanks to an irritating bout of sickness and – well – frankly total bloody apathy! For me this is the franchise that nobody asked for and nobody wanted. (Well, “nobody” is probably overstating the case, since there is probably a bunch of Potterheads out there who are shouting at me right now). But judging from the opinion of my daughter-in-law, who could win “Mastermind” with her knowledge of the original Potter series as her specialist subject, I am certainly not alone in my lack of enthusiasm.
The Plot
I’d really love to tell you about the plot. I really would! But I would struggle to pull all the multitude of strands together from J.K. Rowling’s story and coherently explain them to anyone. If Rowling had put ten thousand monkeys (not a million – it’s no bloody Shakespeare) into a room with typewriters and locked the door I wouldn’t be surprised.
Let me try at a high level….. The arch-criminal wizard Grindelwald (Johnny Depp) is being tortured in ‘Trump Tower’, but manages to escape and flees to Paris in pursuit of a mysterious circus performer called Credence (Ezra Miller) and his bewitched companion Nagini (nudge, nudge, wink, wink) played fetchingly by Claudia Kim. Someone needs to stop him, and all eyes are on Albus Dumbledore (Jude Law). But he is unable to do so, since he and Grindelwald are “closer than brothers” (nudge, nudge, wink, wink). So a reluctant and UK-grounded Newt Scamander (Eddie Redmayne) is smuggled into the danger zone… which suits him just fine since his love Tina (Katherine Waterston) is working for the ministry there, and the couple are currently estranged due to a (topical) bout of ‘Fake News’.
Throw in a potential love triangle between Newt, his brother Theseus (Callum Turner) and old Hogwart’s schoolmate Leta Lestrange (Zoë Kravitz) and about a half dozen other sub-plots and you have… well… a complete bugger’s muggle – – sorry – – muddle.
A plot that’s all at sea
Above all, I really can’t explain the crux of the plot. A venerable diarrhoea of exposition in a crypt, during an inexplicably quiet fifteen minutes (given ‘im-who-can-be-named is next door with about a thousand other people!) left me completely bewildered. A bizarre event at sea (no spoilers) would seem to make absolutely NO SENSE when considered with another reveal at the end of the film. I thought I must have clearly missed something… or I’d just not been intelligent enough to process the information…. or…. it was actually completely bonkers! Actually, I think it’s the latter: in desperation I went on a fan site that tried to explain the plot. While it was explained there, the explanation aligned with what I thought had happened: but it made no mention of the ridiculousness of the random coincidence involved!
The turns
The film’s a mess. Which is a shame since everyone involved tries really hard. Depp oozes evil very effectively (he proves that nicely on arriving in Paris, and doubles-down about 5 minutes later: #veryverydark). Redmayne replays his Newt-act effectively but once again (and I see I made the same comments in my “Fantastic Beasts” review) his character mumbles again so much that many of his lines are unintelligible.
I also complained last time that the excellent actress Katherine Waterston was criminally underused as the tentative love interest Tina. this trend unfortunately continues unabated in this film…. you’ll struggle afterwards to write down what she actually did in this film.
Jacob (Dan Fogler) and Queenie (Alison Sudol, looking for all the world in some scenes like Rachel Weisz) reprise their roles in a sub-plot that goes nowhere in particular.
Of the newcomers, Jude Law as Dumbledore is a class-act but has very little screen time: hopefully he will get more to do next time around. Zoë Kravitz impresses as Leta.
Wizards of the screen
As you would expect from a David Yates / David Heyman Potter collaboration, the product design, costume design and special effects are all excellent. Some scenes are truly impressive – an ‘explosion’ in a Parisian garret is particularly spectacular.
But special effects alone do not a great film make. Many reviews I’ve seen complain that this was a ‘filler’ film… a set-up film for the rest of the series. And I can understand that view. If you analyse the film overall, virtually NOTHING of importance actually happens: it’s like the “Order of the Phoenix” of the prequels.
Final Thoughts
I dragged myself along to see this one because “I thought I should”. The third in the series will really need to sparkle to make me want to see it. If J.K. Rowling were to take me advice (she won’t – she NEVER returns my calls!) then she would sculpt the story-arc but leave the screenwriting to someone better. The blame for this one, I’m afraid, lies at Rowling’s door alone.
The Plot
I’d really love to tell you about the plot. I really would! But I would struggle to pull all the multitude of strands together from J.K. Rowling’s story and coherently explain them to anyone. If Rowling had put ten thousand monkeys (not a million – it’s no bloody Shakespeare) into a room with typewriters and locked the door I wouldn’t be surprised.
Let me try at a high level….. The arch-criminal wizard Grindelwald (Johnny Depp) is being tortured in ‘Trump Tower’, but manages to escape and flees to Paris in pursuit of a mysterious circus performer called Credence (Ezra Miller) and his bewitched companion Nagini (nudge, nudge, wink, wink) played fetchingly by Claudia Kim. Someone needs to stop him, and all eyes are on Albus Dumbledore (Jude Law). But he is unable to do so, since he and Grindelwald are “closer than brothers” (nudge, nudge, wink, wink). So a reluctant and UK-grounded Newt Scamander (Eddie Redmayne) is smuggled into the danger zone… which suits him just fine since his love Tina (Katherine Waterston) is working for the ministry there, and the couple are currently estranged due to a (topical) bout of ‘Fake News’.
Throw in a potential love triangle between Newt, his brother Theseus (Callum Turner) and old Hogwart’s schoolmate Leta Lestrange (Zoë Kravitz) and about a half dozen other sub-plots and you have… well… a complete bugger’s muggle – – sorry – – muddle.
A plot that’s all at sea
Above all, I really can’t explain the crux of the plot. A venerable diarrhoea of exposition in a crypt, during an inexplicably quiet fifteen minutes (given ‘im-who-can-be-named is next door with about a thousand other people!) left me completely bewildered. A bizarre event at sea (no spoilers) would seem to make absolutely NO SENSE when considered with another reveal at the end of the film. I thought I must have clearly missed something… or I’d just not been intelligent enough to process the information…. or…. it was actually completely bonkers! Actually, I think it’s the latter: in desperation I went on a fan site that tried to explain the plot. While it was explained there, the explanation aligned with what I thought had happened: but it made no mention of the ridiculousness of the random coincidence involved!
The turns
The film’s a mess. Which is a shame since everyone involved tries really hard. Depp oozes evil very effectively (he proves that nicely on arriving in Paris, and doubles-down about 5 minutes later: #veryverydark). Redmayne replays his Newt-act effectively but once again (and I see I made the same comments in my “Fantastic Beasts” review) his character mumbles again so much that many of his lines are unintelligible.
I also complained last time that the excellent actress Katherine Waterston was criminally underused as the tentative love interest Tina. this trend unfortunately continues unabated in this film…. you’ll struggle afterwards to write down what she actually did in this film.
Jacob (Dan Fogler) and Queenie (Alison Sudol, looking for all the world in some scenes like Rachel Weisz) reprise their roles in a sub-plot that goes nowhere in particular.
Of the newcomers, Jude Law as Dumbledore is a class-act but has very little screen time: hopefully he will get more to do next time around. Zoë Kravitz impresses as Leta.
Wizards of the screen
As you would expect from a David Yates / David Heyman Potter collaboration, the product design, costume design and special effects are all excellent. Some scenes are truly impressive – an ‘explosion’ in a Parisian garret is particularly spectacular.
But special effects alone do not a great film make. Many reviews I’ve seen complain that this was a ‘filler’ film… a set-up film for the rest of the series. And I can understand that view. If you analyse the film overall, virtually NOTHING of importance actually happens: it’s like the “Order of the Phoenix” of the prequels.
Final Thoughts
I dragged myself along to see this one because “I thought I should”. The third in the series will really need to sparkle to make me want to see it. If J.K. Rowling were to take me advice (she won’t – she NEVER returns my calls!) then she would sculpt the story-arc but leave the screenwriting to someone better. The blame for this one, I’m afraid, lies at Rowling’s door alone.
Bob Mann (459 KP) rated The Big Sick (2017) in Movies
Sep 29, 2021
Just what the doctor ordered: a charming and thoughtful summer comedy.
Romance and comedy work together beautifully on film: love is innately ridiculous after all! But mix in a dramatic element – particularly a serious medical emergency – to a Rom Com and you walk a dangerous line between on the one hand letting the drama overwhelm the comedy ( “Well! I don’t feel like laughing now!”) and on the other hand diverging into shockingly mawkish finger-down-the-throat sentimentality. Fortunately the new comedy – “The Big Sick” – walks that line to perfection.
Kumail Nanjiani plays (who’d have thought it?) Kumail, a Pakistani-born comic-cum-Uber-driver struggling to get recognised on the Chicago comedy circuit. His performances mix traditional stand-up at a club with a rather po-faced one-man show where he explains at length the culture of Pakistan (Naan-splaining?), including intricate detail on the fielding positions and strategies of cricket. Kumail is heckled during a show by the young and perky Emily (Zoe Kazan, the middle daughter from “It’s Complicated”). Lust blossoms (mental note: stand up comedy seems a fabulous strategy for picking up women) and lust turns to romance as the pair grow closer to each other.
A surging romance. Uber gets love from A to B.
Unfortunately Kumail is aware of something Emily isn’t: his strictly Muslim parents Sharmeen and Azmat (Anupam Kher and Zenobia Schroff) believe in arranged marriages to ‘nice Pakistani girls’ and a relationship with – let alone a marriage to – Emily risks disgrace and familial exile. A medical crisis brings Kumail further into dispute, this time with Emily’s parents Beth and Terry (Holly Hunter and Ray Romano).
Stand-up is, I assert, a very nationalistic thing. It is a medium hugely dependant on context and while I’m sure great British comics like Peter Kay and Eddie Izzard might rate as only a 4 or a 5 out of 10 for most Americans, so most American stand-up comics tend to leave me cold. And perhaps it’s also a movie-thing, that stand-up on the big screen just doesn’t work well? Either way, the initial comedy-club scenes rather left me cold. (And I don’t think most of them were SUPPOSED to be particularly bad – since they seemed to fill the seats each night). As a result I thought this was a “comedy” that wasn’t going to be for me.
Stand up and be counted. Kumail Nanjiani doing the circuit.
But once Nanjiani and Kazan got together the chemistry was immediate and palpable and the duo completely won me round. Kazan in particular is a vibrant and joyous actress who I would love to see a lot more of: this should be a breakout movie for her.
Broader, but none less welcome, comedy is to be found in Kumail’s family home as his mother introduces serial Pakistani girls to the dinner table.
Holly Hunter (“Broadcast News” – one of my favourite films) and Ray Romano are also superb, delivering really thoughtful and nuanced performances that slowly unpeel the stresses inherent in many long-term marriages. The relationship that develops between Kumail and Beth is both poignant and truly touching.
Where the script succeeds is in never quite making the viewer comfortable about where the movie is going and whether the film will end with joy or heartbreak. And you will find no spoilers here!
So is it a comedy classic? Well, no, not quite. What’s a bit disappointing is that for a film as culturally topical as this, the whole question of Islamophobia in Trump’s America is juggled like a hot potato. Aside from one memorable scene in the club, with a redneck heckler, and an excruciating exchange about 9/11 between Kumail and Terry, the subject is completely ignored. This is a shame. The script (by Nanjiani and Emily Gordon) would have benefited enormously from some rather braver “Thick of It” style input from the likes of Armando Iannucci.
I also have to despair at the movie’s marketing executives who came up with this title. FFS! I know “East is East” has already gone, but could you have possibly come up with a less appealing title? I guess the title does serve one useful purpose in flagging up potential upset for those with bad historical experiences of intensive care. (Like “The Descendants” this is what we would term in our family #notaShawFamilyfilm).
Overall though this film, directed by Michael Showalter (no, me neither!) and produced by Judd Apatow (whose name gets the biggest billing), is a fun and engaging movie experience that comes highly recommended. A delightful antidote to the summer blockbuster season. The end titles also bring a delightful surprise (that I’ve seen spoiled since by some reviews) that was moving and brought added depth to the drama that had gone before.
More Hollywood please, more.
Kumail Nanjiani plays (who’d have thought it?) Kumail, a Pakistani-born comic-cum-Uber-driver struggling to get recognised on the Chicago comedy circuit. His performances mix traditional stand-up at a club with a rather po-faced one-man show where he explains at length the culture of Pakistan (Naan-splaining?), including intricate detail on the fielding positions and strategies of cricket. Kumail is heckled during a show by the young and perky Emily (Zoe Kazan, the middle daughter from “It’s Complicated”). Lust blossoms (mental note: stand up comedy seems a fabulous strategy for picking up women) and lust turns to romance as the pair grow closer to each other.
A surging romance. Uber gets love from A to B.
Unfortunately Kumail is aware of something Emily isn’t: his strictly Muslim parents Sharmeen and Azmat (Anupam Kher and Zenobia Schroff) believe in arranged marriages to ‘nice Pakistani girls’ and a relationship with – let alone a marriage to – Emily risks disgrace and familial exile. A medical crisis brings Kumail further into dispute, this time with Emily’s parents Beth and Terry (Holly Hunter and Ray Romano).
Stand-up is, I assert, a very nationalistic thing. It is a medium hugely dependant on context and while I’m sure great British comics like Peter Kay and Eddie Izzard might rate as only a 4 or a 5 out of 10 for most Americans, so most American stand-up comics tend to leave me cold. And perhaps it’s also a movie-thing, that stand-up on the big screen just doesn’t work well? Either way, the initial comedy-club scenes rather left me cold. (And I don’t think most of them were SUPPOSED to be particularly bad – since they seemed to fill the seats each night). As a result I thought this was a “comedy” that wasn’t going to be for me.
Stand up and be counted. Kumail Nanjiani doing the circuit.
But once Nanjiani and Kazan got together the chemistry was immediate and palpable and the duo completely won me round. Kazan in particular is a vibrant and joyous actress who I would love to see a lot more of: this should be a breakout movie for her.
Broader, but none less welcome, comedy is to be found in Kumail’s family home as his mother introduces serial Pakistani girls to the dinner table.
Holly Hunter (“Broadcast News” – one of my favourite films) and Ray Romano are also superb, delivering really thoughtful and nuanced performances that slowly unpeel the stresses inherent in many long-term marriages. The relationship that develops between Kumail and Beth is both poignant and truly touching.
Where the script succeeds is in never quite making the viewer comfortable about where the movie is going and whether the film will end with joy or heartbreak. And you will find no spoilers here!
So is it a comedy classic? Well, no, not quite. What’s a bit disappointing is that for a film as culturally topical as this, the whole question of Islamophobia in Trump’s America is juggled like a hot potato. Aside from one memorable scene in the club, with a redneck heckler, and an excruciating exchange about 9/11 between Kumail and Terry, the subject is completely ignored. This is a shame. The script (by Nanjiani and Emily Gordon) would have benefited enormously from some rather braver “Thick of It” style input from the likes of Armando Iannucci.
I also have to despair at the movie’s marketing executives who came up with this title. FFS! I know “East is East” has already gone, but could you have possibly come up with a less appealing title? I guess the title does serve one useful purpose in flagging up potential upset for those with bad historical experiences of intensive care. (Like “The Descendants” this is what we would term in our family #notaShawFamilyfilm).
Overall though this film, directed by Michael Showalter (no, me neither!) and produced by Judd Apatow (whose name gets the biggest billing), is a fun and engaging movie experience that comes highly recommended. A delightful antidote to the summer blockbuster season. The end titles also bring a delightful surprise (that I’ve seen spoiled since by some reviews) that was moving and brought added depth to the drama that had gone before.
More Hollywood please, more.