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TapGlance is a powerful and intuitive interior design app. Within minutes and without any prior...
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"Funny Food 2" it includes 15 various amusing games in ALL topics which are required for your...
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In Fiete Cars the children are the master builders. In this app kids can create their own car game....
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Dash into a brand new adventure as a wild Fox! For the first time ever, choose from THREE PLAYABLE...
Lee (2222 KP) rated Brightburn (2019) in Movies
Jun 11, 2019
What if Clark Kent grew up to be evil? What if, instead of growing up to be this all powerful protector of Earth and humanity, he decided he wanted to take the world, cruelly toying with and destroying humanity in the process? That's the premise behind Brightburn, a superhero horror movie from producer James Gunn, of Guardians of the Galaxy fame. Comic books are littered with plenty of 'what if' story-lines and alternate takes on popular superheroes, but up until now probably the most famous onscreen version of an evil Superman we've seen was in Superman III. And even then we only really got a drunk, unshaven, but still family friendly Superman, who felt a bit mischievous and blew out the Olympic torch for a bit of a laugh. Brightburn goes a lot darker, leaning heavily into horror with some wonderful, wince-inducing gory moments. If you're looking for Dark Phoenix levels of dark - moody, crying in the corner, that kind of thing - then you're going to be disappointed.
Brightburn begins by mirroring the origin story of Superman very closely - even the soundtrack reminded me of the music from 2013 movie Man of Steel on more than one occasion! Tori (Elizabeth Banks) and Kyle Bryer (David Denman) are a happily married couple, living on a farm and longing for a child of their own. And then one night, a meteor crash lands out in the nearby woods, bringing them a baby boy who they adopt as their own. We see home movies of a normal baby/toddler as he grows up as part of a normal, loving family. And then we move forward 10 years to present day.
As an adolescent, Brandon (Jackson A. Dunn) begins to experience some change in his life. His parents put it down to hormones, and attempt to give him the talk on girls and the facts of life, but it's a lot more than that. The rock shaped vessel which carried Brandon to Earth as a baby has been locked away in the family barn all these years, hidden from Brandon, but has now started glowing red. At the same time, something within Brandon appears to have been activated, and a number of small but disturbing incidents that follow leave his parents worried. They also realise that they've never actually seen their son bleed, or even hurt before. From there, the severity of these incidents increases greatly, and it becomes clear that there is definitely something very, very wrong with Brandon.
What I loved about Brightburn was the confined, low key setting of it all. The action is restricted primarily to the town of Brightburn, never really expanding into the worldwide, CGI heavy destruction of other superhero movies. We have an incredibly relatable mother who is out to love and protect her son until the bitter end, a father who becomes scared and horrified by everything that is unfolding, and then this powerful boy tearing the family apart - unpredictable and showing no sign of remorse or inner turmoil over everything that is happening. Outside of that, the action is confined to a relatively small cast - the local police, extended family and some other kids from school who we all follow throughout the movie - there's a lot of character depth to be found in Brightburn, which greatly adds to its overall enjoyment.
As is the norm these days though, the trailer does give away the majority of Brandon's targets and where he attacks them, meaning you kind of know what to expect for a lot of it. However, what the trailer doesn't give away is the atmosphere and the eeriness that builds to each of those shocking (and gory) moments and there are still plenty of jump scares and shocking scenes to keep you on your toes throughout. It builds to a climax which once again isn't a CGI overload, relying on shock and horror to deliver it's interesting conclusion. And, most importantly, it leaves the door open for what could be a very interesting sequel. I'm all up for that, and the direction that hints at, as I found Brightburn to be a very enjoyable and fresh take on the superhero genre.
Brightburn begins by mirroring the origin story of Superman very closely - even the soundtrack reminded me of the music from 2013 movie Man of Steel on more than one occasion! Tori (Elizabeth Banks) and Kyle Bryer (David Denman) are a happily married couple, living on a farm and longing for a child of their own. And then one night, a meteor crash lands out in the nearby woods, bringing them a baby boy who they adopt as their own. We see home movies of a normal baby/toddler as he grows up as part of a normal, loving family. And then we move forward 10 years to present day.
As an adolescent, Brandon (Jackson A. Dunn) begins to experience some change in his life. His parents put it down to hormones, and attempt to give him the talk on girls and the facts of life, but it's a lot more than that. The rock shaped vessel which carried Brandon to Earth as a baby has been locked away in the family barn all these years, hidden from Brandon, but has now started glowing red. At the same time, something within Brandon appears to have been activated, and a number of small but disturbing incidents that follow leave his parents worried. They also realise that they've never actually seen their son bleed, or even hurt before. From there, the severity of these incidents increases greatly, and it becomes clear that there is definitely something very, very wrong with Brandon.
What I loved about Brightburn was the confined, low key setting of it all. The action is restricted primarily to the town of Brightburn, never really expanding into the worldwide, CGI heavy destruction of other superhero movies. We have an incredibly relatable mother who is out to love and protect her son until the bitter end, a father who becomes scared and horrified by everything that is unfolding, and then this powerful boy tearing the family apart - unpredictable and showing no sign of remorse or inner turmoil over everything that is happening. Outside of that, the action is confined to a relatively small cast - the local police, extended family and some other kids from school who we all follow throughout the movie - there's a lot of character depth to be found in Brightburn, which greatly adds to its overall enjoyment.
As is the norm these days though, the trailer does give away the majority of Brandon's targets and where he attacks them, meaning you kind of know what to expect for a lot of it. However, what the trailer doesn't give away is the atmosphere and the eeriness that builds to each of those shocking (and gory) moments and there are still plenty of jump scares and shocking scenes to keep you on your toes throughout. It builds to a climax which once again isn't a CGI overload, relying on shock and horror to deliver it's interesting conclusion. And, most importantly, it leaves the door open for what could be a very interesting sequel. I'm all up for that, and the direction that hints at, as I found Brightburn to be a very enjoyable and fresh take on the superhero genre.
Movie Metropolis (309 KP) rated War Horse (2011) in Movies
Jun 11, 2019
Steven Spielberg is undoubtedly one of the world’s most loved directors and is without question, the king of blockbuster cinema. He thrilled us with dinosaurs in 1993’s blockbuster Jurassic Park, had us in tears with E.T. and had our hearts pumping out of our chests with the Indiana Jones series.
However, here, the ‘king’ relaxes a little and delves into proper old fashioned story telling with the emotional rollercoaster that is War Horse. Teaming up with John Williams once again, the duo delivers a beautiful score to accompany a beautifully shot film.
Jeremy Irvine stars alongside a full roster of celebrities including Harry Potter’s David Thewlis and Thor’s Tom Hiddlestone in what can only be described as one of Spielberg’s greatest films.
The film opens with some awe inspiring shots of the Devon countryside, with Albert Narracott (Jeremy Irvine) staring, masterfully at two horses in a field. Fast forward a few years and his alcoholic father Ted, played wonderfully by Peter Mullen purchases one of them in an auction, hoping to turn it into a plough horse. This horse becomes the focus of the entire film and is nicknamed Joey by Irvine’s character.
After the usual, Spielberg sentimentality, Joey is summoned to help the English army in the First World War. Obviously, this doesn’t go down too well with Albert and he promises that one day, they will find each other. It’s hard to describe just how heart-breaking these scenes are, as Joey is led away by his new trainer (Tom Hiddlestone) and all Albert can do is watch.
After being defeated by the Germans in a deadly ambush, Albert is informed that Hiddlestone’s character, Captain Nicholls has been killed in battle. Assuming the worst, Albert starts to prepare to either reunite with his beloved steed, or discover whether or not he has perished.
Spielberg has created a shockingly beautiful film as Joey loses Captain Nicholls and roams the countryside unmanned trying to escape the clutches of the German army. Unfortunately, on occasion, he runs right into them and becomes an artillery horse, pulling canons and other weapons.
The shots of no-man’s land as the horse time and time again escapes are breath-taking and show the scale of the destruction like nothing I’ve ever seen. Spielberg has a knack for scale and in War Horse, this is exceptionally poignant; shots of a horse graveyard and the grey barren landscape are examples of fine film-making. To say you’ll be in tears is somewhat of an understatement as Joey, terrified from the ordeal he is being taken through loses comrades, crashes through barbed wire and nearly gives up on life.
This coupled with John Williams best score since Jurassic Park ensures that this is a subtle blockbuster to be enjoyed by all.
However, the film isn’t perfect. On occasion, it delves into unnecessary sentimentality and Spielberg must’ve had a book of movie clichés with him at some points during the shoot, like the cheesy sunset ending and the token pulling through in the face of adversity. These are, however, small points in a film which is a spectacle to behold.
The animals no doubt steal the show, but their human counterparts do well in their roles. Jeremy Irvine is fabulous and was an unusual but totally justified choice for the part. David Thewlis shows how versatile he really is as an actor, playing the heartless landlord, ready to ship the Narracott family out of their farm.
War Horse is a film which hits with a huge dose of emotion. John Williams and Steven Spielberg are an unstoppable combination and what the film does best is show off its directors prowess as an artist, not a film-maker. The special effects are sparse because the story doesn’t require them, but when they are there, such as in the battle scenes, they help the story along, instead of hindering it.
It may not quite match the dizzy heights of Schindler’s List and Jurassic Park as Spielberg’s best, but it fits in between excellent Spielberg and spectacular Spielberg. Take some tissues and prepare yourself and you’ll be all set.
https://moviemetropolis.net/2012/01/22/review-war-horse-2012/
However, here, the ‘king’ relaxes a little and delves into proper old fashioned story telling with the emotional rollercoaster that is War Horse. Teaming up with John Williams once again, the duo delivers a beautiful score to accompany a beautifully shot film.
Jeremy Irvine stars alongside a full roster of celebrities including Harry Potter’s David Thewlis and Thor’s Tom Hiddlestone in what can only be described as one of Spielberg’s greatest films.
The film opens with some awe inspiring shots of the Devon countryside, with Albert Narracott (Jeremy Irvine) staring, masterfully at two horses in a field. Fast forward a few years and his alcoholic father Ted, played wonderfully by Peter Mullen purchases one of them in an auction, hoping to turn it into a plough horse. This horse becomes the focus of the entire film and is nicknamed Joey by Irvine’s character.
After the usual, Spielberg sentimentality, Joey is summoned to help the English army in the First World War. Obviously, this doesn’t go down too well with Albert and he promises that one day, they will find each other. It’s hard to describe just how heart-breaking these scenes are, as Joey is led away by his new trainer (Tom Hiddlestone) and all Albert can do is watch.
After being defeated by the Germans in a deadly ambush, Albert is informed that Hiddlestone’s character, Captain Nicholls has been killed in battle. Assuming the worst, Albert starts to prepare to either reunite with his beloved steed, or discover whether or not he has perished.
Spielberg has created a shockingly beautiful film as Joey loses Captain Nicholls and roams the countryside unmanned trying to escape the clutches of the German army. Unfortunately, on occasion, he runs right into them and becomes an artillery horse, pulling canons and other weapons.
The shots of no-man’s land as the horse time and time again escapes are breath-taking and show the scale of the destruction like nothing I’ve ever seen. Spielberg has a knack for scale and in War Horse, this is exceptionally poignant; shots of a horse graveyard and the grey barren landscape are examples of fine film-making. To say you’ll be in tears is somewhat of an understatement as Joey, terrified from the ordeal he is being taken through loses comrades, crashes through barbed wire and nearly gives up on life.
This coupled with John Williams best score since Jurassic Park ensures that this is a subtle blockbuster to be enjoyed by all.
However, the film isn’t perfect. On occasion, it delves into unnecessary sentimentality and Spielberg must’ve had a book of movie clichés with him at some points during the shoot, like the cheesy sunset ending and the token pulling through in the face of adversity. These are, however, small points in a film which is a spectacle to behold.
The animals no doubt steal the show, but their human counterparts do well in their roles. Jeremy Irvine is fabulous and was an unusual but totally justified choice for the part. David Thewlis shows how versatile he really is as an actor, playing the heartless landlord, ready to ship the Narracott family out of their farm.
War Horse is a film which hits with a huge dose of emotion. John Williams and Steven Spielberg are an unstoppable combination and what the film does best is show off its directors prowess as an artist, not a film-maker. The special effects are sparse because the story doesn’t require them, but when they are there, such as in the battle scenes, they help the story along, instead of hindering it.
It may not quite match the dizzy heights of Schindler’s List and Jurassic Park as Spielberg’s best, but it fits in between excellent Spielberg and spectacular Spielberg. Take some tissues and prepare yourself and you’ll be all set.
https://moviemetropolis.net/2012/01/22/review-war-horse-2012/
Darren (1599 KP) rated 28 Weeks Later... (2007) in Movies
Jun 20, 2019
Story: 28 Weeks Later starts by having a group of survivors in a boarded up farm house with tension rising a shock visit from a young boy leads to the infected attack the house and lone survivor Don (Carlyle) escaping leaving his wife behind. We are then lead into a flash-forward telling us how Britain is attempting to rebuild after the rage virus 28 Weeks Later. With Britain still being rebuilt Don’s children Tammy (Poots) and Andy (Muggleton) are the first children to return, even though the safety zone is still run by the military.
We find out that bringing kids back was a bad idea as the two go running off into the city outside the safety zone which leads to them discovering their infected but not turned mother. The mother locked up in quarantine Don goes to visit but this only leads to the virus taking over the safety zone and all hell letting lose. We follow solider Doyle (Renner) and scientist Scarlet (Byrne) as they try to save the children from the infected.
28 Weeks Later does what many sequels fail to do, creates a fresh look at the aftermath of the epidemic without dragging our characters from the original back even though their story is complete. It also takes the idea that the outbreak is over and focusing on the rebuilding works really well too. On its down side it does fall into the same old survivors running from infected because of a stupid mistake. It doesn’t manage to bring the characters into the interesting zone because it goes into the idea of the children needing saving which takes away what was created. It is enjoy action horror but not to the same level as the original. (7/10)
Actor Review
Robert Carlyle: Don the husband who abandons his wife then brings his kids to London to help rebuild the city from within the safe zone. Robert does a solid job and everyone will remember that opening sequence. (7/10)
don
Rose Byrne: Scarlet scientist who is trying to help figure out the virus, she isn’t happy they have bought kids back because they don’t fully understand the virus and once the outbreak happens again she goes out her way to save them. Rose gives a solid performance but doesn’t shine as much as she could. (6/10)
Jeremy Renner: Doyle slick sniper who is one of the protectors of the city but once the outbreak happens he joins in the rescue attempts while the virus ends up with a shoot on site policy that orders demand. Jeremy does a good job and we get early ideas of what he will be like as Hawkeye. (7/10)
renner
Imogen Poots: Tammy daughter of Don who keeps looking after her brother and together they go into the restricted zone which ends up causing all the problems. Imogen does a good job in the early role. (7/10)
poots
Support Cast: 28 Weeks Later has a bigger supporting cast but in the end they all make the typical errors in an infected outbreak.
Director Review: Juan Carlos Fresnadillo – Juan does take the film in a slightly different direction which is good but he loses the suspense the first one had. (7/10)
Horror: 28 Weeks Later continues to use infected as its horror using survivor horror elements. (9/10)
Settings: 28 Weeks Later uses London as its setting well using the more iconic locations for the audience. (8/10)
Special Effects: 28 Weeks Later does take the effects to the next level with the helicopter scene showing how far they have come. (9/10)
Suggestion: 28 Weeks Later is one for all the horror fans to enjoy, it doesn’t quite reach the same levels as its predecessor but is still a good watch. (Horror Fans Watch)
Best Part: Opening sequences is very intense.
Worst Part: typical supporting characters.
Action Scene Of The Film: Opening sequences
Kill Of The Film: Helicopter
Scariest Scene: Locked in the basement.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Left open for one but we haven’t had one yet.
Post Credits Scene: No
Oscar Chances: No
Box Office: $64 Million
Runtime: 1 Hour 40 Minutes
Tagline: The Threat Is Everywhere
Overall: Solid Sequel
https://moviesreview101.com/2015/03/15/28-weeks-later-2007/
We find out that bringing kids back was a bad idea as the two go running off into the city outside the safety zone which leads to them discovering their infected but not turned mother. The mother locked up in quarantine Don goes to visit but this only leads to the virus taking over the safety zone and all hell letting lose. We follow solider Doyle (Renner) and scientist Scarlet (Byrne) as they try to save the children from the infected.
28 Weeks Later does what many sequels fail to do, creates a fresh look at the aftermath of the epidemic without dragging our characters from the original back even though their story is complete. It also takes the idea that the outbreak is over and focusing on the rebuilding works really well too. On its down side it does fall into the same old survivors running from infected because of a stupid mistake. It doesn’t manage to bring the characters into the interesting zone because it goes into the idea of the children needing saving which takes away what was created. It is enjoy action horror but not to the same level as the original. (7/10)
Actor Review
Robert Carlyle: Don the husband who abandons his wife then brings his kids to London to help rebuild the city from within the safe zone. Robert does a solid job and everyone will remember that opening sequence. (7/10)
don
Rose Byrne: Scarlet scientist who is trying to help figure out the virus, she isn’t happy they have bought kids back because they don’t fully understand the virus and once the outbreak happens again she goes out her way to save them. Rose gives a solid performance but doesn’t shine as much as she could. (6/10)
Jeremy Renner: Doyle slick sniper who is one of the protectors of the city but once the outbreak happens he joins in the rescue attempts while the virus ends up with a shoot on site policy that orders demand. Jeremy does a good job and we get early ideas of what he will be like as Hawkeye. (7/10)
renner
Imogen Poots: Tammy daughter of Don who keeps looking after her brother and together they go into the restricted zone which ends up causing all the problems. Imogen does a good job in the early role. (7/10)
poots
Support Cast: 28 Weeks Later has a bigger supporting cast but in the end they all make the typical errors in an infected outbreak.
Director Review: Juan Carlos Fresnadillo – Juan does take the film in a slightly different direction which is good but he loses the suspense the first one had. (7/10)
Horror: 28 Weeks Later continues to use infected as its horror using survivor horror elements. (9/10)
Settings: 28 Weeks Later uses London as its setting well using the more iconic locations for the audience. (8/10)
Special Effects: 28 Weeks Later does take the effects to the next level with the helicopter scene showing how far they have come. (9/10)
Suggestion: 28 Weeks Later is one for all the horror fans to enjoy, it doesn’t quite reach the same levels as its predecessor but is still a good watch. (Horror Fans Watch)
Best Part: Opening sequences is very intense.
Worst Part: typical supporting characters.
Action Scene Of The Film: Opening sequences
Kill Of The Film: Helicopter
Scariest Scene: Locked in the basement.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Left open for one but we haven’t had one yet.
Post Credits Scene: No
Oscar Chances: No
Box Office: $64 Million
Runtime: 1 Hour 40 Minutes
Tagline: The Threat Is Everywhere
Overall: Solid Sequel
https://moviesreview101.com/2015/03/15/28-weeks-later-2007/
Hazel (1853 KP) rated The Care and Management of Lies in Books
Dec 17, 2018
<i>I received this book for free through Goodreads First Reads.</i>
British author Jacqueline Winspear states in the letter from the author at the front of the book that the idea for this novel came from a second hand copy of a book titled <i>The Woman’s Book</i> by Florence B Jack (1911) containing an inscription revealing that it was presented as a gift to a woman on her wedding day in July 1914. The story within </i>The Care and Management of Lies</i> is Winspear’s imaginings about who that woman was and what her life was like.
The book focuses primarily on four characters, the main being Kezia Brissenden née Marchant who receives the gift <i>The Woman’s Book</i> from a close friend, Dorothy “Thea”, who so happens to be the older sister of her new husband, Tom. The book was not a particularly kind gift as it emphasized Kezia’s upbringing and who, due to her father being a reverend and employer of maids and cooks, had never produced her own meal in her life nor had any experience with running a household, let alone a farm – her new home.
Whilst Kezia determinedly throws herself into her new role, showing her love for Tom through the food she learns to cook, Thea, living in London, is drifting away from their friendship. With the possibility of war on the horizon, Thea joins a pacifist movement, which is somewhat ironic as she was once involved with the suffragettes. On the other hand, once war is declared, Tom decides to enlist in the army as does neighbour, Edmund Hawkes, a man who is rather envious of Tom and his lovely wife. The reader receives two different perspectives of the terrors of war from these characters, but then also another, surprisingly, from Thea who rejects pacifism and goes out to France to help in anyway she can. This leaves Kezia at home alone with the effects the war has on Britain.
The love between Kezia and Tom is emphasized through the letters they send each other. Both are lying about their situations by trying to convince the other that they are better off than they really are. The thing that keeps them both going are Kezia’s descriptions of her fictional meals that she prepares for Tom’s dinner, describing in great detail the preparation and taste of the food.
Each chapter begins with a quote from <i>The Woman’s Book</i> (and later <i>Infantry Training</i> and <i>Field Service Pocket Book</i>) that relate to the particular events occurring in the story at that time. This is a great way of underlining the significance of that wedding present to the storyline.
The narrative quickly changes from character to character which, although helping to keep the pace of the novel, can sometimes be a little confusing. It also made it difficult to get into the story at the beginning. Sometimes it took a lot of concentration to follow the text and those with minds that easily wander may constantly find themselves suddenly reading from a different point of view without having noticed the change over.
Winspear’s grandfather was a soldier in the trenches during the Great War and so it seems likely that some of the scenes may be based on his experiences. If that is the case then it can be believed that <i>The Care and Management of Lies</i> is as accurate as can be in terms of the war and life on the front lines. Winspear also does not attempt to gloss over any of the war horrors, therefore does not create the unlikely “and they all lived happily ever after” ending that other writers of war stories have done in the past.
Those interested in war themes may be particularly interested in this book, especially as this year (2014) is the anniversary of the Great War. <i>The Care and Management of Lies</i> is a piece of literature to add to the mountain of media coverage of the commemoration of the war.
British author Jacqueline Winspear states in the letter from the author at the front of the book that the idea for this novel came from a second hand copy of a book titled <i>The Woman’s Book</i> by Florence B Jack (1911) containing an inscription revealing that it was presented as a gift to a woman on her wedding day in July 1914. The story within </i>The Care and Management of Lies</i> is Winspear’s imaginings about who that woman was and what her life was like.
The book focuses primarily on four characters, the main being Kezia Brissenden née Marchant who receives the gift <i>The Woman’s Book</i> from a close friend, Dorothy “Thea”, who so happens to be the older sister of her new husband, Tom. The book was not a particularly kind gift as it emphasized Kezia’s upbringing and who, due to her father being a reverend and employer of maids and cooks, had never produced her own meal in her life nor had any experience with running a household, let alone a farm – her new home.
Whilst Kezia determinedly throws herself into her new role, showing her love for Tom through the food she learns to cook, Thea, living in London, is drifting away from their friendship. With the possibility of war on the horizon, Thea joins a pacifist movement, which is somewhat ironic as she was once involved with the suffragettes. On the other hand, once war is declared, Tom decides to enlist in the army as does neighbour, Edmund Hawkes, a man who is rather envious of Tom and his lovely wife. The reader receives two different perspectives of the terrors of war from these characters, but then also another, surprisingly, from Thea who rejects pacifism and goes out to France to help in anyway she can. This leaves Kezia at home alone with the effects the war has on Britain.
The love between Kezia and Tom is emphasized through the letters they send each other. Both are lying about their situations by trying to convince the other that they are better off than they really are. The thing that keeps them both going are Kezia’s descriptions of her fictional meals that she prepares for Tom’s dinner, describing in great detail the preparation and taste of the food.
Each chapter begins with a quote from <i>The Woman’s Book</i> (and later <i>Infantry Training</i> and <i>Field Service Pocket Book</i>) that relate to the particular events occurring in the story at that time. This is a great way of underlining the significance of that wedding present to the storyline.
The narrative quickly changes from character to character which, although helping to keep the pace of the novel, can sometimes be a little confusing. It also made it difficult to get into the story at the beginning. Sometimes it took a lot of concentration to follow the text and those with minds that easily wander may constantly find themselves suddenly reading from a different point of view without having noticed the change over.
Winspear’s grandfather was a soldier in the trenches during the Great War and so it seems likely that some of the scenes may be based on his experiences. If that is the case then it can be believed that <i>The Care and Management of Lies</i> is as accurate as can be in terms of the war and life on the front lines. Winspear also does not attempt to gloss over any of the war horrors, therefore does not create the unlikely “and they all lived happily ever after” ending that other writers of war stories have done in the past.
Those interested in war themes may be particularly interested in this book, especially as this year (2014) is the anniversary of the Great War. <i>The Care and Management of Lies</i> is a piece of literature to add to the mountain of media coverage of the commemoration of the war.
Lee (2222 KP) rated The Mule (2018) in Movies
Jan 29, 2019 (Updated Jan 29, 2019)
A simple, enjoyable story
It appears there's just no stopping Clint Eastwood. Not only does he star in The Mule, a movie 'inspired by a true story', but he's also on producing and directing duties too. Just when you think you've seen him in his last ever role, he's back, 88 years old and still going strong!
Eastwood is Earl Stone, a highly successful horticulturist and Korean war veteran who we first meet in 2005. He arrives at a horticulture convention where he charms the ladies, engages in friendly competitive banter with other exhibitors and sneers at the guy promoting a new way of ordering flowers over the internet, before going on to win first prize for best bloom. But over the years all of this success has been at the expense of his family and while he's buying everyone in the bar a drink to celebrate his win, his daughter is getting married, wondering where her father is while her mother consoles her. A life on the road devoted to work has lost Earl the most important thing in life.
Shifting forward 12 years to 2017 and Earl has been forced to close up the flower business, blaming the damn internet for it all. He pays off his farm workers as best he can before heading off to his granddaughters house where she is holding a garden party. His presence only causes tension though - his daughter can't bear to be anywhere near him, while his ex wife takes the opportunity to once again give him a piece of her mind, disappointed that despite a lifelong devotion to work, he now can't even afford to help pay for his granddaughters upcoming wedding.
So when an offer comes his way, working as a mule for the cartel in return for good money, Earl accepts. An old man traveling, with no previous speeding tickets, is less likely to be stopped than the traditional Latinos they usually use, and Earl benefits by continuing his love of traveling the country in his trusty old truck. He tries the charming old man routine with the cartel members he comes into contact with on both sides of his deliveries, with varying degrees of success, but in-between he manages to just enjoy life - driving on the open road, singing along to the radio for hours on end. And the money certainly is good - Earl is able to buy a brand new truck, help pay for his granddaughters wedding and even help prevent a bar he's been going to for the last 50 or so years from closing. He gradually becomes more trusted within the cartel, becoming responsible for transporting increasingly larger quantities of drugs and drawing the attention of the more powerful cartel members. Attending big parties at their lavish houses, dancing with bikini clad girls and engaging in threesomes, this ninety something certainly is making the most of his twilight years! As power shifts within the cartel and Earl gets drawn deeper in, he finds himself having to decide between the cartel and his family. A decision with very different but serious consequences depending on which path he chooses.
All the while Earl is having his fun, the net is closing in on him in the form of a couple of DEA agents played by Bradley Cooper and Michael Peña. Under pressure to secure a bust from boss Lawrence Fishburne, they're getting closer and closer to capturing the cartels top mule. All three of these actors are seriously underused though in what are essentially pretty standard cop roles.
The Mule is a fairly simple movie with no big sense of drama, and certainly no Breaking Bad levels of cartel tension. However, I was never bored at any point and just found myself completely engrossed in it all, swept along by the genial nature of Earl and what was an enjoyable, sentimental story.
Eastwood is Earl Stone, a highly successful horticulturist and Korean war veteran who we first meet in 2005. He arrives at a horticulture convention where he charms the ladies, engages in friendly competitive banter with other exhibitors and sneers at the guy promoting a new way of ordering flowers over the internet, before going on to win first prize for best bloom. But over the years all of this success has been at the expense of his family and while he's buying everyone in the bar a drink to celebrate his win, his daughter is getting married, wondering where her father is while her mother consoles her. A life on the road devoted to work has lost Earl the most important thing in life.
Shifting forward 12 years to 2017 and Earl has been forced to close up the flower business, blaming the damn internet for it all. He pays off his farm workers as best he can before heading off to his granddaughters house where she is holding a garden party. His presence only causes tension though - his daughter can't bear to be anywhere near him, while his ex wife takes the opportunity to once again give him a piece of her mind, disappointed that despite a lifelong devotion to work, he now can't even afford to help pay for his granddaughters upcoming wedding.
So when an offer comes his way, working as a mule for the cartel in return for good money, Earl accepts. An old man traveling, with no previous speeding tickets, is less likely to be stopped than the traditional Latinos they usually use, and Earl benefits by continuing his love of traveling the country in his trusty old truck. He tries the charming old man routine with the cartel members he comes into contact with on both sides of his deliveries, with varying degrees of success, but in-between he manages to just enjoy life - driving on the open road, singing along to the radio for hours on end. And the money certainly is good - Earl is able to buy a brand new truck, help pay for his granddaughters wedding and even help prevent a bar he's been going to for the last 50 or so years from closing. He gradually becomes more trusted within the cartel, becoming responsible for transporting increasingly larger quantities of drugs and drawing the attention of the more powerful cartel members. Attending big parties at their lavish houses, dancing with bikini clad girls and engaging in threesomes, this ninety something certainly is making the most of his twilight years! As power shifts within the cartel and Earl gets drawn deeper in, he finds himself having to decide between the cartel and his family. A decision with very different but serious consequences depending on which path he chooses.
All the while Earl is having his fun, the net is closing in on him in the form of a couple of DEA agents played by Bradley Cooper and Michael Peña. Under pressure to secure a bust from boss Lawrence Fishburne, they're getting closer and closer to capturing the cartels top mule. All three of these actors are seriously underused though in what are essentially pretty standard cop roles.
The Mule is a fairly simple movie with no big sense of drama, and certainly no Breaking Bad levels of cartel tension. However, I was never bored at any point and just found myself completely engrossed in it all, swept along by the genial nature of Earl and what was an enjoyable, sentimental story.
