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Gareth von Kallenbach (980 KP) rated The Nun (2018) in Movies
Jul 2, 2019
I’ve always been a sucker for supernatural thrillers that are based on “actual events”, even if the way it’s portrayed in the movies nowhere resembles the truth. For some reason, it’s always intriguing to watch a film and imagine that these things could potentially happen. This has always been the draw of The Conjuring films, which are loosely based on the lives of Ed and Lorraine Warren, whose paranormal investigations were the inspiration behind not only this series but the Amityville Horror. So, when I heard that The Nun was another movie set in the same cinematic universe as The Conjuring franchise I anxiously awaited the opportunity to review it.
The Nun begins with two nuns who are attempting to destroy an evil being that has cursed an abbey in a small Romanian village for hundreds of years. After a young man who goes by the name Frenchie (Jonas Bloquet) discovers one of the nuns has hung herself, the Vatican summons Father Burke (Demián Bichir), who is known for his special skills in exorcisms and Sister Irene (Taissa Farmiga), a young nun-in-training to investigate the matter. With Frenchie as their guide, they travel to the abbey to uncover the mysteries of the nun’s suicide.
The Nun reintroduces us to a familiar demonic figure that was originally introduced in The Conjuring 2. Sadly, this is where the similarities to the other Conjuring films end. The Nun has its share of jump scares, but the entire film seems to be a compilation of various horror tropes including everything from crosses turning upside down to using holy water to get rid of demons. All the typical exorcism movie elements are there, but none of them really add any context to the story or answer any questions as to why the priest and nun were sent to investigate the suicide. There is no discernable path that the characters take to unravel the mystery, and it attempts to build suspense only to “Hollywood-up” the ending. They sacrificed suspense and mystery and replaced it with monster filled battles and cheesy one-liners. Instead of beautifully haunting ghosts and demons we got what I could only describe as nun-mummies which can now be taken down with shovels and shotguns. A shotgun was not part of Father Burke’s exorcism arsenal but towards the end of the movie you start to think maybe that should have been his weapon of choice all along (who needs a cross and holy water, when you have your trusty 12-gauge).
The setting is as beautiful as it is creepy, and it’s hard not to wonder how they could take such an amazing setting and dumb it down. The Nun herself is particularly creepy and the characters at first glance appear to be interesting which is why it’s so disappointing that the movie feels so much like a missed opportunity. The pacing of the movie is incredibly slow as well, with all the buildup of the investigation most of the time you are just waiting for something to happen. To make it even worse, most of the buildups lead the audience down a path of confusion and not only raise more questions that will never be answered, but also destroy any believability of the story.
Ultimately, fans of The Conjuring franchise will likely leave disappointed and with even more longing for The Conjuring 3 to be released. The movie lacks much of the suspense and outright terror that the previous movies in the series were well known for and ultimately feels like a spinoff movie that lacks any real connection to the movies preceding it. The Nun isn’t a terrible movie, and I didn’t leave feeling as though I had completely wasted an hour and a half of my time, it just really doesn’t do anything to break new ground or move the franchise along in any meaningful way. While there are parts of the movie that will have you jump, the reality is, that the scenes following these moments will keep you bewildered and likely cause you to forget what made you jump in the first place. It has some interesting concepts, but nothing that hasn’t been done better in similar movies before it. In the end it’s a movie that people will not likely hate but will not feel satisfied with either. I certainly wouldn’t recommend paying full price to see it, but it may be worth the Saturday matinee price or watching it when it comes to Blu-ray. If you want a good ghost or demon movie to get you in the Halloween spirit, this isn’t it. You’d be much better off watching the spectacularly classic Poltergeist or The Exorcist if you really want to be scared out of your wits.
What I liked: The setting and atmosphere, The Nun herself was pretty freaky
What I liked less: Disjointed story, Too many unanswered questions, Overall “meh” feeling
The Nun begins with two nuns who are attempting to destroy an evil being that has cursed an abbey in a small Romanian village for hundreds of years. After a young man who goes by the name Frenchie (Jonas Bloquet) discovers one of the nuns has hung herself, the Vatican summons Father Burke (Demián Bichir), who is known for his special skills in exorcisms and Sister Irene (Taissa Farmiga), a young nun-in-training to investigate the matter. With Frenchie as their guide, they travel to the abbey to uncover the mysteries of the nun’s suicide.
The Nun reintroduces us to a familiar demonic figure that was originally introduced in The Conjuring 2. Sadly, this is where the similarities to the other Conjuring films end. The Nun has its share of jump scares, but the entire film seems to be a compilation of various horror tropes including everything from crosses turning upside down to using holy water to get rid of demons. All the typical exorcism movie elements are there, but none of them really add any context to the story or answer any questions as to why the priest and nun were sent to investigate the suicide. There is no discernable path that the characters take to unravel the mystery, and it attempts to build suspense only to “Hollywood-up” the ending. They sacrificed suspense and mystery and replaced it with monster filled battles and cheesy one-liners. Instead of beautifully haunting ghosts and demons we got what I could only describe as nun-mummies which can now be taken down with shovels and shotguns. A shotgun was not part of Father Burke’s exorcism arsenal but towards the end of the movie you start to think maybe that should have been his weapon of choice all along (who needs a cross and holy water, when you have your trusty 12-gauge).
The setting is as beautiful as it is creepy, and it’s hard not to wonder how they could take such an amazing setting and dumb it down. The Nun herself is particularly creepy and the characters at first glance appear to be interesting which is why it’s so disappointing that the movie feels so much like a missed opportunity. The pacing of the movie is incredibly slow as well, with all the buildup of the investigation most of the time you are just waiting for something to happen. To make it even worse, most of the buildups lead the audience down a path of confusion and not only raise more questions that will never be answered, but also destroy any believability of the story.
Ultimately, fans of The Conjuring franchise will likely leave disappointed and with even more longing for The Conjuring 3 to be released. The movie lacks much of the suspense and outright terror that the previous movies in the series were well known for and ultimately feels like a spinoff movie that lacks any real connection to the movies preceding it. The Nun isn’t a terrible movie, and I didn’t leave feeling as though I had completely wasted an hour and a half of my time, it just really doesn’t do anything to break new ground or move the franchise along in any meaningful way. While there are parts of the movie that will have you jump, the reality is, that the scenes following these moments will keep you bewildered and likely cause you to forget what made you jump in the first place. It has some interesting concepts, but nothing that hasn’t been done better in similar movies before it. In the end it’s a movie that people will not likely hate but will not feel satisfied with either. I certainly wouldn’t recommend paying full price to see it, but it may be worth the Saturday matinee price or watching it when it comes to Blu-ray. If you want a good ghost or demon movie to get you in the Halloween spirit, this isn’t it. You’d be much better off watching the spectacularly classic Poltergeist or The Exorcist if you really want to be scared out of your wits.
What I liked: The setting and atmosphere, The Nun herself was pretty freaky
What I liked less: Disjointed story, Too many unanswered questions, Overall “meh” feeling
Darren (1599 KP) rated Spider-Man: Far From Home (2019) in Movies
Jul 3, 2019
Director: Jon Watts
Writer: Chris McKenna, Erik Sommers (Screenplay) Steve Ditko, Stan Lee (Comic Book)
Starring: Tom Holland, Jake Gyllenhaal, Zendaya, Samuel L Jackson, Jon Favreau, Angourie Rice, Jacob Batalon, Tony Revolori
Plot: Following the events of Avengers: Endgame, Spider-Man must step up to take on new threats in a world that has changed forever.
Runtime: 2 Hours 9 Minutes
There may be spoilers in the rest of the review
Verdict: An Entertaining Jumble
Story: Spider-Man Far from Home starts when Peter Parker (Holland) and his classmates MJ (Zendaya), Ned (Batalon), Flash (Revolori) and others head off to Europe for a scientific school trip, Peter’s plan is to finally tell MJ how he feels, but things don’t go to plan.
Peter finds himself recruited by Nick Fury (Jackson) to help new superhero Quentin Beck known as Mysterio (Gyllenhaal) fight a new threat that is attacking cities in Europe, trying to decide if he is ready to tackle the added responsibility of being a superhero.
Thoughts on Spider-Man Far from Home
Characters – Peter Parker has two main storylines going on in this film, one side of him is the high school student that wants to tell the girl he likes his feeling, nervous and social awkward. The second one sees him facing the reality that he was hand picked to step up and help save the world, a decision which sees him wanting to just take a break from. Watching Peter balance the two is interesting because the high school one was the weaker side, the superhero side is very interesting to follow. Nick Fury is also adapting to life after the snap, where he isn’t in the same level of control on everything going on in the world, he wants Peter to come and work for him and doesn’t like being told no. They did try to recapture certain elements of the chemistry he had with Captain Marvel too. Quentin Beck is the new superhero dubbed Mysterio because of his powers and ability to defeat the elementals that have started attacking the major cities, he offers Peter a chance to discuss his position with having powers like nobody else has since Tony’s death. MJ is the girl of Peter’s dreams, she is very different to both versions of MJ we have seen before, being very distant to the rest of the class, but always manages to capture Peter watching her.
Performances – Tom Holland does do a very good job in the leading role, if it was just the high school side of the film, he does struggle at times, but it is the human effect of being a superhero that completely makes you believe what he is going through. Samuel L Jackson does what we expect from him in a supporting role, as does Zendaya who does everything without standing out. Jake Gyllenhaal though, he was a joy to watch especially in the second half of the film, he just takes his role and runs with it.
Story – The story here follows Peter Parker on his high school trip that gets interrupted to help try and save the world from a new threat, testing him to see if he is ready to replace Iron-Man. This like the character of Peter Parker can be broken down into two simple positives and negatives, the high school trip stuff, is there, most of it gets pretty boring quickly, it is here to help show a human life that he could have though. The superhero side of the story is the highlight because it does get to show how the once confident Peter is starting to question if he is ready to step up after seeing the consequences to what has happened to people in their lives. The villain is a surprise and while I won’t get into details, it is very entertaining to watch and could be one of the best they have bought to a stand alone film.
Action/Sci-Fi – The action in this film is brilliant to watch, it blends with the special effects and doesn’t turn into anything as ridiculous as it could be when you see the fights. The sci-fi element of the film does address the dangers of technology being in the wrong hands once again, but it all works for the story being shown here.
Settings – The film gives us the basic European settings, we have Venice, Prague, Berlin and London, you know well know locations that have large populations which could get destroyed.
Special Effects – The effects in the film did seem flawless, we do have large scale, dust, water and fire monsters used for battles which all look like they could be real along with certain twists in the story which only add to the effects.
Scene of the Movie – What is real?
That Moment That Annoyed Me – Most of the high school stuff.
Final Thoughts – This is a real mixed bag of a superhero movie, it could have been fantastic, only it gets too carried away dealing with the high school world which does drag things down.
Overall: Entertaining enough.
Rating
Writer: Chris McKenna, Erik Sommers (Screenplay) Steve Ditko, Stan Lee (Comic Book)
Starring: Tom Holland, Jake Gyllenhaal, Zendaya, Samuel L Jackson, Jon Favreau, Angourie Rice, Jacob Batalon, Tony Revolori
Plot: Following the events of Avengers: Endgame, Spider-Man must step up to take on new threats in a world that has changed forever.
Runtime: 2 Hours 9 Minutes
There may be spoilers in the rest of the review
Verdict: An Entertaining Jumble
Story: Spider-Man Far from Home starts when Peter Parker (Holland) and his classmates MJ (Zendaya), Ned (Batalon), Flash (Revolori) and others head off to Europe for a scientific school trip, Peter’s plan is to finally tell MJ how he feels, but things don’t go to plan.
Peter finds himself recruited by Nick Fury (Jackson) to help new superhero Quentin Beck known as Mysterio (Gyllenhaal) fight a new threat that is attacking cities in Europe, trying to decide if he is ready to tackle the added responsibility of being a superhero.
Thoughts on Spider-Man Far from Home
Characters – Peter Parker has two main storylines going on in this film, one side of him is the high school student that wants to tell the girl he likes his feeling, nervous and social awkward. The second one sees him facing the reality that he was hand picked to step up and help save the world, a decision which sees him wanting to just take a break from. Watching Peter balance the two is interesting because the high school one was the weaker side, the superhero side is very interesting to follow. Nick Fury is also adapting to life after the snap, where he isn’t in the same level of control on everything going on in the world, he wants Peter to come and work for him and doesn’t like being told no. They did try to recapture certain elements of the chemistry he had with Captain Marvel too. Quentin Beck is the new superhero dubbed Mysterio because of his powers and ability to defeat the elementals that have started attacking the major cities, he offers Peter a chance to discuss his position with having powers like nobody else has since Tony’s death. MJ is the girl of Peter’s dreams, she is very different to both versions of MJ we have seen before, being very distant to the rest of the class, but always manages to capture Peter watching her.
Performances – Tom Holland does do a very good job in the leading role, if it was just the high school side of the film, he does struggle at times, but it is the human effect of being a superhero that completely makes you believe what he is going through. Samuel L Jackson does what we expect from him in a supporting role, as does Zendaya who does everything without standing out. Jake Gyllenhaal though, he was a joy to watch especially in the second half of the film, he just takes his role and runs with it.
Story – The story here follows Peter Parker on his high school trip that gets interrupted to help try and save the world from a new threat, testing him to see if he is ready to replace Iron-Man. This like the character of Peter Parker can be broken down into two simple positives and negatives, the high school trip stuff, is there, most of it gets pretty boring quickly, it is here to help show a human life that he could have though. The superhero side of the story is the highlight because it does get to show how the once confident Peter is starting to question if he is ready to step up after seeing the consequences to what has happened to people in their lives. The villain is a surprise and while I won’t get into details, it is very entertaining to watch and could be one of the best they have bought to a stand alone film.
Action/Sci-Fi – The action in this film is brilliant to watch, it blends with the special effects and doesn’t turn into anything as ridiculous as it could be when you see the fights. The sci-fi element of the film does address the dangers of technology being in the wrong hands once again, but it all works for the story being shown here.
Settings – The film gives us the basic European settings, we have Venice, Prague, Berlin and London, you know well know locations that have large populations which could get destroyed.
Special Effects – The effects in the film did seem flawless, we do have large scale, dust, water and fire monsters used for battles which all look like they could be real along with certain twists in the story which only add to the effects.
Scene of the Movie – What is real?
That Moment That Annoyed Me – Most of the high school stuff.
Final Thoughts – This is a real mixed bag of a superhero movie, it could have been fantastic, only it gets too carried away dealing with the high school world which does drag things down.
Overall: Entertaining enough.
Rating
Emma @ The Movies (1786 KP) rated Doctor Sleep (2019) in Movies
Dec 8, 2019
Thank goodness for retro screenings. I hadn't seen The Shining before but it's one of those things that gets parodied and mentioned so often that you think you might have actually seen it. Cineworld put it on so I made the time to go, there's a review coming soon... you know I'm not logical enough to have done it first!
Dan Torrance has grown up a lot since the events at The Overlook Hotel. The Shining is still with him and his self-destructive coping mechanisms are taking a toll on him. Constantly on the move, he's running from himself as well as a cult that are hunting him around the country.
Dan finds himself in a small town where he meets Billy. Billy recognises the signs of someone trying to find themselves and takes Dan under his wing, finding him a place to stay, a job, and a way to get his life back on track.
The Shining becomes a much more productive part of his life and somehow bring him a message from Abra, a young girl with powers even stronger than his. As the cult gets closer to her he knows he has to help, but that will mean going to a place he swore he'd never go again.
Cinema is going through a very big reboot/franchise phase at the moment, this week at the cinema we were showing 8 things that are follow-ups, spin-offs or reimaginings. I don't think I can commit to saying it's a good or bad thing but it does mean I get to at least see some older films as well. With things like Doctor Sleep, Dark Fate, and Halloween last year, I became very aware that I like the nostalgic homage that these films are for their predecessors. In Doctor Sleep we've got the original locations aged up, the same scenic shots and music, and a sneaky cameo from the original Danny. With The Shining so fresh in my mind it was nice to be able to spot these things.
Ewan McGregor was a top choice for the role of Danny, he's a great actor and every moment he was on screen became very real. Dan starts his journey as a mess, an alcoholic with a severe conscience that tries to set him on the right path. You see his desperation and you get the sense he's almost lost himself. McGregor successfully portrays him from rock bottom to redemption and there's a great balance from him throughout the film.
Pitting off against our good guys is Rebecca Ferguson as Rose The Hat. Rose is the leader of the cult and she has the ability to find people who possess the Shining. She makes a pretty convincing job of the supernatural elements and has got sexy-but-sinister down to a fine art. Most of her role is fairly heavy on the evil side and that was great, but she does get one scene where she's on the other side and, like McGregor, is able to do the polar opposite state so well that it comes across entirely believable.
In support roles we have Cliff Curtis who is consistently good in everything he does (but wronged deeply by this film) and Kyliegh Curran as Abra who I thought did a magnificent job, hopefully we'll be seeing her get more roles in the not too distant future.
There weren't any characters or actors that didn't fit in, the cast overall worked really well together in that respect. There are just two choices that I had slight personal quibbles with... Snakebite Andi gets recruited to the cult after Rose finds out about her special talent, that all worked perfectly well but once she's in the character pretty much vanishes until she's needed for a plot point. That seems like a massive waste of a great thread to me. The second is the bartender, I see what they were trying to do but I honestly hated it, it felt creepily wrong.
The sets and general feel of the film are good, but there's one moment in the effects that made my eyes roll. It's a nice way to convey the power that Rose uses but it is visually terrible, had that been better this could have been a 4.5. I feel that at this point though it's traditional for a Stephen King adaptation to have something that makes me go "WTF?!"
I enjoyed the journey Doctor Sleep took the characters on, I won't be the judge of how it compares to the source material or The Shining, but if you're a new fan like me then this will hopefully come across as a great watch. There are some amazing performances on show and Curran is definitely one to watch in the future.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/doctor-sleep-movie-review.html
Dan Torrance has grown up a lot since the events at The Overlook Hotel. The Shining is still with him and his self-destructive coping mechanisms are taking a toll on him. Constantly on the move, he's running from himself as well as a cult that are hunting him around the country.
Dan finds himself in a small town where he meets Billy. Billy recognises the signs of someone trying to find themselves and takes Dan under his wing, finding him a place to stay, a job, and a way to get his life back on track.
The Shining becomes a much more productive part of his life and somehow bring him a message from Abra, a young girl with powers even stronger than his. As the cult gets closer to her he knows he has to help, but that will mean going to a place he swore he'd never go again.
Cinema is going through a very big reboot/franchise phase at the moment, this week at the cinema we were showing 8 things that are follow-ups, spin-offs or reimaginings. I don't think I can commit to saying it's a good or bad thing but it does mean I get to at least see some older films as well. With things like Doctor Sleep, Dark Fate, and Halloween last year, I became very aware that I like the nostalgic homage that these films are for their predecessors. In Doctor Sleep we've got the original locations aged up, the same scenic shots and music, and a sneaky cameo from the original Danny. With The Shining so fresh in my mind it was nice to be able to spot these things.
Ewan McGregor was a top choice for the role of Danny, he's a great actor and every moment he was on screen became very real. Dan starts his journey as a mess, an alcoholic with a severe conscience that tries to set him on the right path. You see his desperation and you get the sense he's almost lost himself. McGregor successfully portrays him from rock bottom to redemption and there's a great balance from him throughout the film.
Pitting off against our good guys is Rebecca Ferguson as Rose The Hat. Rose is the leader of the cult and she has the ability to find people who possess the Shining. She makes a pretty convincing job of the supernatural elements and has got sexy-but-sinister down to a fine art. Most of her role is fairly heavy on the evil side and that was great, but she does get one scene where she's on the other side and, like McGregor, is able to do the polar opposite state so well that it comes across entirely believable.
In support roles we have Cliff Curtis who is consistently good in everything he does (but wronged deeply by this film) and Kyliegh Curran as Abra who I thought did a magnificent job, hopefully we'll be seeing her get more roles in the not too distant future.
There weren't any characters or actors that didn't fit in, the cast overall worked really well together in that respect. There are just two choices that I had slight personal quibbles with... Snakebite Andi gets recruited to the cult after Rose finds out about her special talent, that all worked perfectly well but once she's in the character pretty much vanishes until she's needed for a plot point. That seems like a massive waste of a great thread to me. The second is the bartender, I see what they were trying to do but I honestly hated it, it felt creepily wrong.
The sets and general feel of the film are good, but there's one moment in the effects that made my eyes roll. It's a nice way to convey the power that Rose uses but it is visually terrible, had that been better this could have been a 4.5. I feel that at this point though it's traditional for a Stephen King adaptation to have something that makes me go "WTF?!"
I enjoyed the journey Doctor Sleep took the characters on, I won't be the judge of how it compares to the source material or The Shining, but if you're a new fan like me then this will hopefully come across as a great watch. There are some amazing performances on show and Curran is definitely one to watch in the future.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/doctor-sleep-movie-review.html
Lee (2222 KP) rated Parasite (2019) in Movies
Jan 27, 2020 (Updated Jan 27, 2020)
About twenty or so years ago, before the age of social media and all the FOMO and spoilers that comes from having such easy access to the entire movie loving world, a delayed UK release for a movie that had already been out in the US for some months wasn't such a big deal. I can remember buying an imported region 1 DVD of The Blair Witch Project and watching it on Halloween night in the UK, in the comfort of my living room and on the day it was released in the cinema. I was pretty disappointed with what I saw, but that's not my point here. Recently, we seem to be regressing to that period in time once more - not with big releases such as Marvel movies, which we are usually lucky enough to sometimes get a day or so before the US, but with films that could be described as being a little less mainstream. The Lighthouse, Jojo Rabbit, A Beautiful Day in the Neighborhood and the subject of this review, Parasite, have all been subject to such treatment and, along with the delayed release of Disney+, the UK currently seems to be getting a serious shafting. Parasite though is a movie for which I've heard nothing but praise for what seems like forever now. It has received six Oscar nominations and is now receiving a US disc release before it's even released in UK cinemas! Anyway, ranting aside, I did manage to avoid any spoilers for Parasite and was able to go in fairly unclear as to what to expect, and I would urge everyone else to do the same. Consequently, I will try to review it by giving away as little as possible.
Parasite tells the story of the Kim family, living in poverty in a cluttered South Korean basement. When we join them they are all desperately trying to find a spot in their home where they can pick up on a nearby public WiFi hot spot in order to connect their phones to Whatsapp (turns out, it's in the corner of the toilet!). Times are clearly tough and when the mother manages to get a small job putting together pizza boxes at home, the whole family chips in to help. They even have the pleasure of being able to view drunk men staggering down their street and urinating right outside the basement window while they try to eat at their dining room table.
A friend of the son comes to visit him one evening and tells him that he has to go away for a while. He currently has a job teaching English to the daughter of the wealthy Park family and wonders if Ki-woo would like to temporarily take over for him. Despite Ki-woo having no experience in tutoring, Ki-woo is assured by his friend that it will be easy money and, providing he can win over the confidence of the "simple" mother of the house, he'll have no problem. Sure enough, the confident Ki-woo, backed up by a certificate created for him in Photoshop by his sister, manages to land himself a regular tutoring job. Then, with the use of charm, lies and deception, Ki-woo soon manages to secure cushy jobs within the Park household for the rest of his family - art tutor, housekeeper and chauffeur - all being introduced as either old acquaintances or referrals from colleagues rather than family members. And so, the family find themselves having to lead double lives, juggling their own poverty stricken home-life together, along with the separate lives they lead while working for the Park family as work colleagues.
And that is really the basis of the movie. It's an elaborate scheme which, despite being deceptive and dishonest, is a lot of fun to see play out, and at times you really can get behind the Kim family and root for them. Things go comically wrong, in the kind of way that reminded me of a sitcom where a situation involves our stars getting themselves deeper and deeper into something, no matter how hard they try to go along with it and come up with a solution. And then things start to go horribly, even horrifically wrong, courtesy of a number of little twists and shocks.
Don't let the fact that Parasite is a subtitled movie put you off and believe all the hype you come across, as this is a must see movie and I was gripped, on the edge of my seat and thoroughly entertained for the most part. There is a very clear message played out concerning the rich/poor divide - obvious at times, when you see the contrasting effect that a serious storm has on each family - and much subtler at other times. There are some elements though, surrounding the ending of the movie, which I didn't quite buy into and that stopped this from being a full 10 out of 10 from me. I felt there was a clear point where this could and should have ended earlier, but still an incredible movie all the same.
Parasite tells the story of the Kim family, living in poverty in a cluttered South Korean basement. When we join them they are all desperately trying to find a spot in their home where they can pick up on a nearby public WiFi hot spot in order to connect their phones to Whatsapp (turns out, it's in the corner of the toilet!). Times are clearly tough and when the mother manages to get a small job putting together pizza boxes at home, the whole family chips in to help. They even have the pleasure of being able to view drunk men staggering down their street and urinating right outside the basement window while they try to eat at their dining room table.
A friend of the son comes to visit him one evening and tells him that he has to go away for a while. He currently has a job teaching English to the daughter of the wealthy Park family and wonders if Ki-woo would like to temporarily take over for him. Despite Ki-woo having no experience in tutoring, Ki-woo is assured by his friend that it will be easy money and, providing he can win over the confidence of the "simple" mother of the house, he'll have no problem. Sure enough, the confident Ki-woo, backed up by a certificate created for him in Photoshop by his sister, manages to land himself a regular tutoring job. Then, with the use of charm, lies and deception, Ki-woo soon manages to secure cushy jobs within the Park household for the rest of his family - art tutor, housekeeper and chauffeur - all being introduced as either old acquaintances or referrals from colleagues rather than family members. And so, the family find themselves having to lead double lives, juggling their own poverty stricken home-life together, along with the separate lives they lead while working for the Park family as work colleagues.
And that is really the basis of the movie. It's an elaborate scheme which, despite being deceptive and dishonest, is a lot of fun to see play out, and at times you really can get behind the Kim family and root for them. Things go comically wrong, in the kind of way that reminded me of a sitcom where a situation involves our stars getting themselves deeper and deeper into something, no matter how hard they try to go along with it and come up with a solution. And then things start to go horribly, even horrifically wrong, courtesy of a number of little twists and shocks.
Don't let the fact that Parasite is a subtitled movie put you off and believe all the hype you come across, as this is a must see movie and I was gripped, on the edge of my seat and thoroughly entertained for the most part. There is a very clear message played out concerning the rich/poor divide - obvious at times, when you see the contrasting effect that a serious storm has on each family - and much subtler at other times. There are some elements though, surrounding the ending of the movie, which I didn't quite buy into and that stopped this from being a full 10 out of 10 from me. I felt there was a clear point where this could and should have ended earlier, but still an incredible movie all the same.
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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).
Bob Mann (459 KP) rated Slaughterhouse Rulez (2018) in Movies
Sep 28, 2021
Form-Prefect of the Dead.
The Plot
Meredith Houseman (Simon Pegg) is housemaster of Sparta house in Slaughterhouse school: an ancient public school establishment steering England’s future greats to greatness (which probably explains a lot about the current Brexit mess!). Houseman is not in a happy place, given that his girlfriend is now in deepest darkest African doing “good works” with handsome French doctors, and particularly that she is played by Margot Robbie: I would be also be sad… #punching!
New school starter Don Wallace (Finn Cole) is equally unhappy as he is a northern teen dragooned into attending the school by his well-meaning Mum (Jo Hartley). His strange room-mate Willoughby (Asa Butterfield) seems to be a chronic depressive; he is being picked on by the prefect-bully Clegg (Tom Rhys Harries); and his bed was previously occupied by a Viscount, since deceased under unpleasant circumstances that no-one wants to talk about. At least he has the distraction of the upper-sixth school goddess Clemsie Lawrence (Hermione Corfield) to take his mind off his woes.
All this washes over “The Bat” – the school’s headmaster (Michael Sheen) – since he is engrossed in some shady deal with an evil corporation doing fracking in the school grounds. The fracking though seems to be doing more than just causing a few minor earth tremors, as ancient forces are unleashed.
The Review
The movie is positioned as a “comedy/horror”, along the lines of “Shaun of the Dead”. The film also has Frost and Pegg as executive producers and they also have starring roles in the film. But there the similarities really end: this is a “Cornetto film” without a cone of solid chocolate lurking at the bottom to enjoy.
The script (by director Crispian Mills and first-time screenwriter Henry Fitzherbert) is nowhere near as sharp as the Frost/Pegg scripts for their famous collaborations. The story overall makes precious little sense: it’s a hodge-podge of elements from many Harry Potter films (especially “The Chamber of Secrets”), Lindsay Anderson’s “If…”; and Roy Boulting’s “The Guinea Pig”; with also a sprinkling of the anarchic essence of Michael Palin’s classic “Tomkinson’s Schooldays”. The whole thing never manages to gel into a cohesive whole.
After the second reel, the film completely loses sight of the plot: there’s a whole lot of running, screaming and dying going on but there’s little logic behind any of it that I could fathom. What didn’t help my comprehension of what was going on were some ‘Cornetto-esque’ sequences of manic editing. Images were thrown onto the screen so subliminally that any clever nuance was lost. I’m sure at one point there was a droll (if gross) segue at a “Roman orgy” of a girl receiving oral sex before being ‘eaten out’ in an entirely different way. But you would need a Blu-ray and a frame-by-frame pause function to get the joke.
That’s not to say that I didn’t laugh a few times along the way. There are some sight gags – for example, Wooten (Kit Connor) as the lad at the bottom of the bullying pecking order, chained to a U-bend – that made me laugh, and some running jokes – for example, Frost as the head of the anti-fracking camp offering the kids drugs at every encounter – that mildly amuse. But once again here’s a British comedy that, like the atrocious “The Brits are Coming“, thinks that “funny” largely revolves around swearing a lot – how useful that “frack” sounds so similar to another word – with added bodily dismemberment.
The turns
Pegg and Frost ham it up with their usual comedy schtick well enough, and it was quite fun to see Sheen try a comedy role for a change as the conniving and supercilious headmaster. Elsewhere all the young cast put their hearts into it, but it’s again Asa Butterfield that your eyes gravitate to, due to his striking features. I last saw Asa in the excellent if harrowing WW1 drama “Journey’s End“, and he here proves again that he is a One Mann’s Movies ‘name to watch for the future’.
Final thoughts
There’s a lot to irritate in this film. From the “z” in the title to… well… about 80% of the film. There is no nuance or subtlety to either the writing or the direction. I think that’s a great shame. The film has a good premise hidden in there. An adult comedy set around the ridiculous rules and rites of public schools (away from the light nonsense of “St Trinians”) is overdue. And the whole subject of fracking, and the conflicts surrounding the controversial techniques, hasn’t yet – to my knowledge – been explored in a fictional movie. The film does have a few very funny moments. But as a whole I left the cinema with that “wasted two hours” feeling. Not recommended.
Meredith Houseman (Simon Pegg) is housemaster of Sparta house in Slaughterhouse school: an ancient public school establishment steering England’s future greats to greatness (which probably explains a lot about the current Brexit mess!). Houseman is not in a happy place, given that his girlfriend is now in deepest darkest African doing “good works” with handsome French doctors, and particularly that she is played by Margot Robbie: I would be also be sad… #punching!
New school starter Don Wallace (Finn Cole) is equally unhappy as he is a northern teen dragooned into attending the school by his well-meaning Mum (Jo Hartley). His strange room-mate Willoughby (Asa Butterfield) seems to be a chronic depressive; he is being picked on by the prefect-bully Clegg (Tom Rhys Harries); and his bed was previously occupied by a Viscount, since deceased under unpleasant circumstances that no-one wants to talk about. At least he has the distraction of the upper-sixth school goddess Clemsie Lawrence (Hermione Corfield) to take his mind off his woes.
All this washes over “The Bat” – the school’s headmaster (Michael Sheen) – since he is engrossed in some shady deal with an evil corporation doing fracking in the school grounds. The fracking though seems to be doing more than just causing a few minor earth tremors, as ancient forces are unleashed.
The Review
The movie is positioned as a “comedy/horror”, along the lines of “Shaun of the Dead”. The film also has Frost and Pegg as executive producers and they also have starring roles in the film. But there the similarities really end: this is a “Cornetto film” without a cone of solid chocolate lurking at the bottom to enjoy.
The script (by director Crispian Mills and first-time screenwriter Henry Fitzherbert) is nowhere near as sharp as the Frost/Pegg scripts for their famous collaborations. The story overall makes precious little sense: it’s a hodge-podge of elements from many Harry Potter films (especially “The Chamber of Secrets”), Lindsay Anderson’s “If…”; and Roy Boulting’s “The Guinea Pig”; with also a sprinkling of the anarchic essence of Michael Palin’s classic “Tomkinson’s Schooldays”. The whole thing never manages to gel into a cohesive whole.
After the second reel, the film completely loses sight of the plot: there’s a whole lot of running, screaming and dying going on but there’s little logic behind any of it that I could fathom. What didn’t help my comprehension of what was going on were some ‘Cornetto-esque’ sequences of manic editing. Images were thrown onto the screen so subliminally that any clever nuance was lost. I’m sure at one point there was a droll (if gross) segue at a “Roman orgy” of a girl receiving oral sex before being ‘eaten out’ in an entirely different way. But you would need a Blu-ray and a frame-by-frame pause function to get the joke.
That’s not to say that I didn’t laugh a few times along the way. There are some sight gags – for example, Wooten (Kit Connor) as the lad at the bottom of the bullying pecking order, chained to a U-bend – that made me laugh, and some running jokes – for example, Frost as the head of the anti-fracking camp offering the kids drugs at every encounter – that mildly amuse. But once again here’s a British comedy that, like the atrocious “The Brits are Coming“, thinks that “funny” largely revolves around swearing a lot – how useful that “frack” sounds so similar to another word – with added bodily dismemberment.
The turns
Pegg and Frost ham it up with their usual comedy schtick well enough, and it was quite fun to see Sheen try a comedy role for a change as the conniving and supercilious headmaster. Elsewhere all the young cast put their hearts into it, but it’s again Asa Butterfield that your eyes gravitate to, due to his striking features. I last saw Asa in the excellent if harrowing WW1 drama “Journey’s End“, and he here proves again that he is a One Mann’s Movies ‘name to watch for the future’.
Final thoughts
There’s a lot to irritate in this film. From the “z” in the title to… well… about 80% of the film. There is no nuance or subtlety to either the writing or the direction. I think that’s a great shame. The film has a good premise hidden in there. An adult comedy set around the ridiculous rules and rites of public schools (away from the light nonsense of “St Trinians”) is overdue. And the whole subject of fracking, and the conflicts surrounding the controversial techniques, hasn’t yet – to my knowledge – been explored in a fictional movie. The film does have a few very funny moments. But as a whole I left the cinema with that “wasted two hours” feeling. Not recommended.
Bob Mann (459 KP) rated Ant-Man and the Wasp (2018) in Movies
Sep 28, 2021
Large and Small on screen, but just ends up middling.
So, for the first time we divided last night at the cinema. I went off to watch “Ant-Man and the Wasp” and my wife – not a Marvel fan – went to see “Mamma Mia! Here We Go Again” (for the THIRD time!). Incidentally, Mamma Mia 2 seems to be the movie phenomenon of the summer, taking over from “The Greatest Showman” as the movie phenomenon of the winter. It’s been out three weeks now and the shows are still selling out, with people (mostly groups of women) being turned away at the ticket desk. I can see this one running in theatres until October, when they bring out a sing-a-long edition and it carries on running ‘til Christmas. Extraordinary.
But, let’s turn from big things to small things. In a prologue we see a young Dr Hank Pym (Michael Douglas) and wife Janet (Michelle Pfeiffer) torn apart as Janet miniturises herself into the “quantum realm” to save the world from nuclear disaster. But in the present day Hank thinks there might be a way to find and retrieve Janet with the help of their superhero daughter Hope (“The Wasp”, played by Evangeline Lilly). (“What the f*** have you been thinking about instead for the last 30 years while I’ve been sat here avoiding neutrons”, would be the imagined response from Janet, but we don’t go there!).
But Scott Lang (aka “Ant Man”, Paul Rudd), having also been to the quantum realm, holds a key part of the puzzle. To add to their problems, a strange ghost-like girl called Ava has her own reasons for retrieving the lost soul, but in ways that will tear Janet limb from limb. Can Hank, Hope and Scott succeed, while dodging both The Ghost, the FBI and other criminal forces intent on seizing Pym’s technology?
I must admit that I’d somewhat forgotten how “Ant Man” ended three years ago, which together with the one film missing from my Marvel-watching canon being “Captain America: Civil War” left me somewhat confused by why we start the film with our hero Lang under two-year’s house arrest. But much fun is had with Lang’s curfew and the frustration of FBI agent Jimmy Woo (Randall Park) in trying to catch him breaking the rules.
For we are again at the comedic end of the Marvel universe. However the comedy is extremely uneven this time and doesn’t sit particularly well with the dramatic and emotional elements of the film. It’s certainly nowhere near the consistently funny content of the surprisingly good “Thor: Ragnarok”. Some of Rudd’s lines just smell of “trying too hard”.
Adding comedic value is Michael Peña returning here as Scott’s partner Luis. His motor-mouth routine after taking a truth drug (“not a truth drug”!) was hilarious, with the rest of the cast miming his words in flashback.
It has to be said though that there are some truly great sight-gags, to rival the Thomas the Tank Engine scenes in the first film. The expanding salt-cellar; the expanding / contracting car and building moments; and the “skateboard” scenes. But all – and I mean ALL – of these scenes were universally spoiled by the trailer, such that the reaction to them was “oh, that’s that bit then”. NEVER has there been a better case for a teaser trailer that basically said “Ant Man’s back; here’s ONE wow-factor visual”. It’s just criminal. Interestingly, re the trailer, there was also at least one scene (the “you go high, I’ll go low” one, which I thought was very funny) that didn’t make the cut I saw.
Acting wise you can’t fault the cast with Lilly just great as “The Wasp”. If I was her, I would have said “OK… I’ll do the film, but I get to keep the suit!”. That would be her age monitoring device for years to come…. “Does the zip still do up at the back? Do my impossibly pert breasts still align with these impossibly well-moulded contours?”. It’s also great to see Michael Douglas and Laurence Fishburne going head-to-head in the acting stakes. Walton Goggins again crops up as a believable bad-guy, a performance I really enjoyed, but the star turn for me in the whole film was a career-making performance by Hannah John-Kamen as Ava/The Ghost: she’s previously only had small supporting roles in “Tomb Raider” and “Ready Player One”. Looking like a Star Wars sand-person in her outfit she removes her mask to reveal a stunningly piercing gaze and great screen presence. One to watch for the future.
Directed by original “Ant Man” director Peyton Reed, it’s a perfectly entertaining watch for a summer night, but it is uneven in tone, perhaps the result of the team of five credited with the writing. Ask me in two months’ time to tell you anything about it and I will probably struggle. It’s a “meh” sort of film for me.
But, let’s turn from big things to small things. In a prologue we see a young Dr Hank Pym (Michael Douglas) and wife Janet (Michelle Pfeiffer) torn apart as Janet miniturises herself into the “quantum realm” to save the world from nuclear disaster. But in the present day Hank thinks there might be a way to find and retrieve Janet with the help of their superhero daughter Hope (“The Wasp”, played by Evangeline Lilly). (“What the f*** have you been thinking about instead for the last 30 years while I’ve been sat here avoiding neutrons”, would be the imagined response from Janet, but we don’t go there!).
But Scott Lang (aka “Ant Man”, Paul Rudd), having also been to the quantum realm, holds a key part of the puzzle. To add to their problems, a strange ghost-like girl called Ava has her own reasons for retrieving the lost soul, but in ways that will tear Janet limb from limb. Can Hank, Hope and Scott succeed, while dodging both The Ghost, the FBI and other criminal forces intent on seizing Pym’s technology?
I must admit that I’d somewhat forgotten how “Ant Man” ended three years ago, which together with the one film missing from my Marvel-watching canon being “Captain America: Civil War” left me somewhat confused by why we start the film with our hero Lang under two-year’s house arrest. But much fun is had with Lang’s curfew and the frustration of FBI agent Jimmy Woo (Randall Park) in trying to catch him breaking the rules.
For we are again at the comedic end of the Marvel universe. However the comedy is extremely uneven this time and doesn’t sit particularly well with the dramatic and emotional elements of the film. It’s certainly nowhere near the consistently funny content of the surprisingly good “Thor: Ragnarok”. Some of Rudd’s lines just smell of “trying too hard”.
Adding comedic value is Michael Peña returning here as Scott’s partner Luis. His motor-mouth routine after taking a truth drug (“not a truth drug”!) was hilarious, with the rest of the cast miming his words in flashback.
It has to be said though that there are some truly great sight-gags, to rival the Thomas the Tank Engine scenes in the first film. The expanding salt-cellar; the expanding / contracting car and building moments; and the “skateboard” scenes. But all – and I mean ALL – of these scenes were universally spoiled by the trailer, such that the reaction to them was “oh, that’s that bit then”. NEVER has there been a better case for a teaser trailer that basically said “Ant Man’s back; here’s ONE wow-factor visual”. It’s just criminal. Interestingly, re the trailer, there was also at least one scene (the “you go high, I’ll go low” one, which I thought was very funny) that didn’t make the cut I saw.
Acting wise you can’t fault the cast with Lilly just great as “The Wasp”. If I was her, I would have said “OK… I’ll do the film, but I get to keep the suit!”. That would be her age monitoring device for years to come…. “Does the zip still do up at the back? Do my impossibly pert breasts still align with these impossibly well-moulded contours?”. It’s also great to see Michael Douglas and Laurence Fishburne going head-to-head in the acting stakes. Walton Goggins again crops up as a believable bad-guy, a performance I really enjoyed, but the star turn for me in the whole film was a career-making performance by Hannah John-Kamen as Ava/The Ghost: she’s previously only had small supporting roles in “Tomb Raider” and “Ready Player One”. Looking like a Star Wars sand-person in her outfit she removes her mask to reveal a stunningly piercing gaze and great screen presence. One to watch for the future.
Directed by original “Ant Man” director Peyton Reed, it’s a perfectly entertaining watch for a summer night, but it is uneven in tone, perhaps the result of the team of five credited with the writing. Ask me in two months’ time to tell you anything about it and I will probably struggle. It’s a “meh” sort of film for me.
Bob Mann (459 KP) rated A Quiet Place (2018) in Movies
Sep 29, 2021
“There’s a kind of hush, all over the world tonight”.
What a masterpiece this is! The most novel, the most tense, the most exhilarating, the most edge-of-your-seat Indie horror movie I could hope to see this year.
It’s 2020 and 89 days after “it” happens, the world is a very different place. Making any noise at all becomes a death sentence…. that bad cold could kill you and nothing seems to be able to prevent mankind from being annihilated one sneeze at a time.
In what could be a nice “Cloverfield”-style series, the action here focuses in on the resourceful Abbott family: the father Lee (John Krasinski, “Away We Go”) is handy with electronics and back-woods skills; the mother Evelyn (Emily Blunt, “The Girl on the Train“; “Edge of Tomorrow“) has medical training. So they are well suited then to take care of their offspring: the profoundly deaf Regan (Millicent Simmonds); Marcus (Noah Jupe); and their youngest Beau (a cute Cade Woodward). It’s a battle of brains against vicious, relentless and malevolent alien brawn: how far will Lee and Evelyn go to keep their family safe?
Man, this is a tense film! It doesn’t pull its punches from the get-go and thereafter there is an air of brooding and ever-building menace that gets right under your skin. This is certainly not helped by the fact that there is a ticking clock of an oncoming ‘event’ – no spoilers here – to worry about. As incessantly and inevitably as the rising tide in “The Shallows” a clock ticks down. Thank heavens then that the ‘event’ and the outcome of that ‘event’ are both traditionally such quiet affairs!
While all of the buzz at the moment is on the 80’s Easter Eggs in “Ready Player One”, here is a movie packed with delights for movie lovers. There are recognisable elements here from such classics as “The Road”, “Signs”, “Witness”, “Alien”, “Jurassic Park”, “Jaws”…. even (traumatically) “Home Alone”! So is it then just a rag-bag collection of stolen moments from other films? No – not at all. This stands tall and proud as a master work in its own right, the standout and unique quality of the movie being its use (or rather absence) of sound… something that works so magnificently as a concept in a movie-theatre.
I was lucky enough in the late September of 1979 to see (at 10 am in the morning as I remember!) in the Odeon Leicester Square in London, the first ever UK (and probably worldwide) showing of a little film called “Alien”. The cinema was pretty empty, but I have never sat through such an electric viewing. This had some of the same aura about it: a hushed audience, totally gripped. (I agree with Simon Mayo and Ali Plumb on this though that all snacks, and especially popcorn in scrapy SCRAPY cardboard boxes, should be banned from these screenings… I had to physically move seats away a noisy muncher as the film started!). But for sure, distractions accepted, this is a classic communal movie experience and so is a movie you should most DEFINITELY see in the cinema.
If there is one Oscar for February 2019 that I think should already be a shoe-in for a nomination, if not a win, it is the sound team led by Erik Aadahl and Ethan Van der Ryn: breathtakingly spectacular. This is assisted enormously by the musical score of Marco Beltrami (“Logan“, “The Shallows“) which helps augment and annotate the action jump-scares brilliantly.
Another critical member of the crew for a film like this is the editor, and here Christopher Tellefsen (“Joy“) delivers the goods with tight and effective execution of those cuts (the film sort!) that made me vertically leave my seat at least a couple of times.
Real life couple Krasinski and Blunt share such obvious and tender chemistry that it is impossible to not get emotionally involved. A shared iPhone listening moment, as a lull in the action, is very moving. Millicent Simmonds, who is actually deaf from childhood in an inspired piece of storytelling/casting, is also an acting force to be reckoned with: her only other movie is last year’s “Wonderstruck” that I have yet to see.
Writers Bryan Woods and Scott Beck (with contribution to the screenplay from Krasinski) also deserve praise for an intelligent and highly satisfying plot that never fails to disappoint to the last drop. Every detail, down to the painted footsteps on the un-squeaky floorboards, is just pitch-perfect. It’s also a film that very wisely doesn’t outstay its welcome: 90 minutes of such adrenaline is almost too much for anyone to stand! Krasinski as director keeps everything deliciously tight during that running time with no time to breath, particularly in the frenetic final reel.
I’ve gushed enough. This is a must see for sci-fi and horror fans of all ages. And with a “BvS quotient” of just 6.8%, it’s enormously good value for money. Go see it!
It’s 2020 and 89 days after “it” happens, the world is a very different place. Making any noise at all becomes a death sentence…. that bad cold could kill you and nothing seems to be able to prevent mankind from being annihilated one sneeze at a time.
In what could be a nice “Cloverfield”-style series, the action here focuses in on the resourceful Abbott family: the father Lee (John Krasinski, “Away We Go”) is handy with electronics and back-woods skills; the mother Evelyn (Emily Blunt, “The Girl on the Train“; “Edge of Tomorrow“) has medical training. So they are well suited then to take care of their offspring: the profoundly deaf Regan (Millicent Simmonds); Marcus (Noah Jupe); and their youngest Beau (a cute Cade Woodward). It’s a battle of brains against vicious, relentless and malevolent alien brawn: how far will Lee and Evelyn go to keep their family safe?
Man, this is a tense film! It doesn’t pull its punches from the get-go and thereafter there is an air of brooding and ever-building menace that gets right under your skin. This is certainly not helped by the fact that there is a ticking clock of an oncoming ‘event’ – no spoilers here – to worry about. As incessantly and inevitably as the rising tide in “The Shallows” a clock ticks down. Thank heavens then that the ‘event’ and the outcome of that ‘event’ are both traditionally such quiet affairs!
While all of the buzz at the moment is on the 80’s Easter Eggs in “Ready Player One”, here is a movie packed with delights for movie lovers. There are recognisable elements here from such classics as “The Road”, “Signs”, “Witness”, “Alien”, “Jurassic Park”, “Jaws”…. even (traumatically) “Home Alone”! So is it then just a rag-bag collection of stolen moments from other films? No – not at all. This stands tall and proud as a master work in its own right, the standout and unique quality of the movie being its use (or rather absence) of sound… something that works so magnificently as a concept in a movie-theatre.
I was lucky enough in the late September of 1979 to see (at 10 am in the morning as I remember!) in the Odeon Leicester Square in London, the first ever UK (and probably worldwide) showing of a little film called “Alien”. The cinema was pretty empty, but I have never sat through such an electric viewing. This had some of the same aura about it: a hushed audience, totally gripped. (I agree with Simon Mayo and Ali Plumb on this though that all snacks, and especially popcorn in scrapy SCRAPY cardboard boxes, should be banned from these screenings… I had to physically move seats away a noisy muncher as the film started!). But for sure, distractions accepted, this is a classic communal movie experience and so is a movie you should most DEFINITELY see in the cinema.
If there is one Oscar for February 2019 that I think should already be a shoe-in for a nomination, if not a win, it is the sound team led by Erik Aadahl and Ethan Van der Ryn: breathtakingly spectacular. This is assisted enormously by the musical score of Marco Beltrami (“Logan“, “The Shallows“) which helps augment and annotate the action jump-scares brilliantly.
Another critical member of the crew for a film like this is the editor, and here Christopher Tellefsen (“Joy“) delivers the goods with tight and effective execution of those cuts (the film sort!) that made me vertically leave my seat at least a couple of times.
Real life couple Krasinski and Blunt share such obvious and tender chemistry that it is impossible to not get emotionally involved. A shared iPhone listening moment, as a lull in the action, is very moving. Millicent Simmonds, who is actually deaf from childhood in an inspired piece of storytelling/casting, is also an acting force to be reckoned with: her only other movie is last year’s “Wonderstruck” that I have yet to see.
Writers Bryan Woods and Scott Beck (with contribution to the screenplay from Krasinski) also deserve praise for an intelligent and highly satisfying plot that never fails to disappoint to the last drop. Every detail, down to the painted footsteps on the un-squeaky floorboards, is just pitch-perfect. It’s also a film that very wisely doesn’t outstay its welcome: 90 minutes of such adrenaline is almost too much for anyone to stand! Krasinski as director keeps everything deliciously tight during that running time with no time to breath, particularly in the frenetic final reel.
I’ve gushed enough. This is a must see for sci-fi and horror fans of all ages. And with a “BvS quotient” of just 6.8%, it’s enormously good value for money. Go see it!
Chris Sawin (602 KP) rated The Northman (2022) in Movies
Apr 30, 2022
The bloody action. (2 more)
The rhythmic, pounding score.
Amleth's visions and strange encounters.
May be too weird or slow for some. (2 more)
Won't change your opinion of Robert Eggers if you already dislike him as a filmmaker.
...Did you say fart sniffing?
A Gory Viking Epic Forged in Boisterous Greatness
The Northman is director Robert Eggers third feature length film after The Witch and The Lighthouse. The film is written by Eggers and Sjón (Lamb, frequent collaborator with Björk). The Northman is described as an epic historical action drama, but is essentially a Viking revenge film. Taking place in AD 895, King Aurvandill War-Raven (Ethan Hawke) is killed by his brother, Fjölnir (Claes Bang). Aurvandill’s son, Amleth (Oscar Novak portrays young Amleth) flees and swears revenge on his uncle while vowing to save his mother Queen Gudrún (Nicole Kidman).
In AD 914, a now adult Amleth (Alexander Skarsgård) has been raised as a Viking and was enlisted as a berserker. Seemingly losing his focus in furious battle, Amleth is reminded of his vengeful mission a few years later by a Seeress (Björk) that predicts that Amleth will soon get his sought after revenge on his uncle.
The film is based on the story of Amleth, which was written sometime before the year 1200 and inspired Shakespeare’s Hamlet. The Northman feels like it’s forged by the same cinematic swordsmith that created the likes of Conan the Barbarian, Beowulf, and Gladiator, but with a bloodier, and slightly trippier ambiance Robert Eggers tends to be known for.
Amleth’s opening voiceover as the film opens with a monstrously intimidating volcano on the verge of erupting is haunting. Alexander Skarsgård has this gruff and nearly grunt-like growl to his speech that you can feel reverberate in your chest as he speaks. The score to the film is also just as memorable and incredible. On paper, it’s just a series of loud drumming or pounding, a fancy string arrangement, and some harmless chanting. But all of those elements together suddenly become this impressive musical declaration of war. The score constantly crescendos and always finds a way to ignite a fire within you.
It’s humorous to think that most will have seen Willem Dafoe last in Spider-Man: No Way Home. Dafoe’s role as Heimir the Fool is also a leap in a different direction even when compared to his role as Thomas Wake in The Lighthouse. Heimir’s key role in the story is to oversee the spiritual journey Almeth takes with Aurvandill right before his death. It’s a bizarre sequence as both grown men and young boy are dressed in nothing but loin cloths as they act like dogs, get on their hands and knees, drink water from a bowl, belch, and take turns sniffing each other’s farts. It’s an intriguing role for Dafoe as he’s this crowd pleasing jester one minute and a spiritual guide the next.
The barbaric action is fairly straightforward in The Northman, but what complicates things are Amleth’s visions. Beginning with his encounter with the Seeress, Amleth also battles an undead spirit for the Night Blade, has a vision of a Valkyrie taking him to Valhalla, and sees his unborn children in rare glimpses of the future. These surreal sequences have a palpable dream-like quality to them. It makes you wonder if they’re actually occurring or are only in Amleth’s head.
Nicole Kidman is exceptional as Queen Gudrún. The character is written in a way that makes her seem like a damsel in distress, but she’s much more evil and manipulative. At first, she seems like the typical Queen character that is pushed aside in order to give the spotlight to the king. But once Gudrún comes face to face with an adult Amleth, she strikes like a snake with venomous words that pierce Amleth deeper than any weapon actually could. Kidman shines in the role as well as you seem to love the fact that a mother could be so cruel to one of her children.
Spoiling a film is no fun, but since The Northman is kind of bombing at the box office right now ($23.5 million opening weekend on a $70-$90 million budget) this is worth mentioning. The finale of the film takes place at the volcano Hekla, which resides at the Gates of Hel. Lava is spilling out everywhere as smoke fills the air and two grown men sword duel to the death. That’s right, the ending of The Northman has two naked men sword fighting at the base of an erupting volcano. It’s freaking nuts.
The Northman is a bloody and ferocious battle cry of a revenge film. The action is brutal and the performances are extraordinary. This is Robert Eggers at his most savage and masterful.
In AD 914, a now adult Amleth (Alexander Skarsgård) has been raised as a Viking and was enlisted as a berserker. Seemingly losing his focus in furious battle, Amleth is reminded of his vengeful mission a few years later by a Seeress (Björk) that predicts that Amleth will soon get his sought after revenge on his uncle.
The film is based on the story of Amleth, which was written sometime before the year 1200 and inspired Shakespeare’s Hamlet. The Northman feels like it’s forged by the same cinematic swordsmith that created the likes of Conan the Barbarian, Beowulf, and Gladiator, but with a bloodier, and slightly trippier ambiance Robert Eggers tends to be known for.
Amleth’s opening voiceover as the film opens with a monstrously intimidating volcano on the verge of erupting is haunting. Alexander Skarsgård has this gruff and nearly grunt-like growl to his speech that you can feel reverberate in your chest as he speaks. The score to the film is also just as memorable and incredible. On paper, it’s just a series of loud drumming or pounding, a fancy string arrangement, and some harmless chanting. But all of those elements together suddenly become this impressive musical declaration of war. The score constantly crescendos and always finds a way to ignite a fire within you.
It’s humorous to think that most will have seen Willem Dafoe last in Spider-Man: No Way Home. Dafoe’s role as Heimir the Fool is also a leap in a different direction even when compared to his role as Thomas Wake in The Lighthouse. Heimir’s key role in the story is to oversee the spiritual journey Almeth takes with Aurvandill right before his death. It’s a bizarre sequence as both grown men and young boy are dressed in nothing but loin cloths as they act like dogs, get on their hands and knees, drink water from a bowl, belch, and take turns sniffing each other’s farts. It’s an intriguing role for Dafoe as he’s this crowd pleasing jester one minute and a spiritual guide the next.
The barbaric action is fairly straightforward in The Northman, but what complicates things are Amleth’s visions. Beginning with his encounter with the Seeress, Amleth also battles an undead spirit for the Night Blade, has a vision of a Valkyrie taking him to Valhalla, and sees his unborn children in rare glimpses of the future. These surreal sequences have a palpable dream-like quality to them. It makes you wonder if they’re actually occurring or are only in Amleth’s head.
Nicole Kidman is exceptional as Queen Gudrún. The character is written in a way that makes her seem like a damsel in distress, but she’s much more evil and manipulative. At first, she seems like the typical Queen character that is pushed aside in order to give the spotlight to the king. But once Gudrún comes face to face with an adult Amleth, she strikes like a snake with venomous words that pierce Amleth deeper than any weapon actually could. Kidman shines in the role as well as you seem to love the fact that a mother could be so cruel to one of her children.
Spoiling a film is no fun, but since The Northman is kind of bombing at the box office right now ($23.5 million opening weekend on a $70-$90 million budget) this is worth mentioning. The finale of the film takes place at the volcano Hekla, which resides at the Gates of Hel. Lava is spilling out everywhere as smoke fills the air and two grown men sword duel to the death. That’s right, the ending of The Northman has two naked men sword fighting at the base of an erupting volcano. It’s freaking nuts.
The Northman is a bloody and ferocious battle cry of a revenge film. The action is brutal and the performances are extraordinary. This is Robert Eggers at his most savage and masterful.