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Zombieland: Double Tap (2019)
Zombieland: Double Tap (2019)
2019 | Action, Comedy, Horror
Ten years is a long time in Hollywood. Ten years ago, to this day Avatar was yet to be released to the unsuspecting masses, with Titanic still reigning supreme over the global box-office and debutant director Ruben Fleischer surprised the cinema-going public with Zombieland.

Made on a tiny budget of just over $20million, it went on to gross over $100million globally and received unanimous praise. A sequel was widely expected in the years that followed but never materialised. That’s probably down to a few things; one being Emma Stone’s meteoric rise to fame, Jesse Eisenberg starring in some of the biggest and most celebrated films of the decade that followed and Woody Harrelson, well, being Woody Harrelson (that’s not a dig, we love you Woody).

Fleischer meanwhile went on to direct 30 Minutes or Less, Gangster Squad and Venom among a couple of other projects. The time for a Zombieland sequel came and went with the film’s core fanbase hoping that one day they’d get what they desired.

That day is now here with the release of Zombieland: Double Tap. With a cast of returning characters and the original director at the helm, things certainly look promising from a technical point of view, but has the ship sailed on getting this franchise off the ground?

Zombie slayers Tallahassee (Harrelson), Columbus (Eisenberg), Wichita (Stone), and Little Rock (Abigail Breslin) square off against a newly evolved strain of the undead as well as combatting their own personal demons in an effort to survive the ongoing zombie apocalypse.

Despite the popularity of the film’s actors since its predecessor, it’s nice to see all of the lead cast slot back into their roles seamlessly. Granted they’re a little older than we last remember them, and a little wiser too, but these characters still retain the charm and humour that made the last movie such a success.

Harrelson remains the standout and that’s mainly down to a nicely written script, penned by Rhett Reese, Paul Wernick and Dave Callaham. Between them they’ve worked on films like Gareth Edwards’ Godzilla, Ant-Man, Deadpool and its sequel and Life. That’s a pretty impressive roster of films it has to be said.

Eisenberg and Stone are also nicely written with a good character arc that means we get to see opposing sides to their roles. Unfortunately, Breslin is underused throughout, reduced to a part that feels much more like a support role. Of the new characters introduced, Rosario Dawson and Zoey Deutch are thinly written but reasonably entertaining.

The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them
Thankfully, the script remains a real highlight over the brisk 99-minute run-time with some genuine hilarity. The screenplay’s attempts at emotion work reasonably well but fall flat on a couple of occasions – the basis of the previous film was its humour and no surprises, this is where the sequel excels.

It’s a nice film to look at too. While some of the landscapes look a little too artificial, the sweeping shots of desolate buildings and roads add a sense of scale that was sometimes lacking last time around. The opening sequence inside the White House is great to watch and sets up the rest of the film well.

Zombieland: Double Tap works best when our band of characters is bouncing off each other and it’s a good job as the zombie action is fleeting. Some action pieces are well choregraphed but for a film about the world being overrun by the undead, there’s a distinct lack of them. The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them until the final act and that’s a bit of a shame.

Nevertheless, Zombieland: Double Tap remains easy-to-watch and likeable throughout with a cracking cast of characters. Unfortunately, the world has moved on from 2009 and zombie films, TV shows and books are ten-a-penny nowadays (something nicely referenced at the beginning of the film) and while Zombieland 2 does an awful lot right, in the end it’s a decent sequel to a great film, and nothing more than that.

Stick around for a post-credits sequence that follows on from the predecessors “greatest cameo ever”.
  
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Bob Mann (459 KP) rated Jackie (2016) in Movies

Sep 29, 2021  
Jackie (2016)
Jackie (2016)
2016 | Drama
Spoiler! Her husband gets shot.
“Jackie” tells the story of the spiralling grief, loss and anger of Jackie Kennedy driven by the assassination of JFK in Dallas in November 1963. Hopping backwards and forwards in flashback, the film centres on the first interview given by Jackie (Natalie Portman, “Black Swan”) to a ‘Time’ journalist (Billy Crudup, “Watchmen”, “Spotlight”).

Through this interview we flashback to see Jackie as the young First Lady engaged in recording a TV special for a tour of the White House: nervous, unsure of herself and with a ‘baby girl’ voice. This contrasts with her demeanour in the interview which – although subject to emotional outburst and grief – is assured, confident and above all extremely assertive. We live the film through Jackie’s eyes as she experiences the arrival in Dallas, the traumatic events of November 22nd in Dealey Plaza, the return home to Washington and the complicated arrangement of the President’s funeral.

This is an acting tour de force for Natalie Portman, who is astonishingly emotional as the grief-stricken ex-first lady. She nails this role utterly and completely. Having already won the Golden Globe for an actress in a dramatic role, you would be a foolish man to bet against her not taking the Oscar. (I know I said just the other week that I though Emma Stone should get it for “La La Land” – as another Golden Globe winner, for the Comedy/Musical category – and a large part of my heart would still really like to see Stone win it…. But excellent as that performance was, this is a far more challenging role.)
In a key supporting role is Peter Sarsgaard (“The Magnificent Seven”) as Bobby Kennedy (although his lookalike is not one of the best: that accolade I would give to Gaspard Koenig, in an un-speaking role, as the young Ted Kennedy).

Also providing interesting support as Jackie’s priest is John Hurt (“Alien”, “Dr Who”) and, as Jackie’s close friend, the artist Bill Walton, is Richard E Grant (“Withnail and I”, who as he grows older is looking more and more like Geoffrey Rush – I was sure it was him!).
Director Pablo Larraín (whose previous work I am not familiar with) automatically assumes that EVERYONE has the background history to understand the narrative without further explanation: perhaps as this happened 54 years ago, this is a bit of a presumption for younger viewers? Naturally for people of my advanced years, these events are as burned into our collective psyches as the images in the Zapruder film.

While the film focuses predominantly, and brilliantly, on Jackie’s mental state, the film does gently question (via an outburst from Bobby) as to what JFK actually achieved in his all too short presidency – ‘Will he be remembered for resolving the Cuban missile crisis: something he originally created?’ rants Bobby. In reality, JFK is remembered in history for this assassination and the lost potential for what he might have done. I would have liked the script to have delved a little bit further into that collective soul-searching.

This is a very sombre movie in tone, from the bleak opening, with a soundtrack of sonorous strings, to the bleak weather-swept scenes at Arlington cemetery. The cinematography (by Stéphane Fontaine, “Rust and Bone”) cleverly contrasts between the vibrant hues of Jackie’s “Camelot” to the washed-out blueish tones of the post-assassination events. If you don’t feel depressed going into this film, you probably will be coming out! But the journey is a satisfying one nonetheless, and the script by Noah Oppenheim – in a SIGNIFICANT departure from his previous teen-flick screenplays for “Allegiant” and “The Maze Runner” – is both tight and thought-provoking.
Overall, a recommended watch which comes with a prediction: “And the Oscar goes to… Natalie Portman”.

Finally, note that for those of a squeamish disposition, there is a very graphic depiction of the assassination from Jackie’s point-of-view…. but this is not until nearly the end of the film, so you are reasonably safe until then!
Also as a final general whinge, could directors PLEASE place an embargo on the logos of more than two production companies coming up at the start of a film? This has about six of them and is farcical, aping the (very amusing) parody in “Family Guy” (as shown here).
  
Battle of the Sexes (2016)
Battle of the Sexes (2016)
2016 | Biography, Comedy, Sport
1972: Billie Jean King (played brilliantly by Emma Stone) just became the Grand Slam Champion of the Women’s Tennis Association. She had challenged the inequity of pay between the Men’s and Women’s Tennis Tour. Once she learns that the tournament for the Lawn Tennis Association is paying Women one eighth of the Men’s purse. She goes up against Jack Kramer (Bill Pullman at his misogynistic best). Billie, with her Manager, Gladys Heldman (Sarah Silverman in spectacular form echoing a more subdued version of Bobbie Fleckman) leave the LTA and start their own Women’s Tour. Which became the Virginia Slims tournament.

Around the same time, Bobby (Steve Carell, playing Riggs like a manic Pagliacci) the once Pro Slam Champion who now works in a nondescript office at his father-in-law’s business. Bobby, the dreamer, is a gambler figuratively and literally. The man who’s inner child has taken the reins on the run. He is the clown who needs constant attention, and the showman who could sell the Golden Gate. Carell, gives an exceptional performance, riling us up with cringe-worthy moments and showing us the man that is so certain of his abilities that he forgets the fable of the tortoise and the hare.

We are brought into relationships that these two athletes have with their families and loved ones. Of what they went through before the epic, world famous Battle of the Sexes in the Houston Astrodome. The film serves us a picture of the time where women had recently began the feminine movement and Women’s Liberation. The entire feel of the movie is set solidly in the seventies, the sexism rampant and accepted as the status quo. Misogyny is socially acceptable and Riggs and friends epitomize the attitude.

There is also the story of Billie Jean, realizing an attraction to a woman she meets before the starting her tour. Marilyn (Andrea Riseborough was magnetic), the hairdresser that was instantly drawn to Billie. We also get the treat of seeing the magnificent Alan Cumming as Ted, the charming designer of the women’s fantastic tennis outfits. Wallace Langham as Henry, the tailor.

The story is built up to the historic Battle of the Sexes at the Astrodome. We see the work that Billie does in preparation. Daily drills and practice games. Bobby’s confidence in his ability to deliver a win that mirrored the decimation of Margaret Court (Jessica McNamee) who at the time was the top female tennis player in the world.

The directing duo of Jonathan Dayton and Valerie Faris (Little Miss Sunshine) delivers us a well balanced, heartfelt film with a stellar cast. The soundtrack brings us into the early seventies and the costuming is quantum leap back to the time where polyester leisure suits and colorful shirts were the height of fashion. This is a love story of Billie Jean King and Tennis
  
Noah (2014)
Noah (2014)
2014 | Action, Adventure, Drama
Biblical epics never seem to translate well from paper to the big screen. Mel Gibson’s 2004 misfire, The Passion of the Christ, showed just how difficult it was to turn promising source material into silver screen gold.

Now, 10 years on from that, Black Swan director Darren Aronofsky breathes new life into the biblical genre with his take on the classic ‘Noah’ tale. But can his sixth attempt behind the camera reverse the ailing genre’s fortunes?

Unfortunately, the answer is no. From lacklustre special effects to dreadful acting, Aronofsky’s biblical epic fails from start to finish, with only a few key scenes lifting it above The Passion of the Christ.

Noah follows the story of the titular hero played by Russell Crowe as he sets out on a mission given to him by the ‘Creator’ to rid the world of its evil and to start afresh. Jennifer Connelly plays Noah’s wife Naameh and Ray Winstone portrays his arch nemesis, Tubal-cain.

The story is like the tale we all know, but on steroids. Gone is the subtlety of the bibleNoah-poster version and in its place is a stark environmental message as Noah tells his family and those around him that humans have destroyed the planet and that we ourselves, must be destroyed. From stone angels sent to watch over the human race, to the addition of numerous characters, Noah rids the story of its depth in favour of poor special effects and anti-climatic battles. It’s a real shame as Aronofsky has proven himself to be utterly talented behind the lens.

The performances are also well-below what we expect from such gifted actors. Emma Watson’s take of Ila, Noah’s daughter-in-law is laughable at best; a world away from the talent we saw towards the end of the Harry Potter series. Jennifer Connelly is outstandingly poor and Russell Crowe seems to be on auto-pilot as he spouts meaningless drivel. Only Anthony Hopkins leaves his fine reputation in tact as Methuselah, though he is in the film for less than 15 minutes.

Moreover, the best and most memorable part from the bible story, the animals, is completely misguided. Not only are they playing second fiddle to the ridiculous rivalry between Noah and Ray Winstone’s idiotic villain, they are rendered in such poor CGI, you never truly believe that they are there. The elephants and snakes in particular are very shoddy.

Thankfully all is not lost. Being a Darren Aronofsky film, Noah is a beautifully shot film. The cinematography is outstanding with stunning vistas of a huge variety of landscapes and the inclusion of an exciting Genesis featurette in the latter half of the picture are real highlights.

At 138 minutes Noah is a true bum-number and there’ll be lots of shuffling about in your seat as you struggle to digest each and every part of information the film shoves down your throat.

Unfortunately, a promising marketing campaign and some good trailers mask a film which never rises above average. The special effects really needed much more work and the acting is very poor. Only a few stand-out scenes stop it from falling below The Passion of the Christ as another biblical turkey.

https://moviemetropolis.net/2014/04/14/noah-review/
  
Zombieland: Double Tap (2019)
Zombieland: Double Tap (2019)
2019 | Action, Comedy, Horror
Not quite as good as the original
It's been 10 years since we last saw Columbus (Jesse Eisenberg), Tallahassee (Woody Harrelson), Wichita (Emma Stone), and Little Rock (Abigail Breslin) and our TV and movie screens have since become even more saturated with zombie content. It's something which even gets acknowledged by Columbus during his opening narration to Zombieland: Double Tap as he thanks the audience for choosing this movie, now that there are "many choices in zombie entertainment."

The opening narration also hilariously introduces us to some of the specific variations of zombies currently being encountered - the Homer, the Hawking and the Ninja - before continuing the comic book violence that we know and love from the first movie. A hugely entertaining slo-mo zombie battle on the overgrown grounds in front of The White House while the opening credits roll. But after that, the foursome setup residence in the presidential home, making good use of the space available and even celebrating Christmas there (even though it's only November!).

Little has changed in the group dynamic, other than the fact that Little Rock is now all grown up, something which forms the basis for the main plot of the movie. Columbus and Wichita are struggling to settle into a routine as a couple, and Tallahassee serves only as an overbearing father figure to Little Rock. Tiring of this setup, and longing for friends her own age, Little Rock runs away with a peace loving boy called Berkeley, to a place called Bablyon, home to a community of pacifists where weapons are not allowed. The others, fearing for her safety, set out on a road trip to go find her.

Something about the humour of Double Tap doesn't seem to work as well as it did in the first movie and much of the bickering and interaction between this makeshift family doesn't feel quite as enjoyable this time around. The constant onscreen reminders of 'the rules' that the group live by becomes tiresome at times and it's therefore up to a number of new characters that the guys meet along the way to try and inject something fresh into it all.

First up is Madison (Zoey Deutch), a young woman that Columbus and Tallahassee meet at a mall early on. Madison is a typical ditzy blonde cliché, forming the butt of many of the jokes, but still managing to be endearing and a lot of fun. Then there's Nevada (Rosario Dawson), along with Tallahassee and Columbus meeting up with their doppelgängers Albuquerque (Luke Wilson) and Flagstaff (Thomas Middleditch). If you've seen the trailer then that manages to cover off a lot of these character meetings and interactions, along with a number of plot beats too unfortunately.

What the trailer doesn't show you though are the hugely satisfying, big action set-pieces, which manage to come along just at the right time in order to inject some serious entertainment into the flagging dialogue. Aside from the slo-mo opening battle that I've already mentioned, there's a wildly fun slapstick zombie fight in an Elvis themed motel and a finale that's packed full of zombie carnage. Not to mention a lengthy credits scene which starts off well, and just keeps on getting better! And the introduction of a more difficult to kill strain of zombie only adds to the fun too.

Overall, Double Tap doesn't quite live up to its predecessor. It's a fun ride though, still boasting some of the best zombie killing action out there, but ultimately doesn't leave much of a lasting impression.
  
Zombieland: Double Tap (2019)
Zombieland: Double Tap (2019)
2019 | Action, Comedy, Horror
It is hard to believe it has been ten years since audiences were introduced to the hysterical yet violent Post-Apocalypse world of Zombieland; but thankfully the crew is back again with the highly enjoyable “Zombieland: Double Tap”.
The story begins with Columbus (Jesse Eisenberg), bringing the audience up to speed on what has happened since the last film. The Zombies have evolved into different classes of abilities and Columbus and his ersatz family have taken up residence in The White House.
Columbus and Wichita (Emma Stone) are still dating; well at least as best as one can do in a Zombie Apocalypse which is painfully short on options. This situation does not seem to bother Tallahassee (Woody Harrelson), as he is happy to work on his loaded vehicle dubbed “The Beast” but for Little Rock (Abigail Breslin), the situation has become intolerable.

Little Rock is eager to find someone to have a relationship with and when her frustrations combine with Wichita’s insecurities; the girls take off leaving the men to fend for themselves.

While Tallahassee has no issues with this, Columbus is a moping mess and even a trip to the local mall cannot lighten his mood. Things change when they meet the ditzy and clueless Madison (Zoey Deutch); who steals her scenes with her Clueless Pop Culture Princess who is as oblivious to their situation as a person can be.

When Wichita returns to tell them that Little Rock has run off with a guy she met, the crew load up and take to the road to save the day but are blissfully unaware of the new dangers waiting for them.

This is the rare sequel that is as good if not better than the original. The cast works very well with one another and the introduction of new characters brought some additional comedy to the film as well as enhancement to the action sequences.

While the film is at times very gory; it is done in a humorous way that balances the dangers the characters are in with a wink and smile to let the audience know that this is still an Action/Comedy that is light on the darkness and big on the levity.

The film has some great continuity with the original film without repeating itself as Columbus’s rules for survival still pop up when they are used and we also get some hysterical new updates to the coveted Zombie Kill of the Week.

Director Ruben Fleischer knows what audiences want and does a great job giving them more of what he gave them in the first film without being gratuitous or heavy handed with the material.
The new cast works well with the returning players especially Rosario Dawson and the previously mentioned Zoey Deutch who fit seamlessly into the comedic Zombie mayhem.

You will want to make sure to stay into the credits for a fantastic bonus scene which puts a great capper on the film which was one of the best times I have had at the movies in recent years and one of the better movies of 2019.
Hopefully this is not the last outing for the crew as I would love to see further adventures in Zombieland but hopefully we will not have to wait 10 years for the next chapter.

4 stars out of 5
  
Zombieland (2009)
Zombieland (2009)
2009 | Comedy, Horror
Columbus (Jesse Eisenberg) is an unassuming young man who makes his way through life the best way he can despite being plagued by Irritable Bowel Syndrome. This particular affliction is a serious concern for Columbus as according to his rules for survival, bathrooms are a very dangerous place.

In the new horror/comedy “Zombieland”, Columbus finds himself as one of the few remaining people left alive, and is trying to make his way from Texas back to his family in Columbus in the hopes of finding them alive.

Despite being alone, Columbus keeps himself sharp through constant vigilance, and a list of rules he has created for surviving a world gone mad which he has dubbed Zombieland. As the film opens, Columbus establishes some of his most common rules which are then illustrated in very funny examples, which also serve to establish the backdrop of the film.

As he travels, Columbus crosses paths with Tallahassee (Woody Harrelson), who is on a quest to find the last remaining Twinkies in the world. Tallahassee established a no names rule, hence the characters in the film are known by the locales they are from. When he is not cruising the roads in search of his elusive snack cake, Tallahassee is an avid Zombie killer and takes great delight in dispatching as many of them as he can.
When a stop introduces the duo to a pair of sisters named Wichita (Emma Stone), and Little Rock (Abigail Breslin), who are dedicated to survival at all costs, and are not above taking some serious measures of manipulation to get ahead.

After some initial difficulties, the group joins up and head for California where Wichita has convinced Little Rock that a local theme park is a Zombie free area that will provide them a safe haven.

Despite some skepticism but buoyed by his attraction to Wichita, Columbus tags along, and awkwardly attempts to impress her which results in some very touching and funny moments.

The film shifts into high gear when the group arrives in L.A. and takes refuge in a mansion which has tons of laughs as well as a very solid celebrity appearance which is a true gem.

Eventually the subplots of the film all converge in a frantic array of action, humor, and romance that had the audience at the preview screening cheering and laughing.

“Zombieland” is a very enjoyable film that provides plenty of laughs and a good mix of action yet remains a character driven story. The leads all work very well with one another and Eisenberg follows his turn in “Adventureland” with a performance that establishes him as a young actor to watch. His likeable everyman quality combined with his charming sincerity and awkwardness makes Columbus a great foil and companion for the outrageous antics of Tallahassee.

The young love storyline is handled well in the film, and does not resort to any of the usual staples, and unfolds as a very realistic event in a world where Zombies are commonplace.

Director Reuben Fleischer keeps things moving at a brisk pace yet allows time for the characters to shine.
Naturally the film will draw comparison to the classic British film “Shaun of the Dead”, which features normal guys trying to cope with a Zombie invasion. Shaun had plenty of laughs, but at times seemed unsure of what direction it was trying to go in, especially toward the end of the film.

“Zombieland” almost defies you to categorize it as it is great mix of horror, comedy, and action disguised as a romantic comedy. The winning cast and formula makes “Zombieland” one of the most enjoyable films of the summer and a real treat.
  
The Amazing Spider-Man
The Amazing Spider-Man
Games, Entertainment
7
7.0 (1 Ratings)
App Rating
The Amazing Spider-man, starring Andrew Garfield, came out 10 years after Maguire's ill-fated first attempt, on 3rd July 2012. Co-starring some greats, including Emma Stone, Rhys Ifans, Martin Sheen and Sally Fields. You might as well read the last summary for this one too, but add in the fact that he's out to solve his parents' mysterious death.

Peter is less nerd, more loser this time around. And generally he comes across as a bit more sad than before. But you'd expect that as we started the movie with a sad farewell. He has a bit of a "moment" with his dad's old briefcase to push that fact home a bit more.

No field trip for this Peter, instead he gatecrashes an intern enrolment to get a nosy at what might have to do with his parent's past. We learn lessons from this film too... in this one it is super easy to break into what must be highly classified labs.

Peter's transformation happens a lot quicker in this one, much to the trauma of everyone in the subway carriage with him. His little morning rampage gives me visions of Wolverine destroying the sink in X-men Origins: Wolverine... and now I come to think of it, doesn't Cyclops have a meltdown with his powers in a bathroom? What can we learn about this? Superpowers make you hate bathroom fixtures.

Did anyone else notice the guy who runs Jurassic World? Is he trying to pick up tips on how to super charge those dinosaurs? And while we're talking about mystery appearances, I'm torn about Spidey helping The Reaper rescue his son.

Honestly, my favourite line has to be... "Yeah, nobody likes your meatloaf." Sheen and Fields reacting to each other is just priceless.

Uncle Ben dying in this one is a lot more dramatic and sets Peter off on a bit of a crusade that leads to some better green screened wall walking. And some handy falling through a roof into a wrestling arena, gives him an idea for his costume, and we see a montage of him honing his skills and tech... we're a little bit past shooting some white gunk out of our wrists at this point. I like that he points out everything is spandex, yes Parker, there should be other options.

After the big costume reveal I feel like the film drags a bit. It's good, and I enjoy it, but I feel like there's a lot of film for not a lot of plot... does that make sense? Possibly not, but I know what I mean, so it's all good.

Just goes to show you how much I was paying attention in the last one. I missed Stan Lee's cameo. This one was much better, listening to music in his library while it gets destroyed in a fight behind him. Stan Lee, I love you. Genuine hearts all around.



The crane moving scene is, well, a little bit moving. One good deed deserves another, and let's fly a flag in the background for added effect.

We started sad, we end sad. I definitely prefer this film to Spider-man. It isn't without its own flaws though. While Spider-man was just over two hours, it didn't feel like that's how long you were watching for. The Amazing Spider-man felt like 2 hours 16 minutes of screen time. But the ending... she's angry at him, and then he whispers to her, and she gives that little smile, and as she dips her head he knows she's going to forgive him. And we're left with a spark of joy.
  
Dolittle (2020)
Dolittle (2020)
2020 | Adventure
More CGI animals in another adaptation of a franchise that has been around since the 1920s. I do so love Eddie Murphy's comedy portrayal, am I ready for a period appropriate version?

Tommy Stubbins isn't like his uncle, he doesn't want to hunt the animals in the wood. When he shoots wide in an attempt to miss his target he accidentally hits a squirrel, but his reaction makes his uncle and cousin leave him there with the injured animal. Clutching the squirrel and not knowing what to do Tommy finds himself being beckoned by a parrot. She leads him through a gap in a high stone wall to an expanse filled with (not so) wild animals.

Doctor Dolittle has been hidden behind closed doors ever since his wife disappeared. With just the animals for company he's forgotten some of his human manners, he must remember them quickly as he's summoned by the Queen who is gravely ill.

Welsh. That accent that you couldn't quite put your finger on, that was Welsh... yeah, it wouldn't have been my first guess either but let's just accept it and move on shall we?

Seeing the CGI on this in the trailer didn't annoy me, and looking back now I'm not sure how that was the case when Call Of The Wild basically the same thing and I was livid. Just like Call Of The Wild, Dolittle benefits from the comedy you can get from the CGI and it really needed that.

RDJ is a big ticket name, but I'm not entirely sure he was suited to the role of John Dolittle. Perhaps that's partly to do with the fact that so much of his recent history is dominated by him as Tony Stark, perhaps it's because the slightly crazy and vulnerable Dolittle in this film has little impact. The truth for me is probably somewhere in the middle.

Considering the live action section of the films features a lot of Tommy Stubbins (played by Harry Collett) his role seems of little consequence after he's taken us to the estate, after all, Lady Rose would still have gone there and I suspect Polly would have steered him right. Stubbins, in the books, narrates the stories after he first appears, but in this adaptation it's given to Polly, voiced by Emma Thompson. I can understand that decision, she's got a very soothing and yet commanding voice that's perfect for that role.

There seems to be a lot of pieces kept from the books, though they've been tweaked for the modern audience. Not only the change of narrator but Polly is no longer a grey African parrot, instead we're given a much brighter macaw which has a better visual payoff.

One day I'll remember to look at the cast list for animated films before I go in, trying to place voices is so difficult on the fly. All in all the animals are fine, the script doesn't feel great but the antics help it out somewhat.

Our villains are quite varied throughout but Michael Sheen takes a main role as Dr. Blair Müdfly, Dolittle's rival. The interactions between him and the animals did amuse me but his over the top nature that built steadily through the film felt much too cliche, sadly not always in an entertaining way.

There are many things to like hidden in the film. It opens with a great animation that gives us back story which allows us not to suffer through clumsy attempts at the same during the film. I also really enjoyed the way we're shown how Dolittle speaks to the animals, though that does raise other questions that make things unravel, so I'll move on. The squirrel's commentary is hilarious and probably makes him my favourite character, though the octopus isn't too far behind.

Dolittle has a lot of nice little touches but it relies heavily on predictable humour and at times doesn't know when to stop (I'm thinking specifically about a scene towards the end of the film here). Even with its many ups and downs the film was enjoyable to watch, just the once. I'm entirely convinced that with a different accent it would have been infinitely better.

Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/dolittle-movie-review.html
  
The Amazing Spider-Man (2012)
The Amazing Spider-Man (2012)
2012 | Action, Sci-Fi
8
6.9 (33 Ratings)
Movie Rating
Initially when a franchise reboots a series not five years from its last installment this can often be seen as a sign that they’ve run out of ideas. It was reportedly the inability to find a suitable script that drove director-producer Sam Raimi and the stars of the Spider-man series away from a possible fourth outing and forced Sony/Columbia start fresh.

Selecting the relatively new Marc Webb who, outside of “500 Days of Summer”, had worked on music videos and most recently directed episode of The Office and the pilot for Lone Star, seemed like a very odd choice to turn over the billion-dollar franchise. The selection of American-born English actor Andrew Garfield also seemed to be an interesting choice to don the tights of the wall crawler.

Thankfully this is exactly the fresh start that the series needed. Even though I went into the film with guarded and reserved expectations I must say that I’m absolutely delighted with how the final product came out as this is a very fresh and faithful adaptation of the beloved comic book character that, in my opinion is the best adaptation to date on film.

The screenplay by James Vanderbilt was based on a story credited to three other writers all of whom clearly understand the character and the source material and are focused first and foremost with being respectful to it rather than putting their own unique stamp and take on the franchise.

The film does take a little bit of liberty by showing Peter Parker’s parents as they place young Peter in the custody of Ben and May Parker (Martin Sheen and Sally Fields) as they flee into a rainy night from implied danger, never to be seen again.

The film continues with teenage Peter (Andrew Garfield), plodding his way through high school. As brilliant as Peter is academically, he is extremely awkward around girls especially the lovely Gwen Stacy (Emma Stone), who never fails to catch his eye. When a clue from his father’s past arises, Peter finds himself at Oscorp where Gwen works as an intern. Peter also finds himself on the radar of his dad’s former partner Dr. Curt Connors (Rhys Ifans), who becomes intrigued by young Peter’s scientific theories and even more so in his abilities when he learns that he is the offspring of his former partner.

Dr. Connors is working on cross species genetics and hopes that not only will it someday replaces missing arm, but will also pave a bold new direction for humanity. During a visit to the lab Peter, is bitten by a radioactive spider, and as any fan of the series knows, begins to exhibit amazing strength, agility, and perception, as well as the ability to walk on walls and cling to ceilings. In a very refreshing return to form, Peter fashions his famous web slingers rather than have them be organic as the previous film series did.

When a twist of fate puts Peter on the path of vengeance, he becomes a masked vigilante who uses his newfound abilities to rid New York some of its less pleasant citizens. These activities do not sit well with Captain Stacy (Denis Leary), who also happens to be Gwen’s father. As Peter and Gwen become closer, the duality of hiding his new identity from Capt. Stacy and Aunt May becomes even more imperative.

Naturally, it would not be much of a superhero film without a super villain, and Dr. Connors is more than willing to step up to this. Faced with pressure from his bosses he decides to use an experimental serum on himself. At first he is delighted as he seems to regrow his lost limb, but then in a Jekyll & Hyde-like transformation he transforms into a gigantic lizard creature bent on revenge and destruction as he attempts to complete a plan that will devastate millions of New York citizens.

Since Peter helped provide the equation that led to the formula that transform Dr. Connors, he feels obligated to stop the raging creature and to save his mentor no matter the cost. What follows are some truly spectacular action sequences including sewer battles in an extremely memorable finale across the Manhattan skyline.

While the film did take its time getting started as it established its back story and introduced the characters, once it got rolling it was an extremely fun and exhilarating ride. Garfield and Stone have a very good chemistry with one another and the reports of them recently dating off screen further solidifies their on-screen bond. Garfield wonderfully captures the conflicted emotions of Peter Parker as well as the brilliantly awkward genius that he is.

He runs the gamut of emotions from showing his anger and frustration to the dopey awkwardness of his interactions with Gwen and very believable manner. When he becomes infused with his new abilities you can almost share the glee that he has as he swings and flips around the landscape. The sheltered, socially awkward young man disappears when he dons the mask. He’s free to let himself go and Garfield does this with a childlike delight as well as the trademark quips and wisecracks that made the character such a beloved icon.

Garfield handles the physical duties of the role quite well and shines both in and out of the costume. I thought Tobey Maguire did a fantastic job bringing the character to life previously, but in my opinion Garfield has captured the essence of Peter Parker/ Spider-man and made it his own with a truly wonderful performance all around.

Stone does a great job as the love interest in the film as she is more than just eye candy and the typical damsel in distress far too common with this type of film. She challenges Peter and you can see some gleeful delight in her eyes when Peter awkwardly stumbles around her in an attempt to ask her out. Because she clearly enjoys the situation Gwen is not about to make it any easier on Peter, even though she’s been waiting for him to muster the courage for ages. She’s a strong and determined woman who gives a good range of emotions in her scenes and complements Garfield exceptionally well.

The supporting cast was very good especially Leary and Fields and Ifans does a good job as the quietly restrained Connors. In what could’ve easily been a scenery chewing, over-the-top Machiavellian bad guy, Ifans portrays Connors as a very sympathetic and understandable figure. He is a scientist first and foremost who is trying to do what he believes is right. He is not suited for the political machinations of a large corporation and when he begins this transformation and the animal side takes over there is still a hint of humanity amongst all the CGI work for the re-imagined Lizard.

While it did take me a while to get used to the look of The Lizard having become accustomed to his portrayal in comics and cartoons, I have to say it was a good updating it still stayed faithful to the essence of the original character.

Webb wisely decided to shoot in 3-D and not do a post filming conversion. It is the visually captivating and at times stunning cinema photography that really sets the tone for the film. You can truly get an idea of what it is like to be Spider-man as he swings and flips through the city and the point of view shots of his web firing out to latch onto objects and take down opponents are a lot of fun. Webb clearly knows the subject matter and gets the most out of his very talented cast and tells a very entertaining yet human action story and lets the effects support the film rather than carry it.

The film was much better than “Spider-man 3”. I am so happy that the franchise is in good hands and is moving forward in the right direction. Although the movie did take a while to get up to speed once it got rolling I did not want it to end, and I commented to my wife that I don’t want to have to wait 2 to 3 years for the next installment of the film I’m ready for more now. As a lifelong fan of comic I can honestly say I am beyond delighted with the new film, cast, director, and direction for the series.