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RəX Regent (349 KP) rated Pirates of the Caribbean: On Stranger Tides (2011) in Movies
Feb 25, 2019
Return to form
Based, believe it or not, loosely, on the Tim Powers novel, On Stranger Tides, Pirates 4 seemed about as appealing as hole in the head after the diabolical sequels to the excellent first outing. Then it was to be in 3D, scrap several key characters and shed the direction of Gore Verbinski, in favour of Chicago's, Rob Marshall. A recipe for disaster? It seemed that way.
Though saying that, Gore had certainly sealed his fate with me, turning what was a well conceived, action adventure romp with some very memorable characters into an unnecessary epic saga which seriously missed the point and derailed itself. One dubious decision taken in the production of Dead Man's Chest, was to keep Orlando Bloom and Keira Knightly's characters, let alone giving them so much prominence.
Knightly was fine, for the first film,. in fact, she was spot on, but she couldn't carry the role any further and began to look ridiculous as the series progressed. This should have been the adventures of Jack Sparrow, so excellently portrayed by Johnny Depp, and Geoffrey Rush's, Barbossa was the perfect pirate. So I was more than pleased to see the continuing adventures of these two characters, with Depp, returning to form after I felt that he had lost it in the sequels.
Penélope Cruz was another pleasant surprise, as never being a fan of her's, I was dubious but this was casting done properly. She was more than convincing as a pirate and put Knightly's efforts to shame. But what of Ian McShane's Blackbeard? Well, another great showing from him, but the inexplicable magic displayed as he waves in his 3D sword around and points it at the camera to remind us that 3D is here, not so much.
But the 3D was pretty naff. You could watch most of the film without the glasses, with the effect being limited to several sequences. It looked good, it was inoffensive and unobtrusive but what was the point again? I don't think that this film will do 3D any real harm but that's because nobody really noticed it in the first place.
The sense of adventure from the The Curse Of The Black Pearl was evident here and long over due. I find it puzzling as to why so many reviews have been so harsh, branding it boring, overly complicated and not pulled together properly, but I would disagree. Granted, it is a bit scrappy, it's not going to be used as case study in tight scripting, or deep character development and it is somewhat derivative, but it was fun, flashy and flamboyant.
Isn't this what these films are all about? Depp created a classic character with Sparrow back in 2003, and tough I felt that he was a one trick pony, Sparrow that is, not Depp, this was a partial return to form, under new direction from Marshall. But I am left feeling that no matter how much I enjoyed this for what it was, the first Pirates Of The Caribbean was a film which successfully transferred a theme park ride into a career defining blockbuster, but I feel that it should have remained one film, a single triumph and not a franchise that has been saved in my eyes, by the fourth installment.
Though saying that, Gore had certainly sealed his fate with me, turning what was a well conceived, action adventure romp with some very memorable characters into an unnecessary epic saga which seriously missed the point and derailed itself. One dubious decision taken in the production of Dead Man's Chest, was to keep Orlando Bloom and Keira Knightly's characters, let alone giving them so much prominence.
Knightly was fine, for the first film,. in fact, she was spot on, but she couldn't carry the role any further and began to look ridiculous as the series progressed. This should have been the adventures of Jack Sparrow, so excellently portrayed by Johnny Depp, and Geoffrey Rush's, Barbossa was the perfect pirate. So I was more than pleased to see the continuing adventures of these two characters, with Depp, returning to form after I felt that he had lost it in the sequels.
Penélope Cruz was another pleasant surprise, as never being a fan of her's, I was dubious but this was casting done properly. She was more than convincing as a pirate and put Knightly's efforts to shame. But what of Ian McShane's Blackbeard? Well, another great showing from him, but the inexplicable magic displayed as he waves in his 3D sword around and points it at the camera to remind us that 3D is here, not so much.
But the 3D was pretty naff. You could watch most of the film without the glasses, with the effect being limited to several sequences. It looked good, it was inoffensive and unobtrusive but what was the point again? I don't think that this film will do 3D any real harm but that's because nobody really noticed it in the first place.
The sense of adventure from the The Curse Of The Black Pearl was evident here and long over due. I find it puzzling as to why so many reviews have been so harsh, branding it boring, overly complicated and not pulled together properly, but I would disagree. Granted, it is a bit scrappy, it's not going to be used as case study in tight scripting, or deep character development and it is somewhat derivative, but it was fun, flashy and flamboyant.
Isn't this what these films are all about? Depp created a classic character with Sparrow back in 2003, and tough I felt that he was a one trick pony, Sparrow that is, not Depp, this was a partial return to form, under new direction from Marshall. But I am left feeling that no matter how much I enjoyed this for what it was, the first Pirates Of The Caribbean was a film which successfully transferred a theme park ride into a career defining blockbuster, but I feel that it should have remained one film, a single triumph and not a franchise that has been saved in my eyes, by the fourth installment.
Amanda (96 KP) rated The Woman in the Window in Books
Mar 11, 2019
Anna has what's called Agoraphobia, meaning that she has anxiety leaving her house. Therefore, anything that needs to be done outside the house, she has done for her. Any medications she needs, groceries, etc., they are delivered to her house. She can't even bare to open a window because it would trigger her phobia. You learn there are different reasons for this kind of phobia.
Loss of a loved one.
Tragic accident.
Or...it could be something else entirely.
Ann also talks to other people with the same phobia and tries to also council them. You don't find out till much later as to why Anna who was a child psychologist now cannot bare to leave her home. She suffers from depression and is on multiple medications. She's separated from her husband, whom also has their daughter with him.
And she drinks...a lot.
One of the things I liked about Anna is her love for old movies. I loved how Finn incorporated some lines from different movies, including Alfred Hitchcock. Anna witnesses a murder in her neighbors house across the street. Try as she may, nobody takes her seriously and blame it on the medication she takes with alcohol.
“You can hear someone’s secrets and their fears and their wants, but remember that these exist alongside other people’s secrets and fears, people living in the same room.”
I kind of felt bad for her, but sometime during the story, I started to get frustrated with her as well. I really got a Girl on a Train feel. The main character always needs a drink or has to drink something in order to keep herself together, even though the alcohol doesn't help her situation at all.
On a different note, Girl on a Train was highly depressing.
The more the story progressed the more intrigued I got because there were quite a few twists that I honestly didn't see coming and I found myself yelling, 'WHAT?' Glad I was only listening to a book in the car and not in my house where someone could look at me funny. Not that people don't do that anyway, but such as life as a bookworm, I don't care.
“The definition of insanity, Fox, Wesley used to remind me, paraphrasing Einstein, is doing the same thing again and again and expecting different result.”
I've read a few psychological thrillers and while they were good, none kept me on my toes like this one. So many things happen with Anna and they come in bits and pieces but eventually make up a whole puzzle. You almost start to believe that perhaps Anna didn't see someone being murdered...maybe she did have an illusion.
Did it happen?
You have to read and find out.
I'd definitely give this 4 1/2 stars. Finn's writing in Anna's point of view is brilliant. You are inside her head and you are seeing everything through her eyes. She may start to ramble from time to time, but that just shows that she's still someone who is suffering. Other characters that play a major role in her life you don't know all that much...but you learn who they are in the end.
It's a long book, but every minute of it was well worth the listen. I will say that toward the beginning it was more like Girl on a Train, but it slowly morphs into Alfred Hitchcock's, Rear Window. I will say that I look forward to A.J. Finn's next novel.
Loss of a loved one.
Tragic accident.
Or...it could be something else entirely.
Ann also talks to other people with the same phobia and tries to also council them. You don't find out till much later as to why Anna who was a child psychologist now cannot bare to leave her home. She suffers from depression and is on multiple medications. She's separated from her husband, whom also has their daughter with him.
And she drinks...a lot.
One of the things I liked about Anna is her love for old movies. I loved how Finn incorporated some lines from different movies, including Alfred Hitchcock. Anna witnesses a murder in her neighbors house across the street. Try as she may, nobody takes her seriously and blame it on the medication she takes with alcohol.
“You can hear someone’s secrets and their fears and their wants, but remember that these exist alongside other people’s secrets and fears, people living in the same room.”
I kind of felt bad for her, but sometime during the story, I started to get frustrated with her as well. I really got a Girl on a Train feel. The main character always needs a drink or has to drink something in order to keep herself together, even though the alcohol doesn't help her situation at all.
On a different note, Girl on a Train was highly depressing.
The more the story progressed the more intrigued I got because there were quite a few twists that I honestly didn't see coming and I found myself yelling, 'WHAT?' Glad I was only listening to a book in the car and not in my house where someone could look at me funny. Not that people don't do that anyway, but such as life as a bookworm, I don't care.
“The definition of insanity, Fox, Wesley used to remind me, paraphrasing Einstein, is doing the same thing again and again and expecting different result.”
I've read a few psychological thrillers and while they were good, none kept me on my toes like this one. So many things happen with Anna and they come in bits and pieces but eventually make up a whole puzzle. You almost start to believe that perhaps Anna didn't see someone being murdered...maybe she did have an illusion.
Did it happen?
You have to read and find out.
I'd definitely give this 4 1/2 stars. Finn's writing in Anna's point of view is brilliant. You are inside her head and you are seeing everything through her eyes. She may start to ramble from time to time, but that just shows that she's still someone who is suffering. Other characters that play a major role in her life you don't know all that much...but you learn who they are in the end.
It's a long book, but every minute of it was well worth the listen. I will say that toward the beginning it was more like Girl on a Train, but it slowly morphs into Alfred Hitchcock's, Rear Window. I will say that I look forward to A.J. Finn's next novel.
Connor Sheffield (293 KP) rated You Died, But a Necromancer Revived You in Video Games
Apr 19, 2019
Fast Paced Action (5 more)
Ever changing maps
Traps that make you think
Great art design
Great level design
Simple gameplay
Let Me Die!
You Died but a Necromancer Revived You......but you'll wish you had just stayed dead as you face the same levels over and over and over again. Speed and Accuracy are mandatory.
This game is so simple with no other controls to worry about other than your movement using the analog stick, or the D-Pads. The skill to get through the levels however becomes increasingly more difficult, and rapidly more frustrating as you will die.....over and over and over again, only to either respawn at the first level, or if you play on easy mode, you just have to play that same floor again where you just died, but don't bother memorising the traps placements, cos this game doesn't let you off the hook that easily....the maps change even when your playing the same floor you just died on.
Part of you might think at first, I'll wait for the trap to go before I move, but oh no, once again speed and accuracy are key here, you have to time your runs right, get through the traps, try not to get shot, stabbed, squashed, or even more so....try not to run off the edge into a floor full of spikes....it's not as easy to avoid as you might think, one small step in the wrong direction of those floors and you're gone.
This game is addictive, but so utterly frustrating and I had a good laugh on my own the first 100 times I died but I can imagine that with 3 other players on the board in 4-Player Co-Op mode, it will leave you in stitches (hopefully not literally....leave that to your character to injure themselves).
Difficulty levels I have seen this far are simply Easy, or Normal. I don't know if a hard difficulty unlocks after complete the game, because honestly at the minute....I can't complete it. The levels where you face the Necromancer himself are super frustrating and very difficult to do without messing up again and again. However, don't thin easy level makes the traps etc any easier....all it does is simply keep you on the floor you died (unless its a boss battle). The difficulty level of the traps does not change and in Normal mode, if you die, you go right back to the beginning of the level, but luckily there are checkpoints along the way so you don't start from square one again.
Oh and did I mention that as time goes on, the floor eventually starts blowing up behind you, making you rush through to the end.
There are a variety of awesome 8-bit characters to choose from, which gives this whole game a great nostalgic vibe of playing retro games, but with so much added in that it stills feels modern and definitely a game you'll keep going back to. Especially for a game night with friends.
I highly recommend this game for anyone who's a fan of action packed arcade games with a retro feel.
Just try not to throw the remote.
This game is so simple with no other controls to worry about other than your movement using the analog stick, or the D-Pads. The skill to get through the levels however becomes increasingly more difficult, and rapidly more frustrating as you will die.....over and over and over again, only to either respawn at the first level, or if you play on easy mode, you just have to play that same floor again where you just died, but don't bother memorising the traps placements, cos this game doesn't let you off the hook that easily....the maps change even when your playing the same floor you just died on.
Part of you might think at first, I'll wait for the trap to go before I move, but oh no, once again speed and accuracy are key here, you have to time your runs right, get through the traps, try not to get shot, stabbed, squashed, or even more so....try not to run off the edge into a floor full of spikes....it's not as easy to avoid as you might think, one small step in the wrong direction of those floors and you're gone.
This game is addictive, but so utterly frustrating and I had a good laugh on my own the first 100 times I died but I can imagine that with 3 other players on the board in 4-Player Co-Op mode, it will leave you in stitches (hopefully not literally....leave that to your character to injure themselves).
Difficulty levels I have seen this far are simply Easy, or Normal. I don't know if a hard difficulty unlocks after complete the game, because honestly at the minute....I can't complete it. The levels where you face the Necromancer himself are super frustrating and very difficult to do without messing up again and again. However, don't thin easy level makes the traps etc any easier....all it does is simply keep you on the floor you died (unless its a boss battle). The difficulty level of the traps does not change and in Normal mode, if you die, you go right back to the beginning of the level, but luckily there are checkpoints along the way so you don't start from square one again.
Oh and did I mention that as time goes on, the floor eventually starts blowing up behind you, making you rush through to the end.
There are a variety of awesome 8-bit characters to choose from, which gives this whole game a great nostalgic vibe of playing retro games, but with so much added in that it stills feels modern and definitely a game you'll keep going back to. Especially for a game night with friends.
I highly recommend this game for anyone who's a fan of action packed arcade games with a retro feel.
Just try not to throw the remote.
Debbiereadsbook (1197 KP) rated Badlands (Badlands #1) in Books
Apr 29, 2019
rather good!
Independent reviewer for Archaeolibrarian, I was gifted the audio copy of this book.
Simon has run to Myrtle Beach after he lost his job and his love. Vic is there after he saw something he could not explain. There have been some murders in town, and Vic, a homicide cop, comes across Simon's ghost tours and seance shop and figures it can't do any harm, right? To ask? But as Simon and Vic get closer to each other, so the killer gets closer to Simon. And Simon doesn't think anyone can stop him, except Simon, or that he will walk away alive.
I liked this! A lot!
Simon is disgraced by a disgruntled parent who says he was teaching the occult, and leaves his Folklore professor job and runs to Myrtle Beach. He finds relative happiness in town, with his shop and ghost tours. Meeting Vic makes him realise he is lonely though. Helping Vic with his murders seems a natural thing to do, but that puts Simon in the cross hairs of the murderer. And also makes Simon a suspect so Vic has to take a step back from Simon and become objective in his job. It breaks his heart that he might lose Simon before he can have him, though. Simon solves the case, and has to hope that he can stop the murderer and maybe, just maybe, he can survive.
Both Simon and Vic have a say, and I loved that was they are drawn to each other, right from the start, so powerfully! The attraction both men feel is off the charts, and it doesn't take them long to give into that attraction. Simon's abilities are a bit of a sticking point, but they do come through for Vic and his case. Vic doesn't want to believe, look how much trouble it caused him when he voiced what he saw in Pittsburgh, for crying out loud! But he knows, deep down, Simon is for real, and maybe, Simon is FOREVER for Vic. They just need get through this.
It's a bit gruesome in places, because the crime scenes are described in some, but not great, detail. Just enough to make you cringe, and wish you could un-see the picture that comes up in your head.
Sexy in places, scary in others. First of Brice I've read, and would like to read more.
Kale Williams narrates. I *thought* I had listened to something else by Williams before, but I can't find what, but no matter. I really did like his narration here. There are a lot of characters with foreign accents, and Williams delivers them very well. His reading voice is clear and even, and all the voices are distinctive enough for me to follow who was speaking, without out being told. As a person with some hearing loss, this is VITAL for me to enjoy a book!
I loved the way Williams gets the emotions of Simon and Vic across. Even when things were going down, and things were getting scary, Simon's love for Vic shone as the brightest emotion. Fabulous narrating!
4 solid stars for the book
4 solid stars for the narration
**same worded review ill appear elsewhere**
Simon has run to Myrtle Beach after he lost his job and his love. Vic is there after he saw something he could not explain. There have been some murders in town, and Vic, a homicide cop, comes across Simon's ghost tours and seance shop and figures it can't do any harm, right? To ask? But as Simon and Vic get closer to each other, so the killer gets closer to Simon. And Simon doesn't think anyone can stop him, except Simon, or that he will walk away alive.
I liked this! A lot!
Simon is disgraced by a disgruntled parent who says he was teaching the occult, and leaves his Folklore professor job and runs to Myrtle Beach. He finds relative happiness in town, with his shop and ghost tours. Meeting Vic makes him realise he is lonely though. Helping Vic with his murders seems a natural thing to do, but that puts Simon in the cross hairs of the murderer. And also makes Simon a suspect so Vic has to take a step back from Simon and become objective in his job. It breaks his heart that he might lose Simon before he can have him, though. Simon solves the case, and has to hope that he can stop the murderer and maybe, just maybe, he can survive.
Both Simon and Vic have a say, and I loved that was they are drawn to each other, right from the start, so powerfully! The attraction both men feel is off the charts, and it doesn't take them long to give into that attraction. Simon's abilities are a bit of a sticking point, but they do come through for Vic and his case. Vic doesn't want to believe, look how much trouble it caused him when he voiced what he saw in Pittsburgh, for crying out loud! But he knows, deep down, Simon is for real, and maybe, Simon is FOREVER for Vic. They just need get through this.
It's a bit gruesome in places, because the crime scenes are described in some, but not great, detail. Just enough to make you cringe, and wish you could un-see the picture that comes up in your head.
Sexy in places, scary in others. First of Brice I've read, and would like to read more.
Kale Williams narrates. I *thought* I had listened to something else by Williams before, but I can't find what, but no matter. I really did like his narration here. There are a lot of characters with foreign accents, and Williams delivers them very well. His reading voice is clear and even, and all the voices are distinctive enough for me to follow who was speaking, without out being told. As a person with some hearing loss, this is VITAL for me to enjoy a book!
I loved the way Williams gets the emotions of Simon and Vic across. Even when things were going down, and things were getting scary, Simon's love for Vic shone as the brightest emotion. Fabulous narrating!
4 solid stars for the book
4 solid stars for the narration
**same worded review ill appear elsewhere**
Amanda (96 KP) rated Girl in Pieces in Books
May 29, 2019
ach aberration of my skin is a song. Press your mouth against me. You will hear so much singing.
“Each aberration of my skin is a song. Press your mouth against me. You will hear so much singing.”
That book that I had to step away from so often because it nearly had me tangled up in it, that would be this book. It’s rare for me to be so wrapped up in this book that it feels like I’m tight in its grasp. I want to go on this journey with the character and feel I owe it to them to see it through with them, but I mentally can’t. So, I have to step aside for a moment, but know that I’m going to come back.
Charlotte ‘Charlie’ has gone through SO MUCH before she even gets to the age of eighteen. The title says it straight forward; she is in pieces. So much of her has shattered that it feels like once she’s found a piece or two of herself, it’s almost instantly gone. Whether it be because of a blast from the past, or an uncertain future.
She copes, or tries to, by cutting herself. I just can’t imagine anybody feeling that way about themselves. I just wanted to hug her.
“Cutting is a fence you build upon your own body to keep people out, but then you cry to be touched. But the fence is barged. What then?”
For a time, Charlie stays at a mental health facility, but when insurance runs out, she is forced to relocate with her mother until an opening at a halfway house is available. Her and her mother do not get along at all. When a guy friend (her crush) offers to move her closer to him to help her, expectations are made and hopes are set kind of high. This guy isn’t interested in her romantically and he used to date her best friend (whom has passed away).
What kind of hit me for a bit, while not at the extent or context as with Charlie, she meets this guy named Riley and he’s all wrong for her, but seems right for her at a certain time. She sort of becomes enthralled with him, even though he’s mostly high or drunk, but she can’t help herself. The need for closeness is sometimes just too great. I wanted to yell at Charlie for always going to him, but I can’t because I did the same thing. How can I yell at somebody for doing the same thing I have done?
My dear Charlie…
“I think you are having a different sort of heartbreak. Maybe a kind of heartbreak of being in the world when you don’t know how to be.”
This is the second novel I’ve read from Kathleen Glasgow. This one certainly had me really mentally involved. It didn’t finish it as quickly as I did her recent novel, but that doesn’t mean it wasn’t a good story. I can’t stress enough. THERE ARE NUMEROUS TRIGGER WARNINGS! Self-harm, mentions of sexual assault, etc. It was difficult for me to finish, so I stress that if these do not bother you, then this is a story worth reading. It’s all told in Charlie’s voice and the pieces she loses and somehow gets them back…one at a time.
“People should know about us. Girls who write their pain on their bodies.”
That book that I had to step away from so often because it nearly had me tangled up in it, that would be this book. It’s rare for me to be so wrapped up in this book that it feels like I’m tight in its grasp. I want to go on this journey with the character and feel I owe it to them to see it through with them, but I mentally can’t. So, I have to step aside for a moment, but know that I’m going to come back.
Charlotte ‘Charlie’ has gone through SO MUCH before she even gets to the age of eighteen. The title says it straight forward; she is in pieces. So much of her has shattered that it feels like once she’s found a piece or two of herself, it’s almost instantly gone. Whether it be because of a blast from the past, or an uncertain future.
She copes, or tries to, by cutting herself. I just can’t imagine anybody feeling that way about themselves. I just wanted to hug her.
“Cutting is a fence you build upon your own body to keep people out, but then you cry to be touched. But the fence is barged. What then?”
For a time, Charlie stays at a mental health facility, but when insurance runs out, she is forced to relocate with her mother until an opening at a halfway house is available. Her and her mother do not get along at all. When a guy friend (her crush) offers to move her closer to him to help her, expectations are made and hopes are set kind of high. This guy isn’t interested in her romantically and he used to date her best friend (whom has passed away).
What kind of hit me for a bit, while not at the extent or context as with Charlie, she meets this guy named Riley and he’s all wrong for her, but seems right for her at a certain time. She sort of becomes enthralled with him, even though he’s mostly high or drunk, but she can’t help herself. The need for closeness is sometimes just too great. I wanted to yell at Charlie for always going to him, but I can’t because I did the same thing. How can I yell at somebody for doing the same thing I have done?
My dear Charlie…
“I think you are having a different sort of heartbreak. Maybe a kind of heartbreak of being in the world when you don’t know how to be.”
This is the second novel I’ve read from Kathleen Glasgow. This one certainly had me really mentally involved. It didn’t finish it as quickly as I did her recent novel, but that doesn’t mean it wasn’t a good story. I can’t stress enough. THERE ARE NUMEROUS TRIGGER WARNINGS! Self-harm, mentions of sexual assault, etc. It was difficult for me to finish, so I stress that if these do not bother you, then this is a story worth reading. It’s all told in Charlie’s voice and the pieces she loses and somehow gets them back…one at a time.
“People should know about us. Girls who write their pain on their bodies.”
Movie Metropolis (309 KP) rated The Grey (2012) in Movies
Jun 10, 2019
Is there ever a better match up than Liam Neeson and a good solid action flick? This reviewer thinks not and this is exactly what we have here. However, Joe Carnahan’s latest offering, The Grey is a lot more than the formulaic paint by numbers action movie.
The Grey focuses on a group of men working away from home in the Alaskan oil fields. On their way back to safety, the worst happens and the plane the unlucky fellows are travelling in crashes in spectacular fashion. The crash in the first sequence of the movie is absolutely stunning and one of the best I’ve seen on the silver screen; it even makes the plane crash in the original Final Destination look tame.
The survivors of the plane crash include Neeson’s Alpha male character John Ottway and those of you familiar with the Irishman’s style of acting will know what to expect here; there’s a quiet sense of foreboding throughout and this only adds to the tension which is creatively built up throughout the 117 minute running time.
The team soon realise that they’re being stalked by a pack of hungry wolves that are, shall we say, less than happy about the intruders wandering around their territory and in the usual thriller style, they’re picked off one, by one.
The other male leads include Frank Grillo as the disobedient John Diaz and Joe Anderson as outsider, Todd Flannery. Unfortunately, through no fault of their own, the other actors get lost behind Neeson’s commanding performance, one of the best of his career in fact.
Dialogue and plot generally take a back seat to the scares in this genre of film but thankfully Carnahan and his writing team demand audience respect for these characters and for the most part, it all works and ties together nicely. Ottway is a deeply troubled and desperately unhappy man who on occasions has tried to take his own life. However, once coming face to face with the snarling jaws of a grey wolf, he soon realises that running and fighting for his life is perhaps the best course of action.
Naturally, the Alaskan wilderness provides an eerie and mesmerising setting (there’s not a green screen in sight) and Carnahan cracks up the tension fantastically by not being obvious in his editing. The shots of the CGI and puppet wolves are integrated very well and apart from a few shoddy scenes where it becomes a little obvious they’re not real , the outcome is deeply disturbing and the animals look 100% believable.
Overall, The Grey is everything a thrilling creature feature should be. Director, Joe Carnahan, racks up tension on every occasion physically possible and grabs the audience with beautiful Alaskan scenery dispersed amidst the chaos. Liam Neeson really steals the show with a commanding and heart-wrenching performance whilst his co-stars do well, despite being overshadowed.
The special effects and plot all have depth and this ensures The Grey has enough bite to keep even the most difficult audiences entertained. Yes, it’s a little too long for the genre, but you don’t feel this whilst watching because of how well the film has been crafted. It really is a must watch.
https://moviemetropolis.net/2012/03/13/the-grey-2012-review/
The Grey focuses on a group of men working away from home in the Alaskan oil fields. On their way back to safety, the worst happens and the plane the unlucky fellows are travelling in crashes in spectacular fashion. The crash in the first sequence of the movie is absolutely stunning and one of the best I’ve seen on the silver screen; it even makes the plane crash in the original Final Destination look tame.
The survivors of the plane crash include Neeson’s Alpha male character John Ottway and those of you familiar with the Irishman’s style of acting will know what to expect here; there’s a quiet sense of foreboding throughout and this only adds to the tension which is creatively built up throughout the 117 minute running time.
The team soon realise that they’re being stalked by a pack of hungry wolves that are, shall we say, less than happy about the intruders wandering around their territory and in the usual thriller style, they’re picked off one, by one.
The other male leads include Frank Grillo as the disobedient John Diaz and Joe Anderson as outsider, Todd Flannery. Unfortunately, through no fault of their own, the other actors get lost behind Neeson’s commanding performance, one of the best of his career in fact.
Dialogue and plot generally take a back seat to the scares in this genre of film but thankfully Carnahan and his writing team demand audience respect for these characters and for the most part, it all works and ties together nicely. Ottway is a deeply troubled and desperately unhappy man who on occasions has tried to take his own life. However, once coming face to face with the snarling jaws of a grey wolf, he soon realises that running and fighting for his life is perhaps the best course of action.
Naturally, the Alaskan wilderness provides an eerie and mesmerising setting (there’s not a green screen in sight) and Carnahan cracks up the tension fantastically by not being obvious in his editing. The shots of the CGI and puppet wolves are integrated very well and apart from a few shoddy scenes where it becomes a little obvious they’re not real , the outcome is deeply disturbing and the animals look 100% believable.
Overall, The Grey is everything a thrilling creature feature should be. Director, Joe Carnahan, racks up tension on every occasion physically possible and grabs the audience with beautiful Alaskan scenery dispersed amidst the chaos. Liam Neeson really steals the show with a commanding and heart-wrenching performance whilst his co-stars do well, despite being overshadowed.
The special effects and plot all have depth and this ensures The Grey has enough bite to keep even the most difficult audiences entertained. Yes, it’s a little too long for the genre, but you don’t feel this whilst watching because of how well the film has been crafted. It really is a must watch.
https://moviemetropolis.net/2012/03/13/the-grey-2012-review/
Movie Metropolis (309 KP) rated Dunkirk (2017) in Movies
Jun 10, 2019
A Triumph
Brutal. Spectacular. Emotional. These are just some of the adjectives you could use to describe Christopher Nolan’s latest film, Dunkirk. The director of Inception, The Dark Knight, Memento and Interstellar is one of the greatest film-makers working today and he raises the bar once again with this bleak tale from World War II.
With war, you have to respect the past whilst allowing modern-day film-goers to truly understand the brutality that ordinary people like you and I went through on a daily basis.
In May 1940, Germany had advanced into France, trapping Allied troops on the beaches of Dunkirk. Under air and ground cover from British and French forces, troops were slowly and methodically evacuated from the beach using not only military ships but civilian boats too. At the end of this incredible story of courage, 330,000 French, British, Belgian and Dutch soldiers were safely evacuated.
I found a quote the other day that said “Christopher Nolan is like Michael Bay for people who have ever read a book” and in Dunkirk that seems more apt than ever. Of course there are explosions, many of them, but they are interweaved with some incredible storytelling.
Split into three separate timelines, Dunkirk follows fisherman Mark Rylance as he sails to the beaches as part of the civilian rescue effort. On land we shadow a group of young soldiers desperately trying to get back home. Finally, the film flies alongside Tom Hardy’s brave Spitfire pilot as he tries his best to keep the beaches safe.
Each of the stories has something to offer but Mark Rylance’s performance is definitely the best, making his timeline the most interesting and often the most emotional. Addressing the elephant in the room, Harry Styles, is probably best at this part of the review – he’s excellent and in a much larger part than I had imagined.
In fact, all the performances are excellent, helped in part by Christopher Nolan’s incredible use of close-ups. This is a living, breathing war and as the audience, you feel as claustrophobic as the 400,000 men did waiting on that beach in 1940.
Moreover, the sound is just astonishing. I have never known a film use sound to such an extent to convey sheer terror. The score by Hans Zimmer, coupled with the deafening aircraft flying overhead and the rapid gunfire is incredibly harrowing and makes Dunkirk very hard to watch at times – despite its 12A certification.
Dunkirk is also a masterclass in practical effects. Nearly everything you see on screen was shot without the use of CGI and my goodness you can tell. We’re so used to seeing blockbusters filled to the brim with computer generated imagery that it’s easy to forget just how good practical effects can be.
Overall, Christopher Nolan has created a tasteful homage to a day that has been etched into the minds of generations of people. It would’ve been easy to create a film that focused on the action rather than the human details of this incredible story, but Nolan has managed to craft an absolute triumph. It’s one of the best films of the year and an absolute must-watch.
https://moviemetropolis.net/2017/07/23/dunkirk-review-a-triumph/
With war, you have to respect the past whilst allowing modern-day film-goers to truly understand the brutality that ordinary people like you and I went through on a daily basis.
In May 1940, Germany had advanced into France, trapping Allied troops on the beaches of Dunkirk. Under air and ground cover from British and French forces, troops were slowly and methodically evacuated from the beach using not only military ships but civilian boats too. At the end of this incredible story of courage, 330,000 French, British, Belgian and Dutch soldiers were safely evacuated.
I found a quote the other day that said “Christopher Nolan is like Michael Bay for people who have ever read a book” and in Dunkirk that seems more apt than ever. Of course there are explosions, many of them, but they are interweaved with some incredible storytelling.
Split into three separate timelines, Dunkirk follows fisherman Mark Rylance as he sails to the beaches as part of the civilian rescue effort. On land we shadow a group of young soldiers desperately trying to get back home. Finally, the film flies alongside Tom Hardy’s brave Spitfire pilot as he tries his best to keep the beaches safe.
Each of the stories has something to offer but Mark Rylance’s performance is definitely the best, making his timeline the most interesting and often the most emotional. Addressing the elephant in the room, Harry Styles, is probably best at this part of the review – he’s excellent and in a much larger part than I had imagined.
In fact, all the performances are excellent, helped in part by Christopher Nolan’s incredible use of close-ups. This is a living, breathing war and as the audience, you feel as claustrophobic as the 400,000 men did waiting on that beach in 1940.
Moreover, the sound is just astonishing. I have never known a film use sound to such an extent to convey sheer terror. The score by Hans Zimmer, coupled with the deafening aircraft flying overhead and the rapid gunfire is incredibly harrowing and makes Dunkirk very hard to watch at times – despite its 12A certification.
Dunkirk is also a masterclass in practical effects. Nearly everything you see on screen was shot without the use of CGI and my goodness you can tell. We’re so used to seeing blockbusters filled to the brim with computer generated imagery that it’s easy to forget just how good practical effects can be.
Overall, Christopher Nolan has created a tasteful homage to a day that has been etched into the minds of generations of people. It would’ve been easy to create a film that focused on the action rather than the human details of this incredible story, but Nolan has managed to craft an absolute triumph. It’s one of the best films of the year and an absolute must-watch.
https://moviemetropolis.net/2017/07/23/dunkirk-review-a-triumph/
Movie Metropolis (309 KP) rated Kingsman: The Golden Circle (2017) in Movies
Jun 10, 2019
Welcome back, chaps
Kingsman: The Secret Service was one of the surprise hits of 2014. Marketed poorly by an unassuming set of trailers, the end result was a film as big a surprise as Guardians of the Galaxy was.
We all know what happened. Kingsman senior grossed over $400million worldwide and a sequel was soon greenlit with a much bigger budget and a marketing effort worth of the first film.
But has some of that old-school charm been lost in the transition to high-budget movie event of the summer?
With their headquarters destroyed and the world held hostage by a villainous drug lord (Julianne Moore), members of Kingsman find new allies when they discover a spy organization in the United States known as Statesman. In an adventure that tests their strength and wits, the elite agents band together to battle a ruthless enemy and save the day, something that seems to be a bit of a habit for Eggsy (Taron Egerton) of late.
Thankfully, I’m pleased to tell you that Matthew Vaughn’s follow-up, while not bettering its predecessor, manages to stay away from many of the sequel pitfalls we tend to see nowadays.
Opening with a fantastically filmed cab ride through London’s narrow streets, the first sequence sets up the movie perfectly. This is a rollercoaster ride – loud, at times exhausting but completely and utterly exhilarating.
That familiar cast we grew to love in the first film return including the not-so-secret return of Colin Firth’s Harry. It’s disappointing to have seen the big reveal of his survival from Samuel L Jackson’s bullet in the trailers, but it’s still a welcome return and a smart move by the writers – even if the circumstances surrounding his well-being are a little farfetched.
Taron Egerton is once again on top form and Mark Strong is ever-reliable as intelligence agent, Merlin. Of the newcomers, Channing Tatum, Halle Berry and Jeff Bridges make a small, but noticeable impact on proceedings though I would’ve liked to have seen them a little more throughout the 140-minute runtime.
You’re right to gasp. Kingsman: The Golden Circle is a good 10 minutes or so longer than its predecessor and while the action is choreographed to the same exceptional standard of its forbearer, it does feel like a long film.
Nevertheless, if there’s one thing Matthew Vaughn knows how to direct, it’s action. The increased budget this time around means our heroes embark on a globetrotting mission that includes Cambodia, Italy, the US and of course Blighty. The cinematography is wonderful with the Cambodian lair of our main villain being a particular highlight.
Speaking of which, Julianne Moore is absolutely sublime. Described by Vaughn himself as “Martha Stewart on crack”, she is right up there with Samuel L Jackson’s outlandish Richmond Valentine. Watch out for a surprise turn from Elton John that will have you in stitches whenever the film switches to Moore’s mountain-top lair.
With this and President Alma Coin from The Hunger Games on her CV, she’s proving a great choice to play wicked characters – she’s certainly got the acting chops for it.
Overall, there’s far too much in Kingsman: The Golden Circle to talk about in one review, but it’s fair to say this sequel is a big success. With beautifully choreographed action and some cracking performances, it’s more than a candidate for best film of the year. Flawed? Yes. But you’ll be having too much fun to notice. Bring on the sequel.
https://moviemetropolis.net/2017/09/21/kingsman-the-golden-circle-review/
We all know what happened. Kingsman senior grossed over $400million worldwide and a sequel was soon greenlit with a much bigger budget and a marketing effort worth of the first film.
But has some of that old-school charm been lost in the transition to high-budget movie event of the summer?
With their headquarters destroyed and the world held hostage by a villainous drug lord (Julianne Moore), members of Kingsman find new allies when they discover a spy organization in the United States known as Statesman. In an adventure that tests their strength and wits, the elite agents band together to battle a ruthless enemy and save the day, something that seems to be a bit of a habit for Eggsy (Taron Egerton) of late.
Thankfully, I’m pleased to tell you that Matthew Vaughn’s follow-up, while not bettering its predecessor, manages to stay away from many of the sequel pitfalls we tend to see nowadays.
Opening with a fantastically filmed cab ride through London’s narrow streets, the first sequence sets up the movie perfectly. This is a rollercoaster ride – loud, at times exhausting but completely and utterly exhilarating.
That familiar cast we grew to love in the first film return including the not-so-secret return of Colin Firth’s Harry. It’s disappointing to have seen the big reveal of his survival from Samuel L Jackson’s bullet in the trailers, but it’s still a welcome return and a smart move by the writers – even if the circumstances surrounding his well-being are a little farfetched.
Taron Egerton is once again on top form and Mark Strong is ever-reliable as intelligence agent, Merlin. Of the newcomers, Channing Tatum, Halle Berry and Jeff Bridges make a small, but noticeable impact on proceedings though I would’ve liked to have seen them a little more throughout the 140-minute runtime.
You’re right to gasp. Kingsman: The Golden Circle is a good 10 minutes or so longer than its predecessor and while the action is choreographed to the same exceptional standard of its forbearer, it does feel like a long film.
Nevertheless, if there’s one thing Matthew Vaughn knows how to direct, it’s action. The increased budget this time around means our heroes embark on a globetrotting mission that includes Cambodia, Italy, the US and of course Blighty. The cinematography is wonderful with the Cambodian lair of our main villain being a particular highlight.
Speaking of which, Julianne Moore is absolutely sublime. Described by Vaughn himself as “Martha Stewart on crack”, she is right up there with Samuel L Jackson’s outlandish Richmond Valentine. Watch out for a surprise turn from Elton John that will have you in stitches whenever the film switches to Moore’s mountain-top lair.
With this and President Alma Coin from The Hunger Games on her CV, she’s proving a great choice to play wicked characters – she’s certainly got the acting chops for it.
Overall, there’s far too much in Kingsman: The Golden Circle to talk about in one review, but it’s fair to say this sequel is a big success. With beautifully choreographed action and some cracking performances, it’s more than a candidate for best film of the year. Flawed? Yes. But you’ll be having too much fun to notice. Bring on the sequel.
https://moviemetropolis.net/2017/09/21/kingsman-the-golden-circle-review/
Movie Metropolis (309 KP) rated Bridget Jones's Baby (2016) in Movies
Jun 11, 2019
No Big Bloomers?
Bridget Jones’s Diary is a classic example of the perfect British rom-com. Upon its release in 2001, yes 15 years ago, it catapulted Renée Zellweger into the public eye and made household names of its other stars.
Its sequel, The Edge of Reason, on the other hand was a dramatic fall from grace, with a lowly 27% approval rating on Rotten Tomatoes. Since then, the series has fallen into a dormant state with talks of another sequel doing the rounds since as early as 2004.
Fast-forward 12 years and the prayers of fans the world over have finally been answered. However, the comedy genre has moved on from the warm, fuzzy rom-coms of the past and in its place are the foul-mouthed female-led films of the present. But does Bridget Jones’s Baby get the balance right? Or is it a good decade too late?
Breaking up with Mark Darcy (Colin Firth) leaves Bridget Jones (Renée Zellweger) over 40 and single again. Feeling that she has everything under control, Jones decides to focus on her career as a top news producer. Suddenly, her love life comes back from the dead when she meets a handsome American named Jack (Patrick Dempsey). Things couldn’t be better, until Bridget discovers that she is pregnant. From then on, the befuddled mum-to-be must figure out if the proud dad is Mark or Jack.
The casting choices throughout the film are spot on and it’s a pleasure to see Colin Firth back on the big screen. His quintessentially British persona has been a highlight of both previous films and it’s no exception here. Patrick Dempsey’s turn as the dashing American stallion is sheer perfection and both he and Firth remain intensely likeable as the movie progresses, despite their obvious flaws.
Of course, praise must go to Renée Zellweger who, despite 12 years in between filming, manages to channel that iconic character like it was yesterday. She may look different to how we all remember her, but as soon as she speaks, it’s impossible not to feel at home.
Elsewhere, Emma Thompson, Jim Broadbent and Celia Imrie all pop up from time to time with the former providing Bridget Jones’s Baby with some of its best comedic moments. Her character is sharp and very well written indeed.
It would be very easy to go picking around the plot; criticising its blatant lack of originality, but that’s not what director Sharon Maguire was aiming for. Instead, she cleverly crafts a film that remains faithful to its predecessors, all the while introducing a new generation of comedy fans to the titular character.
What does this mean? Well, it toes the line quite well between the heart-warming qualities of the original and the over-the-top hilarity of films like Bridesmaids and Spy. This may not sit well with some die-hard fans of the series, but it’s sure to be a winner for the more modern movie-goer.
Overall, Bridget Jones’s Baby is better than it ever had the right to be. It’s nostalgic, beautifully sweet, ridiculous, over-the-top and quite frankly, absolutely hilarious. I haven’t laughed that much in years, it’s a must see for fans and newcomers alike.
https://moviemetropolis.net/2016/09/17/no-big-bloomers-bridget-joness-baby-review/
Its sequel, The Edge of Reason, on the other hand was a dramatic fall from grace, with a lowly 27% approval rating on Rotten Tomatoes. Since then, the series has fallen into a dormant state with talks of another sequel doing the rounds since as early as 2004.
Fast-forward 12 years and the prayers of fans the world over have finally been answered. However, the comedy genre has moved on from the warm, fuzzy rom-coms of the past and in its place are the foul-mouthed female-led films of the present. But does Bridget Jones’s Baby get the balance right? Or is it a good decade too late?
Breaking up with Mark Darcy (Colin Firth) leaves Bridget Jones (Renée Zellweger) over 40 and single again. Feeling that she has everything under control, Jones decides to focus on her career as a top news producer. Suddenly, her love life comes back from the dead when she meets a handsome American named Jack (Patrick Dempsey). Things couldn’t be better, until Bridget discovers that she is pregnant. From then on, the befuddled mum-to-be must figure out if the proud dad is Mark or Jack.
The casting choices throughout the film are spot on and it’s a pleasure to see Colin Firth back on the big screen. His quintessentially British persona has been a highlight of both previous films and it’s no exception here. Patrick Dempsey’s turn as the dashing American stallion is sheer perfection and both he and Firth remain intensely likeable as the movie progresses, despite their obvious flaws.
Of course, praise must go to Renée Zellweger who, despite 12 years in between filming, manages to channel that iconic character like it was yesterday. She may look different to how we all remember her, but as soon as she speaks, it’s impossible not to feel at home.
Elsewhere, Emma Thompson, Jim Broadbent and Celia Imrie all pop up from time to time with the former providing Bridget Jones’s Baby with some of its best comedic moments. Her character is sharp and very well written indeed.
It would be very easy to go picking around the plot; criticising its blatant lack of originality, but that’s not what director Sharon Maguire was aiming for. Instead, she cleverly crafts a film that remains faithful to its predecessors, all the while introducing a new generation of comedy fans to the titular character.
What does this mean? Well, it toes the line quite well between the heart-warming qualities of the original and the over-the-top hilarity of films like Bridesmaids and Spy. This may not sit well with some die-hard fans of the series, but it’s sure to be a winner for the more modern movie-goer.
Overall, Bridget Jones’s Baby is better than it ever had the right to be. It’s nostalgic, beautifully sweet, ridiculous, over-the-top and quite frankly, absolutely hilarious. I haven’t laughed that much in years, it’s a must see for fans and newcomers alike.
https://moviemetropolis.net/2016/09/17/no-big-bloomers-bridget-joness-baby-review/
Movie Metropolis (309 KP) rated Cinderella (2015) in Movies
Jun 11, 2019
Sickly Sweet
Taking a look through Disney’s back catalogue of animation is like a lesson in film history. From Snow White to Bambi and The Lion King to The Princess & the Frog, there’s something in there for everyone to enjoy.
However, the studio has in recent times, taken to reimagining its classics as live-action adaptations with last year’s Maleficent starting a generation that will include Beauty & the Beast and a Tim Burton directed Dumbo. The latest offering is Cinderella, but does it hold a candle to its animated counterpart?
The plot of Cinderella needs no introduction, the classic tale of rags to riches and love conquering all doesn’t need an update and director Kenneth Branagh (Thor, Jack Ryan: Shadow Recruit) is just the man for the job.
Following the story of young Ella as she comes to terms with the loss of her parents and the arrival of her overbearing step-cinderella_poster_a_psisters and step-mother, Cinderella is a wonderfully acted and beautifully realised film that borders on a little syrupy at times.
Downton Abbey’s Lily James takes on the title role with a brilliant Cate Blanchett giving her all as Ella’s wicked step-mother. Helena Bonham Carter also stars as Ella’s fairy godmother and brings her usual brand of crazy to the character.
What sets this adaptation apart from Angelina Jolie’s Maleficent is its stunning visuals. Where Maleficent was beautiful in its own way and suited the film’s dark tone, here Kenneth Branagh throws every colour on the spectrum at the screen in breath-taking fashion.
The outfits are to die for and the locations are an explosion of bright colours and textures that are juxtaposed exceptionally with the dark, damp quarters our princess is confined to.
Elsewhere, the performances are, on the whole, sublime. James is good in the titular role but the plodding script lets her down. She comes across, as awful as this sounds, a little idiotic and lacks the charming spirit of her animated counterpart. The same can be said for her prince, played by Richard Madden – though this could be down to the story rushing their love somewhat.
By far the standout is Cate Blanchett, who is truly mesmerising as stepmother Lady Tremaine. Her brash and ridiculously over-the-top performance suits the pantomime feel of the production down to the ground. Unfortunately, her evil is heavily restrained by the film’s U certification, even more so when compared alongside the 1950 film.
Nevertheless, the visuals are simply stunning. Everything from the palace to Ella’s iconic ball gown and all of it in between is nearly flawless with only a few lapses in cartoonish CGI letting things down – though this can be forgiven with the film’s pantomime-esque nature.
Overall, this live-action reimagining of the 1950s classic musical does not in any way attempt to better its predecessor. Instead it wishes to sit alongside it as the studio tries to pave the way for a whole new generation of children to fall in love with Disney’s princesses once again.
Only a few lapses in CGI, a plodding script and a sickly sweet tone stop it from being enjoyable for everyone in the family, instead of just the kids.
https://moviemetropolis.net/2015/03/31/sickly-sweet-cinderella-review/
However, the studio has in recent times, taken to reimagining its classics as live-action adaptations with last year’s Maleficent starting a generation that will include Beauty & the Beast and a Tim Burton directed Dumbo. The latest offering is Cinderella, but does it hold a candle to its animated counterpart?
The plot of Cinderella needs no introduction, the classic tale of rags to riches and love conquering all doesn’t need an update and director Kenneth Branagh (Thor, Jack Ryan: Shadow Recruit) is just the man for the job.
Following the story of young Ella as she comes to terms with the loss of her parents and the arrival of her overbearing step-cinderella_poster_a_psisters and step-mother, Cinderella is a wonderfully acted and beautifully realised film that borders on a little syrupy at times.
Downton Abbey’s Lily James takes on the title role with a brilliant Cate Blanchett giving her all as Ella’s wicked step-mother. Helena Bonham Carter also stars as Ella’s fairy godmother and brings her usual brand of crazy to the character.
What sets this adaptation apart from Angelina Jolie’s Maleficent is its stunning visuals. Where Maleficent was beautiful in its own way and suited the film’s dark tone, here Kenneth Branagh throws every colour on the spectrum at the screen in breath-taking fashion.
The outfits are to die for and the locations are an explosion of bright colours and textures that are juxtaposed exceptionally with the dark, damp quarters our princess is confined to.
Elsewhere, the performances are, on the whole, sublime. James is good in the titular role but the plodding script lets her down. She comes across, as awful as this sounds, a little idiotic and lacks the charming spirit of her animated counterpart. The same can be said for her prince, played by Richard Madden – though this could be down to the story rushing their love somewhat.
By far the standout is Cate Blanchett, who is truly mesmerising as stepmother Lady Tremaine. Her brash and ridiculously over-the-top performance suits the pantomime feel of the production down to the ground. Unfortunately, her evil is heavily restrained by the film’s U certification, even more so when compared alongside the 1950 film.
Nevertheless, the visuals are simply stunning. Everything from the palace to Ella’s iconic ball gown and all of it in between is nearly flawless with only a few lapses in cartoonish CGI letting things down – though this can be forgiven with the film’s pantomime-esque nature.
Overall, this live-action reimagining of the 1950s classic musical does not in any way attempt to better its predecessor. Instead it wishes to sit alongside it as the studio tries to pave the way for a whole new generation of children to fall in love with Disney’s princesses once again.
Only a few lapses in CGI, a plodding script and a sickly sweet tone stop it from being enjoyable for everyone in the family, instead of just the kids.
https://moviemetropolis.net/2015/03/31/sickly-sweet-cinderella-review/