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Sassy Brit (97 KP) rated You Should Have Left in Books
Jun 5, 2019
by author Daniel Kehlmann is imaginatively written in such a way that you’re reading a scriptwriter’s notes from his notebook, as he is writing them. The main character bares his soul about his life, his thoughts and dreams. Much of it is mundane everyday stuff, until you realise that what is being said actually has a very different meaning. Darker and more horrific than it at first may seem.
Writing his screenplay, and lying to his boss about his progress, the screenwriter takes his family, wife Susanna, and four-year old Esther to what he wants to be a writer’s retreat. Yeah, it does sound rather like The Shining. But even though there’s less of it, there’s even more to it… Stick with me. I’ll explain.
Things are not going as planned, for this unnamed writer. His marriage is on the rocks and his screenplay is failing. On top of that there are a lot of strange goings on he cannot explain. Odd things are happening in the house he’s renting via Airbnb. Maybe it’s haunted, or just tricks of light are playing with his mind giving him that illusion. Either way, it’s a slow descent into darkness that the author of the notebook does not seem to notice himself. Not straight away.
But as the reader I get to see that every now and then there’s things hidden in the text the writer seems not to be aware of. He’s spiralling downhill I’m wondering about his mental state, or if the house itself, or something in it — something supernatural — is playing with his mind.
How long can he hold it together? He’s got responsibilities to look after his kid, but he can hardly look after himself. He’s already forgetting which lies he’s told and mixing his dreams (and nightmares) with reality. Even he doesn’t know how it will end, and starts to think about leaving his notebook behind in order for it to be found… and it has been, I’m reading it now…
Several of the notes in his book get to the end of the page and are never finished, which to my mind, is in keeping with the distracted, confused voice of this note taker and adds to the setting’s dark, oppressive atmosphere.
Clever, surreal, with a kind of rhythmic writing, akin to memories of sitting in the back of the car and being rocked to sleep. The only difference would be the rude awakening. The slamming of the brakes. When the harshness of reality jolts you awake.
Yep, this unsettling, nightmarish journey, had me glued to the pages, even though at first I was not entirely sure I understood what I’d read… It’s a short novella sized book, and I must admit I had to read it again to fully appreciate this awesome piece of writing. It’s not your average horror, I can tell you! Nope, there’s nothing average about this at all. Incidentally, it’s translated from German and that fact may be why I thought it worked even better. No words are wasted. There’s a certain style to this book that makes me feel like he’s got something bigger, and maybe even better to come. I can see, however, it won’t be everyone’s cup of tea. I personally wish I’d got to this one sooner.
Stark, sparse, and totally different to anything I’ve read in a long time. I loved it. An alternative read without a doubt. A very short read, in fact. What’s more, this review took longer to write about it, than it did to read. Twice.
Writing his screenplay, and lying to his boss about his progress, the screenwriter takes his family, wife Susanna, and four-year old Esther to what he wants to be a writer’s retreat. Yeah, it does sound rather like The Shining. But even though there’s less of it, there’s even more to it… Stick with me. I’ll explain.
Things are not going as planned, for this unnamed writer. His marriage is on the rocks and his screenplay is failing. On top of that there are a lot of strange goings on he cannot explain. Odd things are happening in the house he’s renting via Airbnb. Maybe it’s haunted, or just tricks of light are playing with his mind giving him that illusion. Either way, it’s a slow descent into darkness that the author of the notebook does not seem to notice himself. Not straight away.
But as the reader I get to see that every now and then there’s things hidden in the text the writer seems not to be aware of. He’s spiralling downhill I’m wondering about his mental state, or if the house itself, or something in it — something supernatural — is playing with his mind.
How long can he hold it together? He’s got responsibilities to look after his kid, but he can hardly look after himself. He’s already forgetting which lies he’s told and mixing his dreams (and nightmares) with reality. Even he doesn’t know how it will end, and starts to think about leaving his notebook behind in order for it to be found… and it has been, I’m reading it now…
Several of the notes in his book get to the end of the page and are never finished, which to my mind, is in keeping with the distracted, confused voice of this note taker and adds to the setting’s dark, oppressive atmosphere.
Clever, surreal, with a kind of rhythmic writing, akin to memories of sitting in the back of the car and being rocked to sleep. The only difference would be the rude awakening. The slamming of the brakes. When the harshness of reality jolts you awake.
Yep, this unsettling, nightmarish journey, had me glued to the pages, even though at first I was not entirely sure I understood what I’d read… It’s a short novella sized book, and I must admit I had to read it again to fully appreciate this awesome piece of writing. It’s not your average horror, I can tell you! Nope, there’s nothing average about this at all. Incidentally, it’s translated from German and that fact may be why I thought it worked even better. No words are wasted. There’s a certain style to this book that makes me feel like he’s got something bigger, and maybe even better to come. I can see, however, it won’t be everyone’s cup of tea. I personally wish I’d got to this one sooner.
Stark, sparse, and totally different to anything I’ve read in a long time. I loved it. An alternative read without a doubt. A very short read, in fact. What’s more, this review took longer to write about it, than it did to read. Twice.
Movie Metropolis (309 KP) rated Ready Player One (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Virtually Amazing
Ready Player One by Ernest Cline is a novel with such intricate parts and such nostalgia it should be next to impossible to film. In the hands of most directors it would have failed, luckily for Warner Bros. and us as an audience the great Steven Spielberg stepped up. However is this massive task of bringing a world filled with wonder and excitement, too much for the veteran director?
Ready Player One follows Wade Watts in the year 2045, where the world is in decline and people fill their time in the OASIS, a virtual world where everything is possible and the only limits are people’s imagination. When the creator of the OASIS dies, he releases his will to challenge all the users of the OASIS to find his very own Easter Egg inside the game, whoever wins becomes the new owner.
The OASIS is filled with gaming and pop culture references that will always leave you with a smile of nostalgia. When we are transported to the OASIS, the computer animation and voice acting is pretty much spot on. A lot of the humour comes from Spielberg’s direction especially from when we see people in the real world reacting to the events within the OASIS. Without giving too much away there is a scene about halfway through that pays homage to one of the best horror movies of all time: this is the true highlight of the film that I’m sure everyone will enjoy.
In the real world, everyone gives a performance that they can be proud of, particularly Mark Rylance who plays James Halliday. Rylance’s performance is filled with wisdom and creativity but it’s clear to see the moments of vulnerability and clumsiness that could only be put across from a performer like Rylance. Tye Sheridan and Olivia Cooke give adequate performances that they can be proud of and prove that they can lead a film quite comfortably in the future. Simon Pegg also makes an appearance and although much more subtle then what you would expect from the actor, it pays off in an amazing way towards the end of the movie.
Where the film falls a bit short is in the real world. The OASIS is such a joy to explore because it has such elaborate details hidden within. When the film transitions back to the real world, however, it falls a bit flat because it’s not as fully explored. Being a dystopian world you would hope Spielberg would explore that a little more and answer questions about how it came to be.
The action sequences are very good in both the real world and the OASIS and have that classic Steven Spielberg touch you would expect. Although the script relishes in funny one-liners, these can sometimes become a little too cheesy in their delivery.
Steven Spielberg took on an impossible task and does justice to the novel and everyone should really appreciate the genius of the man. He’s created a world that everyone would dream to be part of, and I urge every person who is a fan of his work, or a major lover of pop culture to go and watch this epic tale. I would also like to plug the book, as it does differ from the film enough for you to give it a try, and you will not be disappointed if you enjoyed
https://moviemetropolis.net/2018/03/22/ready-player-one-review-virtually-amazing/
Ready Player One follows Wade Watts in the year 2045, where the world is in decline and people fill their time in the OASIS, a virtual world where everything is possible and the only limits are people’s imagination. When the creator of the OASIS dies, he releases his will to challenge all the users of the OASIS to find his very own Easter Egg inside the game, whoever wins becomes the new owner.
The OASIS is filled with gaming and pop culture references that will always leave you with a smile of nostalgia. When we are transported to the OASIS, the computer animation and voice acting is pretty much spot on. A lot of the humour comes from Spielberg’s direction especially from when we see people in the real world reacting to the events within the OASIS. Without giving too much away there is a scene about halfway through that pays homage to one of the best horror movies of all time: this is the true highlight of the film that I’m sure everyone will enjoy.
In the real world, everyone gives a performance that they can be proud of, particularly Mark Rylance who plays James Halliday. Rylance’s performance is filled with wisdom and creativity but it’s clear to see the moments of vulnerability and clumsiness that could only be put across from a performer like Rylance. Tye Sheridan and Olivia Cooke give adequate performances that they can be proud of and prove that they can lead a film quite comfortably in the future. Simon Pegg also makes an appearance and although much more subtle then what you would expect from the actor, it pays off in an amazing way towards the end of the movie.
Where the film falls a bit short is in the real world. The OASIS is such a joy to explore because it has such elaborate details hidden within. When the film transitions back to the real world, however, it falls a bit flat because it’s not as fully explored. Being a dystopian world you would hope Spielberg would explore that a little more and answer questions about how it came to be.
The action sequences are very good in both the real world and the OASIS and have that classic Steven Spielberg touch you would expect. Although the script relishes in funny one-liners, these can sometimes become a little too cheesy in their delivery.
Steven Spielberg took on an impossible task and does justice to the novel and everyone should really appreciate the genius of the man. He’s created a world that everyone would dream to be part of, and I urge every person who is a fan of his work, or a major lover of pop culture to go and watch this epic tale. I would also like to plug the book, as it does differ from the film enough for you to give it a try, and you will not be disappointed if you enjoyed
https://moviemetropolis.net/2018/03/22/ready-player-one-review-virtually-amazing/
Movie Metropolis (309 KP) rated American Sniper (2015) in Movies
Jun 10, 2019
Incredibly Harrowing
There’s something about Clint Eastwood’s varied directing career that puts him among the greats of the craft. Along with Spielberg, Scott and Fincher, Eastwood has created some of cinema’s greatest films – yet he goes about it in a completely different fashion to his peers, he doesn’t shout about it.
Here, Eastwood directs Bradley Cooper and Sienna Miller in his latest offering, American Sniper, but does it stand as one of the better films on his resume?
American Sniper follows the story of Chris Kyle, a decorated marksman in the US military at a time when the war against terror strikes fear into the hearts of practically everyone across the globe.
An Oscar-nominated Bradley Cooper plays the lead role beautifully, in what is the best performance of his career, while Sienna Miller makes a welcome return to the big screen as his loyal wife Taya.
As the film plays out, we see the duo go about their lives – apart and together as they come to terms with raising a family, despite Kyle’s constant deployment to Iraq and the many troubles that brings as he tries to resume normal life.
Eastwood really hits hard with the imagery, never glamorising the war on terror or conflict itself and this is perhaps the strongest part of the picture. Many films in the genre almost feel like military propaganda, but here, the brutality is raw in the emotions of the lead characters and squalid locations.
The surroundings themselves are beautifully shot with Eastwood’s trademark flair for long, sweeping camera angles being used in abundance. Thankfully he lets the stunning locations speak for themselves throughout the majority of the film, not tampering with them despite that becoming a norm recently.
These scenery shots are juxtaposed with the damp, dirty conditions the soldiers must deal with frequently, with sunset-flooded vistas giving way to crumbling buildings and claustrophobic rooms.
However, the very nature of the movie, following Cooper’s character on his various Tours, does get repetitive at times and there are certain moments that feel like you’re watching someone playing a video game like Resident Evil or Call of Duty as one minor set piece leads to a larger one – though the tense final act makes up for this somewhat.
American Sniper also makes you increasingly aware of the human cost that comes with conflict. This is a bleak film, make no mistake and it’s especially harrowing seeing how Taya (Sienna Miller) copes with being away from her husband for long periods of time, especially with the job of raising a family.
Despite a running time of over two hours, Sniper never feels long, a testament to the snappy pacing and wonderful performances Sienna+Miller+Sienna+Miller+Films+American+dQWprK3Evu6lthroughout, and despite a lack of backstory for some of the other characters, Eastwood delves into the lifestyle of Chris and his wife beautifully.
Overall, Eastwood has another memorable film to add to his CV, and whilst it would be insulting to call it ‘fun’, American Sniper is enjoyable to watch in a whole different way. Bradley Cooper and Sienna Miller are both excellent and when the whole cinema leaves the screen in complete silence, you know that the message has got across.
https://moviemetropolis.net/2015/01/23/incredibly-harrowing-american-sniper-review/
Here, Eastwood directs Bradley Cooper and Sienna Miller in his latest offering, American Sniper, but does it stand as one of the better films on his resume?
American Sniper follows the story of Chris Kyle, a decorated marksman in the US military at a time when the war against terror strikes fear into the hearts of practically everyone across the globe.
An Oscar-nominated Bradley Cooper plays the lead role beautifully, in what is the best performance of his career, while Sienna Miller makes a welcome return to the big screen as his loyal wife Taya.
As the film plays out, we see the duo go about their lives – apart and together as they come to terms with raising a family, despite Kyle’s constant deployment to Iraq and the many troubles that brings as he tries to resume normal life.
Eastwood really hits hard with the imagery, never glamorising the war on terror or conflict itself and this is perhaps the strongest part of the picture. Many films in the genre almost feel like military propaganda, but here, the brutality is raw in the emotions of the lead characters and squalid locations.
The surroundings themselves are beautifully shot with Eastwood’s trademark flair for long, sweeping camera angles being used in abundance. Thankfully he lets the stunning locations speak for themselves throughout the majority of the film, not tampering with them despite that becoming a norm recently.
These scenery shots are juxtaposed with the damp, dirty conditions the soldiers must deal with frequently, with sunset-flooded vistas giving way to crumbling buildings and claustrophobic rooms.
However, the very nature of the movie, following Cooper’s character on his various Tours, does get repetitive at times and there are certain moments that feel like you’re watching someone playing a video game like Resident Evil or Call of Duty as one minor set piece leads to a larger one – though the tense final act makes up for this somewhat.
American Sniper also makes you increasingly aware of the human cost that comes with conflict. This is a bleak film, make no mistake and it’s especially harrowing seeing how Taya (Sienna Miller) copes with being away from her husband for long periods of time, especially with the job of raising a family.
Despite a running time of over two hours, Sniper never feels long, a testament to the snappy pacing and wonderful performances Sienna+Miller+Sienna+Miller+Films+American+dQWprK3Evu6lthroughout, and despite a lack of backstory for some of the other characters, Eastwood delves into the lifestyle of Chris and his wife beautifully.
Overall, Eastwood has another memorable film to add to his CV, and whilst it would be insulting to call it ‘fun’, American Sniper is enjoyable to watch in a whole different way. Bradley Cooper and Sienna Miller are both excellent and when the whole cinema leaves the screen in complete silence, you know that the message has got across.
https://moviemetropolis.net/2015/01/23/incredibly-harrowing-american-sniper-review/
Movie Metropolis (309 KP) rated Kong: Skull Island (2017) in Movies
Jun 10, 2019
Beauty and the Beast
The fact that Legendary Pictures are busying themselves with an epic Godzilla vs King Kong showdown is one of the worst kept secrets in Hollywood. Naturally, this presented a problem for Peter Jackson’s Kong who simply doesn’t measure up against the giant lizard in 2013’s Godzilla.
And in Hollywood, size really does matter; therefore the monstrous ape has been given a monumental upgrade featuring an all-star cast and some serious talent behind the camera. But is Kong: Skull Island as bananas as its trailers would suggest? Or are we looking at something a little more mainstream?
At the climax of the Vietnam War, a team of explorers and mercenaries head to an unchartered island in the South Pacific in an effort to document its inhabitants. Little do they know they are crossing into the domain of vicious man-eating monsters and the legendary Kong.
With a cast that includes Tom Hiddleston, Brie Larson, John Goodman, Samuel L Jackson and John C Reilly, you’d be forgiven for thinking everything is hunky dory over on Skull Island, but this spectacular film isn’t without its flaws. A lack of character development and a severe tonal imbalance mean it’s a beautiful near miss that thankfully manages to pull itself up from a crash landing.
Jordan Vogt-Roberts in his first big budget feature directs a film that is absolutely staggering to watch, with stunning cinematography and exceptionally well-choreographed battles between the gigantic ape and his many adversaries. Giving indie directors the chance to work with big studios to produce blockbusters is something that seems incredibly popular at the moment.
After all, Gareth Edwards took up the challenge of rebooting Godzilla in 2013 with stunning results and Colin Trevorrow was entrusted by Steven Spielberg to rekindle the public’s love affair with Jurassic Park back in 2015 and that worked a treat too.
Here, Vogt-Roberts utilises both of those franchises to great effect, even managing to shoehorn a tasteful reference to Samuel L Jackson’s Jurassic Park character, Ray Arnold. Elsewhere, though, the film falls a little flat. The constant switch in tone from comedy to action leaves a sour taste in the mouth, though John C Reilly’s stranded pilot is a pleasure to watch and lightens up proceedings.
Tom Hiddleston does well in the leading role, though as an SAS operative, he feels a little miscast and Samuel L Jackson’s Preston Packard is immensely dislikeable and his gripe with Kong is forced. It creates a subplot that doesn’t really need to be there.
The special effects, however, are top notch, helped by the splendid cinematography. The gorgeous sunsets and sweeping tropical landscapes have a whiff of Apocalypse Now and the misty terrain brings back memories of Jurassic Park’s first sequel, The Lost World.
Overall, Kong: Skull Island is a stunning film filled to the brim with colour, charming effects and great performances. However, it is a little light on character development and that tone issue is frustrating at times, but as a precursor to a mighty monster battle, it does a fine job in continuing the franchise and setting its future.
Leaving the cinema, though, I was left with a concern for when the two behemoths, Godzilla and Kong, finally meet. Each film has given their respective creature a ‘personality’, and if one of them must inevitably die, who on earth do you choose to perish?
https://moviemetropolis.net/2017/03/10/beauty-and-the-beast-kong-skull-island-review/
And in Hollywood, size really does matter; therefore the monstrous ape has been given a monumental upgrade featuring an all-star cast and some serious talent behind the camera. But is Kong: Skull Island as bananas as its trailers would suggest? Or are we looking at something a little more mainstream?
At the climax of the Vietnam War, a team of explorers and mercenaries head to an unchartered island in the South Pacific in an effort to document its inhabitants. Little do they know they are crossing into the domain of vicious man-eating monsters and the legendary Kong.
With a cast that includes Tom Hiddleston, Brie Larson, John Goodman, Samuel L Jackson and John C Reilly, you’d be forgiven for thinking everything is hunky dory over on Skull Island, but this spectacular film isn’t without its flaws. A lack of character development and a severe tonal imbalance mean it’s a beautiful near miss that thankfully manages to pull itself up from a crash landing.
Jordan Vogt-Roberts in his first big budget feature directs a film that is absolutely staggering to watch, with stunning cinematography and exceptionally well-choreographed battles between the gigantic ape and his many adversaries. Giving indie directors the chance to work with big studios to produce blockbusters is something that seems incredibly popular at the moment.
After all, Gareth Edwards took up the challenge of rebooting Godzilla in 2013 with stunning results and Colin Trevorrow was entrusted by Steven Spielberg to rekindle the public’s love affair with Jurassic Park back in 2015 and that worked a treat too.
Here, Vogt-Roberts utilises both of those franchises to great effect, even managing to shoehorn a tasteful reference to Samuel L Jackson’s Jurassic Park character, Ray Arnold. Elsewhere, though, the film falls a little flat. The constant switch in tone from comedy to action leaves a sour taste in the mouth, though John C Reilly’s stranded pilot is a pleasure to watch and lightens up proceedings.
Tom Hiddleston does well in the leading role, though as an SAS operative, he feels a little miscast and Samuel L Jackson’s Preston Packard is immensely dislikeable and his gripe with Kong is forced. It creates a subplot that doesn’t really need to be there.
The special effects, however, are top notch, helped by the splendid cinematography. The gorgeous sunsets and sweeping tropical landscapes have a whiff of Apocalypse Now and the misty terrain brings back memories of Jurassic Park’s first sequel, The Lost World.
Overall, Kong: Skull Island is a stunning film filled to the brim with colour, charming effects and great performances. However, it is a little light on character development and that tone issue is frustrating at times, but as a precursor to a mighty monster battle, it does a fine job in continuing the franchise and setting its future.
Leaving the cinema, though, I was left with a concern for when the two behemoths, Godzilla and Kong, finally meet. Each film has given their respective creature a ‘personality’, and if one of them must inevitably die, who on earth do you choose to perish?
https://moviemetropolis.net/2017/03/10/beauty-and-the-beast-kong-skull-island-review/
Movie Metropolis (309 KP) rated Allegiant (2016) in Movies
Jun 11, 2019
A+ for effort
I think it’s probably fair to say that the Young Adult genre has become oversaturated due to the phenomenal success of The Hunger Games. Since coming to a slightly underwhelming conclusion last year, many new franchises have its crown firmly in their sights.
The Maze Runner was a muddled first outing with the second, Scorch Trials faring much better and the same can be said for the Divergent series. The first film was at times, an incomprehensible mess, while its follow-up, Insurgent was a thrilling if CGI-heavy and overlong affair.
Allegiant marks the first of two films ending the moderately successful series, with Ascendant being released in June next year. But does this split conclusion harm it as much as it did for Mockingjay?
Allegiant picks up immediately after the end of its predecessor with Tris Prior (Shailene Woodley), her lover Four (Theo James) and a group of friends leaving their once safe-haven of a post-apocalyptic Chicago in order to find a world beyond the wall, populated by others once thought forgotten. What ensues will change their lives forever.
The cast is on form in this instalment with Woodley growing into the role perfectly. It’s true that she’s no Jennifer Lawrence, and many would see her as a budget Katniss Everdeen, but she plays the character with a confidence only matched by her rival in the genre. Theo James gets a much larger role here too, and this is welcome, given his pivotal part in the novels.
Elsewhere, Naomi Watts does her best Julianne Moore impression and clearly watched the latter’s performance in Mockingjay to prepare for an incredibly similar role. Jeff Daniels is a nice addition as the Bureau of Genetic Welfare’s leader, David, though again, his acting prowess feels a little wasted.
Robert Schwentke directs the film with a unique colour palate and visual flair. Scenes “beyond the wall” are stunning and glisten with a red lick of paint, a welcome change from the staid, grey and blue many directors continue to use in blockbusters. It’s very Total Recall-esque in these sequences and better for it.
Unfortunately, once the plucky group of teens leave the Martian-like “Fringe” behind, the CGI kicks up a gear. This is where things start to unravel somewhat and Schwentke throws effect upon effect at the screen until there is hardly any realism left. On the whole, they’re pretty decent, but there are a few lapses that stop the film dead in its tracks, especially towards the cliff-hanger conclusion.
It’s also far too long. Much like Mockingjay, splitting the final book was an exercise in cash-grabbing rather than giving fans of the novels what they want. At over two hours in length, Allegiant drags in places and means the final film, as a whole, will be around four hours.
Nevertheless, there is much to enjoy here. The story for newcomers is incomprehensible and some of the dialogue is downright laughable, but for those of us continuing the saga, it’s an epic adventure with some cracking visuals, good acting and an intriguing plot – despite a few convoluted moments.
Overall, Allegiant is a film hampered by its timing. The similarities to The Hunger Games are obvious throughout, from exactly the same dialogue in certain scenes, to similar sets and similar casting decisions. But, if you can forget all that, it’s a fun, if overlong ride
https://moviemetropolis.net/2016/03/13/a-for-effort-divergent-allegiant-review/
The Maze Runner was a muddled first outing with the second, Scorch Trials faring much better and the same can be said for the Divergent series. The first film was at times, an incomprehensible mess, while its follow-up, Insurgent was a thrilling if CGI-heavy and overlong affair.
Allegiant marks the first of two films ending the moderately successful series, with Ascendant being released in June next year. But does this split conclusion harm it as much as it did for Mockingjay?
Allegiant picks up immediately after the end of its predecessor with Tris Prior (Shailene Woodley), her lover Four (Theo James) and a group of friends leaving their once safe-haven of a post-apocalyptic Chicago in order to find a world beyond the wall, populated by others once thought forgotten. What ensues will change their lives forever.
The cast is on form in this instalment with Woodley growing into the role perfectly. It’s true that she’s no Jennifer Lawrence, and many would see her as a budget Katniss Everdeen, but she plays the character with a confidence only matched by her rival in the genre. Theo James gets a much larger role here too, and this is welcome, given his pivotal part in the novels.
Elsewhere, Naomi Watts does her best Julianne Moore impression and clearly watched the latter’s performance in Mockingjay to prepare for an incredibly similar role. Jeff Daniels is a nice addition as the Bureau of Genetic Welfare’s leader, David, though again, his acting prowess feels a little wasted.
Robert Schwentke directs the film with a unique colour palate and visual flair. Scenes “beyond the wall” are stunning and glisten with a red lick of paint, a welcome change from the staid, grey and blue many directors continue to use in blockbusters. It’s very Total Recall-esque in these sequences and better for it.
Unfortunately, once the plucky group of teens leave the Martian-like “Fringe” behind, the CGI kicks up a gear. This is where things start to unravel somewhat and Schwentke throws effect upon effect at the screen until there is hardly any realism left. On the whole, they’re pretty decent, but there are a few lapses that stop the film dead in its tracks, especially towards the cliff-hanger conclusion.
It’s also far too long. Much like Mockingjay, splitting the final book was an exercise in cash-grabbing rather than giving fans of the novels what they want. At over two hours in length, Allegiant drags in places and means the final film, as a whole, will be around four hours.
Nevertheless, there is much to enjoy here. The story for newcomers is incomprehensible and some of the dialogue is downright laughable, but for those of us continuing the saga, it’s an epic adventure with some cracking visuals, good acting and an intriguing plot – despite a few convoluted moments.
Overall, Allegiant is a film hampered by its timing. The similarities to The Hunger Games are obvious throughout, from exactly the same dialogue in certain scenes, to similar sets and similar casting decisions. But, if you can forget all that, it’s a fun, if overlong ride
https://moviemetropolis.net/2016/03/13/a-for-effort-divergent-allegiant-review/
Movie Metropolis (309 KP) rated Cinderella (2015) in Movies
Jun 11, 2019
Sickly Sweet
Taking a look through Disney’s back catalogue of animation is like a lesson in film history. From Snow White to Bambi and The Lion King to The Princess & the Frog, there’s something in there for everyone to enjoy.
However, the studio has in recent times, taken to reimagining its classics as live-action adaptations with last year’s Maleficent starting a generation that will include Beauty & the Beast and a Tim Burton directed Dumbo. The latest offering is Cinderella, but does it hold a candle to its animated counterpart?
The plot of Cinderella needs no introduction, the classic tale of rags to riches and love conquering all doesn’t need an update and director Kenneth Branagh (Thor, Jack Ryan: Shadow Recruit) is just the man for the job.
Following the story of young Ella as she comes to terms with the loss of her parents and the arrival of her overbearing step-cinderella_poster_a_psisters and step-mother, Cinderella is a wonderfully acted and beautifully realised film that borders on a little syrupy at times.
Downton Abbey’s Lily James takes on the title role with a brilliant Cate Blanchett giving her all as Ella’s wicked step-mother. Helena Bonham Carter also stars as Ella’s fairy godmother and brings her usual brand of crazy to the character.
What sets this adaptation apart from Angelina Jolie’s Maleficent is its stunning visuals. Where Maleficent was beautiful in its own way and suited the film’s dark tone, here Kenneth Branagh throws every colour on the spectrum at the screen in breath-taking fashion.
The outfits are to die for and the locations are an explosion of bright colours and textures that are juxtaposed exceptionally with the dark, damp quarters our princess is confined to.
Elsewhere, the performances are, on the whole, sublime. James is good in the titular role but the plodding script lets her down. She comes across, as awful as this sounds, a little idiotic and lacks the charming spirit of her animated counterpart. The same can be said for her prince, played by Richard Madden – though this could be down to the story rushing their love somewhat.
By far the standout is Cate Blanchett, who is truly mesmerising as stepmother Lady Tremaine. Her brash and ridiculously over-the-top performance suits the pantomime feel of the production down to the ground. Unfortunately, her evil is heavily restrained by the film’s U certification, even more so when compared alongside the 1950 film.
Nevertheless, the visuals are simply stunning. Everything from the palace to Ella’s iconic ball gown and all of it in between is nearly flawless with only a few lapses in cartoonish CGI letting things down – though this can be forgiven with the film’s pantomime-esque nature.
Overall, this live-action reimagining of the 1950s classic musical does not in any way attempt to better its predecessor. Instead it wishes to sit alongside it as the studio tries to pave the way for a whole new generation of children to fall in love with Disney’s princesses once again.
Only a few lapses in CGI, a plodding script and a sickly sweet tone stop it from being enjoyable for everyone in the family, instead of just the kids.
https://moviemetropolis.net/2015/03/31/sickly-sweet-cinderella-review/
However, the studio has in recent times, taken to reimagining its classics as live-action adaptations with last year’s Maleficent starting a generation that will include Beauty & the Beast and a Tim Burton directed Dumbo. The latest offering is Cinderella, but does it hold a candle to its animated counterpart?
The plot of Cinderella needs no introduction, the classic tale of rags to riches and love conquering all doesn’t need an update and director Kenneth Branagh (Thor, Jack Ryan: Shadow Recruit) is just the man for the job.
Following the story of young Ella as she comes to terms with the loss of her parents and the arrival of her overbearing step-cinderella_poster_a_psisters and step-mother, Cinderella is a wonderfully acted and beautifully realised film that borders on a little syrupy at times.
Downton Abbey’s Lily James takes on the title role with a brilliant Cate Blanchett giving her all as Ella’s wicked step-mother. Helena Bonham Carter also stars as Ella’s fairy godmother and brings her usual brand of crazy to the character.
What sets this adaptation apart from Angelina Jolie’s Maleficent is its stunning visuals. Where Maleficent was beautiful in its own way and suited the film’s dark tone, here Kenneth Branagh throws every colour on the spectrum at the screen in breath-taking fashion.
The outfits are to die for and the locations are an explosion of bright colours and textures that are juxtaposed exceptionally with the dark, damp quarters our princess is confined to.
Elsewhere, the performances are, on the whole, sublime. James is good in the titular role but the plodding script lets her down. She comes across, as awful as this sounds, a little idiotic and lacks the charming spirit of her animated counterpart. The same can be said for her prince, played by Richard Madden – though this could be down to the story rushing their love somewhat.
By far the standout is Cate Blanchett, who is truly mesmerising as stepmother Lady Tremaine. Her brash and ridiculously over-the-top performance suits the pantomime feel of the production down to the ground. Unfortunately, her evil is heavily restrained by the film’s U certification, even more so when compared alongside the 1950 film.
Nevertheless, the visuals are simply stunning. Everything from the palace to Ella’s iconic ball gown and all of it in between is nearly flawless with only a few lapses in cartoonish CGI letting things down – though this can be forgiven with the film’s pantomime-esque nature.
Overall, this live-action reimagining of the 1950s classic musical does not in any way attempt to better its predecessor. Instead it wishes to sit alongside it as the studio tries to pave the way for a whole new generation of children to fall in love with Disney’s princesses once again.
Only a few lapses in CGI, a plodding script and a sickly sweet tone stop it from being enjoyable for everyone in the family, instead of just the kids.
https://moviemetropolis.net/2015/03/31/sickly-sweet-cinderella-review/
Purple Phoenix Games (2266 KP) rated Indigo in Tabletop Games
Jun 12, 2019
Mazes. So simple, yet for some reason, so entertaining. Well, for me at least. Who knew that winding your way through a maze to get from Point A to Point B could be such a hit? Combine traversing through a maze with building your own maze of sorts, and you’ve got Indigo! Does this game deliver on gameplay and enjoyment, or does it leave you running into dead-ends and loops as you try to find your way out?
Indigo is a strategy game of tile placement and route building in which players are attempting to get various gems from the center of the board through their “gateways” on the edges of the board to score points. Players are each building their own pathways, in a maze-like sort of way, to maneuver the gems around the board, through their own gateways, and away from those of their opponents. Each player receives one tile, and on their turn, plays it to the board. Tiles can be placed anywhere on the board, they don’t necessarily need to be placed adjacent to other tiles. If you play a tile to extend an existing route with a gem on it, move the gem as far along that route as possible. After playing a tile, you draw a new tile to be played on your next turn. The game continues until all gems have been claimed, and then points are added! Gems are worth points depending on their color, and the player with the highest score wins!
I think Indigo is such a neat game. It is so simple, yet strategic, and that makes it so much fun for me to play. The board itself becomes a visual maze as tiles are added, and you must be diligent about watching which pathways are open and available to you, while also trying to make sure you keep pathways blocked off towards your opponents. The possibilities are endless with this game in terms of tile placement and strategy, and that keeps me engaged the entire game. I also love the fact that all players only have 1 tile to play at any given time – you’ve got to make your tile work, you don’t have a hand of tiles from which to choose your best option. That ups the strategy factor even more because one misplaced tile could be the difference between gaining a gem or accidentally giving one away!
Another thing I like about Indigo is just that it’s a pretty game to look at! I think it is so cool to see the board fill up as the game progresses, and you get to watch the maze come to life with each turn. What starts as a mostly blank board soon becomes filled with ribbon-like paths that can lead to anywhere! It’s a neat visual effect for me, and that’s something that drew me into this game in the first place.
Is Indigo the best strategy game I’ve ever played? No. But it is a fun one that keeps me on my toes. With so many possibilities for routes, and the board changing with every tile placed, players are constantly engaged and active in the game. Purple Phoenix Games gives Indigo a swirly 13 / 18.
https://purplephoenixgames.wordpress.com/2019/04/09/indigo-review/
Indigo is a strategy game of tile placement and route building in which players are attempting to get various gems from the center of the board through their “gateways” on the edges of the board to score points. Players are each building their own pathways, in a maze-like sort of way, to maneuver the gems around the board, through their own gateways, and away from those of their opponents. Each player receives one tile, and on their turn, plays it to the board. Tiles can be placed anywhere on the board, they don’t necessarily need to be placed adjacent to other tiles. If you play a tile to extend an existing route with a gem on it, move the gem as far along that route as possible. After playing a tile, you draw a new tile to be played on your next turn. The game continues until all gems have been claimed, and then points are added! Gems are worth points depending on their color, and the player with the highest score wins!
I think Indigo is such a neat game. It is so simple, yet strategic, and that makes it so much fun for me to play. The board itself becomes a visual maze as tiles are added, and you must be diligent about watching which pathways are open and available to you, while also trying to make sure you keep pathways blocked off towards your opponents. The possibilities are endless with this game in terms of tile placement and strategy, and that keeps me engaged the entire game. I also love the fact that all players only have 1 tile to play at any given time – you’ve got to make your tile work, you don’t have a hand of tiles from which to choose your best option. That ups the strategy factor even more because one misplaced tile could be the difference between gaining a gem or accidentally giving one away!
Another thing I like about Indigo is just that it’s a pretty game to look at! I think it is so cool to see the board fill up as the game progresses, and you get to watch the maze come to life with each turn. What starts as a mostly blank board soon becomes filled with ribbon-like paths that can lead to anywhere! It’s a neat visual effect for me, and that’s something that drew me into this game in the first place.
Is Indigo the best strategy game I’ve ever played? No. But it is a fun one that keeps me on my toes. With so many possibilities for routes, and the board changing with every tile placed, players are constantly engaged and active in the game. Purple Phoenix Games gives Indigo a swirly 13 / 18.
https://purplephoenixgames.wordpress.com/2019/04/09/indigo-review/
Purple Phoenix Games (2266 KP) rated Tussie Mussie in Tabletop Games
Jun 13, 2019
It is the Victorian Age. Music is getting better. Wardrobes are getting frillier. Friendships are getting… confusing. How do you tell your dear friend that they have upset you but you still very much care for them? By giving them a carefully crafted bouquet of flowers, with each bloom symbolizing a snippet of information you wish to relay. Thus is the story of Tussie-Mussies, the texting of the Victorian Age.
OK, I am not really a flower guy. My wife can attest to that. I like them. I think they are great outside in the landscaping. I just do not have an eye for combining them into intricate, meaningful bunches that really state my feelings. So when we received Tussie-Mussie from Button Shy Games, I was hopeful that I would not need to draw upon my severely-lacking knowledge of beautiful blossoms.
Thankfully, the game we received is a quick filler card game in Button Shy’s Wallet line, and it’s delightful. On your turn you will draw two cards from the deck and decide which you would like to offer to your neighbor face-up and which will be offered face-down (similar to the card assignments in Biblios). Your neighbor will then decide which card they will take, with the other card being returned to you for your collection. All players will offer cards to their neighbors and once the players each have four cards in front of them you may complete any card-driven actions. Once all players have had their chance to complete the printed actions the bouquets will be scored. Add your scores over three rounds of play to determine the winner of Tussie-Mussie.
Components. This is an 18-card micro-game that comes in the typical Button Shy Wallet. The wallet is fine and does what it sets out to do – protect the cards during transport. The cards themselves are of good quality, though I know not whether the quality of cards will be adjusted once the game completes its Kickstarter campaign upgrades through any planned stretch goals. The art is what really makes this game impressive. Beth Sobel knocks it out of the park again with the art here. The colors are vibrant, the flowers look amazing, and the layout is great. I have no complaints on components and art at all.
Is the game good? Yes! I think the game is very solid for what it is. I caution you not to go into this game with strategies devised and tactics you would like to try. This is not that kind of game. Since you never know the types of cards you will be receiving from your neighbors, your best strategy is trying to bluff and manipulate your neighbors into passing you the cards you really want. And isn’t that what the Victorian Age was really about, anyway? When you just cannot put together a winning collection of cards, just laugh it off and appreciate your gorgeous bouquet that you have assembled.
In the end, this game is really good for a quick light filler with amazing art that you will want to keep playing. The components are excellent, the game play is fun and light, and it helps to finish a game night or palette cleanse for the next game. Quite enjoyable! Here here!
OK, I am not really a flower guy. My wife can attest to that. I like them. I think they are great outside in the landscaping. I just do not have an eye for combining them into intricate, meaningful bunches that really state my feelings. So when we received Tussie-Mussie from Button Shy Games, I was hopeful that I would not need to draw upon my severely-lacking knowledge of beautiful blossoms.
Thankfully, the game we received is a quick filler card game in Button Shy’s Wallet line, and it’s delightful. On your turn you will draw two cards from the deck and decide which you would like to offer to your neighbor face-up and which will be offered face-down (similar to the card assignments in Biblios). Your neighbor will then decide which card they will take, with the other card being returned to you for your collection. All players will offer cards to their neighbors and once the players each have four cards in front of them you may complete any card-driven actions. Once all players have had their chance to complete the printed actions the bouquets will be scored. Add your scores over three rounds of play to determine the winner of Tussie-Mussie.
Components. This is an 18-card micro-game that comes in the typical Button Shy Wallet. The wallet is fine and does what it sets out to do – protect the cards during transport. The cards themselves are of good quality, though I know not whether the quality of cards will be adjusted once the game completes its Kickstarter campaign upgrades through any planned stretch goals. The art is what really makes this game impressive. Beth Sobel knocks it out of the park again with the art here. The colors are vibrant, the flowers look amazing, and the layout is great. I have no complaints on components and art at all.
Is the game good? Yes! I think the game is very solid for what it is. I caution you not to go into this game with strategies devised and tactics you would like to try. This is not that kind of game. Since you never know the types of cards you will be receiving from your neighbors, your best strategy is trying to bluff and manipulate your neighbors into passing you the cards you really want. And isn’t that what the Victorian Age was really about, anyway? When you just cannot put together a winning collection of cards, just laugh it off and appreciate your gorgeous bouquet that you have assembled.
In the end, this game is really good for a quick light filler with amazing art that you will want to keep playing. The components are excellent, the game play is fun and light, and it helps to finish a game night or palette cleanse for the next game. Quite enjoyable! Here here!
Joe Julians (221 KP) rated The Disaster Artist (2017) in Movies
Jan 30, 2018
James Franco (1 more)
The tone
Far from a disaster
If you haven't seen The Room, then I urge you to do so at once. It's a bemusing, confusing, unintentionally hilarious 90 odd minutes that fully deserves all the cult screenings and bewildered wonder that it has garnered over the years. It's without question a perfect awful movie. And here with The Disaster Artist, based on the book of the same name, we get to see the story of just went on to get this film made.
To start with, James Franco is perfect as the mysterious and downright bonkers Tommy Wiseau. His voice, his mannerisms, his almost childlike tantrum throwing approach to life, he manages to make an almost unbelievable man fully believable. He's backed up by a cast that commit to the roles, but other than Dave Franco, don't get a huge amount of time in the spotlight. That's not a criticism as such, by design the two central figures in this are Tommy and Greg Sistero- his friend and fellow budding actor.
I suspect if you are a "fan" of The Room, you'll likely get a lot more out of this than if you had little to know knowledge of the film it depicts the making of. It's a blast getting to see certain iconic scenes recreated for this and to hear the origin stories behind key lines- "you're tearing me apart, Lisa" being one such moment that took me by surprise. The original film is a messy nonsensical experience and it's fun to see that almost everyone working on it viewed it as such even when it was being made. Everyone except Tommy that is.
Where things get a little murky for me is with how you are supposed to feel by the time the brilliant end credits roll (there's exact recreations of certain moments played side by side that are great fun.) It seems as though we are meant to be inspired by Tommy and what he has achieved, like in the end this is supposed to be a feel-good movie about never giving up on your dreams. That's all well and good, but Tommy Wiseau doesn't come across particularly well in this. He's a temper tantrum throwing and at times scary man to be around. One scene in particular during the shooting of the 'belly button sex scene' portrays him as a pretty horrible man, one that gets his way by being somewhat of a bully. This isn't addressed again fully and it's hard to feel like cheering him on by the time the big premiere screening rolls round. There's also his about face when it comes to claiming the movie was meant to be a comedy- something nobody believes. On the one hand, it's a smart move to take what he has and run with it, but there's also something sad about him not having something he cared so passionately about be received in the way it was intended. This is something else that is glossed over, but then Wiseau would never speak so candidly to give the writers anything to work with.
Overall this is a great movie and a fascinating watch. Would highly recommend.
To start with, James Franco is perfect as the mysterious and downright bonkers Tommy Wiseau. His voice, his mannerisms, his almost childlike tantrum throwing approach to life, he manages to make an almost unbelievable man fully believable. He's backed up by a cast that commit to the roles, but other than Dave Franco, don't get a huge amount of time in the spotlight. That's not a criticism as such, by design the two central figures in this are Tommy and Greg Sistero- his friend and fellow budding actor.
I suspect if you are a "fan" of The Room, you'll likely get a lot more out of this than if you had little to know knowledge of the film it depicts the making of. It's a blast getting to see certain iconic scenes recreated for this and to hear the origin stories behind key lines- "you're tearing me apart, Lisa" being one such moment that took me by surprise. The original film is a messy nonsensical experience and it's fun to see that almost everyone working on it viewed it as such even when it was being made. Everyone except Tommy that is.
Where things get a little murky for me is with how you are supposed to feel by the time the brilliant end credits roll (there's exact recreations of certain moments played side by side that are great fun.) It seems as though we are meant to be inspired by Tommy and what he has achieved, like in the end this is supposed to be a feel-good movie about never giving up on your dreams. That's all well and good, but Tommy Wiseau doesn't come across particularly well in this. He's a temper tantrum throwing and at times scary man to be around. One scene in particular during the shooting of the 'belly button sex scene' portrays him as a pretty horrible man, one that gets his way by being somewhat of a bully. This isn't addressed again fully and it's hard to feel like cheering him on by the time the big premiere screening rolls round. There's also his about face when it comes to claiming the movie was meant to be a comedy- something nobody believes. On the one hand, it's a smart move to take what he has and run with it, but there's also something sad about him not having something he cared so passionately about be received in the way it was intended. This is something else that is glossed over, but then Wiseau would never speak so candidly to give the writers anything to work with.
Overall this is a great movie and a fascinating watch. Would highly recommend.
Kristy H (1252 KP) rated Thaw (Seasons of Love, #2) in Books
Feb 13, 2018
Abby is an introverted librarian happily living a regular life in Brooklyn. But things change when she attends a charity gala with a friend and meets Gabrielle, a famous actress and model. The two connect on the dance floor, and Abby is immediately taken by this lovely woman known in modeling circles as the Ice Queen. And while she can see how Gabrielle has earned this nickname, she also senses a softer side to her. Gabrielle asks Abby on a date, and the two begin to get to know each other, discovering they have a lot of similar interests. But even though Gabrielle seems to let her guard down around Abby, she also has problems opening up about her past. Meanwhile, while Abby finds Gabrielle fascinating, she's worried what will happen to their relationship when she admits she's asexual. She's also dealing with issues in her own personal life related to her library position. Can these two women overcome a variety of obstacles to find love?
This novel definitely follows the trope of a regular gal falling for the rich, remote, often angry lesbian: you have to surrender yourself to that and you'll enjoy the book more (much like watching a romantic comedy). There is a little too much focus at times on the fact that Gabrielle runs hot and cold, and her personal dynamics can be slightly weird at points. Still, even while occasionally annoyed, I found myself intrigued and interested at her reticence and wondering at its cause.
However, the real star of this show isn't Gabrielle, but Abby. Abby is just a real sweetheart. She's truly the force of the book. I personally identified with her and adored her love of books, avoidance of makeup, and general introverted self. She was a well-written character, and I found myself wanting to protect her. The fact she's asexual is interesting, and it really cast a light on a sexual orientation that I knew very little about. It was a good learning experience, honestly.
Much like said romantic comedies I mentioned earlier, a lot of this plot is predictable, but the book was written well-enough that I didn't mind: it's what I had signed up for, after all, and I was happy to be along for the ride. I still was really excited for the outcome and read the entire thing in about 24 hours. Besides, the novel has a hidden depth to it, giving us an interesting commentary on society's expectations about sex and relationships. Plus, Springer inserts some hidden inside jokes about books, literary series, and such. A lot of the novel just made me smile, between Abby, the asides, and the overall resolution. It was surprising and for the most part, very enjoyable. Probably a 3.75 stars, but bumped up to 4 stars due to the way it made me feel. I will definitely seek out the other novels in Springer's Season of Love series (this was actually #2, but it seemed to stand-alone just fine).
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review; it is available everywhere as of 04/24/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a></center>;
This novel definitely follows the trope of a regular gal falling for the rich, remote, often angry lesbian: you have to surrender yourself to that and you'll enjoy the book more (much like watching a romantic comedy). There is a little too much focus at times on the fact that Gabrielle runs hot and cold, and her personal dynamics can be slightly weird at points. Still, even while occasionally annoyed, I found myself intrigued and interested at her reticence and wondering at its cause.
However, the real star of this show isn't Gabrielle, but Abby. Abby is just a real sweetheart. She's truly the force of the book. I personally identified with her and adored her love of books, avoidance of makeup, and general introverted self. She was a well-written character, and I found myself wanting to protect her. The fact she's asexual is interesting, and it really cast a light on a sexual orientation that I knew very little about. It was a good learning experience, honestly.
Much like said romantic comedies I mentioned earlier, a lot of this plot is predictable, but the book was written well-enough that I didn't mind: it's what I had signed up for, after all, and I was happy to be along for the ride. I still was really excited for the outcome and read the entire thing in about 24 hours. Besides, the novel has a hidden depth to it, giving us an interesting commentary on society's expectations about sex and relationships. Plus, Springer inserts some hidden inside jokes about books, literary series, and such. A lot of the novel just made me smile, between Abby, the asides, and the overall resolution. It was surprising and for the most part, very enjoyable. Probably a 3.75 stars, but bumped up to 4 stars due to the way it made me feel. I will definitely seek out the other novels in Springer's Season of Love series (this was actually #2, but it seemed to stand-alone just fine).
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review; it is available everywhere as of 04/24/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a></center>;