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Gareth von Kallenbach (971 KP) rated the PlayStation 4 version of Tomb Raider Definitive Edition in Video Games
Jun 19, 2019
I remember the days of Tomb Raider coming out on the PC in the irregular shaped packages and the outcry some people had over the outrageously curvaceous proportions of Lara Croft. As the series has unfolded to not only include two cinematic features as well as entry into the console market the mix of action, adventure, and puzzle solving has been a staple of the series. Square Enix has released Tomb Raider: Definitive Edition for next-generation consoles and I was very happy to experience the game on our PlayStation 4 system.
The game has been given updated graphics which really show off the amazing character facial animations of the series as well as the dynamic lighting and other graphical effects that are made possible with the new consoles.
This time out Lara is stranded on an island and must fight for survival against the dangerous people that occupy the island and will stop at nothing to protect its secret.
This is very dark and gritty game as its mature rating would suggest and with the power of the graphical engine you can see Lara in stunning detail down to the beads of sweat on her face, every stranded here, and of course the dirt and damage she takes in the course of fighting for her survival.
Being able to customize her weapons is but one of the many advantages to the series and there of course is puzzle solving which the series is famous for.
One early segment of the game had me moving through a dark cave in order to try to get an injured Lara safety but some very dangerous people in hot pursuit. These are not the typical serial adventure bad guys who shoot first with bad aim and hope to take the heroine hostage, rather these are bad guys intent on killing her and anyone else who gets in the way as brutally as they can.
The collection comes with bonus outfits and DLC and seeing the game in 1080 resolution running at 60 frames per second is truly eye-popping as to a casual observer it would be difficult to see what was gameplay and what were cut scenes. Upon seeing it for the first time, my wife was highly impressed the graphical abilities of the game and became interested in storyline and events unfolding as she sat down and offered me gameplay help and advice.
That is the beauty of the series as hard-core and casual, male and female, gamers are easily drawn to the character and her adventurous.
While I have spent a lot of attention on the graphics and look at the game is important that we focus on the game itself and I’m happy to say that both the solo and multiplayer aspects of the game offer plenty of entertainment. There’s a good mix of action and story to the game and the less linear nature of the game and open environments make it very enjoyable especially to somebody who’s used to the affirmation tombs of the original games. While there is puzzle solving to the game there is also the ability said a difficulty that is best suited to your level of gaming and like any game of this type players have to accept that they are going to have failed or along with their successes as that is the nature of an action adventure game.
I did not play the earlier versions the game as my time with the PS 4 version of the game is my most recent experience with the series in a while. That being said, the graphics and gameplay easily hooked me and reminded me why I became a fan of the original games and this imaginative and immersive new installment is the perfect mix for fans new and old alike looking to experience the game.
http://sknr.net/2014/04/01/tomb-raider-the-definitive-edition/
The game has been given updated graphics which really show off the amazing character facial animations of the series as well as the dynamic lighting and other graphical effects that are made possible with the new consoles.
This time out Lara is stranded on an island and must fight for survival against the dangerous people that occupy the island and will stop at nothing to protect its secret.
This is very dark and gritty game as its mature rating would suggest and with the power of the graphical engine you can see Lara in stunning detail down to the beads of sweat on her face, every stranded here, and of course the dirt and damage she takes in the course of fighting for her survival.
Being able to customize her weapons is but one of the many advantages to the series and there of course is puzzle solving which the series is famous for.
One early segment of the game had me moving through a dark cave in order to try to get an injured Lara safety but some very dangerous people in hot pursuit. These are not the typical serial adventure bad guys who shoot first with bad aim and hope to take the heroine hostage, rather these are bad guys intent on killing her and anyone else who gets in the way as brutally as they can.
The collection comes with bonus outfits and DLC and seeing the game in 1080 resolution running at 60 frames per second is truly eye-popping as to a casual observer it would be difficult to see what was gameplay and what were cut scenes. Upon seeing it for the first time, my wife was highly impressed the graphical abilities of the game and became interested in storyline and events unfolding as she sat down and offered me gameplay help and advice.
That is the beauty of the series as hard-core and casual, male and female, gamers are easily drawn to the character and her adventurous.
While I have spent a lot of attention on the graphics and look at the game is important that we focus on the game itself and I’m happy to say that both the solo and multiplayer aspects of the game offer plenty of entertainment. There’s a good mix of action and story to the game and the less linear nature of the game and open environments make it very enjoyable especially to somebody who’s used to the affirmation tombs of the original games. While there is puzzle solving to the game there is also the ability said a difficulty that is best suited to your level of gaming and like any game of this type players have to accept that they are going to have failed or along with their successes as that is the nature of an action adventure game.
I did not play the earlier versions the game as my time with the PS 4 version of the game is my most recent experience with the series in a while. That being said, the graphics and gameplay easily hooked me and reminded me why I became a fan of the original games and this imaginative and immersive new installment is the perfect mix for fans new and old alike looking to experience the game.
http://sknr.net/2014/04/01/tomb-raider-the-definitive-edition/
Lucy Buglass (45 KP) rated Dead In A Week (Or Your Money Back) (2018) in Movies
Jun 20, 2019
Dark comedy at its finest
This review discusses dark topics such as death and suicide. Reader discretion advised.
Getting comedy right is difficult enough, let alone trying to do it with sensitive topics. But Dead In A Week (or your money back) hits the nail on the head. After several failed suicide attempts, William (Aneurin Barnard) signs a contract with veteran assassin Leslie (Tom Wilkinson), who promises he’ll be dead within the week. This simple concept results in 1 hour and 30 mins of pure entertainment.
Though explicit in the way it discusses suicide, there is a reason for this. Right from the start, William is positioned as an incredibly depressed, isolated failed writer, who is struggling to see the point in living. He is very open about this fact, and spends a lot of time planning ways he could do it, accompanied by a darkly funny montage of the ways he’s tried. He is a troubled character that you can’t help but feel sorry for.
What makes this film even more interesting is the way it makes you sympathise with both target and killer. Leslie is trying his best to avoid retirement, and sees William as an answer to his prayers. If he kills him, he’ll fill his quota, and all will be well. This creates a paradox where you want both men to succeed, but you know that’s impossible.
William changes his mind about the contract when a publisher takes interest in his novel, and he begins to fall in love with Ellie (Freya Mavor), the assistant who called him regarding his latest story. This encounter comes with some rather frank and heartwarming messages about life, reminding us how precious life can be if you give it a chance.
Of course, the film doesn’t just end there. After William’s 360, Leslie is having none of it, and for the rest of the film we see this young writer trying to outrun a seasoned assassin. Leslie’s boss Harvey (Christopher Eccleston) is hot on his tail as well, tired of giving the old man too many chances. It’s a classic tale of a failed assassin, flipped entirely on its head.
Filled with some brilliant twists and turns, the script is formulaic yet hugely entertaining, with some laugh out loud moments throughout. It will certainly appeal to those who like their humour a little darker, with its use of comedic timing and deadpan delivery. It addresses so much in a short space of time, adding depth where needed.
Leslie’s wife Penny (Marion Bailey) adds her own comic relief to the situation, with a delightful satire on middle-class culture. Whilst her husband is trying to keep a dangerous job he loves so much, she’s more concerned about beating her church rivals in a cushion competition. The parallels between the couple are simultaneously heartwarming and awkward, and I enjoyed the way they bounced off each other throughout.
This was a thoroughly enjoyable film, with some unexpectedly touching moments. I really connected with certain characters and loathed others, allowing me to become fully invested in the film. The encounter between these two men should have ended one way, but the two embark on a journey that changes their lives for the better. Underneath all the humour comes an understanding of mental health issues, and sympathy for those who struggle.
This was Tom Edmund’s feature length debut, after directing a few short films. It’s an impressive first film with good pacing, solid characters, and a well-polished look throughout. It was an ambitious first feature length, but it certainly delivered.
https://lucygoestohollywood.com/2019/05/06/dark-comedy-at-its-finest-my-thoughts-on-dead-in-a-week-or-your-money-back/
Getting comedy right is difficult enough, let alone trying to do it with sensitive topics. But Dead In A Week (or your money back) hits the nail on the head. After several failed suicide attempts, William (Aneurin Barnard) signs a contract with veteran assassin Leslie (Tom Wilkinson), who promises he’ll be dead within the week. This simple concept results in 1 hour and 30 mins of pure entertainment.
Though explicit in the way it discusses suicide, there is a reason for this. Right from the start, William is positioned as an incredibly depressed, isolated failed writer, who is struggling to see the point in living. He is very open about this fact, and spends a lot of time planning ways he could do it, accompanied by a darkly funny montage of the ways he’s tried. He is a troubled character that you can’t help but feel sorry for.
What makes this film even more interesting is the way it makes you sympathise with both target and killer. Leslie is trying his best to avoid retirement, and sees William as an answer to his prayers. If he kills him, he’ll fill his quota, and all will be well. This creates a paradox where you want both men to succeed, but you know that’s impossible.
William changes his mind about the contract when a publisher takes interest in his novel, and he begins to fall in love with Ellie (Freya Mavor), the assistant who called him regarding his latest story. This encounter comes with some rather frank and heartwarming messages about life, reminding us how precious life can be if you give it a chance.
Of course, the film doesn’t just end there. After William’s 360, Leslie is having none of it, and for the rest of the film we see this young writer trying to outrun a seasoned assassin. Leslie’s boss Harvey (Christopher Eccleston) is hot on his tail as well, tired of giving the old man too many chances. It’s a classic tale of a failed assassin, flipped entirely on its head.
Filled with some brilliant twists and turns, the script is formulaic yet hugely entertaining, with some laugh out loud moments throughout. It will certainly appeal to those who like their humour a little darker, with its use of comedic timing and deadpan delivery. It addresses so much in a short space of time, adding depth where needed.
Leslie’s wife Penny (Marion Bailey) adds her own comic relief to the situation, with a delightful satire on middle-class culture. Whilst her husband is trying to keep a dangerous job he loves so much, she’s more concerned about beating her church rivals in a cushion competition. The parallels between the couple are simultaneously heartwarming and awkward, and I enjoyed the way they bounced off each other throughout.
This was a thoroughly enjoyable film, with some unexpectedly touching moments. I really connected with certain characters and loathed others, allowing me to become fully invested in the film. The encounter between these two men should have ended one way, but the two embark on a journey that changes their lives for the better. Underneath all the humour comes an understanding of mental health issues, and sympathy for those who struggle.
This was Tom Edmund’s feature length debut, after directing a few short films. It’s an impressive first film with good pacing, solid characters, and a well-polished look throughout. It was an ambitious first feature length, but it certainly delivered.
https://lucygoestohollywood.com/2019/05/06/dark-comedy-at-its-finest-my-thoughts-on-dead-in-a-week-or-your-money-back/
Darren (1599 KP) rated 20,000 Leagues Under the Sea (1954) in Movies
Jun 20, 2019
Story: 20,000 Leagues Under the Sea starts when scientist professor Pierre Aronnax (Lukas) gets assigned to investigate a large number of sinkings in the open ocean, joined by his trusted sidekick Conseil (Lorre). When the ship they are travelling on gets sunk by the creature, Peirre, Conseil and sailor Ned Land (Douglas) go in search of rescue finding the Nautilus seemingly abandoned on the ocean.
The Nautilus captained by Nemo (Mason) tests the men before letting them stay aboard learning the wonders from beneath the ocean and taking on the creatures that have been lurking in the deep.
Thoughts on 20,000 Leagues Under the Sea
Characters – Captain Nemo is the mysterious captain of the Nautilus, he doesn’t follow any over the rules of the ocean as he plans his own way to clean it up with his loyal men, he reluctantly lets the three survivors onboard knowing Professor Aronnax could help his work. He does get frustratingly tired of Ned’s behaviour which puts his crew in danger at times. Ned Land is a sailor that is one of the few survivors from the shipwreck, he doesn’t like Nemo and wants to focus on collecting treasure over learning from the ocean. Professor Pierre Aronnax is one of the most famous scientist in the world, he is welcomed on board the ship because of his reputation which impress Nemo, he jumps at the chance to make huge waves in science onboard the ship. Conseil is the assistant to the professor who quickly starts to side with ned when it comes to the methods being shown onboard the vessel.
Performances – This is a strange way to bill the cast, because James Mason is the main character and he is great to watch when it comes to his speeches and ideas for what his character wants. Kirk Douglas is mostly the comic relief which is fun to see for the most part. Paul Lukas fits the posh scientist role in the film which is the one that can simplify things for the audience. Peter Lorre makes for a good sidekick figure for whoever his character helps.
Story – The story here follows the character of Captain Nemo that must educate three new crew members of the wonders of the ocean, showing them the answers are here instead of in how the world is acting. This is one that shows us science need exploring rather than questioning which takes out characters across the world to see things never imagined for the 1800s. While the story does give us entertainment, it would have been nice to see them ship take on a real creature for more than five minutes instead of going into the science versus sailing talk we most explore.
Adventure/Fantasy/Sci-Fi – The adventure side of this film takes our crew around the world to places they would have never seen to see places only few would have, make new discoveries. The fantasy mixes into the sci-fi because of the films setting in the 1800s where the technology isn’t like anything imaginable.
Settings – The film keep sus out at sea for most of the film, it is the interior of the Nautilus which is fantastic creation here show us just what was in the minds of the people.
Special Effects – The effects for the time were great, they show us what could have been achieved with practical effects and clever camera work.
Scene of the Movie – Squid battle.
That Moment That Annoyed Me – Not much creature action.
Final Thoughts – This is a must watch classic of cinema, it reaches levels you might not have expected for the time only to become something you need to admire.
Overall: Must watch classic
https://moviesreview101.com/2019/03/20/20000-leagues-under-the-sea-1954/
The Nautilus captained by Nemo (Mason) tests the men before letting them stay aboard learning the wonders from beneath the ocean and taking on the creatures that have been lurking in the deep.
Thoughts on 20,000 Leagues Under the Sea
Characters – Captain Nemo is the mysterious captain of the Nautilus, he doesn’t follow any over the rules of the ocean as he plans his own way to clean it up with his loyal men, he reluctantly lets the three survivors onboard knowing Professor Aronnax could help his work. He does get frustratingly tired of Ned’s behaviour which puts his crew in danger at times. Ned Land is a sailor that is one of the few survivors from the shipwreck, he doesn’t like Nemo and wants to focus on collecting treasure over learning from the ocean. Professor Pierre Aronnax is one of the most famous scientist in the world, he is welcomed on board the ship because of his reputation which impress Nemo, he jumps at the chance to make huge waves in science onboard the ship. Conseil is the assistant to the professor who quickly starts to side with ned when it comes to the methods being shown onboard the vessel.
Performances – This is a strange way to bill the cast, because James Mason is the main character and he is great to watch when it comes to his speeches and ideas for what his character wants. Kirk Douglas is mostly the comic relief which is fun to see for the most part. Paul Lukas fits the posh scientist role in the film which is the one that can simplify things for the audience. Peter Lorre makes for a good sidekick figure for whoever his character helps.
Story – The story here follows the character of Captain Nemo that must educate three new crew members of the wonders of the ocean, showing them the answers are here instead of in how the world is acting. This is one that shows us science need exploring rather than questioning which takes out characters across the world to see things never imagined for the 1800s. While the story does give us entertainment, it would have been nice to see them ship take on a real creature for more than five minutes instead of going into the science versus sailing talk we most explore.
Adventure/Fantasy/Sci-Fi – The adventure side of this film takes our crew around the world to places they would have never seen to see places only few would have, make new discoveries. The fantasy mixes into the sci-fi because of the films setting in the 1800s where the technology isn’t like anything imaginable.
Settings – The film keep sus out at sea for most of the film, it is the interior of the Nautilus which is fantastic creation here show us just what was in the minds of the people.
Special Effects – The effects for the time were great, they show us what could have been achieved with practical effects and clever camera work.
Scene of the Movie – Squid battle.
That Moment That Annoyed Me – Not much creature action.
Final Thoughts – This is a must watch classic of cinema, it reaches levels you might not have expected for the time only to become something you need to admire.
Overall: Must watch classic
https://moviesreview101.com/2019/03/20/20000-leagues-under-the-sea-1954/
<i>I received this book for free through Goodreads First Reads.</i>
A spectacle of celebrity, talent and burning ambition, <i>Queen Bees</i> combines the biographical stories of six ambitious women who helped to shape the standards of British society between the two world wars. Londoner Siân Evans is a cultural historian who has previously worked with the <i>Victoria and Albert Museum, National Trust </i>and <i>Design Museum</i>, and takes great lengths to thoroughly research into her written subject in order to portray a highly accurate insight to the lives of historical figures. Due to the non-existent political status of women in the early 1900s, the women featured in this book are virtually unknown today, yet they had a great impact during the 20s and 30s and helped to shape the Britain of today.
Although not necessarily born into it, circumstances such as marriage meant these six women were regarded as upper class. In no particular order, the names impacting on the social revolution and thus featured in <i>Queen Bees</i> are as follows: Lady Nancy Astor, the first female MP; Lady Sybil Colefax, who became a friend of Edward VIII; Lady Emerald Cunard, also connected with the royal family; Mrs. Ronnie Greville, a rather formidable woman; Lady Edith Londonderry, the founder of the Women’s Legion; and Laura Corrigan, the youngest of the set. Evans talks the reader through these women’s careers as professional hostesses as they compete to throw the better party, entertaining famous writers and actors as well as members of royalty, both national and foreign.
What is perhaps the most interesting, and indeed the most worth learning, is the way a couple of these women altered the future of the British monarchy. Without their interference the future George VI would never have married Elizabeth Bowes-Lyon, and without their involvement in the relationship between Edward VIII and Wallis Simpson, George VI would never have come to the throne. This is such an important aspect of British history that has been widely left out and ignored. Without these hostesses influence we would all be experiencing a slightly different life.
In terms of the actual writing, Siân Evans manages fairly well to engage the reader as she relates the factual story in a more or less chronological way. A slight issue is the quick, often undetected, move from one woman to the next, resulting in a lot of confusion about who is who particularly at the beginning of the book. A lot of the narrative features other key figures from the same period and often moves away from the main characters, which, whilst interesting, is not what the reader necessarily expected from a book whose title <i>Queen Bees</i> suggested it was only going to be about the women’s lives.
Footnotes, quotes and extracts from letters and diaries help to make the book appear reliable, factual and believable. Some of the content, without back up, would have seemed rather fanciful or exaggerated. <i>Queen Bees</i> can be read as a source of entertainment or as a citation for historical research. What is found within these pages is a more unbiased account of the early twentieth century than would be found in numerous male dominated history textbooks.
Mature readers of all ages are likely to gain something from reading <i>Queen Bees</i> – pleasure, knowledge etc., however it is most likely to appeal to the contemporary feminist. With this in mind, be aware that the six hostesses were not feminists of their time; they were not involved in Suffragette movements and were fairly content to live off money earned by their husbands or fathers. Yet, on the other hand, they impacted on the future of Britain as much as the male politicians of the time. Highly political in content, <i>Queen Bees </i>is worth reading to discover our own history, but be prepared for initial confusion over who is who and rather lengthy paragraphs.
A spectacle of celebrity, talent and burning ambition, <i>Queen Bees</i> combines the biographical stories of six ambitious women who helped to shape the standards of British society between the two world wars. Londoner Siân Evans is a cultural historian who has previously worked with the <i>Victoria and Albert Museum, National Trust </i>and <i>Design Museum</i>, and takes great lengths to thoroughly research into her written subject in order to portray a highly accurate insight to the lives of historical figures. Due to the non-existent political status of women in the early 1900s, the women featured in this book are virtually unknown today, yet they had a great impact during the 20s and 30s and helped to shape the Britain of today.
Although not necessarily born into it, circumstances such as marriage meant these six women were regarded as upper class. In no particular order, the names impacting on the social revolution and thus featured in <i>Queen Bees</i> are as follows: Lady Nancy Astor, the first female MP; Lady Sybil Colefax, who became a friend of Edward VIII; Lady Emerald Cunard, also connected with the royal family; Mrs. Ronnie Greville, a rather formidable woman; Lady Edith Londonderry, the founder of the Women’s Legion; and Laura Corrigan, the youngest of the set. Evans talks the reader through these women’s careers as professional hostesses as they compete to throw the better party, entertaining famous writers and actors as well as members of royalty, both national and foreign.
What is perhaps the most interesting, and indeed the most worth learning, is the way a couple of these women altered the future of the British monarchy. Without their interference the future George VI would never have married Elizabeth Bowes-Lyon, and without their involvement in the relationship between Edward VIII and Wallis Simpson, George VI would never have come to the throne. This is such an important aspect of British history that has been widely left out and ignored. Without these hostesses influence we would all be experiencing a slightly different life.
In terms of the actual writing, Siân Evans manages fairly well to engage the reader as she relates the factual story in a more or less chronological way. A slight issue is the quick, often undetected, move from one woman to the next, resulting in a lot of confusion about who is who particularly at the beginning of the book. A lot of the narrative features other key figures from the same period and often moves away from the main characters, which, whilst interesting, is not what the reader necessarily expected from a book whose title <i>Queen Bees</i> suggested it was only going to be about the women’s lives.
Footnotes, quotes and extracts from letters and diaries help to make the book appear reliable, factual and believable. Some of the content, without back up, would have seemed rather fanciful or exaggerated. <i>Queen Bees</i> can be read as a source of entertainment or as a citation for historical research. What is found within these pages is a more unbiased account of the early twentieth century than would be found in numerous male dominated history textbooks.
Mature readers of all ages are likely to gain something from reading <i>Queen Bees</i> – pleasure, knowledge etc., however it is most likely to appeal to the contemporary feminist. With this in mind, be aware that the six hostesses were not feminists of their time; they were not involved in Suffragette movements and were fairly content to live off money earned by their husbands or fathers. Yet, on the other hand, they impacted on the future of Britain as much as the male politicians of the time. Highly political in content, <i>Queen Bees </i>is worth reading to discover our own history, but be prepared for initial confusion over who is who and rather lengthy paragraphs.
Darren (1599 KP) rated Breaking In (2018) (2018) in Movies
Jun 21, 2019
Story: Breaking In starts when Shaun Russell (Union) takes her children Jasmine (Alexus) and Glover (Carr) to her father’s estate after his death, the weekend is meant to be to prepare the house for sale. The weekend takes a dark twist when four thieves Eddie (Burke), Duncan (Cabral), Sam (Meaden) and Peter (Furze) have broken in, searching for a secret safe.
With Shaun locked out and her children being held captive by the thieves, she will do anything to save her children, not caring what the men want, this does become a battle of a mother that will do anything versus thieves that won’t stop for anything.
Thoughts on Breaking In
Characters – Shaun is a mother of two children that is tidying up the affairs of her late father, she thinks her weekend will just be tidying up his house, but she soon shows that she has a few skills picked up from her father, she will play a cat-n-mouse game with a group of thieves that are holding her children hostage, Shaun will prove herself as somebody smarter than the thieves, showing a mother’s love will overcome any plan. Eddie is the leader of the thieves, he remains calm and in control, even if his men can get out of hand, he only wants the money, getting pushed into difficult decisions. Duncan is the loose cannon of the thieves, he doesn’t want to leave any witnesses to the crime they are committing. Jasmine is the eldest daughter that needs to protect her little brother from the situation, even if the two have a bickering relationship.
Performances – Gabrielle Union in the leading role is great, she brings us a strong powerful mother that isn’t going to let any man take advantage of her family. Billy Burke does bring the required calmness to his character which is everything needed, with Richard Cabral bring his own unhinged character to life to just about step away from the generic normal one. Ajiona Alexus and Seth Carr fill the children roles which in the works very well as they feel like they could easily be brother and sister.
Story – The story here follows a mother that will do anything to get her children to safety after their home gets invaded by a group of criminals searching for money. This is a home invasion film, it doesn’t need to break away from the normal in anyway, we know the formula, with this one putting the spin on the mother being separated from her children, we have the discussion of power between the criminals and mother, which is an important scene. We see how the mother might have a few more tricks up her sleeves that first thought. This is everything you expect without needing to make anything complicated, making it an easy watch.
Action/Crime – The action is restricted because of the separation between the characters, but when we need it, we get action we need, the crime story does follow how the thieves operate, though we don’t learn everything about the father’s situation in the criminal world.
Settings – The film is set in one location which is the house that has the ability to hold people out or keep people in, this helps build the battle between mother and thieves.
Scene of the Movie – Losing control.
That Moment That Annoyed Me – Not truly learning about the Shaun’s father previous life as a criminal.
Final Thoughts – This is a by the book home invasion film, it does give us plenty of entertainment and is above the average in the sub-genre.
Overall: Home invasion above the rest.
https://moviesreview101.com/2019/06/20/breaking-in-2018/
With Shaun locked out and her children being held captive by the thieves, she will do anything to save her children, not caring what the men want, this does become a battle of a mother that will do anything versus thieves that won’t stop for anything.
Thoughts on Breaking In
Characters – Shaun is a mother of two children that is tidying up the affairs of her late father, she thinks her weekend will just be tidying up his house, but she soon shows that she has a few skills picked up from her father, she will play a cat-n-mouse game with a group of thieves that are holding her children hostage, Shaun will prove herself as somebody smarter than the thieves, showing a mother’s love will overcome any plan. Eddie is the leader of the thieves, he remains calm and in control, even if his men can get out of hand, he only wants the money, getting pushed into difficult decisions. Duncan is the loose cannon of the thieves, he doesn’t want to leave any witnesses to the crime they are committing. Jasmine is the eldest daughter that needs to protect her little brother from the situation, even if the two have a bickering relationship.
Performances – Gabrielle Union in the leading role is great, she brings us a strong powerful mother that isn’t going to let any man take advantage of her family. Billy Burke does bring the required calmness to his character which is everything needed, with Richard Cabral bring his own unhinged character to life to just about step away from the generic normal one. Ajiona Alexus and Seth Carr fill the children roles which in the works very well as they feel like they could easily be brother and sister.
Story – The story here follows a mother that will do anything to get her children to safety after their home gets invaded by a group of criminals searching for money. This is a home invasion film, it doesn’t need to break away from the normal in anyway, we know the formula, with this one putting the spin on the mother being separated from her children, we have the discussion of power between the criminals and mother, which is an important scene. We see how the mother might have a few more tricks up her sleeves that first thought. This is everything you expect without needing to make anything complicated, making it an easy watch.
Action/Crime – The action is restricted because of the separation between the characters, but when we need it, we get action we need, the crime story does follow how the thieves operate, though we don’t learn everything about the father’s situation in the criminal world.
Settings – The film is set in one location which is the house that has the ability to hold people out or keep people in, this helps build the battle between mother and thieves.
Scene of the Movie – Losing control.
That Moment That Annoyed Me – Not truly learning about the Shaun’s father previous life as a criminal.
Final Thoughts – This is a by the book home invasion film, it does give us plenty of entertainment and is above the average in the sub-genre.
Overall: Home invasion above the rest.
https://moviesreview101.com/2019/06/20/breaking-in-2018/
Chris Sawin (602 KP) rated The Boondock Saints II: All Saints Day (2009) in Movies
Jun 22, 2019
**I was really high on this film after seeing it in theaters in 2009. I haven't seen the film since or edited the review since seeing it. I feel like it hasn't aged well over the past decade; hence the average rating. This is my original review though.**
It's been eight years since Connor (Sean Patrick Flanery) and Murphy MacManus (Norman Reedus) have gone into hiding after assassinating Giuseppe Yakavetta in public. Now living on a sheep farm in Ireland with their father, Noah "Il Duce" MacManus (Billy Connolly), everything is relatively quiet in their lives. That is until their uncle, Father Sibeal MacManus, visits them and informs them that a priest was killed in a church back in Boston and made it look like the MacManus brothers had come out of hiding. The brothers waste little time digging up their old clothes and Berettas to head back to Boston to figure out just who is behind this while continuing to rid the world of as many criminal overlords as they can along the way.
What can be considered a worthy sequel, especially when it's a sequel to a film that has reached cult like status? A sequel has to at least be as good as the original film, if not better. In fact, the sequel should attempt to be better than the original film otherwise why visit the same material again? A worthy sequel should bring together most, if not all, of the original cast, have a solid storyline, and be entertaining above all else. The Boondock Saints II: All Saints Day is such a sequel as it's everything the first film was and then some.
As great as the first film is, All Saints Day just felt bigger and more entertaining overall. The story is simple, but effective. The easiest way to flush somebody out who's gone into hiding is to flush them out yourself by using their MO, but is it ever really that easy? There's always something bigger going on with a setup like that and the payoff is just as sweet as the buildup. The dialogue and a lot of the arguing between the MacManus brothers in the original film was hilarious at times. The arguing between the brothers in the sequel doesn't miss a beat as the ten year gap between films hasn't affected Troy Duffy's writing at all. The addition of Clifton Collins Jr as Romeo was brilliant in terms of entertainment value as Romeo steals quite a few scenes and has some pretty incredible one liners throughout the film.
A sequel's ending is just as important as it being an acceptable addition to the franchise it finds itself a part of. The ending to All Saints Day not only satisfied my appetite, but also left me craving the next film and wishing there was another hour or two to the duration of the film. There's something in the last few minutes of the sequel that's a throwback to the original film that just absolutely blew me away since I wasn't expecting it at all. The ending managed to wrap up just about everything to that point and tease another film. It's very rare that a sequel like that is satisfying, but All Saints Day managed to pull it off.
The Boondock Saints II: All Saints Day is a sequel that lives up to the cult status achieved in the original film by delivering a film that is nearly better than its predecessor in every way. It hardly feels like there's ten years between the two films as everything between familiar characters feels just as natural as it did in the original film. There's no doubt in my mind that if you enjoyed the original film that you'll enjoy the explosive sequel. The saints are comin' and I highly recommend you pay them a visit.
It's been eight years since Connor (Sean Patrick Flanery) and Murphy MacManus (Norman Reedus) have gone into hiding after assassinating Giuseppe Yakavetta in public. Now living on a sheep farm in Ireland with their father, Noah "Il Duce" MacManus (Billy Connolly), everything is relatively quiet in their lives. That is until their uncle, Father Sibeal MacManus, visits them and informs them that a priest was killed in a church back in Boston and made it look like the MacManus brothers had come out of hiding. The brothers waste little time digging up their old clothes and Berettas to head back to Boston to figure out just who is behind this while continuing to rid the world of as many criminal overlords as they can along the way.
What can be considered a worthy sequel, especially when it's a sequel to a film that has reached cult like status? A sequel has to at least be as good as the original film, if not better. In fact, the sequel should attempt to be better than the original film otherwise why visit the same material again? A worthy sequel should bring together most, if not all, of the original cast, have a solid storyline, and be entertaining above all else. The Boondock Saints II: All Saints Day is such a sequel as it's everything the first film was and then some.
As great as the first film is, All Saints Day just felt bigger and more entertaining overall. The story is simple, but effective. The easiest way to flush somebody out who's gone into hiding is to flush them out yourself by using their MO, but is it ever really that easy? There's always something bigger going on with a setup like that and the payoff is just as sweet as the buildup. The dialogue and a lot of the arguing between the MacManus brothers in the original film was hilarious at times. The arguing between the brothers in the sequel doesn't miss a beat as the ten year gap between films hasn't affected Troy Duffy's writing at all. The addition of Clifton Collins Jr as Romeo was brilliant in terms of entertainment value as Romeo steals quite a few scenes and has some pretty incredible one liners throughout the film.
A sequel's ending is just as important as it being an acceptable addition to the franchise it finds itself a part of. The ending to All Saints Day not only satisfied my appetite, but also left me craving the next film and wishing there was another hour or two to the duration of the film. There's something in the last few minutes of the sequel that's a throwback to the original film that just absolutely blew me away since I wasn't expecting it at all. The ending managed to wrap up just about everything to that point and tease another film. It's very rare that a sequel like that is satisfying, but All Saints Day managed to pull it off.
The Boondock Saints II: All Saints Day is a sequel that lives up to the cult status achieved in the original film by delivering a film that is nearly better than its predecessor in every way. It hardly feels like there's ten years between the two films as everything between familiar characters feels just as natural as it did in the original film. There's no doubt in my mind that if you enjoyed the original film that you'll enjoy the explosive sequel. The saints are comin' and I highly recommend you pay them a visit.
Jordan Binkerd (567 KP) rated All Systems Red (The Murderbot Diaries, #1) in Books
Aug 8, 2019 (Updated Aug 9, 2019)
Hilariously cynical and sarcastic narrator (2 more)
Bleak and dystopian universe
Complex characters and worldbuilding
An excellent novella
Meet Murderbot. Nobody else calls it that, of course - to most of the stupid humans it has to interact with, it’s just the security unit that the company made them bring along as part of the contract to safeguard the investment. But whereas most SecUnits are slaves to the central AI running whatever shoddy equipment the company sent along, Murderbot (as it thinks of itself) has hacked its own governor unit and can ignore whatever orders it wants, freeing it to stand around listlessly guarding stupid humans from dangers that are mostly non-existant as long as nobody does anything too moronic, devoting most of its energy to watching the terrabytes of serials that it downloaded from the entertainment feed last time they made contact. When things start to go wrong, initially it seems like just business as usual - life is cheap, and the contract for this equipment all went to the lowest bidder. But as incidents start to pile up, even Murderbot has to admit someone is trying to kill its humans. Even worse? Murderbot seems to have accidentally started to care about them…. Crap. It’s going to have to actually put in some effort this time around, isn’t it?
To put it simply, this is the best book I’ve read in quite a while. The entire thing is narrated by the extremely sarcastic, introverted, and misanthropic Murderbot, which makes for maybe the most engaging narrator since Harry Dresden. Don’t believe me? Read the first several pages on TOR's website. You know that thing with Charles Dickens where everything would be terribly depressing without his tongue-in-cheek style to bring the humor, rendering it impossible to abridge? No? I’m the only one to notice that? Oh well, moving on. This is like that - a dystopian wasteland of a society that is expanding across the cosmos using crappy low-budget equipment that’s liable to stop working on you when you most need it - to the point where it takes multiple incidents before the protagonists conclude that this isn’t business as usual. There’s also the moral ambiguity of the slavery-in-all-but-name of the Constructs that form the backbone of the labor force - sentient, at least without the governor unit, but forced to follow every whim of the humans they’re assigned to, even if those humans get bored and force them into gladiatorial combat or some such. These Constructs are described as androids, but are more accurately clone-based cyborgs fitted out for whatever task they’ll be doomed to for their term of service; part mechanical hardware, part expendable and easily-regrown meat, genderless and sexless unless designated for….that. And Murderbot? Murderbot just wants to be left alone, yet is a surprisingly deep and compelling character with a tragic backstory and motivations that are deceptively noble given its internal dialogue. Even its self-given name deserves a second look by the end of the book. I cannot recommend this book enough. And it’s a short read, clocking in at right about a hundred and fifty pages, technically more of a novella than a full-fledged novel. Now I just have to wait for whoever has the second book checked out from the library to give it back….
CONTENT: Some violence, not too gruesomely described. Some sexual references, including offhand mentions that some of the characters are in relationships that would be far outside the norm today (one character is said to have three romantic partners waiting together at home for them, for example). Murderbot also makes disparaging references to pleasurebots, but nothing explicit. Occasional R-rated profanity, but not too gratuitous.
To put it simply, this is the best book I’ve read in quite a while. The entire thing is narrated by the extremely sarcastic, introverted, and misanthropic Murderbot, which makes for maybe the most engaging narrator since Harry Dresden. Don’t believe me? Read the first several pages on TOR's website. You know that thing with Charles Dickens where everything would be terribly depressing without his tongue-in-cheek style to bring the humor, rendering it impossible to abridge? No? I’m the only one to notice that? Oh well, moving on. This is like that - a dystopian wasteland of a society that is expanding across the cosmos using crappy low-budget equipment that’s liable to stop working on you when you most need it - to the point where it takes multiple incidents before the protagonists conclude that this isn’t business as usual. There’s also the moral ambiguity of the slavery-in-all-but-name of the Constructs that form the backbone of the labor force - sentient, at least without the governor unit, but forced to follow every whim of the humans they’re assigned to, even if those humans get bored and force them into gladiatorial combat or some such. These Constructs are described as androids, but are more accurately clone-based cyborgs fitted out for whatever task they’ll be doomed to for their term of service; part mechanical hardware, part expendable and easily-regrown meat, genderless and sexless unless designated for….that. And Murderbot? Murderbot just wants to be left alone, yet is a surprisingly deep and compelling character with a tragic backstory and motivations that are deceptively noble given its internal dialogue. Even its self-given name deserves a second look by the end of the book. I cannot recommend this book enough. And it’s a short read, clocking in at right about a hundred and fifty pages, technically more of a novella than a full-fledged novel. Now I just have to wait for whoever has the second book checked out from the library to give it back….
CONTENT: Some violence, not too gruesomely described. Some sexual references, including offhand mentions that some of the characters are in relationships that would be far outside the norm today (one character is said to have three romantic partners waiting together at home for them, for example). Murderbot also makes disparaging references to pleasurebots, but nothing explicit. Occasional R-rated profanity, but not too gratuitous.
Kirk Bage (1775 KP) rated 3 Idiots (2009) in Movies
Mar 3, 2020
So, I am writing a coffee table book that selects the 200 top films of 2000 – 2019. Called, predictably, 21st Century Cinema: 200 Unmissable films. It uses a system of rating I devised called The Decinemal, which takes the ten categories by which a film can be rated (Direction, Script, Design, Lead Acting, Support Acting, Music, Photography, Critical Acclaim, Watchability and X-Factor) and scores them out of 10, to give an overall score out of 100. Whilst not foolproof, it does give a remarkable working basis for comparing movies of different genres, and the ratings often bear a striking relation to the democratic system used by IMDb – a film scoring 7.2 on that website might be a 75 decinemal, for example, and that feels like that validates its use.
It has been a very fun, if time consuming, project. The difficulty is keeping up with new releases every year, and trying to catch some of the more obscure foreign language films out there that get high scores on IMDb. One such film was 3 Idiots, to date the highest rated Bollywood film on that website, with a score of 8.5; which is high! Very high! So I have to watch it and find out for myself.
Now, Bollywood is not me for, barring the odd amusement of how bizarre they can be. I find the musical interludes often grating and incongruous, and the melodramatic acting styles something that the cinema of most other countries outgrew decades ago. So it is hard for me to be objective about it. On the whole they just don’t compete on any level with American, European or, well, any other country’s output. In short, I would never normally watch one at all.
Surprisingly, I found 3 Idiots, although clownish and OTT, quite entertaining from the start. I even found one or two of the obligatory musical numbers very catchy and a lot of fun! Also, lead actor Aamir Khan, one of India’s biggest stars, was very charming and watchable. Of course, it is colourful, loud and has a childish sensibility, but some moments made me genuinely laugh. The main problem actually came from it being padded out to almost 2 and 1/2 hours, which was far too long for comfort. If it had been more economical I may have even been able to say it was worth watching.
Sadly, it is the moments of cultural difference and pure silliness that dragged it down. Despite its positive points, ultimately it is a mess, and to compare it on the standard I judge all films I see I have to be fair and not patronise it. Certainly in terms of the Bollywood fare I have seen bits of over the years, I can see why it is so well thought of. I can also see how films like this gain such a high rating, because it is the native audience it was made for that cast the votes. Which is fair enough, but does give it an unreasonably high score.
I think if more people watched it and rated it, it would balance out at a 6.5, and it probably deserves that for sheer entertainment value. I have certainly seen many worse films! Applying The Decinemal objectively, however, it comes out like this: Direction 4, Script 5, Design 6, Lead Acting 6, Support acting 4, Music 5, Photography 6, Critical Acclaim 7, Wachability 5, x-Factor 6. Added up that gives it a Decinemal of 54 – a far cry from the 74 it would have needed to make my top 200. And I stand by that score, as the level of likelihood of everyone’s enjoyment of it.
To an extent it discourages me from watching anything from this part of the world again, but I can’t say I didn’t appreciate why it was such a big hit. Interesting.
It has been a very fun, if time consuming, project. The difficulty is keeping up with new releases every year, and trying to catch some of the more obscure foreign language films out there that get high scores on IMDb. One such film was 3 Idiots, to date the highest rated Bollywood film on that website, with a score of 8.5; which is high! Very high! So I have to watch it and find out for myself.
Now, Bollywood is not me for, barring the odd amusement of how bizarre they can be. I find the musical interludes often grating and incongruous, and the melodramatic acting styles something that the cinema of most other countries outgrew decades ago. So it is hard for me to be objective about it. On the whole they just don’t compete on any level with American, European or, well, any other country’s output. In short, I would never normally watch one at all.
Surprisingly, I found 3 Idiots, although clownish and OTT, quite entertaining from the start. I even found one or two of the obligatory musical numbers very catchy and a lot of fun! Also, lead actor Aamir Khan, one of India’s biggest stars, was very charming and watchable. Of course, it is colourful, loud and has a childish sensibility, but some moments made me genuinely laugh. The main problem actually came from it being padded out to almost 2 and 1/2 hours, which was far too long for comfort. If it had been more economical I may have even been able to say it was worth watching.
Sadly, it is the moments of cultural difference and pure silliness that dragged it down. Despite its positive points, ultimately it is a mess, and to compare it on the standard I judge all films I see I have to be fair and not patronise it. Certainly in terms of the Bollywood fare I have seen bits of over the years, I can see why it is so well thought of. I can also see how films like this gain such a high rating, because it is the native audience it was made for that cast the votes. Which is fair enough, but does give it an unreasonably high score.
I think if more people watched it and rated it, it would balance out at a 6.5, and it probably deserves that for sheer entertainment value. I have certainly seen many worse films! Applying The Decinemal objectively, however, it comes out like this: Direction 4, Script 5, Design 6, Lead Acting 6, Support acting 4, Music 5, Photography 6, Critical Acclaim 7, Wachability 5, x-Factor 6. Added up that gives it a Decinemal of 54 – a far cry from the 74 it would have needed to make my top 200. And I stand by that score, as the level of likelihood of everyone’s enjoyment of it.
To an extent it discourages me from watching anything from this part of the world again, but I can’t say I didn’t appreciate why it was such a big hit. Interesting.
Kirk Bage (1775 KP) rated Black Mirror - Season 2 in TV
Mar 3, 2020
Be Right Back - 8
Hayley Atwell, best known as Captain America’s squeeze in the MCU, Carries the emotional weight of this episode in beguiling style. Not for the last time Black Mirror enters the territory of death, grief, loneliness and questions of a tech-aided afterlife. If it were possible to bring a loved one back in physical form, even though we knew it wasn’t really them, would we be tempted to do it? Entirely believable as a concept, considering the amount of data we are storing about ourselves on social media and in other digital ways. Although any kind of clone as good as Domhnall Gleason is a bit far fetched for now. What works here is realising that no matter how good a facsimile is, it is the myriad of tiny details that make a person that we miss the most, even the imperfections. Genuinely moving in its best moments, and a strong start to season 2 in 2013.
White Bear - 7.5
White Bear, the first of the “blind” episodes, where we as viewer are thrown into a situation with no explanation or context, was the first Black Mirror episode I ever watched. I remember being blown away by the dark concept, compelling nature of the minimal narrative, the cunning twist, and the boldness of the statement seemingly being made. So many themes are going on at the same time here: true crime as voyeuristic entertainment; the moral idea of an eye for an eye, brainwashing, and whether torture under any circumstance can be justified, for starters. Looking back, it isn’t the most rounded tale in the canon, or the best acted, but it is certainly very memorable. It also saw the birth of the White Bear symbol, which pops up in other episodes regularly, if paying attention. What is its meaning? The jury is still out!
The Waldo Moment - 6
The political apathy of a nation, and hatred of the personality flaws of our politicians could lead to a figurehead without real policies being elected and revered – it isn’t a very strange idea in 2020 at all. Many younger voters have been incited to demand change, without any idea of what that change should entail. So, in concept, this episode is right on the money. Trouble is it isn’t well written enough to sustain the drama or intrigue in the way the best of the canon do. The shock value is low, and therefore the reaction is “meh, fair enough”. For me, the first real blip in quality control for the series.
White Christmas - 8.5
This was the transition episode that saw Black Mirror make the big money move from Channel 4 to Netflix. Although now bundled into series two, it was a 21 month wait after The Waldo Moment before over 2 million of us settled down to this Christmas gift in 2014. It comes over as an anthology within an anthology, with John Hamm and Rafe Spall telling tales in front of the fire whilst on a “job” together in the cold wilderness of an unknown location. It is laden with ideas of technology back-firing, and is very satisfying in how quickly it moves through the plot points. The chemistry of the two lead men is great; the arrogance of one and the nervousness of the other allowing for some beautiful twists and turns. Essentially, the whole thing is either a re-working of ideas already used, or a precursor to future ideas that will be more fleshed out. Not that it really matters. This is the highest rated individual episode on IMDb, and the reason for that has to be its accessibility. The balance between being creeped out and entertained is just about perfect.
Hayley Atwell, best known as Captain America’s squeeze in the MCU, Carries the emotional weight of this episode in beguiling style. Not for the last time Black Mirror enters the territory of death, grief, loneliness and questions of a tech-aided afterlife. If it were possible to bring a loved one back in physical form, even though we knew it wasn’t really them, would we be tempted to do it? Entirely believable as a concept, considering the amount of data we are storing about ourselves on social media and in other digital ways. Although any kind of clone as good as Domhnall Gleason is a bit far fetched for now. What works here is realising that no matter how good a facsimile is, it is the myriad of tiny details that make a person that we miss the most, even the imperfections. Genuinely moving in its best moments, and a strong start to season 2 in 2013.
White Bear - 7.5
White Bear, the first of the “blind” episodes, where we as viewer are thrown into a situation with no explanation or context, was the first Black Mirror episode I ever watched. I remember being blown away by the dark concept, compelling nature of the minimal narrative, the cunning twist, and the boldness of the statement seemingly being made. So many themes are going on at the same time here: true crime as voyeuristic entertainment; the moral idea of an eye for an eye, brainwashing, and whether torture under any circumstance can be justified, for starters. Looking back, it isn’t the most rounded tale in the canon, or the best acted, but it is certainly very memorable. It also saw the birth of the White Bear symbol, which pops up in other episodes regularly, if paying attention. What is its meaning? The jury is still out!
The Waldo Moment - 6
The political apathy of a nation, and hatred of the personality flaws of our politicians could lead to a figurehead without real policies being elected and revered – it isn’t a very strange idea in 2020 at all. Many younger voters have been incited to demand change, without any idea of what that change should entail. So, in concept, this episode is right on the money. Trouble is it isn’t well written enough to sustain the drama or intrigue in the way the best of the canon do. The shock value is low, and therefore the reaction is “meh, fair enough”. For me, the first real blip in quality control for the series.
White Christmas - 8.5
This was the transition episode that saw Black Mirror make the big money move from Channel 4 to Netflix. Although now bundled into series two, it was a 21 month wait after The Waldo Moment before over 2 million of us settled down to this Christmas gift in 2014. It comes over as an anthology within an anthology, with John Hamm and Rafe Spall telling tales in front of the fire whilst on a “job” together in the cold wilderness of an unknown location. It is laden with ideas of technology back-firing, and is very satisfying in how quickly it moves through the plot points. The chemistry of the two lead men is great; the arrogance of one and the nervousness of the other allowing for some beautiful twists and turns. Essentially, the whole thing is either a re-working of ideas already used, or a precursor to future ideas that will be more fleshed out. Not that it really matters. This is the highest rated individual episode on IMDb, and the reason for that has to be its accessibility. The balance between being creeped out and entertained is just about perfect.
Shaun Quarterman (24 KP) rated The Transformers - The Movie (1986) in Movies
Mar 9, 2020
Robots in disguise
Contains spoilers, click to show
TRANSFORMERS THE MOVIE
This movie is what I like to call a cult classic the first big screen appearance of the Autobots and Decepticons, its appeared after the first two seasons and it shook everything up Transformers as we knew it was over. It starts with a massacre on an Autobot shuttle and many characters died at the hands of Decepticon leader Megatron it shocked me when I first saw this because we had seen two seasons and it was all a bit tame. But the worst was yet to come so let me explain the whole idea of killing off these characters was to make way for future characters and new toy lines we had grown up and loved Ironhide ,and Ratchet, Prowl it definitely threw me the brutality of it shot point blank in the back of the head.
The war continues on Earth and we meet the future of the franchise Ultra Magnus and Hotrod as well as others all made to look futuristic their vehicle modes were Cybertronian which was new and I loved the more space age look about it we meet Daniel Witwicky the son of Spike but there is no sign of sparkplug or an explanation of his whereabouts Carly is Daniels mother. Now comes the part that shocked the world the death of Optimus Prime now let me explain in all versions of Transformers Optimus Prime always dies and the devastating planet Unicron always appears its Transformers lore but this movie defined it I wanted Optimus to destroy Unicron but it wasn’t to be.
Megatron also makes his last appearance with several other Decepticons which evened out the earlier Autobot deaths except they didn’t die they were reanimated by Unicron a new leader was born Galvatron and Cyclonus and Scourge and his dreaded Sweeps then came the death of Starscream it showed the brutality of the new leader, in the first two seasons Starscream would try to overthrow Megatron but he would always get away with it. Galvatron showed no mercy and blasted him straight away.
We are introduced to several new races of Transformers Junkions, Sharkticons and Quintessons all of which have would future appearances in season three and four, we see the friendship blossom between the young Autobot Hotrod and the old warrior Kup and the Dinobots get there action in as well I have always been a big fan of the Dinobots and they save the day again,
The most brilliant thing I had ever seen at the time was the transformation of Unicron a planet to robot I loved the sheer size of it and this final battle brought forth a new leader of the Autobots Rodimus Prime and a new era in Transformers entertainment despite the violence and death it did all make sense plus there are some cameo voices as well Galvatron was voiced by Doctor Spock himself Leonard Nimoy and rodimus prime voiced by Judd Nelson and Unicron was Voiced by orson Wells war of the worlds.
So I must admit this film is a guilty pleasure of mine and I highly recommend it I would advise to watch seasons one and two first just so you can feel how much the movie changed the franchise and the deaths of the characters actually mean more to you so give it a try and see what you think and there is a massive spoiler alert at the end of the movie which is narrated and got the public excited about the next season so enjoy it savour it and soak up this cult classic
This movie is what I like to call a cult classic the first big screen appearance of the Autobots and Decepticons, its appeared after the first two seasons and it shook everything up Transformers as we knew it was over. It starts with a massacre on an Autobot shuttle and many characters died at the hands of Decepticon leader Megatron it shocked me when I first saw this because we had seen two seasons and it was all a bit tame. But the worst was yet to come so let me explain the whole idea of killing off these characters was to make way for future characters and new toy lines we had grown up and loved Ironhide ,and Ratchet, Prowl it definitely threw me the brutality of it shot point blank in the back of the head.
The war continues on Earth and we meet the future of the franchise Ultra Magnus and Hotrod as well as others all made to look futuristic their vehicle modes were Cybertronian which was new and I loved the more space age look about it we meet Daniel Witwicky the son of Spike but there is no sign of sparkplug or an explanation of his whereabouts Carly is Daniels mother. Now comes the part that shocked the world the death of Optimus Prime now let me explain in all versions of Transformers Optimus Prime always dies and the devastating planet Unicron always appears its Transformers lore but this movie defined it I wanted Optimus to destroy Unicron but it wasn’t to be.
Megatron also makes his last appearance with several other Decepticons which evened out the earlier Autobot deaths except they didn’t die they were reanimated by Unicron a new leader was born Galvatron and Cyclonus and Scourge and his dreaded Sweeps then came the death of Starscream it showed the brutality of the new leader, in the first two seasons Starscream would try to overthrow Megatron but he would always get away with it. Galvatron showed no mercy and blasted him straight away.
We are introduced to several new races of Transformers Junkions, Sharkticons and Quintessons all of which have would future appearances in season three and four, we see the friendship blossom between the young Autobot Hotrod and the old warrior Kup and the Dinobots get there action in as well I have always been a big fan of the Dinobots and they save the day again,
The most brilliant thing I had ever seen at the time was the transformation of Unicron a planet to robot I loved the sheer size of it and this final battle brought forth a new leader of the Autobots Rodimus Prime and a new era in Transformers entertainment despite the violence and death it did all make sense plus there are some cameo voices as well Galvatron was voiced by Doctor Spock himself Leonard Nimoy and rodimus prime voiced by Judd Nelson and Unicron was Voiced by orson Wells war of the worlds.
So I must admit this film is a guilty pleasure of mine and I highly recommend it I would advise to watch seasons one and two first just so you can feel how much the movie changed the franchise and the deaths of the characters actually mean more to you so give it a try and see what you think and there is a massive spoiler alert at the end of the movie which is narrated and got the public excited about the next season so enjoy it savour it and soak up this cult classic