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Bob Mann (459 KP) rated The Hate U Give (2018) in Movies
Sep 28, 2021
It’s a turf war on a global scale.
I saw this as part of a “Secret Cinema” event by Cineworld cinemas in the UK. That’s where you go to see a pre-release movie without knowing what it is going to be. It’s an interesting litmus test for a) a movie’s upfront marketing appeal (how many people get up and walk out when the BBFC title appears) and b) the “grab ’em early” appeal of the movie itself (how many people get up and walk out during the first 20 minutes of so).
I’m afraid this movie didn’t do very well on either a) or b) at my showing: about 20 people left immediately, and more tellingly about another 20 people left in the first half hour. There’s a reason for that: the first half hour of this film is goddamn awful!
Starr Carter (Amandla Stenberg) is a sixteen year-old resident of Garden Heights, a black neighbourhood in a US city, where she lives with her younger brother and step-brother. Their parents Maverick (Russell Hornsby, “Fences“) and Lisa (Regina Hall) are devoting all of their energies to “break the cycle” and get their kids out of the neighbourhood and off to college and better futures. As such, the kids attend not the rough-house local school but a much more upper-class establishment: there Starr has to play a different role, with links to her origins being kept hidden even from her white boyfriend Chris (K.J. Apa).
But all that changes when her boyhood friend Khalil (Algee Smith) is shot and killed in a police stop-and-search. As the only witness, and with Khalil linked to local gang lord King (Anthony Mackie), Starr’s anonymous world is about to get a national focus shone onto it.
Man… I hate voiceovers in films and always have. So I really hated the start of this film which has Starr narrating ABSOLUTELY EVERYTHING (“Blah, blah, blah..”): no audience discovery is required. It also starts with a sort of highschool romance vibe, but not one that’s well done with kissing (“Blah, blah, blah..”) while the local Mean Girls look on (“Blah, blah”) then with Starr’s friends trying to act street (“blah, blah”) while Starr tries not to be street, all to the constant droning of Starr’s voiceover (“Blah, blah, blah..”). (I never walk out of movies…. but I can kind of understand the rationale of those who did).
Fortunately the voiceover then largely recedes (it only pops up with occasional staccato “thoughts”, before storming back for a “blah, blah” finale). And with the shooting, the film takes on a much more interesting slant, giving Amandla Stenberg a chance to really shine.
I have commented on Ms Stenberg before: she was the only really good thing in the recent “The Darkest Minds“. Here she exhibits a tremendous range from the delighted (her smile is radiant and seems astonishingly unforced) to the heartbroken and furious. There’s also a really strong supporting cast with great turns from Hornsby, Hall, Mackie and Smith. Hornsby in particular I found great as the Dad desperately tutoring his kids in military (but loving) fashion to avoid his mistakes.
For me, this seemed to be a surprisingly atypical view of a black ghetto-living family. A scene set in a diner is genuinely touching at emphasising the loving and close-knit nature of the Carter family.
Where I will struggle here is in trying to interpret my overall feelings about the film. As a white, older male person I have three degrees of separation from Starr’s perspective. And these are undoubtedly difficult issues to juggle with. The riots that happened recently in towns like Ferguson ape the activities on screen uncomfortably. Your sympathies might lie to some degree with the unfortunate white police officer (Drew Starkey); sympathies supported by the views of Starr’s police officer uncle Carlos (Common): until Starr points out via a punchy question that you REALLY shouldn’t feel like that… and your views are brought up with a jolt.
Aside from the rights and wrongs of the incident, there’s a frustrating dichotomy at play in the film with black and white communities wanting to be treated equally but never wanting to be treated the same. “You don’t SEE me” wails Starr. “I see you” replies Chris (as if James Cameron was directing!) But does he really? Without colour, I do not consider myself to be remotely capable of fully understanding Starr’s perspective on life. It made me want to read the source novel by Angie Thomas to try to get better insight.
Directed by George Tillman Jr., it’s undoubtedly a mixed bag, but I came down in the end on the side of it being good rather than bad… it has certainly had me thinking for a couple of days. The clumsy voiceovers and story elements in the opening and closing scenes mask a number of parallel and interesting story strands that generate conflicting thoughts about the state of race relations in today’s America. Jackson sang “It doesn’t matter if you’re black or white”: and it really shouldn’t, but actually in some quarters, it clearly still does.
I’m afraid this movie didn’t do very well on either a) or b) at my showing: about 20 people left immediately, and more tellingly about another 20 people left in the first half hour. There’s a reason for that: the first half hour of this film is goddamn awful!
Starr Carter (Amandla Stenberg) is a sixteen year-old resident of Garden Heights, a black neighbourhood in a US city, where she lives with her younger brother and step-brother. Their parents Maverick (Russell Hornsby, “Fences“) and Lisa (Regina Hall) are devoting all of their energies to “break the cycle” and get their kids out of the neighbourhood and off to college and better futures. As such, the kids attend not the rough-house local school but a much more upper-class establishment: there Starr has to play a different role, with links to her origins being kept hidden even from her white boyfriend Chris (K.J. Apa).
But all that changes when her boyhood friend Khalil (Algee Smith) is shot and killed in a police stop-and-search. As the only witness, and with Khalil linked to local gang lord King (Anthony Mackie), Starr’s anonymous world is about to get a national focus shone onto it.
Man… I hate voiceovers in films and always have. So I really hated the start of this film which has Starr narrating ABSOLUTELY EVERYTHING (“Blah, blah, blah..”): no audience discovery is required. It also starts with a sort of highschool romance vibe, but not one that’s well done with kissing (“Blah, blah, blah..”) while the local Mean Girls look on (“Blah, blah”) then with Starr’s friends trying to act street (“blah, blah”) while Starr tries not to be street, all to the constant droning of Starr’s voiceover (“Blah, blah, blah..”). (I never walk out of movies…. but I can kind of understand the rationale of those who did).
Fortunately the voiceover then largely recedes (it only pops up with occasional staccato “thoughts”, before storming back for a “blah, blah” finale). And with the shooting, the film takes on a much more interesting slant, giving Amandla Stenberg a chance to really shine.
I have commented on Ms Stenberg before: she was the only really good thing in the recent “The Darkest Minds“. Here she exhibits a tremendous range from the delighted (her smile is radiant and seems astonishingly unforced) to the heartbroken and furious. There’s also a really strong supporting cast with great turns from Hornsby, Hall, Mackie and Smith. Hornsby in particular I found great as the Dad desperately tutoring his kids in military (but loving) fashion to avoid his mistakes.
For me, this seemed to be a surprisingly atypical view of a black ghetto-living family. A scene set in a diner is genuinely touching at emphasising the loving and close-knit nature of the Carter family.
Where I will struggle here is in trying to interpret my overall feelings about the film. As a white, older male person I have three degrees of separation from Starr’s perspective. And these are undoubtedly difficult issues to juggle with. The riots that happened recently in towns like Ferguson ape the activities on screen uncomfortably. Your sympathies might lie to some degree with the unfortunate white police officer (Drew Starkey); sympathies supported by the views of Starr’s police officer uncle Carlos (Common): until Starr points out via a punchy question that you REALLY shouldn’t feel like that… and your views are brought up with a jolt.
Aside from the rights and wrongs of the incident, there’s a frustrating dichotomy at play in the film with black and white communities wanting to be treated equally but never wanting to be treated the same. “You don’t SEE me” wails Starr. “I see you” replies Chris (as if James Cameron was directing!) But does he really? Without colour, I do not consider myself to be remotely capable of fully understanding Starr’s perspective on life. It made me want to read the source novel by Angie Thomas to try to get better insight.
Directed by George Tillman Jr., it’s undoubtedly a mixed bag, but I came down in the end on the side of it being good rather than bad… it has certainly had me thinking for a couple of days. The clumsy voiceovers and story elements in the opening and closing scenes mask a number of parallel and interesting story strands that generate conflicting thoughts about the state of race relations in today’s America. Jackson sang “It doesn’t matter if you’re black or white”: and it really shouldn’t, but actually in some quarters, it clearly still does.
Bob Mann (459 KP) rated Mortal Engines (2018) in Movies
Sep 28, 2021
At last, the hilarious Brexit comedy we’ve all been waiting for.
As comedy goes it’s classic gold! London has been transferred, presumably via a futuristic big-arsed forklift truck of some kind, onto a huge chassis and is now chugging its way across mainland Europe. Needing fuel, it has the capability to gobble-up other roving towns and cities (take that Barnier!) which London ‘digests’ (smoke that Tusk!). Curiously, the captured cities’ inhabitants are not exterminated but integrated into the City’s population: so much for any anti-immigration policy! (LOL).
But all doesn’t go entirely smoothly for the UK capital. The Lord Mayor of London (Patrick Malahide) declares “We should never have gone into Europe. It’s the biggest mistake we ever made”. (Classic: how we SNORTED with laughter!)
Cities on wheels. London in hot pursuit of a Bavarian mining town. (Some things you just write, and then have to do a double take!). (Source: Universal Pictures International).
Stuffing it squarely to the ‘remainers’, London makes its own future. “It’s time to show the world how strong London can be”. Having conquered most of Europe, it’s time to set its sights on new markets to conquer: so London takes the Chinese on! (Now the tears of laughter are flowing freely!) Trade deals have never been more entertaining since “Star Wars: The Phantom Menace”!
Well, perhaps not
OK, so in the interests of ‘advertising standards’, I’d better make clear before you rush out to the cinema expecting a comedy feature that my tongue is firmly in my cheek here. For “Mortal Engines” is the latest sci-fi feature from Peter Jackson. But when viewed from a Brexit perspective, it’s friggin’ hilarious!
In terms of plot, this (like “Waterworld”) makes clever use of the Universal logo to set the agenda. The world has been decimated with a worldwide war – though clearly one that selectively destroyed bits of London and not others! – and the survivors must try to survive in any way they can. Settlements are divided between those that are ‘static’ and those (like London) that are mobile and constantly evolving: “Municipal Darwinism” as it is hysterically described. But London, or rather the power-crazed Londoner Thaddeus Valentine (Hugo Weaving), wants revolution rather than evolution and he is working on development of one of the super-weapons that started the world’s demise in the first place.
But Hester Shaw (Hera Hilmar), separated when young from her mother Pandora (yes, she has a box and we’ve seen it: wink, wink) is intent on stopping him, since she is on a personal path of vengence. Teaming up with Londoner Tom (Robert Sheehan) and activist Anna Fang (Jihae) they must face both Thaddeus and the ever-relentless Shrike (Stephen Lang) to try to derail the destructive plan.
“I’m not subtle”
So says Anna Fang, but then neither is this movie. The film is loud and action-filled and (as a significant plus) visually extremely impressive with it. I’m not a great fan of excessive CGI but here it is essential, and the special-effects team do a great job. The production design is tremendous – a lot of money has been thrown at this – and the costume design inventive, a high-spot (again snortworthy) being the Beefeater guards costumes!
Where the film really crashes, like a post-Brexit stock market, is with the dialogue. The screenplay by Jackson himself, with his regular writers Fran Walsh and Phillipa Boyens contains some absolute clunkers, notwithstanding the unintended LOL-worthy Brexit irony. It’s jaw-droppingly bad, believe me.
The turns
The only real “name” in the whole film is Jackson-favourite Hugo Weaving. Just about everyone else in the cast is pretty well unknown, and in many cases it shows. Standing head and shoulders though for me over the rest of the cast was Icelandic actress Hera Hilmar, who strikes a splendidly feisty pose as the mentally and physically scarred Hester. I look forward to seeing what she does next.
Plagerism: the movie
Story-wise, there’s not a sci-fi film that’s not been looted, and a number of other films seem to be plundered too. (I can’t comment on how much of this comes from the source book by Philip Reeve). The Londonmobile looks for all the world like Monty Python’s “Crimson Permanent Assurance Company”; the teenage female lead is Sarah Connors, relentlessly pursued by The Terminator; the male lead is archaologist cum hot-shot pilot Indiana Solo, leather jacket and all; there is a Blade Runner moment; a battle that is a meld of “The Great Wall” and Morannon from “The Lord of the Rings: The Two Towers”; a less sophisticated aerial location from “The Empire Strikes Back”; and another classic Star Wars moment (without the words being actually said!).
A case of the Jackson Pollocks
Now I’m loathe to say anything bad about director Peter Jackson, after his breathtakingly memorable “They Shall Not Grown Old“. And the film has its moments of flair, most memorably a “life flashing before your eyes scene” that I found genuinely moving. But overall, as an actioner, it’s a bit of a mess.
It’s a long way from being the worse film I’ve seen this year by a long stroke – it kept me interested and amused in equal measure for the running time. But I think given it’s initially bombed at the Box Office, any plans Jackson had to deliver a series of these movies might need to be self-funded.
But all doesn’t go entirely smoothly for the UK capital. The Lord Mayor of London (Patrick Malahide) declares “We should never have gone into Europe. It’s the biggest mistake we ever made”. (Classic: how we SNORTED with laughter!)
Cities on wheels. London in hot pursuit of a Bavarian mining town. (Some things you just write, and then have to do a double take!). (Source: Universal Pictures International).
Stuffing it squarely to the ‘remainers’, London makes its own future. “It’s time to show the world how strong London can be”. Having conquered most of Europe, it’s time to set its sights on new markets to conquer: so London takes the Chinese on! (Now the tears of laughter are flowing freely!) Trade deals have never been more entertaining since “Star Wars: The Phantom Menace”!
Well, perhaps not
OK, so in the interests of ‘advertising standards’, I’d better make clear before you rush out to the cinema expecting a comedy feature that my tongue is firmly in my cheek here. For “Mortal Engines” is the latest sci-fi feature from Peter Jackson. But when viewed from a Brexit perspective, it’s friggin’ hilarious!
In terms of plot, this (like “Waterworld”) makes clever use of the Universal logo to set the agenda. The world has been decimated with a worldwide war – though clearly one that selectively destroyed bits of London and not others! – and the survivors must try to survive in any way they can. Settlements are divided between those that are ‘static’ and those (like London) that are mobile and constantly evolving: “Municipal Darwinism” as it is hysterically described. But London, or rather the power-crazed Londoner Thaddeus Valentine (Hugo Weaving), wants revolution rather than evolution and he is working on development of one of the super-weapons that started the world’s demise in the first place.
But Hester Shaw (Hera Hilmar), separated when young from her mother Pandora (yes, she has a box and we’ve seen it: wink, wink) is intent on stopping him, since she is on a personal path of vengence. Teaming up with Londoner Tom (Robert Sheehan) and activist Anna Fang (Jihae) they must face both Thaddeus and the ever-relentless Shrike (Stephen Lang) to try to derail the destructive plan.
“I’m not subtle”
So says Anna Fang, but then neither is this movie. The film is loud and action-filled and (as a significant plus) visually extremely impressive with it. I’m not a great fan of excessive CGI but here it is essential, and the special-effects team do a great job. The production design is tremendous – a lot of money has been thrown at this – and the costume design inventive, a high-spot (again snortworthy) being the Beefeater guards costumes!
Where the film really crashes, like a post-Brexit stock market, is with the dialogue. The screenplay by Jackson himself, with his regular writers Fran Walsh and Phillipa Boyens contains some absolute clunkers, notwithstanding the unintended LOL-worthy Brexit irony. It’s jaw-droppingly bad, believe me.
The turns
The only real “name” in the whole film is Jackson-favourite Hugo Weaving. Just about everyone else in the cast is pretty well unknown, and in many cases it shows. Standing head and shoulders though for me over the rest of the cast was Icelandic actress Hera Hilmar, who strikes a splendidly feisty pose as the mentally and physically scarred Hester. I look forward to seeing what she does next.
Plagerism: the movie
Story-wise, there’s not a sci-fi film that’s not been looted, and a number of other films seem to be plundered too. (I can’t comment on how much of this comes from the source book by Philip Reeve). The Londonmobile looks for all the world like Monty Python’s “Crimson Permanent Assurance Company”; the teenage female lead is Sarah Connors, relentlessly pursued by The Terminator; the male lead is archaologist cum hot-shot pilot Indiana Solo, leather jacket and all; there is a Blade Runner moment; a battle that is a meld of “The Great Wall” and Morannon from “The Lord of the Rings: The Two Towers”; a less sophisticated aerial location from “The Empire Strikes Back”; and another classic Star Wars moment (without the words being actually said!).
A case of the Jackson Pollocks
Now I’m loathe to say anything bad about director Peter Jackson, after his breathtakingly memorable “They Shall Not Grown Old“. And the film has its moments of flair, most memorably a “life flashing before your eyes scene” that I found genuinely moving. But overall, as an actioner, it’s a bit of a mess.
It’s a long way from being the worse film I’ve seen this year by a long stroke – it kept me interested and amused in equal measure for the running time. But I think given it’s initially bombed at the Box Office, any plans Jackson had to deliver a series of these movies might need to be self-funded.
Matthew Krueger (10051 KP) rated The Manhattan Project: Energy Empire in Tabletop Games
Feb 22, 2021
Excellent Work Placement Game
The Manhattan Project: Energy Empire- is a excellent work placement game. I love work placement games and this one is one of them. Lets talk more about the game.
Players sit in the roles of countries trying to develop industry and energy production over a period of time roughly from the end of World War II to the present day. Throughout the game, players will construct buildings, power plants as dice, and manage the pollution in their environment with the aim of scoring the most points.
To begin play, the main board for Energy Empire is seeded with starting Building cards. These are divided into three different sectors: Government spaces, Industry spaces, and Commerce spaces. A set of pollution tokens, depending on the number of players, is also stacked on a track as the game timer.
Once the game begins, it flows continuously without rounds. Each player chooses, on their turn, to take a Work Turn or a Generate Turn.
Work Turn- During this type of turn, players must place a single worker on the main board on one of the spaces which represent activities and resources to collect. For example, this may be gaining science, steel, or purchasing oil. Afterwards, depending on which sector the player placed their worker, they can activate any previously purchased buildings, assuming they have enough workers and/or energy. Players can also activate their nation card and move up on the United Nations track, which is a pure competition for end game points. Energy is also used if a player wishes to place a worker on a space occupied by another worker. The player must place additional energy under the worker until their placement stack is larger than any other already placed.
Generate Turn: This type of turn represents the player resetting their work potential for a new set of placing workers. They do this by first potentially collecting an achievement which represents end game points for a variety of goals. They then recall any workers to their Player Mat and discard all Energy tokens. Players can also spend any oil resources to gain oil power plant dice. Finally the player rolls any or all power plant dice they have. This might include Solar/Wind (green dice), Hydro Power (blue dice, limited to one per player), Coal (black dice), and Nuclear (yellow dice). The resulting number of lightning bolts on the dice are delivered as energy tokens to the player. If a clean energy source rolled the highest cardinal number, the player does not collect pollution. If coal, oil, or nuclear dice resulted in the highest number, then the player places a single pollution token into their environment. Players continue this process one after another until a predesignated number of pollution tokens are removed from the game. Players get one final turn and then points are tallied. Players receive points for keeping their player mat free of pollution, building power plants, the United Nations track, and various points for each building constructed.
The most engaging part of the game and the main reason to seek it out, comes from the theme of global power intrigue. The building cards show off the exceptional art in the game.
Manhattan Project: Energy Empire Cards
The global impact cards for the first half of the game are green with a milder impact. Once they go red, prepare for some serious negative events. On top of this theme, the actions associated with everything in the game fit just right. The concept in game actions connect directly to the theme concept. In addition, the country actions to move up on the United Nations track also represent the tone and success formulas for those countries. The mechanism for rolling dice to gain energy and how much pollution is delivered feels just perfect given the competing goals of clean environments and high energy production.
The worker placement mechanism itself (largest stack among existing workers) is not new, but it is just the right mechanism to promote the overall feeling of energy competition. Choosing the space on which to place a worker is highly engaging and the choices tense to maximize efficiency. It is easy to connect with both strategy and tactics in this game.
Even with this engagement, it is also easy to see optimal routes for gaining points assuming opponents follow their strategies. It’s not “easy”, but it is possible to not even worry about opponents blocking a particular path to victory with low numbers of players.
Its a excellent work placement game. One i highly recordmend getting and play.
Players sit in the roles of countries trying to develop industry and energy production over a period of time roughly from the end of World War II to the present day. Throughout the game, players will construct buildings, power plants as dice, and manage the pollution in their environment with the aim of scoring the most points.
To begin play, the main board for Energy Empire is seeded with starting Building cards. These are divided into three different sectors: Government spaces, Industry spaces, and Commerce spaces. A set of pollution tokens, depending on the number of players, is also stacked on a track as the game timer.
Once the game begins, it flows continuously without rounds. Each player chooses, on their turn, to take a Work Turn or a Generate Turn.
Work Turn- During this type of turn, players must place a single worker on the main board on one of the spaces which represent activities and resources to collect. For example, this may be gaining science, steel, or purchasing oil. Afterwards, depending on which sector the player placed their worker, they can activate any previously purchased buildings, assuming they have enough workers and/or energy. Players can also activate their nation card and move up on the United Nations track, which is a pure competition for end game points. Energy is also used if a player wishes to place a worker on a space occupied by another worker. The player must place additional energy under the worker until their placement stack is larger than any other already placed.
Generate Turn: This type of turn represents the player resetting their work potential for a new set of placing workers. They do this by first potentially collecting an achievement which represents end game points for a variety of goals. They then recall any workers to their Player Mat and discard all Energy tokens. Players can also spend any oil resources to gain oil power plant dice. Finally the player rolls any or all power plant dice they have. This might include Solar/Wind (green dice), Hydro Power (blue dice, limited to one per player), Coal (black dice), and Nuclear (yellow dice). The resulting number of lightning bolts on the dice are delivered as energy tokens to the player. If a clean energy source rolled the highest cardinal number, the player does not collect pollution. If coal, oil, or nuclear dice resulted in the highest number, then the player places a single pollution token into their environment. Players continue this process one after another until a predesignated number of pollution tokens are removed from the game. Players get one final turn and then points are tallied. Players receive points for keeping their player mat free of pollution, building power plants, the United Nations track, and various points for each building constructed.
The most engaging part of the game and the main reason to seek it out, comes from the theme of global power intrigue. The building cards show off the exceptional art in the game.
Manhattan Project: Energy Empire Cards
The global impact cards for the first half of the game are green with a milder impact. Once they go red, prepare for some serious negative events. On top of this theme, the actions associated with everything in the game fit just right. The concept in game actions connect directly to the theme concept. In addition, the country actions to move up on the United Nations track also represent the tone and success formulas for those countries. The mechanism for rolling dice to gain energy and how much pollution is delivered feels just perfect given the competing goals of clean environments and high energy production.
The worker placement mechanism itself (largest stack among existing workers) is not new, but it is just the right mechanism to promote the overall feeling of energy competition. Choosing the space on which to place a worker is highly engaging and the choices tense to maximize efficiency. It is easy to connect with both strategy and tactics in this game.
Even with this engagement, it is also easy to see optimal routes for gaining points assuming opponents follow their strategies. It’s not “easy”, but it is possible to not even worry about opponents blocking a particular path to victory with low numbers of players.
Its a excellent work placement game. One i highly recordmend getting and play.
Lee (2222 KP) rated Captain Marvel (2019) in Movies
Mar 9, 2019
Following the traumatic and devastating events of last years Avengers: Infinity War, Captain Marvel finally arrives on our screens with huge expectation, anticipation and excitement. As Nick Fury was reduced to dust in the final moments of Infinity War, along with half of all living things in the universe, we saw that he'd just managed to send out an SOS message. The recipient of that message was revealed to be Captain Marvel, so far absent from the cinematic universe but labelled outside of it as "Marvel's biggest female hero", and "quite possibly Marvel's mightiest Avenger". With mad Titan Thanos still on the loose, and half of all life to restore, there's clearly a great deal resting on her shoulders. Thankfully we'll get to see how that all plays out in just over a month when Endgame hits our cinemas, but in the meantime we need to get up to speed on the origins of Captain Marvel.
But this isn't your standard origin story. When we first join Captain Marvel, or Vers as she is currently known, she is already part of the Kree Starforce, fighting alongside her mentor Yon-Rogg (Jude Law) as they take on shape-shifting enemies, the Skrulls. She already has a considerable amount of power, although she has no memory of how exactly she came about it, or of any kind of life preceding it. Following an early morning bit of fight training, with Yon-Rogg urging her to try and control her emotions and her power, it's straight into the action as the Starforce team are sent out on an important field mission. Things don't quite go according to plan though, and when they're ambushed by a group of Skrulls, Vers is kidnapped by Skrull commander Talos (Ben Mendelsohn) and taken to their ship for interrogation.
The interrogation has a kind of Total Recall effect on Vers - unlocking memories of her life as a child, growing up with friends, military training and more. She manages to mount an escape, fleeing the ship and crash landing on planet C-53 (or as we know it, Earth), along with a bunch of Skrulls. She lands in the middle of a Blockbuster video store, with the Skrulls landing on a nearby beach and assuming the shape of some surfing humans in order to blend in with the locals. It's not long before the dramatic arrival has drawn the attention of a couple of SHIELD agents by the name of Fury and Coulson, both looking a lot younger than we're used to, due to the fact that we're in 1995. The de-aging effect, used sparingly but impressively in previous Marvel movies is simply incredible here, given that it is being relied upon for the entire movie in order to make the young Nick Fury believable. And it totally works too.
Up until this point in the movie, I felt that it was all just a little bit bland. We don't really get much time to get acquainted with our hero, or the alien world she inhabits, and the space-team-field-mission elements have all been done previously, and much better, in the Guardians of the Galaxy movies. Coincidentally, Ronan and Korath who star in those movies both appear early on in Captain Marvel, providing some nice backstory for them and a link to the rest of the cinematic universe. It's only when Vers arrives on Earth, and teams up with Nick Fury in order to stop the Skrull invasion, that the movie really finds its footing, becoming a great deal more interesting and enjoyable. Things really lighten up too, accompanied by a great 90s soundtrack and giving off a cool 90s buddy cop movie vibe. It's also great to see Nick Fury acting much less serious and having a lot more to do than in previous Marvel movies. As for Vers, we finally begin to learn a lot more about her too as she begins to piece together her forgotten history and learn more about her life on Earth as Carol Danvers.
The movie is made all the more fun by a couple of very good additional characters. Ben Mendelsohn is outstanding as Talos, providing just the right combination of menace and humour. Special mention also for Goose the cat, who joins Danvers and Fury on their journey. Although, if you're familiar with the comics (where he is known as Chewie), you'll know that there's more to him that meets the eye and he literally manages to steal every single scene he's in, providing some of the movies laugh out loud and surprising moments.
The final third of the movie is where things really kick in though with Carol Danvers unlocking her full potential, despite being repeatedly told throughout life that she's too emotional and too weak. Unleashing hell in an epic, breathtaking and extremely satisfying space battle. With just over a month to go until the release of Endgame, Thanos better be scared. He's not going to know what hit him!
But this isn't your standard origin story. When we first join Captain Marvel, or Vers as she is currently known, she is already part of the Kree Starforce, fighting alongside her mentor Yon-Rogg (Jude Law) as they take on shape-shifting enemies, the Skrulls. She already has a considerable amount of power, although she has no memory of how exactly she came about it, or of any kind of life preceding it. Following an early morning bit of fight training, with Yon-Rogg urging her to try and control her emotions and her power, it's straight into the action as the Starforce team are sent out on an important field mission. Things don't quite go according to plan though, and when they're ambushed by a group of Skrulls, Vers is kidnapped by Skrull commander Talos (Ben Mendelsohn) and taken to their ship for interrogation.
The interrogation has a kind of Total Recall effect on Vers - unlocking memories of her life as a child, growing up with friends, military training and more. She manages to mount an escape, fleeing the ship and crash landing on planet C-53 (or as we know it, Earth), along with a bunch of Skrulls. She lands in the middle of a Blockbuster video store, with the Skrulls landing on a nearby beach and assuming the shape of some surfing humans in order to blend in with the locals. It's not long before the dramatic arrival has drawn the attention of a couple of SHIELD agents by the name of Fury and Coulson, both looking a lot younger than we're used to, due to the fact that we're in 1995. The de-aging effect, used sparingly but impressively in previous Marvel movies is simply incredible here, given that it is being relied upon for the entire movie in order to make the young Nick Fury believable. And it totally works too.
Up until this point in the movie, I felt that it was all just a little bit bland. We don't really get much time to get acquainted with our hero, or the alien world she inhabits, and the space-team-field-mission elements have all been done previously, and much better, in the Guardians of the Galaxy movies. Coincidentally, Ronan and Korath who star in those movies both appear early on in Captain Marvel, providing some nice backstory for them and a link to the rest of the cinematic universe. It's only when Vers arrives on Earth, and teams up with Nick Fury in order to stop the Skrull invasion, that the movie really finds its footing, becoming a great deal more interesting and enjoyable. Things really lighten up too, accompanied by a great 90s soundtrack and giving off a cool 90s buddy cop movie vibe. It's also great to see Nick Fury acting much less serious and having a lot more to do than in previous Marvel movies. As for Vers, we finally begin to learn a lot more about her too as she begins to piece together her forgotten history and learn more about her life on Earth as Carol Danvers.
The movie is made all the more fun by a couple of very good additional characters. Ben Mendelsohn is outstanding as Talos, providing just the right combination of menace and humour. Special mention also for Goose the cat, who joins Danvers and Fury on their journey. Although, if you're familiar with the comics (where he is known as Chewie), you'll know that there's more to him that meets the eye and he literally manages to steal every single scene he's in, providing some of the movies laugh out loud and surprising moments.
The final third of the movie is where things really kick in though with Carol Danvers unlocking her full potential, despite being repeatedly told throughout life that she's too emotional and too weak. Unleashing hell in an epic, breathtaking and extremely satisfying space battle. With just over a month to go until the release of Endgame, Thanos better be scared. He's not going to know what hit him!
Gareth von Kallenbach (980 KP) rated Operation Avalanche (2016) in Movies
Jul 15, 2019
You’ve heard me say it before. I’ll say it again. Before this year is out, I’ll say it in perhaps another article. The ‘found footage genre’ of movies was played out in perhaps its most notable appearance as well as its debut in the original ‘Blair Witch Project’. Now they’re gearing-up for another round of ‘beating a dead horse’ with a remake would you believe? However, I’m not here writing this article to go on and on and plague your eyes with an entire article complaining about the issue. No. Why you ask? For the unique reason which is since I’ve been writing reviews for movies, ‘Skewed & Reviewed’ has given me the good fortune to screen movies incorporating said genre that present ORIGINAL ideas. Today’s film for your consideration does so in the form of a unique period piece incorporating one of the most notorious conspiracy theories in the world with a pivotal moment in history. Not just in American history but global history.
July 20th, 1969. Less than 10 years after the Cuban Missile Crisis in the midst of the Cold War the great ‘space race’ between the two world superpowers, the Soviet Union and the United States, is on. NASA astronauts Michael Collins, Buzz Aldrin, and Neil Armstrong journey to the moon aboard the Apollo 11 spacecraft where Neil Armstrong becomes the first human being in history to set foot on the moon. That’s what the history books say. However, almost immediately after the crew of Apollo 11 returned to Earth there were many individuals on both sides who claimed not only was it not possible to land human beings safely on the moon and return them to Earth, but that NASA had faked the entire event in conjunction with other organizations and agencies within the American intelligence and military communities. This is where the basis for today’s film originates.
‘Operation Avalanche’ is an American-Canadian found footage/conspiracy thriller film directed by Matt Johnson who also starred in and co-wrote the film with Josh Boles. The film also stars Owen Williams, Jared Raab, Andrew Appelle, Madeleine Sims-Fewer, Krista Madison, Tom Bolton, and Sharon Belle. The film begins in 1967. The Central Intelligence Agency suspects that a Soviet mole has infiltrated NASA and is providing the Russians with information on American rocket technology. Four employees of the CIA are sent in undercover as a documentary film crew to determine if the agency’s suspicions are true and to determine the mole’s identity. Instead, what the discover sends shockwaves through the agency’s upper echelons and could potentially lead to a Soviet victory in the space race and bring to light one of the biggest conspiracies imaginable.
This movie is a brilliantly conceived and executed piece of film making. It not only includes historical news footage from the event, but combines it with a bit of guerrilla film-making. The film was shot in Toronto, Washington DC, and Houston, Texas. They were able to shoot on site at NASA by claiming they were shooting a documentary which was not entirely untrue. Essential they sort of broke the ‘fourth wall’ three times. The characters in the film were documentary film makers going undercover to shoot a documentary under the guise of a documentary film crew. The attention to detail from the locations, to the music, to the people themselves (how they looked, talked, and dressed) was something that one would imagine would’ve taken a larger budget. These folks pulled it off brilliantly essentially creating a period piece within the film. You get a genuine sense that the characters are who they act like they are in the particular time and place. Four CIA operatives looking to move up in the agency by moving themselves into place to be assigned to an undercover operation with low risk to themselves with the slight possibility of danger but then get caught up in a secret far bigger than anything they originally anticipated. The senses are heightened, the pace increases, and the conspiracy begins to unfold. The film is most definitely worth checking out. It kinda slows down a bit too much at certain points but all in all an excellent film. I’m going to give it 3 1/2 out of 5 stars. It’s certainly what I’d like to call a ‘thinking persons movie’. If you’re a fan of history, conspiracy theory, or both this film is certainly worth watching.
July 20th, 1969. Less than 10 years after the Cuban Missile Crisis in the midst of the Cold War the great ‘space race’ between the two world superpowers, the Soviet Union and the United States, is on. NASA astronauts Michael Collins, Buzz Aldrin, and Neil Armstrong journey to the moon aboard the Apollo 11 spacecraft where Neil Armstrong becomes the first human being in history to set foot on the moon. That’s what the history books say. However, almost immediately after the crew of Apollo 11 returned to Earth there were many individuals on both sides who claimed not only was it not possible to land human beings safely on the moon and return them to Earth, but that NASA had faked the entire event in conjunction with other organizations and agencies within the American intelligence and military communities. This is where the basis for today’s film originates.
‘Operation Avalanche’ is an American-Canadian found footage/conspiracy thriller film directed by Matt Johnson who also starred in and co-wrote the film with Josh Boles. The film also stars Owen Williams, Jared Raab, Andrew Appelle, Madeleine Sims-Fewer, Krista Madison, Tom Bolton, and Sharon Belle. The film begins in 1967. The Central Intelligence Agency suspects that a Soviet mole has infiltrated NASA and is providing the Russians with information on American rocket technology. Four employees of the CIA are sent in undercover as a documentary film crew to determine if the agency’s suspicions are true and to determine the mole’s identity. Instead, what the discover sends shockwaves through the agency’s upper echelons and could potentially lead to a Soviet victory in the space race and bring to light one of the biggest conspiracies imaginable.
This movie is a brilliantly conceived and executed piece of film making. It not only includes historical news footage from the event, but combines it with a bit of guerrilla film-making. The film was shot in Toronto, Washington DC, and Houston, Texas. They were able to shoot on site at NASA by claiming they were shooting a documentary which was not entirely untrue. Essential they sort of broke the ‘fourth wall’ three times. The characters in the film were documentary film makers going undercover to shoot a documentary under the guise of a documentary film crew. The attention to detail from the locations, to the music, to the people themselves (how they looked, talked, and dressed) was something that one would imagine would’ve taken a larger budget. These folks pulled it off brilliantly essentially creating a period piece within the film. You get a genuine sense that the characters are who they act like they are in the particular time and place. Four CIA operatives looking to move up in the agency by moving themselves into place to be assigned to an undercover operation with low risk to themselves with the slight possibility of danger but then get caught up in a secret far bigger than anything they originally anticipated. The senses are heightened, the pace increases, and the conspiracy begins to unfold. The film is most definitely worth checking out. It kinda slows down a bit too much at certain points but all in all an excellent film. I’m going to give it 3 1/2 out of 5 stars. It’s certainly what I’d like to call a ‘thinking persons movie’. If you’re a fan of history, conspiracy theory, or both this film is certainly worth watching.
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Becs (244 KP) rated Siege and Storm in Books
Aug 25, 2019
Nikolai (2 more)
the Darkling
THAT ENDING
has major middle book syndrome (3 more)
main character is still annoying
mal is still a horrible character
there wasn't a lot of the Darkling when the books are supposed to be about him as a villain
Has middle book syndrome B A D but the last half of the book is great!
You can also find this review on my blog: bookingwayreads.wordpress.com
TRIGGER WARNINGS: torture, murder, war themes, hallucinations, death, blood, manipulation, violence
Review:
I originally rated this 4 out of 5 stars but I am dropping it down to 3.5 out of 5 stars as I’ve had a lot of time to think about my review and have realized that Siege and Storm has middle book syndrome.
My one problem with Siege and Storm, is that it needed more of the Darkling in it. The Shadow and Bone Trilogy is about the Darkling being the villain and Siege and Storm did not deliver. You’d think there would have been more of a prescense, but there was just not enough of him! Please take Mal away and replace him with the Darkling!! Also, what in the good lordy fucks was that ending Leigh?! ARE YOU TRYING TO KILL US!? I. AM. DEAD.
I still have an ever growing dislike for Mal. He doesn’t have one bit of empathy in his body and it’s so frustrating! Like he’s supposed to be that rock that Alina can fall back onto for support and he’s just being a douche about her having powers. Can we just replace all of Mal’s scenes with more of my BB’s Nikolai and the Darkling plz?! Nikolai had the best character development and was the most relatable in the entire series thus far.
I’ve not really grown to like Alina as much like others do, as she’s still the same annoying girl that I wish wasn’t as special as she is. One thing I do like about her though, is the whole anti hero darkness she has brewing along with the inner turmoil she’s dealing with. With her new found power enhancements, but I just wish her powers weren’t vaguely talked about.
Another thing I wasn’t entirely a fan of was the love triangle *cough cough* love SQUARE *cough cough* trope that took place throughout the novel. Don’t get me wrong, it was extremely well-written and really filled in some (read: a lot of the) boring parts. BUT, this trope is extremely overrated and can really ruin a novel. It was rather annoying that Alina had all of these men to choose from and she couldn’t make up her mind about any of them. Plus, I don’t think she deserves any of them. So… yea.
Okay, onto the story itself. The first half was… such… a… bore… It was so freaking slow and I wanted to give up on it so much. It also kind of put me into a slump on picking up Ruin and Rising. I just didn’t want to be disappointed like I was with Siege and Storm. The second half of the story on the other hand, was packed to the max with intense scenes and action. I honestly thought my wittle heart would crack into a million pieces.
Leigh’s writing style is extremely unique and well-done. She’s able to write scenes that not only grip your attention, but will also pluck each heart string until that breaking point. Then it will rip your heart out of your chest with one swift moment.
Other than a few bumps, Siege and Storm was captivating to a point, but not as much as Shadow and Bone. It’s a soul sucker of a book and I’m enamored with it. The world-building is some of the best I’ve ever seen, especially for a series. The tensions in scenes is extremely palpable – making this a great sequel to an amazing series.
“You know the problem with heroes and saints Nikolai? They always end up dead.
TRIGGER WARNINGS: torture, murder, war themes, hallucinations, death, blood, manipulation, violence
Review:
I originally rated this 4 out of 5 stars but I am dropping it down to 3.5 out of 5 stars as I’ve had a lot of time to think about my review and have realized that Siege and Storm has middle book syndrome.
My one problem with Siege and Storm, is that it needed more of the Darkling in it. The Shadow and Bone Trilogy is about the Darkling being the villain and Siege and Storm did not deliver. You’d think there would have been more of a prescense, but there was just not enough of him! Please take Mal away and replace him with the Darkling!! Also, what in the good lordy fucks was that ending Leigh?! ARE YOU TRYING TO KILL US!? I. AM. DEAD.
I still have an ever growing dislike for Mal. He doesn’t have one bit of empathy in his body and it’s so frustrating! Like he’s supposed to be that rock that Alina can fall back onto for support and he’s just being a douche about her having powers. Can we just replace all of Mal’s scenes with more of my BB’s Nikolai and the Darkling plz?! Nikolai had the best character development and was the most relatable in the entire series thus far.
I’ve not really grown to like Alina as much like others do, as she’s still the same annoying girl that I wish wasn’t as special as she is. One thing I do like about her though, is the whole anti hero darkness she has brewing along with the inner turmoil she’s dealing with. With her new found power enhancements, but I just wish her powers weren’t vaguely talked about.
Another thing I wasn’t entirely a fan of was the love triangle *cough cough* love SQUARE *cough cough* trope that took place throughout the novel. Don’t get me wrong, it was extremely well-written and really filled in some (read: a lot of the) boring parts. BUT, this trope is extremely overrated and can really ruin a novel. It was rather annoying that Alina had all of these men to choose from and she couldn’t make up her mind about any of them. Plus, I don’t think she deserves any of them. So… yea.
Okay, onto the story itself. The first half was… such… a… bore… It was so freaking slow and I wanted to give up on it so much. It also kind of put me into a slump on picking up Ruin and Rising. I just didn’t want to be disappointed like I was with Siege and Storm. The second half of the story on the other hand, was packed to the max with intense scenes and action. I honestly thought my wittle heart would crack into a million pieces.
Leigh’s writing style is extremely unique and well-done. She’s able to write scenes that not only grip your attention, but will also pluck each heart string until that breaking point. Then it will rip your heart out of your chest with one swift moment.
Other than a few bumps, Siege and Storm was captivating to a point, but not as much as Shadow and Bone. It’s a soul sucker of a book and I’m enamored with it. The world-building is some of the best I’ve ever seen, especially for a series. The tensions in scenes is extremely palpable – making this a great sequel to an amazing series.
“You know the problem with heroes and saints Nikolai? They always end up dead.
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Movie Metropolis (309 KP) rated Pacific Rim (2013) in Movies
Jun 11, 2019
“Today, we are cancelling the apocalypse” barks Idris Elba’s Stacker Pentecost in the trailer for Pacific Rim, but it’s over 90 minutes in when you finally hear him utter that attention grabbing phrase in a movie so big, it will make your head spin. But is it worth the migraine?
In short, the answer is yes. Director Guillermo del Toro has created a monster movie that utilises themes from many other ‘classic’ films, giving it an old fashioned feel, whilst still making it incredibly fresh and unique.
The story is simple, but don’t let it fool you into thinking it’ll be a one dimensional ride from A to B, Pacific Rim is much more than that, it’s a big blockbuster most definitely, but it also gets the subtleties right; it has a heart. We begin with a Shakespearean narration by Raleigh Becket (Charlie Hunnan) who tells us about a war breaking out between humans and the Kaiju, a race of monsters from deep within the Pacific Ocean, and the only way to beat them is to bring in the heavy metal. Enter the Jaeger program, a series of gigantic robots built across the world to defend Earth against the terrifying creatures.
Whilst piloting a Jaeger, you are connected with a co-pilot who can see memories in a ‘drift’, a kind of telepathy which can be deadly for those around you if you ‘chase the rabbit’ and trap yourself in a memory which has caused distress. After all, you’re piloting a giant robot with laser beams, swords and over 100 diesel engines in some cases.
Hunnan’s character Raleigh is distraught after an incident with a Kaiju, so much so that he leaves the program and thinks he will never have to return. Unfortunately, he is very wrong and after five years he is back and, to cut a long story short, is teamed up with a rookie pilot in the shape of Mako Mori (Rinko Kikuchi) to put an end to the forthcoming invasion.
The film borrows heavily from other similar-minded movies like Cloverfield and Transformers and there’s even a subtle nod to Jurassic Park, see if you can spot it, but yet del Toro always manages to make the film feel new, exciting and exceptionally fresh. Never before have we seen all of these regularly used components together, and it adds an interesting new dynamic to a film which could’ve been run of the mill.
Acting is a mixed bag; Idris Elba is excellent in his role as Pentecost and shows why he is like catnip to directors at the moment. Rinko Kikuchi is understated in her large role but plays the character well; we feel her innocence before her ‘drift virginity’ is taken. There is also one scene involving a younger version of Mori which is by far the most poignant in the entire film. For comic relief, of which there is a surprising amount in a film about the destruction of the globe, we have a del Toro staple, Ron Perlman, who plays a black market dealer roped in to help the cause and locate a Kaiju brain. Rob Kazinsky (True Blood) and Charlie Day (Horrible Bosses) also star, with the latter providing some of the films best lines.
The special effects are truly exceptional, in films this big there can sometimes be a few shoddy scenes to cut costs in the hope that audiences don’t notice but not here; everything is stunning – from the computer generated Jaegers and the computer generated Kaiju, to the CGI recreations of Hong Kong and other destinations across the globe, it truly is beautiful to watch. Couple this with an absolutely mind-blowing soundtrack and each frame has either a tantalising musical score or a piece of eye-popping visual.
However, after an initially exciting opening, we are treated to a first-act lull from which the film takes a good 30 minutes to recover from, this being the most disappointing thing in the entire movie. The lull is used to good effect though, as we learn more about the lead characters and the Jaeger program itself, but 30 minutes in a 2 hour film is a little too long to wait for the action to restart.
Overall, Pacific Rim is everything a big summer blockbuster should be, it has beautiful special effects, excellent performances and a decent story mixed with a superb soundtrack. We’ve seen it all before, but in separate films, so to put everything together was a brave move on behalf of del Toro and it works brilliantly. It’s a little too long and the first-act lull is disappointing, but in the end it all ties together nicely as pure popcorn entertainment.
https://moviemetropolis.net/2013/07/13/pacific-rim-review-2013/
In short, the answer is yes. Director Guillermo del Toro has created a monster movie that utilises themes from many other ‘classic’ films, giving it an old fashioned feel, whilst still making it incredibly fresh and unique.
The story is simple, but don’t let it fool you into thinking it’ll be a one dimensional ride from A to B, Pacific Rim is much more than that, it’s a big blockbuster most definitely, but it also gets the subtleties right; it has a heart. We begin with a Shakespearean narration by Raleigh Becket (Charlie Hunnan) who tells us about a war breaking out between humans and the Kaiju, a race of monsters from deep within the Pacific Ocean, and the only way to beat them is to bring in the heavy metal. Enter the Jaeger program, a series of gigantic robots built across the world to defend Earth against the terrifying creatures.
Whilst piloting a Jaeger, you are connected with a co-pilot who can see memories in a ‘drift’, a kind of telepathy which can be deadly for those around you if you ‘chase the rabbit’ and trap yourself in a memory which has caused distress. After all, you’re piloting a giant robot with laser beams, swords and over 100 diesel engines in some cases.
Hunnan’s character Raleigh is distraught after an incident with a Kaiju, so much so that he leaves the program and thinks he will never have to return. Unfortunately, he is very wrong and after five years he is back and, to cut a long story short, is teamed up with a rookie pilot in the shape of Mako Mori (Rinko Kikuchi) to put an end to the forthcoming invasion.
The film borrows heavily from other similar-minded movies like Cloverfield and Transformers and there’s even a subtle nod to Jurassic Park, see if you can spot it, but yet del Toro always manages to make the film feel new, exciting and exceptionally fresh. Never before have we seen all of these regularly used components together, and it adds an interesting new dynamic to a film which could’ve been run of the mill.
Acting is a mixed bag; Idris Elba is excellent in his role as Pentecost and shows why he is like catnip to directors at the moment. Rinko Kikuchi is understated in her large role but plays the character well; we feel her innocence before her ‘drift virginity’ is taken. There is also one scene involving a younger version of Mori which is by far the most poignant in the entire film. For comic relief, of which there is a surprising amount in a film about the destruction of the globe, we have a del Toro staple, Ron Perlman, who plays a black market dealer roped in to help the cause and locate a Kaiju brain. Rob Kazinsky (True Blood) and Charlie Day (Horrible Bosses) also star, with the latter providing some of the films best lines.
The special effects are truly exceptional, in films this big there can sometimes be a few shoddy scenes to cut costs in the hope that audiences don’t notice but not here; everything is stunning – from the computer generated Jaegers and the computer generated Kaiju, to the CGI recreations of Hong Kong and other destinations across the globe, it truly is beautiful to watch. Couple this with an absolutely mind-blowing soundtrack and each frame has either a tantalising musical score or a piece of eye-popping visual.
However, after an initially exciting opening, we are treated to a first-act lull from which the film takes a good 30 minutes to recover from, this being the most disappointing thing in the entire movie. The lull is used to good effect though, as we learn more about the lead characters and the Jaeger program itself, but 30 minutes in a 2 hour film is a little too long to wait for the action to restart.
Overall, Pacific Rim is everything a big summer blockbuster should be, it has beautiful special effects, excellent performances and a decent story mixed with a superb soundtrack. We’ve seen it all before, but in separate films, so to put everything together was a brave move on behalf of del Toro and it works brilliantly. It’s a little too long and the first-act lull is disappointing, but in the end it all ties together nicely as pure popcorn entertainment.
https://moviemetropolis.net/2013/07/13/pacific-rim-review-2013/