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Bob Mann (459 KP) rated Inferno (2016) in Movies
Sep 29, 2021
Infernal
Dan Brown has had a bad rap over the years from snobbish reviewers who dismiss his work as “trash”. I’m sure to a large degree the multi-millionaire Dan Brown couldn’t give a toss! I personally enjoyed both the books and Ron Howard’s films of “The Da Vinci Code” and “Angels and Demons” as glossy escapism. Occasionally though books will generate a “WHHAAAT??” moment and Brown’s 2013 novel “Inferno” generated just such a response in its dramatic conclusion… and (for me at least) not in a good way. As someone always looking at script potential in books, the words “unfilmable” came to mind. So veteran screenwriter David Koepp (“Jurassic Park”, “Mission Impossible”, “Spiderman”) is to be congratulated in ‘adapting’ the story to provide a coherent screenplay.
But unfortunately it’s still arrant nonsense.
The film starts in promising style with famed symbologist Robert Langdon (Tom Hanks) waking in hospital to horrific visions of hell on earth with only the attractive young nurse Dr Sienna Brooks (Felicity Jones) to soothe his nerves. A serious head wound prevents him from remembering the last 48 hours which makes it a bit tricky when a “Terminator”-style female cop (the striking Romanian actress Ana Ularu) arrives to try to kill him. Fleeing the scene, Langdon follows a typically convoluted trail of puzzles in a race to find the location of the source of a plague that if released will devastate the world’s population. In the process he has to dodge police, World Health Organisation (WHO) staff and members of a shadowy “private security organisation” trying to catch him.
The problem with the story is that it has a plague-sized hole in its plot. The actions of the main protagonist of the film, Bertrand Zobrist (Ben Foster, “The Program”), make absolutely zero sense. If he wanted to achieve his aims he would have just done it! (“No, Mr Bond – I won’t shoot you now”). Laying a devious cryptic trail for others to follow makes even less sense, particularly as he is even seen (in flashback) to be not very good at that! Quite bonkers!
Unfortunately, the more you ponder the story, the worse it gets, and it is this that fatally drags the film down despite all the good work that Hanks, Jones and director Ron Howard try to counter-balance it with.
For there are elements on the positive side of the scales. The Italian and Turkish scenes (in Florence, Venice and Istanbul) are gloriously filmed with lush colours and exotic and evocative locations. Tom Hanks is as solidly reliable as ever in the Langdon role, and its great to see Felicity “The Theory of Everything” Jones in a leading role before she disappears into obscurity again (humour: “Rogue One” is released in December).
Tom Hanks
The film has fun with romantic expectations of the Langdon and Brooks characters. Here though is Hanks with the more age-appropriate Knudsen.
The supporting cast is also of great quality. Sidse Babett Knudsen (“Borgen”) is Dr Sinsky, leader of the W.H.O. (not credited – as memorably done with Peter Capaldi in “World War Z” as “Doctor, W.H.O.”!). Irrfan (“Jurassic World”) Khan is striking as the mysterious and authoritarian “Provost”. And Omar Sy (who made such an impact in the brilliant “The Intouchables”) plays the lead W.H.O. officer in pursuit of Langdon.
Hans Zimmer again provides the soundtrack, with his beautiful series theme cleverly working its way into the music as Langdon’s memory returns. However, at various points the music become overtly noticeable, intrusive and not to my liking. A bombastic choral reworking of the theme over the end titles is stirring though.
In summary, a glossy and nonsensical disappointment.
But unfortunately it’s still arrant nonsense.
The film starts in promising style with famed symbologist Robert Langdon (Tom Hanks) waking in hospital to horrific visions of hell on earth with only the attractive young nurse Dr Sienna Brooks (Felicity Jones) to soothe his nerves. A serious head wound prevents him from remembering the last 48 hours which makes it a bit tricky when a “Terminator”-style female cop (the striking Romanian actress Ana Ularu) arrives to try to kill him. Fleeing the scene, Langdon follows a typically convoluted trail of puzzles in a race to find the location of the source of a plague that if released will devastate the world’s population. In the process he has to dodge police, World Health Organisation (WHO) staff and members of a shadowy “private security organisation” trying to catch him.
The problem with the story is that it has a plague-sized hole in its plot. The actions of the main protagonist of the film, Bertrand Zobrist (Ben Foster, “The Program”), make absolutely zero sense. If he wanted to achieve his aims he would have just done it! (“No, Mr Bond – I won’t shoot you now”). Laying a devious cryptic trail for others to follow makes even less sense, particularly as he is even seen (in flashback) to be not very good at that! Quite bonkers!
Unfortunately, the more you ponder the story, the worse it gets, and it is this that fatally drags the film down despite all the good work that Hanks, Jones and director Ron Howard try to counter-balance it with.
For there are elements on the positive side of the scales. The Italian and Turkish scenes (in Florence, Venice and Istanbul) are gloriously filmed with lush colours and exotic and evocative locations. Tom Hanks is as solidly reliable as ever in the Langdon role, and its great to see Felicity “The Theory of Everything” Jones in a leading role before she disappears into obscurity again (humour: “Rogue One” is released in December).
Tom Hanks
The film has fun with romantic expectations of the Langdon and Brooks characters. Here though is Hanks with the more age-appropriate Knudsen.
The supporting cast is also of great quality. Sidse Babett Knudsen (“Borgen”) is Dr Sinsky, leader of the W.H.O. (not credited – as memorably done with Peter Capaldi in “World War Z” as “Doctor, W.H.O.”!). Irrfan (“Jurassic World”) Khan is striking as the mysterious and authoritarian “Provost”. And Omar Sy (who made such an impact in the brilliant “The Intouchables”) plays the lead W.H.O. officer in pursuit of Langdon.
Hans Zimmer again provides the soundtrack, with his beautiful series theme cleverly working its way into the music as Langdon’s memory returns. However, at various points the music become overtly noticeable, intrusive and not to my liking. A bombastic choral reworking of the theme over the end titles is stirring though.
In summary, a glossy and nonsensical disappointment.
Gareth von Kallenbach (965 KP) rated On the Basis of Sex (2018) in Movies
Jul 2, 2019
In the year 2018, it’s easy to forget how much the times have changed over the last century. We now carry computers around in our pockets, have the internet to conduct worldwide business in a matter of seconds and cars that run on electricity. Considering all of these amazing technological advancements you would think something as simple and no-brainer as equal rights must have been around for hundreds and hundreds of years, right? Well, the new movie On the Basis of Sex humbly reminded me that the equal rights movement was not too much longer ago than the invention of the internet and it was just the type of reminder I needed to once again appreciate just how far we have come.
On the Basis of Sex is a biopic detailing Ruth Bader Ginsburg’s (Felicity Jones) rise from one of the first women “invited” to attend Harvard Law School to becoming the 2nd woman nominated to the U.S. Supreme Court. The first part of the movie aptly chronicles Mrs. Ginsburg’s experience as a woman at Harvard Law School and then getting her first job as a professor at Rutgers Law School in 1963. Considering she graduated at the top of her class being a professor was not her dream job, but law firms were not looking to hire female lawyers, so she made the best of it. This all leads up to the main focus of the film which is Mrs. Ginsburg representing a Colorado man who has been denied caretaker tax benefits because the tax code specifically applied to women. The movie shows both her struggles and triumphs with the case and why equal rights were so important to her. Although the movie focused on this one case, it was crystal clear that Ruth Bader Ginsburg was a force to be reckoned with and this was just one of many cases she would take on to ensure greater equality for woman.
Felicity Jones does an incredible job portraying Mrs. Ginsburg. She brings a swagger to the character and used an authentic sounding Brooklyn accent to boot. Armie Hammer also does a great job playing the ever supportive and unshakable husband Marty Ginsburg. They had great chemistry on screen and did an excellent job showing just how supportive they were to one another. Even though their relationship was not the focus of the film, it was very touching and added a little extra heart to the story. Speaking of the story, it was both engaging and thought provoking, so much so that its effects are still there even after leaving the theater. I enjoyed how the story unfolded and the fact that it never got to preachy or political. As biopics go, there were a few spots that seemed to drag on a bit, but generally the pace never lingered in one spot for too long and it kept my interest the whole time.
On the Basis of Sex was a very good movie and a welcome addition to this year’s holiday movie offerings. If you are looking for something different after a couple of hours with web slinging spider-folk and yellow cars that turn into giant robots then this would be a great movie to check out. With excellent acting, a great inspirational story and even a little bit of heart, I really couldn’t ask for anything more.
On the Basis of Sex is a biopic detailing Ruth Bader Ginsburg’s (Felicity Jones) rise from one of the first women “invited” to attend Harvard Law School to becoming the 2nd woman nominated to the U.S. Supreme Court. The first part of the movie aptly chronicles Mrs. Ginsburg’s experience as a woman at Harvard Law School and then getting her first job as a professor at Rutgers Law School in 1963. Considering she graduated at the top of her class being a professor was not her dream job, but law firms were not looking to hire female lawyers, so she made the best of it. This all leads up to the main focus of the film which is Mrs. Ginsburg representing a Colorado man who has been denied caretaker tax benefits because the tax code specifically applied to women. The movie shows both her struggles and triumphs with the case and why equal rights were so important to her. Although the movie focused on this one case, it was crystal clear that Ruth Bader Ginsburg was a force to be reckoned with and this was just one of many cases she would take on to ensure greater equality for woman.
Felicity Jones does an incredible job portraying Mrs. Ginsburg. She brings a swagger to the character and used an authentic sounding Brooklyn accent to boot. Armie Hammer also does a great job playing the ever supportive and unshakable husband Marty Ginsburg. They had great chemistry on screen and did an excellent job showing just how supportive they were to one another. Even though their relationship was not the focus of the film, it was very touching and added a little extra heart to the story. Speaking of the story, it was both engaging and thought provoking, so much so that its effects are still there even after leaving the theater. I enjoyed how the story unfolded and the fact that it never got to preachy or political. As biopics go, there were a few spots that seemed to drag on a bit, but generally the pace never lingered in one spot for too long and it kept my interest the whole time.
On the Basis of Sex was a very good movie and a welcome addition to this year’s holiday movie offerings. If you are looking for something different after a couple of hours with web slinging spider-folk and yellow cars that turn into giant robots then this would be a great movie to check out. With excellent acting, a great inspirational story and even a little bit of heart, I really couldn’t ask for anything more.
Connor Sheffield (293 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Apr 18, 2017
New, yet Nostalgic
So whenever I hear that there's going to be a new Star Wars Movie, I get so excited EVERY TIME! However, that's not to say that I don't always feel nervous about this next one could be "The Bad Star Wars Film" because whilst I can find some good aspects of the prequel trilogy (SOME! Not a lot but there is some) I don't enjoy them and prefer to ignore them when having a Star Wars Movie marathon.
So when I heard that there's this film being made that's not and 'episode' but will have some connections to the original trilogy, I was nervous that it might blow some of the lore out the window and try and make their own lore that doesn't fit in with the prequels or the sequels. On the other hand I was so excited to feel that I was getting to see new characters and more of the lore on film such as Kyber Crystals and Jedha itself.
The characters were incredible in my opinion! Felicity Jones portrayed Jyn Erso, and really brought the strong female lead to a new generation of Star Wars fans and film fans in general. Jyn Erso is the Princess Leia of this new generation and honestly she had quite a lot to live up to following Daisy Ridley's portrayal as the strong female lead character, Rey, in Star Wars: The Force Awakens. Long story short, Felicity Jones nailed it! She's strong, independent but also has a lot of history and emotion that we don't get to see a lot of.
Then there's characters like K-2SO who is hilarious in my opinion and Alan Tudyk really brought a droid to life and made him feel more human, but also 'too good to be a human character', because there are certain aspects of the film where I was sat thinking "This character is hilarious to me, but I think the fact that he's a droid and doesn't fully understand a living, breathing, being's train of thought. So if this character was written as a human he wouldn't be as funny to me."
SPOILERS AHEAD!!!
My issue with the film, whilst I did enjoy it and understand WHY they ended it with Jyn's and Cassian's death, but I would love to have seen MORE of these characters. If they wanted to do a film with those characters in the future, it would have to be a more coming of age movie for Jyn and whilst I wouldn't mind seeing more of her growing up to understand her character more, I'd have preferred to see an aftermath film, because I think they could totally write the character to be someone who still fights for the rebellion but has some reason not to be in the events that take place in the original trilogy. Maybe she's taking care of some surviving death troopers, or trying to find out what the Empire's plans are on another planet or in another system because to think that the Empire had all of their subjects in one place concentrating on one project is ridiculous. Perhaps the First Order was being formed secretly in another system, or the Empire was enslaving some planets to prepare them for the Empires master plan of ruling the galaxy.
Overall, I just wanted more of these characters because they were just well written and the film was shot beautifully. To my knowledge, from the top of my head there weren't any jumpy editing cuts, or any moments where, due to camera movement, I would think "what's going on I can't follow the action" etc. It was brilliantly made and it very quickly became not just one of my favourite movies of all time, but one of my favourite Star Wars movies! But I have to give it a 9/10 because of the reasons I stated above...I need more of these characters in future aftermath films, but it cant happen now because of the ending and that makes me sad.
Brilliant Movie, Brilliant Cast, and of course....
THE DARTH VADER CORRIDOR SCENE!
So when I heard that there's this film being made that's not and 'episode' but will have some connections to the original trilogy, I was nervous that it might blow some of the lore out the window and try and make their own lore that doesn't fit in with the prequels or the sequels. On the other hand I was so excited to feel that I was getting to see new characters and more of the lore on film such as Kyber Crystals and Jedha itself.
The characters were incredible in my opinion! Felicity Jones portrayed Jyn Erso, and really brought the strong female lead to a new generation of Star Wars fans and film fans in general. Jyn Erso is the Princess Leia of this new generation and honestly she had quite a lot to live up to following Daisy Ridley's portrayal as the strong female lead character, Rey, in Star Wars: The Force Awakens. Long story short, Felicity Jones nailed it! She's strong, independent but also has a lot of history and emotion that we don't get to see a lot of.
Then there's characters like K-2SO who is hilarious in my opinion and Alan Tudyk really brought a droid to life and made him feel more human, but also 'too good to be a human character', because there are certain aspects of the film where I was sat thinking "This character is hilarious to me, but I think the fact that he's a droid and doesn't fully understand a living, breathing, being's train of thought. So if this character was written as a human he wouldn't be as funny to me."
SPOILERS AHEAD!!!
My issue with the film, whilst I did enjoy it and understand WHY they ended it with Jyn's and Cassian's death, but I would love to have seen MORE of these characters. If they wanted to do a film with those characters in the future, it would have to be a more coming of age movie for Jyn and whilst I wouldn't mind seeing more of her growing up to understand her character more, I'd have preferred to see an aftermath film, because I think they could totally write the character to be someone who still fights for the rebellion but has some reason not to be in the events that take place in the original trilogy. Maybe she's taking care of some surviving death troopers, or trying to find out what the Empire's plans are on another planet or in another system because to think that the Empire had all of their subjects in one place concentrating on one project is ridiculous. Perhaps the First Order was being formed secretly in another system, or the Empire was enslaving some planets to prepare them for the Empires master plan of ruling the galaxy.
Overall, I just wanted more of these characters because they were just well written and the film was shot beautifully. To my knowledge, from the top of my head there weren't any jumpy editing cuts, or any moments where, due to camera movement, I would think "what's going on I can't follow the action" etc. It was brilliantly made and it very quickly became not just one of my favourite movies of all time, but one of my favourite Star Wars movies! But I have to give it a 9/10 because of the reasons I stated above...I need more of these characters in future aftermath films, but it cant happen now because of the ending and that makes me sad.
Brilliant Movie, Brilliant Cast, and of course....
THE DARTH VADER CORRIDOR SCENE!
Lee (2222 KP) rated A Monster Calls (2016) in Movies
Jul 26, 2017
A Monster Calls is based on an idea by writer and activist Siobhan Dowd, who sadly died from cancer in 2007 before she could develop her story to print. Her ideas were developed into a book by Patrick Ness in 2011 and illustrated by Jim Kay where it went on to receive a number of childrens literary awards.
The story is set in a very dreary looking England and features a boy called Conor struggling to cope with his mother’s terminal cancer. His father is divorced from his mother and is living in the States with his new family. He’s bullied at school and he’s troubled by nightmares. And then he starts being visited at night by a monster who tells him 3 stories. It’s a bleak tale about the harshness of life, and I was kind of worried about how my 11 year old daughter might take to it when she said she wanted to see it with me.
J.A.Bayona, director of The Orphanage, handles the subject matter well, showing us how a child’s fantasy can make sense of the world and their feelings. The stories told by the monster occur over a number of days and are beautifully depicted in watercolour animation. Each one providing its own lesson to be learned in life. Liam Neeson is the monster, the large yew tree that Conor can see from his bedroom window, giving his best Aslan voice. Felicity Jones is the mother, gradually dying as each cancer drug fails. Sigourney Weaver is the grandmother who Conor reluctantly goes to stay with while his mother is receiving treatment.
The monster itself, the great yew tree, is a real triumph. Beautifully rendered and realistically interacting with its surroundings. When you consider the films meagre budget of 43 million dollars, it’s breathtaking what they’ve managed to achieve.
As expected, the movie really packs a punch with barely any humour or lightheartedness. There are times it’s a little too slow and gloomy, but it’s hard hitting thought provoking and intense. I don’t mind admitting that both me and my daughter found ourselves in tears towards the end too. Along with most of the cinema!
The story is set in a very dreary looking England and features a boy called Conor struggling to cope with his mother’s terminal cancer. His father is divorced from his mother and is living in the States with his new family. He’s bullied at school and he’s troubled by nightmares. And then he starts being visited at night by a monster who tells him 3 stories. It’s a bleak tale about the harshness of life, and I was kind of worried about how my 11 year old daughter might take to it when she said she wanted to see it with me.
J.A.Bayona, director of The Orphanage, handles the subject matter well, showing us how a child’s fantasy can make sense of the world and their feelings. The stories told by the monster occur over a number of days and are beautifully depicted in watercolour animation. Each one providing its own lesson to be learned in life. Liam Neeson is the monster, the large yew tree that Conor can see from his bedroom window, giving his best Aslan voice. Felicity Jones is the mother, gradually dying as each cancer drug fails. Sigourney Weaver is the grandmother who Conor reluctantly goes to stay with while his mother is receiving treatment.
The monster itself, the great yew tree, is a real triumph. Beautifully rendered and realistically interacting with its surroundings. When you consider the films meagre budget of 43 million dollars, it’s breathtaking what they’ve managed to achieve.
As expected, the movie really packs a punch with barely any humour or lightheartedness. There are times it’s a little too slow and gloomy, but it’s hard hitting thought provoking and intense. I don’t mind admitting that both me and my daughter found ourselves in tears towards the end too. Along with most of the cinema!
Lee (2222 KP) rated The Aeronauts (2019) in Movies
Mar 19, 2020
As my cinema bookings started to be cancelled, and upcoming releases delayed as part of the chaos that's currently unfolding globally, I thought it was time to start tackling some of those streaming site watch-lists that have been slowly growing in size over recent years. First up, a movie that I managed to miss late last year when released in cinemas, and is now available to stream on Amazon Prime.
The Aeronauts is set in the 1860s and sees Eddie Redmayne and Felicity Jones, last seen together playing husband and wife in The Theory of Everything, reuniting for a story that is inspired by true events. Redmayne plays James Glaisher, a scientist studying and presenting theories surrounding weather prediction, in particular how a trip to the skies in a gas balloon could help us to understand more about it. It's a science very much in it's infancy, which is why Glaisher has become such a laughing stock among his peers within the science community, all of whom declare meteorology to be fortune telling rather than science. Felicity Jones plays the fictional character of Amelia Wren, an aeronaut who lost her husband in a balloon accident and has been convinced by Glaisher to return to the skies and join him as pilot onboard the balloon as they explore some of his theories.
The movie begins with a large crowd who have gathered in London to watch the departure of the Glaisher and Wren. Glaisher is making some last minute checks and adjustments to the numerous pieces of equipment that will provide all of the data and readings he needs while they ascend up into the clouds, while Wren is currently nowhere to be seen. When she does eventually arrive, she's brash and loud, making a big entrance and playing up to the crowds, entertaining them with cartwheels and her parachuting dog. “Do you take anything seriously?" Glaisher asks.
As the balloon gently sets off, we get a beautiful view of 1860s London and a simple on-screen graph begins plotting the duration of their journey against their current height, something which returns every so often to keep us nicely updated with their progress. Before this expedition, the greatest altitude ever reached by a human being was 23,000ft, a record achieved by a French team. So, in addition to gaining some valuable scientific data along the way, there is the added incentive to try and beat the French too!
The whole expedition is followed pretty much in real time, but broken up by a series of flashbacks which give us some additional insight into our main characters and what brought them together. A look at the balloon trip which resulted in the death of her husband shows us just how seriously Amelia takes her role on this particular adventure. Meanwhile, we get more of a glimpse into the ridicule Glaisher received from his scientific colleagues, and an introduction to his dementia suffering father (Tom Courtenay).
As beautiful and exhilarating as it is to see the balloon as it continues up through the clouds and storms, floating peacefully through blue skies and swarms of butterflies, it wouldn't be much of a movie without some additional drama and tension to spice things up. So, as Glaisher and Wren argue about whether to push on way beyond the 23,000ft record or begin their descent, the temperature drops down to five degrees, and snow and ice begin to form on the balloon and basket. The thinning oxygen and cold temperatures starts to affect their judgement, their equipment and their health, and would you believe it, neither of them thought to bring along their gloves either!
When the pigeons they've brought along for sending instrument readings back down to base either start to die, or drop like rocks when launched from the balloon basket, it's clear that it's time to start heading back down. But, a problem with the balloon means that Wren must venture outside the basket and up on top of the balloon itself, in some of the most vertigo inducing scenes I've seen since watching The Walk on the big screen.
The Aeronauts was a lot more enjoyable than I was expecting. It's two stars, as you'd expect, more than capably carry the story and are both hugely entertaining. The effects used for rendering the balloon and it's surroundings, particularly during adverse weather conditions, are very effective and at times had me on the edge of my seat too.
The Aeronauts is set in the 1860s and sees Eddie Redmayne and Felicity Jones, last seen together playing husband and wife in The Theory of Everything, reuniting for a story that is inspired by true events. Redmayne plays James Glaisher, a scientist studying and presenting theories surrounding weather prediction, in particular how a trip to the skies in a gas balloon could help us to understand more about it. It's a science very much in it's infancy, which is why Glaisher has become such a laughing stock among his peers within the science community, all of whom declare meteorology to be fortune telling rather than science. Felicity Jones plays the fictional character of Amelia Wren, an aeronaut who lost her husband in a balloon accident and has been convinced by Glaisher to return to the skies and join him as pilot onboard the balloon as they explore some of his theories.
The movie begins with a large crowd who have gathered in London to watch the departure of the Glaisher and Wren. Glaisher is making some last minute checks and adjustments to the numerous pieces of equipment that will provide all of the data and readings he needs while they ascend up into the clouds, while Wren is currently nowhere to be seen. When she does eventually arrive, she's brash and loud, making a big entrance and playing up to the crowds, entertaining them with cartwheels and her parachuting dog. “Do you take anything seriously?" Glaisher asks.
As the balloon gently sets off, we get a beautiful view of 1860s London and a simple on-screen graph begins plotting the duration of their journey against their current height, something which returns every so often to keep us nicely updated with their progress. Before this expedition, the greatest altitude ever reached by a human being was 23,000ft, a record achieved by a French team. So, in addition to gaining some valuable scientific data along the way, there is the added incentive to try and beat the French too!
The whole expedition is followed pretty much in real time, but broken up by a series of flashbacks which give us some additional insight into our main characters and what brought them together. A look at the balloon trip which resulted in the death of her husband shows us just how seriously Amelia takes her role on this particular adventure. Meanwhile, we get more of a glimpse into the ridicule Glaisher received from his scientific colleagues, and an introduction to his dementia suffering father (Tom Courtenay).
As beautiful and exhilarating as it is to see the balloon as it continues up through the clouds and storms, floating peacefully through blue skies and swarms of butterflies, it wouldn't be much of a movie without some additional drama and tension to spice things up. So, as Glaisher and Wren argue about whether to push on way beyond the 23,000ft record or begin their descent, the temperature drops down to five degrees, and snow and ice begin to form on the balloon and basket. The thinning oxygen and cold temperatures starts to affect their judgement, their equipment and their health, and would you believe it, neither of them thought to bring along their gloves either!
When the pigeons they've brought along for sending instrument readings back down to base either start to die, or drop like rocks when launched from the balloon basket, it's clear that it's time to start heading back down. But, a problem with the balloon means that Wren must venture outside the basket and up on top of the balloon itself, in some of the most vertigo inducing scenes I've seen since watching The Walk on the big screen.
The Aeronauts was a lot more enjoyable than I was expecting. It's two stars, as you'd expect, more than capably carry the story and are both hugely entertaining. The effects used for rendering the balloon and it's surroundings, particularly during adverse weather conditions, are very effective and at times had me on the edge of my seat too.
Bob Mann (459 KP) rated A Monster Calls (2016) in Movies
Sep 29, 2021
“I’ll. Be. Right. Here.”
The worst thing about this movie is its title. The second worst thing about this movie is its trailer. Both will either a) put people off seeing it (it succeeded in that with my wife for example) or b) make people conclude it is a ‘nice holiday film to take the kids to’, which is also an horrendous mistake!
This is a crying shame because it is a riveting drama and a superb piece of film-making by the Spaniard J. A. Bayona (“The Impossible”) that may well catapult it already into my top 10 films of 2017. But it is not, I would suggest, a film that is remotely suitable for kids under 10 to see, dealing as it does with terminal illness, bullying and impending doom. For this is a dark (read pitch black) but hauntingly beautiful film.
Lewis MacDougall, in only his second film (after last year’s “Peter Pan”) plays Conor – a young but talented and sensitive artist growing up as a 12 year old in the North of England with his single mum (Felicity Jones). She is suffering from an aggressive form of cancer and is forever medically grasping for a new hope (D’ya see what I did there?). Young Conor believes fervently that each new treatment will be ‘the one’ but the building tension, the lack of sleep and his recurrent nightmares are destroying him mentally and physically. As if this wasn’t enough, his distracted nature is leading to him being seriously bullied at school and there is the added stress of having to live in his grandmother’s pristine and teen-unfriendly house when his mother is hospitalised.
Towering over the nearby graveyard on the hill is an ancient yew tree and Conor is visited after midnight by this “monster” (voiced by Liam Neeson). Is he dreaming, or is it real? The tree dispatches wisdom in the form of three ‘tales’, with the proviso that Conor tell the tree the fourth tale which “must be the truth”.
A tale of grief, guilt and a search for closure, this is a harrowing but rewarding journey for the viewer.
The film is technically outstanding on so many levels:
the art design is superb, with the gorgeous ‘tale animations’ being highly reminiscent of the beautiful ones in “Harry Potter and the Deathly Hallows, Part 1”;
the use of sound is brilliant, with sudden silence being used as a weapon with which to assault the senses in one key sequence;
the cinematography by Oscar Faura (“The Imitation Game”) is faultless, capturing both the dreary reality in a Northern winter with the comparative warmth of the strange dream-like sequences;
the music by Fernando Velázquez is used effectively and intelligently to reflect the sombre mood;
the special effects team led by Pau Costa (“The Revenant”, “The Impossible”) shines not just with Neesen’s monster, but with the incorporation of the root and branch effects into the ‘normal’ surroundings.
As the BFG illustrated, having a whole film carried by a young actor is a bit of an ask, but here Lewis MacDougall achieves just that like a seasoned pro. His performance is nothing short of staggering and – although a brave move by the Academy – it would be great to see him nominated for a BAFTA acting award for this.
Confirming her position in the acting top-flight is Felicity Jones, heart-wrenching in her role of the declining mum, and Sigourney Weaver is also excellent as the po-faced but grief-stricken grandmother. Liam Neeson probably didn’t add much by getting dressed up in the mo-cap suit for the tree scenes, but his voice is just perfect as the wise old sage.
The only criticism of what is an absorbing and intelligent script (by Patrick Ness, who also wrote the graphical novel) is the introduction of Conor’s Dad, played by Toby Kebbell (Dr Doom from “The Fantastic 4”), who is literally flown in from LA on a flying visit but whose role is a little superfluous to the plot.
This is exactly what “The BFG” should have been but wasn’t. It draws on a number of potential influences including “Mary Poppins”/”Saving Mr Banks” and “ET”. Wise, clever and a thing of beauty from beginning to end, this is a treat for movie-goers and a highly recommended watch. However, if you have lost someone to “the Big C” be aware that this film could be highly traumatic for you….. or highly cathartic: as I’m not a psychiatrist, I’m really not that sure! Also, if you are of the blubbing kind, take LOTS of tissues: the film features the best use of a digital clock since “Groundhog Day” and if you are not reduced to tears by that scene you are certifiably not human.
This is a crying shame because it is a riveting drama and a superb piece of film-making by the Spaniard J. A. Bayona (“The Impossible”) that may well catapult it already into my top 10 films of 2017. But it is not, I would suggest, a film that is remotely suitable for kids under 10 to see, dealing as it does with terminal illness, bullying and impending doom. For this is a dark (read pitch black) but hauntingly beautiful film.
Lewis MacDougall, in only his second film (after last year’s “Peter Pan”) plays Conor – a young but talented and sensitive artist growing up as a 12 year old in the North of England with his single mum (Felicity Jones). She is suffering from an aggressive form of cancer and is forever medically grasping for a new hope (D’ya see what I did there?). Young Conor believes fervently that each new treatment will be ‘the one’ but the building tension, the lack of sleep and his recurrent nightmares are destroying him mentally and physically. As if this wasn’t enough, his distracted nature is leading to him being seriously bullied at school and there is the added stress of having to live in his grandmother’s pristine and teen-unfriendly house when his mother is hospitalised.
Towering over the nearby graveyard on the hill is an ancient yew tree and Conor is visited after midnight by this “monster” (voiced by Liam Neeson). Is he dreaming, or is it real? The tree dispatches wisdom in the form of three ‘tales’, with the proviso that Conor tell the tree the fourth tale which “must be the truth”.
A tale of grief, guilt and a search for closure, this is a harrowing but rewarding journey for the viewer.
The film is technically outstanding on so many levels:
the art design is superb, with the gorgeous ‘tale animations’ being highly reminiscent of the beautiful ones in “Harry Potter and the Deathly Hallows, Part 1”;
the use of sound is brilliant, with sudden silence being used as a weapon with which to assault the senses in one key sequence;
the cinematography by Oscar Faura (“The Imitation Game”) is faultless, capturing both the dreary reality in a Northern winter with the comparative warmth of the strange dream-like sequences;
the music by Fernando Velázquez is used effectively and intelligently to reflect the sombre mood;
the special effects team led by Pau Costa (“The Revenant”, “The Impossible”) shines not just with Neesen’s monster, but with the incorporation of the root and branch effects into the ‘normal’ surroundings.
As the BFG illustrated, having a whole film carried by a young actor is a bit of an ask, but here Lewis MacDougall achieves just that like a seasoned pro. His performance is nothing short of staggering and – although a brave move by the Academy – it would be great to see him nominated for a BAFTA acting award for this.
Confirming her position in the acting top-flight is Felicity Jones, heart-wrenching in her role of the declining mum, and Sigourney Weaver is also excellent as the po-faced but grief-stricken grandmother. Liam Neeson probably didn’t add much by getting dressed up in the mo-cap suit for the tree scenes, but his voice is just perfect as the wise old sage.
The only criticism of what is an absorbing and intelligent script (by Patrick Ness, who also wrote the graphical novel) is the introduction of Conor’s Dad, played by Toby Kebbell (Dr Doom from “The Fantastic 4”), who is literally flown in from LA on a flying visit but whose role is a little superfluous to the plot.
This is exactly what “The BFG” should have been but wasn’t. It draws on a number of potential influences including “Mary Poppins”/”Saving Mr Banks” and “ET”. Wise, clever and a thing of beauty from beginning to end, this is a treat for movie-goers and a highly recommended watch. However, if you have lost someone to “the Big C” be aware that this film could be highly traumatic for you….. or highly cathartic: as I’m not a psychiatrist, I’m really not that sure! Also, if you are of the blubbing kind, take LOTS of tissues: the film features the best use of a digital clock since “Groundhog Day” and if you are not reduced to tears by that scene you are certifiably not human.
Bob Mann (459 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Sep 29, 2021
Putting the “Wars” back into “Star Wars”.
Expectations have been sky-high for this first in the ‘add-in’ series of Star Wars films. But with director Gareth Edwards at the helm, whose past movie track-record includes just the low-budget “Monsters” and the less than memorable “Godzilla“, I was frankly concerned.
But the English guy (with the Welsh name) has seriously delivered!
“Rogue One” (I have omitted the inane and irritating suffix “: A Star Wars Story”) tells the story behind the story of the original Episode IV: “A New Hope”. Felicity Jones (“The Theory of Everything“) plays Jyn Erso, daughter to Imperial weapons expert Mads Mikkelsen (“Doctor Strange“, “Casino Royale”). An interrupted childhood leads the delinquent Jyn on a personal journey to become a leader in the fragmenting Rebel Alliance, as a small band of heroes battle to obtain the plans for the Empire’s planet-zapping Death Star. Will they succeed (this is hardly a question worth asking given the start of Episode IV!) and at what cost?
I’m throwing it out there…. this is the best Star Wars film since “The Empire Strikes Back”. The story (John Knoll and Gary Whitta) is almost Shakespearean in its scope, leading to a moving and memorable finale. As a standalone episode within the Star Wars canon – chronologically positioned as it between “Star Wars Episode III: Revenge of the Sith” and “Star Wars Episode IV: A New Hope” – the film marvellously knits the two together bringing in cameos from Episode III as well as (very surprising) cameos from Episode IV, now nearly 40 years old. The screenplay (by Chris “About a Boy” Weitz and Tony Gilroy, writer of the “Bourne” films) is whip-smart with great lines.
For Star Wars fans the film is also chock full of ‘Easter Eggs’ from the original Star Wars. All of these are great fun but – frankly – some don’t make a lot of sense: for example, a chance encounter with a character in the streets of Jedha City doesn’t gel with what happens an hour or two later.
After Rey in last December’s “Star Wars: The Force Awakens” we again see another kick-ass heroine and a further cinematic nod towards girl-power in the movies. But this is a nuanced heroine with more than a hint of darkness about her. Felicity Jones plays her perfectly, reflecting her transition from teenage rebel to rebel-leading teen.
In general, the darkness continues throughout the supporting cast with some of the heroes – notably the impressive Diego Luna (“The Terminal”) as Cassian Andor – managing to do some very anti-heroic things at points in the story. The rest of the cast, and especially Donnie Yen and Wen Jiang as dynamic martial arts duo Chirrut Îmwe and Baze Malbus, generate the warm fuzzies enough for you – as the audience – to really care for what happens to them. This even extends to the lump of metal in the frame – the droid K-2SO (voiced by Alan Tudyk) – who could be the film’s Jar Jar Binks but manages instead to steal the best comic lines in the film.
Elsewhere Forest Whitaker (“Arrival“) is underused as rebel guerilla Saw Gerrera; Mads Mikkelsen adds gravitas to a key strategic role; and Ben Mendelsohn makes for a memorable Imperial villain. The only slightly irritating character in an otherwise stellar ensemble cast is pilot Rodhi Rook (played by Riz Ahmed from “Jason Bourne“): more for the rather pointless way his character is written than for the Londoner’s portrayal per se.
An equal member of the cast is the sublime music of Michael Giacchino, having the unenviable task of following John Williams into the Star Wars franchise. But he does a great job. After the shock of the non-traditional opening (and an abrupt and rather out of place Title shot) the style settles down, with some of the swelling music in the closing reel adding tremendously to the emotion of the finale.
The film is not quite perfect though. The first half of the film could have moved on a bit quicker to get to the breathtaking finale. And even though CGI has moved on significantly from the stick men and women walking around on the deck in “Titanic” in 1997, the state of the art (no spoilers, but you’ll know what I mean if you’ve seen the film) still has room for some improvement. (Perhaps the first of these scenes could have been as subliminal as the last for better effect).
An outstanding effort, and one I definitely want to watch again. The Bluray version will also be a ‘must-buy’ when it emerges, since – with 4 to 5 weeks of re-shoots done in the summer, and many scenes in the trailer not appearing in the final cut – there must be an enormous number of deleted (original?) scenes that may tell a very different story from the one we saw this week.
Disney must be so, so pleased at their very expensive investment in Star Wars, and fears that the Mouse would trash the brand seem to be – thankfully – unfounded.
But the English guy (with the Welsh name) has seriously delivered!
“Rogue One” (I have omitted the inane and irritating suffix “: A Star Wars Story”) tells the story behind the story of the original Episode IV: “A New Hope”. Felicity Jones (“The Theory of Everything“) plays Jyn Erso, daughter to Imperial weapons expert Mads Mikkelsen (“Doctor Strange“, “Casino Royale”). An interrupted childhood leads the delinquent Jyn on a personal journey to become a leader in the fragmenting Rebel Alliance, as a small band of heroes battle to obtain the plans for the Empire’s planet-zapping Death Star. Will they succeed (this is hardly a question worth asking given the start of Episode IV!) and at what cost?
I’m throwing it out there…. this is the best Star Wars film since “The Empire Strikes Back”. The story (John Knoll and Gary Whitta) is almost Shakespearean in its scope, leading to a moving and memorable finale. As a standalone episode within the Star Wars canon – chronologically positioned as it between “Star Wars Episode III: Revenge of the Sith” and “Star Wars Episode IV: A New Hope” – the film marvellously knits the two together bringing in cameos from Episode III as well as (very surprising) cameos from Episode IV, now nearly 40 years old. The screenplay (by Chris “About a Boy” Weitz and Tony Gilroy, writer of the “Bourne” films) is whip-smart with great lines.
For Star Wars fans the film is also chock full of ‘Easter Eggs’ from the original Star Wars. All of these are great fun but – frankly – some don’t make a lot of sense: for example, a chance encounter with a character in the streets of Jedha City doesn’t gel with what happens an hour or two later.
After Rey in last December’s “Star Wars: The Force Awakens” we again see another kick-ass heroine and a further cinematic nod towards girl-power in the movies. But this is a nuanced heroine with more than a hint of darkness about her. Felicity Jones plays her perfectly, reflecting her transition from teenage rebel to rebel-leading teen.
In general, the darkness continues throughout the supporting cast with some of the heroes – notably the impressive Diego Luna (“The Terminal”) as Cassian Andor – managing to do some very anti-heroic things at points in the story. The rest of the cast, and especially Donnie Yen and Wen Jiang as dynamic martial arts duo Chirrut Îmwe and Baze Malbus, generate the warm fuzzies enough for you – as the audience – to really care for what happens to them. This even extends to the lump of metal in the frame – the droid K-2SO (voiced by Alan Tudyk) – who could be the film’s Jar Jar Binks but manages instead to steal the best comic lines in the film.
Elsewhere Forest Whitaker (“Arrival“) is underused as rebel guerilla Saw Gerrera; Mads Mikkelsen adds gravitas to a key strategic role; and Ben Mendelsohn makes for a memorable Imperial villain. The only slightly irritating character in an otherwise stellar ensemble cast is pilot Rodhi Rook (played by Riz Ahmed from “Jason Bourne“): more for the rather pointless way his character is written than for the Londoner’s portrayal per se.
An equal member of the cast is the sublime music of Michael Giacchino, having the unenviable task of following John Williams into the Star Wars franchise. But he does a great job. After the shock of the non-traditional opening (and an abrupt and rather out of place Title shot) the style settles down, with some of the swelling music in the closing reel adding tremendously to the emotion of the finale.
The film is not quite perfect though. The first half of the film could have moved on a bit quicker to get to the breathtaking finale. And even though CGI has moved on significantly from the stick men and women walking around on the deck in “Titanic” in 1997, the state of the art (no spoilers, but you’ll know what I mean if you’ve seen the film) still has room for some improvement. (Perhaps the first of these scenes could have been as subliminal as the last for better effect).
An outstanding effort, and one I definitely want to watch again. The Bluray version will also be a ‘must-buy’ when it emerges, since – with 4 to 5 weeks of re-shoots done in the summer, and many scenes in the trailer not appearing in the final cut – there must be an enormous number of deleted (original?) scenes that may tell a very different story from the one we saw this week.
Disney must be so, so pleased at their very expensive investment in Star Wars, and fears that the Mouse would trash the brand seem to be – thankfully – unfounded.
Movie Metropolis (309 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Jun 10, 2019
The 2nd best star wars film
The Star Wars universe just got a whole lot bigger. When Rogue One: A Star Wars Story was announced by Disney a couple of years ago, diehard fans of the sci-fi saga met the news with a huge dose of scepticism.
After all, the prequel trilogy was an unmitigated disaster, doing all it could to destroy not only the greatest villain in the history of film, but the series itself. Then Gareth Edwards was announced as director, whose film credits include the brilliant Monsters and Godzilla, which was critically praised but received a lukewarm reception publically.
THEN Disney announced the film was undergoing “heavy” reshoots to its first cut, reportedly due to executives being unhappy with the finished product’s tone.
So it’s clear that it’s not been plain sailing for Rogue One, but that headline isn’t a misprint – the finished article is just that damn good. But why?
In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire’s ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves.
If you cast your minds back to 1977 and the release of A New Hope, Rogue One takes place just before those events, acting as a stop-gap between the ending of Revenge of the Sith and the film that started it all.
A cast that includes Felicity Jones, Forest Whitaker, Diego Luna, Ben Mendelsohn and Mads Mikkelsen all gel together incredibly well to form one of the most coherent ensemble groups the galaxy has ever seen. Not since the introduction of Han, Chewie, Luke and Leia has the Star Wars franchise been so superbly kept afloat. Jones in particular is excellent and adds yet another leading lady to a franchise that loves putting women at the forefront, and rightly so.
Elsewhere, the cinematography is sublime. Director Gareth Edwards is renowned for his stunning shot choices and Rogue One is no exception. The intense variety of planets created from photo-realistic CGI and real landscapes adds an immersive quality that it has to be said, was lacking somewhat in The Force Awakens.
Then there is the much publicised return of Lord Vader. The aforementioned villain has been playing heavy on the minds of Star Wars fans for years after he was ridiculously robbed of any street cred at the climax of Revenge of the Sith. Mercifully, Edwards keeps his appearances to but a few, though he does loom heavy throughout the course of the film’s 133 minute running time, and returns to the dark presence he once was – it’s also nice to see James Earl Jones returning to the series.
There are Star Wars easter eggs abound, some only noticeable to diehards, whilst others smack you in the face with their lack of subtlety – though each and every one is placed at a point where the film feels better because of it. I’m not going to mention any by name, but a couple of old faces received cheers from the audience.
Any negatives? Well, Forest Whitaker’s Saw Gerrera fails to make a lasting impact and feels a little too much like executives wanted to shoehorn the Clone Wars television series into the film, and as much as it pains me to say, Michael Giacchino’s bombastic score, whilst brimming with nostalgia, doesn’t hit the right notes 100% of the time – with some musical elements feeling a little out of place with what is occurring on the screen.
Then there’s the dreaded reshoots. Well, they’re not noticeable… unless you’ve been watching the trailers, from which there are numerous scenes that aren’t included in the final cut. That’s a shame, though they’ll feature on the extended edition that will no doubt follow when the film is released on DVD and Blu-Ray.
Overall, Rogue One is better than anyone could have hoped. 2016 has been one of the worst years in decades for disappointing blockbusters and as it nears its end, we have one of the best yet. Smartly written with a heartfelt and engaging story, it adds a new and exciting layer to the Star Wars saga, and what’s even more impressive is its ability to make A New Hope a better film because of its existence.
https://moviemetropolis.net/2016/12/16/the-2nd-best-star-wars-film-rogue-one-review/
After all, the prequel trilogy was an unmitigated disaster, doing all it could to destroy not only the greatest villain in the history of film, but the series itself. Then Gareth Edwards was announced as director, whose film credits include the brilliant Monsters and Godzilla, which was critically praised but received a lukewarm reception publically.
THEN Disney announced the film was undergoing “heavy” reshoots to its first cut, reportedly due to executives being unhappy with the finished product’s tone.
So it’s clear that it’s not been plain sailing for Rogue One, but that headline isn’t a misprint – the finished article is just that damn good. But why?
In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire’s ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves.
If you cast your minds back to 1977 and the release of A New Hope, Rogue One takes place just before those events, acting as a stop-gap between the ending of Revenge of the Sith and the film that started it all.
A cast that includes Felicity Jones, Forest Whitaker, Diego Luna, Ben Mendelsohn and Mads Mikkelsen all gel together incredibly well to form one of the most coherent ensemble groups the galaxy has ever seen. Not since the introduction of Han, Chewie, Luke and Leia has the Star Wars franchise been so superbly kept afloat. Jones in particular is excellent and adds yet another leading lady to a franchise that loves putting women at the forefront, and rightly so.
Elsewhere, the cinematography is sublime. Director Gareth Edwards is renowned for his stunning shot choices and Rogue One is no exception. The intense variety of planets created from photo-realistic CGI and real landscapes adds an immersive quality that it has to be said, was lacking somewhat in The Force Awakens.
Then there is the much publicised return of Lord Vader. The aforementioned villain has been playing heavy on the minds of Star Wars fans for years after he was ridiculously robbed of any street cred at the climax of Revenge of the Sith. Mercifully, Edwards keeps his appearances to but a few, though he does loom heavy throughout the course of the film’s 133 minute running time, and returns to the dark presence he once was – it’s also nice to see James Earl Jones returning to the series.
There are Star Wars easter eggs abound, some only noticeable to diehards, whilst others smack you in the face with their lack of subtlety – though each and every one is placed at a point where the film feels better because of it. I’m not going to mention any by name, but a couple of old faces received cheers from the audience.
Any negatives? Well, Forest Whitaker’s Saw Gerrera fails to make a lasting impact and feels a little too much like executives wanted to shoehorn the Clone Wars television series into the film, and as much as it pains me to say, Michael Giacchino’s bombastic score, whilst brimming with nostalgia, doesn’t hit the right notes 100% of the time – with some musical elements feeling a little out of place with what is occurring on the screen.
Then there’s the dreaded reshoots. Well, they’re not noticeable… unless you’ve been watching the trailers, from which there are numerous scenes that aren’t included in the final cut. That’s a shame, though they’ll feature on the extended edition that will no doubt follow when the film is released on DVD and Blu-Ray.
Overall, Rogue One is better than anyone could have hoped. 2016 has been one of the worst years in decades for disappointing blockbusters and as it nears its end, we have one of the best yet. Smartly written with a heartfelt and engaging story, it adds a new and exciting layer to the Star Wars saga, and what’s even more impressive is its ability to make A New Hope a better film because of its existence.
https://moviemetropolis.net/2016/12/16/the-2nd-best-star-wars-film-rogue-one-review/
Emma @ The Movies (1786 KP) rated The Last Letter from Your Lover (2021) in Movies
Sep 5, 2021
Having missed the Unlimited Screening of this I was having to endure constant enthusiasm of a certain moviegoer until I'd seen it, but even then it didn't quite stop.
When Ellie discovers a random love letter while searching the archives for assignment, it sets in motion a hunt for more letters. With each letter the mystery unfolds and Ellie's life changes with every heartfelt sentence.
This is based on a Jojo Moyes book (that as usual, I haven't read), and I believe that traditionally that means gut-wrenching feels?
A modern day love story that evolves around a love story of letters. As tales of romance go, this is a very compelling one. I understand that the film has been stripped back from the novel (as you'd expect), and from what I've heard about what's missing, it's probably done the film a favour by not getting bogged down in extra backstory.
Let's start at the beginning with Jennifer (played by Shailene Woodley). She's the perfect balance throughout the film, composed and demur, frantic and firey. And my god, I felt all of her emotions in every scene. Her performance was probably my favourite from the cast, especially when combined with Callum Turner as Anthony O'Hare.
The way the two of them interacted was compelling the whole way through, and the emotion felt so horribly real that I was bawling my eyes out. Turner's performance was understated but powerful... and it totally wrecked me.
Meanwhile, in the present, Ellie (Felicity Jones) and Rory (Nabhaan Rizwan) are discovering Jennifer and Anthony's hidden romance through letters uncovered in the archives where they work. These sections of the film gave me very strong vibes of Love Actually mixed with Last Christmas. On their own they were funny and cute moments, but I think the balance was just right. Any more of them and I'm not sure the film would have held quite the same appeal.
The historic scenes were beautiful, the settings, the costumes, absolutely stunning. It makes you nostalgic for a style that some of us have never even experienced.
As I said, I bawled my eyes out, but that wasn't how I felt all the way through. At the beginning of the film I was a little bored if I'm honest. I wasn't really getting along with what was happening, and I was a little annoyed that the first cut didn't clearly switch between past and present. But there was one point that had me sold, my heart was in my throat and the tears started... and I'm not convinced they stopped until the credits rolled.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/09/the-last-letter-from-your-lover-movie.html
When Ellie discovers a random love letter while searching the archives for assignment, it sets in motion a hunt for more letters. With each letter the mystery unfolds and Ellie's life changes with every heartfelt sentence.
This is based on a Jojo Moyes book (that as usual, I haven't read), and I believe that traditionally that means gut-wrenching feels?
A modern day love story that evolves around a love story of letters. As tales of romance go, this is a very compelling one. I understand that the film has been stripped back from the novel (as you'd expect), and from what I've heard about what's missing, it's probably done the film a favour by not getting bogged down in extra backstory.
Let's start at the beginning with Jennifer (played by Shailene Woodley). She's the perfect balance throughout the film, composed and demur, frantic and firey. And my god, I felt all of her emotions in every scene. Her performance was probably my favourite from the cast, especially when combined with Callum Turner as Anthony O'Hare.
The way the two of them interacted was compelling the whole way through, and the emotion felt so horribly real that I was bawling my eyes out. Turner's performance was understated but powerful... and it totally wrecked me.
Meanwhile, in the present, Ellie (Felicity Jones) and Rory (Nabhaan Rizwan) are discovering Jennifer and Anthony's hidden romance through letters uncovered in the archives where they work. These sections of the film gave me very strong vibes of Love Actually mixed with Last Christmas. On their own they were funny and cute moments, but I think the balance was just right. Any more of them and I'm not sure the film would have held quite the same appeal.
The historic scenes were beautiful, the settings, the costumes, absolutely stunning. It makes you nostalgic for a style that some of us have never even experienced.
As I said, I bawled my eyes out, but that wasn't how I felt all the way through. At the beginning of the film I was a little bored if I'm honest. I wasn't really getting along with what was happening, and I was a little annoyed that the first cut didn't clearly switch between past and present. But there was one point that had me sold, my heart was in my throat and the tears started... and I'm not convinced they stopped until the credits rolled.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/09/the-last-letter-from-your-lover-movie.html
Gareth von Kallenbach (965 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Jun 19, 2019
Jyn Erso (Felicity Jones) is a young woman who has no love for the evil Galactic Empire or authority. She has seen her share of tragedy and has learned to be a survivor in a cold and dangerous galaxy. Fate has other plans for Jyn in “Rogue One: A Star Wars Story”, as she may be the key to unlocking the secret’s to defeating the Empire’s new weapon, a planet killer known as “The Death Star”.
The Rebel Alliance believes that Jyn’s father Galen (Mads Mikkelsen) is the key thanks to information they have recovered from a defecting pilot.
Tasked with eliminating the threat, Jyn and Rebel intelligence officer Cassian Andor (Diego Luna), and his droid K-2S0 (Alan Tudyk), must race against time and overcome several obstacles to complete their mission.
Of course things are bigger and the stakes far more higher than anyone could have imagined and with the Rebel Alliance divided a small band of rebels hatch a plan born of desperation to save the galaxy.
The film moves along at a brisk pace but allows time to introduce several new planets into the Star Wars universe as well as several new characters, who we are given just enough about their backstories and motivations to make us care about them in the epic struggle they are undertaking.
Director Gareth Edwards paces the film well and unlike the Prequel Series; never lets the abundance of amazing effects overshadow the fact that the story at its core is a struggle of ordinary people facing overwhelming odds.
The look of the film is a loving tribute to the original series that tells its own unique and distinct story that fits well within the established storylines without seeming gratuitous or recycled.
The film does at times have a darker tone than fans would be used to seeing in the series, but it is done in a way that shows the seriousness of the situations facing the characters.
The strong cast works very well with one another and are each giving some memorable lines and moments which are sure to endear themselves to fans of the series that grew up on the classic films.
The finale third of the film is a great mix of action and suspense as conclusion builds and I can honestly say that “Rogue One” delivers the best space battle in the series and only falls short of the Hoth battle in terms of ground conflicts.
There are a few great surprises for fans sprinkled throughout and the film answers some of the questions people had from the original series but does so in a way that is respectful and in no way undermines the classic.
“Rogue One: A Star Wars Story” is an outstanding entry into the series and is one of the most compelling and rewarding.
I look forward to seeing what future efforts have in store for fans, as this film shows that the Force is indeed strong.
http://sknr.net/2016/12/13/non-spolier-review-rogue-one-star-wars-story/
The Rebel Alliance believes that Jyn’s father Galen (Mads Mikkelsen) is the key thanks to information they have recovered from a defecting pilot.
Tasked with eliminating the threat, Jyn and Rebel intelligence officer Cassian Andor (Diego Luna), and his droid K-2S0 (Alan Tudyk), must race against time and overcome several obstacles to complete their mission.
Of course things are bigger and the stakes far more higher than anyone could have imagined and with the Rebel Alliance divided a small band of rebels hatch a plan born of desperation to save the galaxy.
The film moves along at a brisk pace but allows time to introduce several new planets into the Star Wars universe as well as several new characters, who we are given just enough about their backstories and motivations to make us care about them in the epic struggle they are undertaking.
Director Gareth Edwards paces the film well and unlike the Prequel Series; never lets the abundance of amazing effects overshadow the fact that the story at its core is a struggle of ordinary people facing overwhelming odds.
The look of the film is a loving tribute to the original series that tells its own unique and distinct story that fits well within the established storylines without seeming gratuitous or recycled.
The film does at times have a darker tone than fans would be used to seeing in the series, but it is done in a way that shows the seriousness of the situations facing the characters.
The strong cast works very well with one another and are each giving some memorable lines and moments which are sure to endear themselves to fans of the series that grew up on the classic films.
The finale third of the film is a great mix of action and suspense as conclusion builds and I can honestly say that “Rogue One” delivers the best space battle in the series and only falls short of the Hoth battle in terms of ground conflicts.
There are a few great surprises for fans sprinkled throughout and the film answers some of the questions people had from the original series but does so in a way that is respectful and in no way undermines the classic.
“Rogue One: A Star Wars Story” is an outstanding entry into the series and is one of the most compelling and rewarding.
I look forward to seeing what future efforts have in store for fans, as this film shows that the Force is indeed strong.
http://sknr.net/2016/12/13/non-spolier-review-rogue-one-star-wars-story/