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Chris Sawin (602 KP) rated Gozu (2003) in Movies
Jun 21, 2019
Minami is stuck in a rather peculiar situation. Both him and his closest friend, Ozaki, are members of the Azamawari Crew. Their boss orders Minami to take Ozaki out of the picture. Rumors are swirling about how crazy Ozaki has become, as of late. He claimed a chihuahua was a "yakuza attack dog" and that a random car that happened to be behind them at the time was a "yakuza attack car." When Minami accidentally kills Ozaki before they reach the actual destination for Ozaki's "dismissal," he thinks that things can't get any worse. That is until he reaches the inn where everyone seems to be acting unusual and Ozaki's body disappears.
Now on a quest to find where Ozaki has gone, Minami must deal with the bizarre individuals along the way like the innkeeper who shares her breast milk secrets, the white faced man who seems a little to eager to help him on his quest, and then there's that cow-headed creature that shows up in his room late one night. Minami soon realizes that his quest for his lost friend will not only be a long one, but a perplexing one as well.
Let's just say that if you're familiar with Takashi Miike's previous work like Ichi the Killer, Audition, and the banned from TV Masters of Horror episode, "Imprint," that Gozu fits in quite well with Miike's reputation. Gozu reels you in with the opening scene and then seems to snowball as the film goes on. It seems to dawdle through its duration as its weird individuals and events begin to pile up. A particular scene from The Shining ran through my mind throughout the film. The bear costume fellatio sequence. The Shining is known for being bizarre and unsettling and that is a perfect description of Gozu from the opening minutes of the film until the credits roll.
This is also the second film of Miike's involving breast milk that I've had the pleasure of seeing. He must associate that with weirdness or something, which it is. It's not necessarily something that sounds appealing, but once it starts happening it winds up being too horrifying and too unusual to turn away from. Seeing how far Miike is willing to push ideas in his films is one of the reasons people find his films enjoyable. That and originality. Despite the strangeness found in his films, finding something similar to his work is practically impossible. Originality is something that should be cherished when it's found in someone's work, but maybe that's just a personal opinion.
It's hard to label Gozu as a specific genre as it has elements from just about every genre that comes to mind. A dramatic horror with a little bit of mystery thrown in for good measure is the best I can do. The film is definitely a unique trip that definitely isn't for everyone. The most bizarre ideas roaming around in your brain right now probably don't compare to the last twenty or so minutes of Gozu. The events that unfold during that time are pretty jaw dropping. So if you're a Miike fan or are looking for something incredibly different (I'm talking way out there), then this comes highly recommended. There is no way that everyone who views this film will enjoy it, but the ending is incredibly memorable if the viewer can make it that far.
Now on a quest to find where Ozaki has gone, Minami must deal with the bizarre individuals along the way like the innkeeper who shares her breast milk secrets, the white faced man who seems a little to eager to help him on his quest, and then there's that cow-headed creature that shows up in his room late one night. Minami soon realizes that his quest for his lost friend will not only be a long one, but a perplexing one as well.
Let's just say that if you're familiar with Takashi Miike's previous work like Ichi the Killer, Audition, and the banned from TV Masters of Horror episode, "Imprint," that Gozu fits in quite well with Miike's reputation. Gozu reels you in with the opening scene and then seems to snowball as the film goes on. It seems to dawdle through its duration as its weird individuals and events begin to pile up. A particular scene from The Shining ran through my mind throughout the film. The bear costume fellatio sequence. The Shining is known for being bizarre and unsettling and that is a perfect description of Gozu from the opening minutes of the film until the credits roll.
This is also the second film of Miike's involving breast milk that I've had the pleasure of seeing. He must associate that with weirdness or something, which it is. It's not necessarily something that sounds appealing, but once it starts happening it winds up being too horrifying and too unusual to turn away from. Seeing how far Miike is willing to push ideas in his films is one of the reasons people find his films enjoyable. That and originality. Despite the strangeness found in his films, finding something similar to his work is practically impossible. Originality is something that should be cherished when it's found in someone's work, but maybe that's just a personal opinion.
It's hard to label Gozu as a specific genre as it has elements from just about every genre that comes to mind. A dramatic horror with a little bit of mystery thrown in for good measure is the best I can do. The film is definitely a unique trip that definitely isn't for everyone. The most bizarre ideas roaming around in your brain right now probably don't compare to the last twenty or so minutes of Gozu. The events that unfold during that time are pretty jaw dropping. So if you're a Miike fan or are looking for something incredibly different (I'm talking way out there), then this comes highly recommended. There is no way that everyone who views this film will enjoy it, but the ending is incredibly memorable if the viewer can make it that far.
Neon's Nerd Nexus (360 KP) rated The Immortal (2019) in Movies
Sep 9, 2020
You can't stop what's coming.
l'immortale is a good companion piece to possibly the greatest TV show of all time gomorra & while it does shed a bit more light on what sort of the life one of its best characters had at a younger age and where he is now i can't help but feel it's tainted one of the best twists the show has to offer overall. (WARNING: spoilers for gomorrah ahead but if your watching this anyway before you have seen the show I'd strongly advise not to). After surviving the incident on the boat at the end of season 3 Ciro begins a new life in Latvia caught working between Russian clans in Latvia. Long gone now are the days of him being a top dog & while he still has a certain celebrity status among people here he is undoubtedly someone else's bitch. He's a man that has absolutely nothing left to loose now & it's finally stating to take a toll on him mentally and physically. Marco D'Amore again is fantastic here & this time plays a more subjude Ciro. As a character he lacks confidence now & walks around with less pride & cockynes, he's not as sure of himself & personality wise he's alot quieter & socially distantanced. He also spends a lot of time thinking in silence, just remenising & taking in the scenery almost like life itself bores him now & he is just waiting for the day to come where someone puts him down. Marco D'Amore plays this character perfectly as always & as a viewer its great to see the mighty Ciro from a different light & helps us to feel his pain connecting with him in an alternative way to which we usually do. Marco D'Amore is also the director this time too & as a first film it's a really great effort but also at the same time he seems to really struggle finding an identity of his own & here lies my biggest problem with the movie. Far to often it feels like he's trying to just replicate Gomorra instead of taking the regins & putting his own spin on things (a bit like what ryan gosling did with the lost river trying to initiate nwr). Don't get me wrong is very similar to Gommora but it's not as griping, powerful, raw, gritty, impactful & full of tension like the show is & thus most of the scenes that use the same format either feel a bit hollow or off in some way. I did really enjoy the flash back scenes & seeing Ciro's upbringing & other tragidies that happen back then certainly do a great job of explaining why he's generally such a cold hearted desensitised person. What I can't understand is the main plot & that's mainly because the characters life had a fitting conclusion at the end of Gomorra season 3 so bringing him back now randomly for a movie just makes a very realistically grounded show seem a bit far fetched because while he maybe nicknamed the immortal after all he's still only human. All in all if it had just been a prequel film I think I'd of enjoyed it a lot more however if your a fan of the show & it's characters I would recommend seeing this as it definitely fills the time while waiting for season 5 & it absolutely proves Marco D'Amore shows promise as a director too.
graveyardgremlin (7194 KP) rated The Christmas Killer in Books
Feb 15, 2019
The Christmas Killer (aka The Dream Killer) was a Point Horror book I missed out reading when I was younger, so decided to pick it up to enjoy this holiday season (yes, I am sick). Rosecleer Potter is a normal, everyday fifteen-year-old girl who has a twin brother, Jerram, and loves to dance. She also just happens to have developed the ability to talk, through dreams, to the recently departed, which starts when an acquaintance disappears and whose body turns up murdered in the woods. Now, as the body count rises, Rose has to figure out how to use her power before the killer gets to her.
The first paragraph almost caused me to rethink my expectations of enjoyment I'd get from the book. The sentences were short and choppy, and if the whole book had been written this way, I don't think I'd have managed to get through it. Fortunately for me, it didn't turn out that way at all. Although there were more short, fragmented sentences, they were few and far between and seemed more of a style choice than anything else.
Rose was a good choice as a lead and had both positive and negative attributes to her personality. She was generally nice but could have moments of cattiness or where her temper got the best of her, which made her more believable. I can't say any of the characters are over-developed, but they are described enough to get a rough sketch of who they are as a person, and there are moments of truth in many of their actions, e.g. the mother's freaking out, the father's clamming up, and the brother's withdrawal and secretiveness. The atmosphere is done extremely well. Even though I don't remember many actual descriptions, I got the feeling of a small town, its claustrophobia, and sense of impending doom all the same.
I have to admit this book surprised me. I went in expecting more of the slasher-type YA horrors I read as a youngster, and was handed a more mature, psychological suspense horror read instead. The plot flows well and has enough clues and red herrings to keep most readers interested. As someone who has read a lot of mysteries, I did figure it out, but it could have gone many ways and still have been satisfying. The ending is the only weak point as it was a bit abrupt and maybe too open-ended, but that's a minor niggle and didn't affect my enjoyment much. As far as I've been able to tell, there is no sequel, which might be for the best. The Christmas Killer was a quick and easy chiller that kept me entertained throughout and I'd recommend it for those who like creepy teen reads.
Originally Reviewed: December 29, 2012
Received: Library
The first paragraph almost caused me to rethink my expectations of enjoyment I'd get from the book. The sentences were short and choppy, and if the whole book had been written this way, I don't think I'd have managed to get through it. Fortunately for me, it didn't turn out that way at all. Although there were more short, fragmented sentences, they were few and far between and seemed more of a style choice than anything else.
Rose was a good choice as a lead and had both positive and negative attributes to her personality. She was generally nice but could have moments of cattiness or where her temper got the best of her, which made her more believable. I can't say any of the characters are over-developed, but they are described enough to get a rough sketch of who they are as a person, and there are moments of truth in many of their actions, e.g. the mother's freaking out, the father's clamming up, and the brother's withdrawal and secretiveness. The atmosphere is done extremely well. Even though I don't remember many actual descriptions, I got the feeling of a small town, its claustrophobia, and sense of impending doom all the same.
I have to admit this book surprised me. I went in expecting more of the slasher-type YA horrors I read as a youngster, and was handed a more mature, psychological suspense horror read instead. The plot flows well and has enough clues and red herrings to keep most readers interested. As someone who has read a lot of mysteries, I did figure it out, but it could have gone many ways and still have been satisfying. The ending is the only weak point as it was a bit abrupt and maybe too open-ended, but that's a minor niggle and didn't affect my enjoyment much. As far as I've been able to tell, there is no sequel, which might be for the best. The Christmas Killer was a quick and easy chiller that kept me entertained throughout and I'd recommend it for those who like creepy teen reads.
Originally Reviewed: December 29, 2012
Received: Library
Acanthea Grimscythe (300 KP) rated Nail's Crossing (Bill Maytubby & Hannah Bond Mystery #1) in Books
May 16, 2018
As seen on <a href="http://theghastlygrimoire.com/"; target="_new">The Ghastly Grimoire</a>
Nail’s Crossing is a fast-paced police procedural from debut author Kris Lackey. Set in Southeastern Oklahoma, the novel dips into Arkansas (my stomping grounds) and Louisiana. Some scenes take place in Oklahoma City, in neighborhoods I know well and the locales depicted in this book are precisely why when I received an email regarding it, I absolutely had to read it.
This book is in the first in a series centered around Bill Maytubby, a reservation police officer, and Hannah Bond, a sturdy, no-bullshit female officers from the county. In these two and the many side characters, Lackey proves adept at making his cast realistic and relateable – which is something I find wanting in other books far too often.
The plot of Nail’s Crossing deals with the aftermath of a young woman’s murder and a varied group of individuals that are responsible for her death. By focusing on the apprehension of the criminals, rather than the psychology behind why they killed the woman make this title a refreshing read, especially after all the books I’ve read lately that try and compare themselves to Gone Girl.
I’ve been in a bit of a slump recently, so the fact I devoured Lackey’s book in only a couple sittings speaks volumes to his ability to maintain a constant flow of action. Unlike many books I’ve read where the author refers to stereotypes to depict certain demographics, Lackey’s portrayal of poverty-stricken southerners is accurate. Considering I live in one of Arkansas’s poorest counties, this meant a lot to me. Lackey has given those without voices one within the pages of his novel that, if you’re looking for it, remind readers that we’re our own culture as well (and not by clinging to Confederate rhetoric like the ones of today seem to).
I look forward to more books in this series, that’s for sure. I’d like to thank Blackstone Audiobooks for providing me with a free copy of this book at no charge in exchange for an honest and unbiased review.
Nail’s Crossing is a fast-paced police procedural from debut author Kris Lackey. Set in Southeastern Oklahoma, the novel dips into Arkansas (my stomping grounds) and Louisiana. Some scenes take place in Oklahoma City, in neighborhoods I know well and the locales depicted in this book are precisely why when I received an email regarding it, I absolutely had to read it.
This book is in the first in a series centered around Bill Maytubby, a reservation police officer, and Hannah Bond, a sturdy, no-bullshit female officers from the county. In these two and the many side characters, Lackey proves adept at making his cast realistic and relateable – which is something I find wanting in other books far too often.
The plot of Nail’s Crossing deals with the aftermath of a young woman’s murder and a varied group of individuals that are responsible for her death. By focusing on the apprehension of the criminals, rather than the psychology behind why they killed the woman make this title a refreshing read, especially after all the books I’ve read lately that try and compare themselves to Gone Girl.
I’ve been in a bit of a slump recently, so the fact I devoured Lackey’s book in only a couple sittings speaks volumes to his ability to maintain a constant flow of action. Unlike many books I’ve read where the author refers to stereotypes to depict certain demographics, Lackey’s portrayal of poverty-stricken southerners is accurate. Considering I live in one of Arkansas’s poorest counties, this meant a lot to me. Lackey has given those without voices one within the pages of his novel that, if you’re looking for it, remind readers that we’re our own culture as well (and not by clinging to Confederate rhetoric like the ones of today seem to).
I look forward to more books in this series, that’s for sure. I’d like to thank Blackstone Audiobooks for providing me with a free copy of this book at no charge in exchange for an honest and unbiased review.
Joe Julians (221 KP) rated Titanic (1997) in Movies
Jan 30, 2018
A Masterclass of Cinema
At some point between 1997 and, say a few years ago, not liking Titanic became the "cool" thing to do. Despite it's almost overwhelming popularity when it was released, as the years have gone by, fewer will admit their love for this film and some people will actively slate it. Each to their own of course, everyone is entitled to like or dislike anything, but for me, I'll never understand how this can be viewed as anything other than a masterclass of cinema.
This is an epic, grandiose and utterly captivating thing to watch. The cast are perfect- every single one of them. I can't think of a single actor that puts a foot wrong throughout it's admittedly hefty run time. The script is wonderfully and meticulously researched and the set design is incredible. Every detail of the ship was looked at and recreated and whilst there are a few inaccuracies, the Titanic feels real again so many years after the real one went down.
I mentioned the run time and that's often one of the problems that is mentioned when people take issue with Titanic. It is long- perhaps too long. The modern-day sequences that bookend the film could maybe have done with some trimming down, but when I watch this, there's hardly any moment that I could single out as not needing to be there.
In many ways, Titanic is the perfect film. You get the love story dominating the first half, but if you aren't invested in that, the second gives you the sinking and nearly 21 years on, it's still breath taking to watch.
I haven't even mentioned the score yet- it's beautiful. This was James Horner's best work by far, so good in fact that I don't think the film would be anywhere near as memorable were it not for the amazing work he put in here. Celine Dion may be the first name people think of when the music from Titanic is mentioned, but it's certainly Horner that deserves every single bit of credit.
This is an epic, grandiose and utterly captivating thing to watch. The cast are perfect- every single one of them. I can't think of a single actor that puts a foot wrong throughout it's admittedly hefty run time. The script is wonderfully and meticulously researched and the set design is incredible. Every detail of the ship was looked at and recreated and whilst there are a few inaccuracies, the Titanic feels real again so many years after the real one went down.
I mentioned the run time and that's often one of the problems that is mentioned when people take issue with Titanic. It is long- perhaps too long. The modern-day sequences that bookend the film could maybe have done with some trimming down, but when I watch this, there's hardly any moment that I could single out as not needing to be there.
In many ways, Titanic is the perfect film. You get the love story dominating the first half, but if you aren't invested in that, the second gives you the sinking and nearly 21 years on, it's still breath taking to watch.
I haven't even mentioned the score yet- it's beautiful. This was James Horner's best work by far, so good in fact that I don't think the film would be anywhere near as memorable were it not for the amazing work he put in here. Celine Dion may be the first name people think of when the music from Titanic is mentioned, but it's certainly Horner that deserves every single bit of credit.
Ross (3284 KP) rated The Gutter Prayer in Books
Jan 15, 2020
A heist gone wrong
This is a very strange fantasy book. The story starts with a crew of three (a demonic type of person, a human exile girl, and a young man gradually turning to stone) sent to steal an artefact from the Tower of Law. During the heist the building starts to fall down around them and they scatter. There then follows a strange twisting and turning story in a very unique and unusual world. Conspiracies abound as all sides (government, alchemists, thieves, underground creatures) battle for access to artefacts, buildings and, eventually, gods.
The worldbuilding as a whole is superb. This is by far one of the most unusual worlds I have read a story in, with so many different races, creatures and magical things. However, large important parts of this are revealed throughout the book, so things just happen. I wouldn't say they are times of deus ex machina, but definitely some foreshadowing would be nice. This is increasingly annoying over the final third of the book, where new aspects of magic are being made up as we go.
The story is strong, albeit a little convoluted and at times Hanrahan's narrative tone is really nice. However the cast of not altogether distinct characters and names did make me struggle a little, with slightly too many factions or people introduced.
I also found the pace of the book dropped off after the first third, and it took me way longer to finish than it should have as my enjoyment tapered off.
There were a large number of typos throughout the book, more than would even be acceptable for a self-published book, in some cases I think character names were mixed up which meant conversations were harder to follow than they needed to be. Small things like this really hampered my progress through what was, in hindsight, a really good book. I have rated this up a little having had a day or so to calm down from a disappointing end. I have the follow-on book to read soon for Netgalley and will go in to it hoping for better editing and with more of an idea about the world the book takes place in.
The worldbuilding as a whole is superb. This is by far one of the most unusual worlds I have read a story in, with so many different races, creatures and magical things. However, large important parts of this are revealed throughout the book, so things just happen. I wouldn't say they are times of deus ex machina, but definitely some foreshadowing would be nice. This is increasingly annoying over the final third of the book, where new aspects of magic are being made up as we go.
The story is strong, albeit a little convoluted and at times Hanrahan's narrative tone is really nice. However the cast of not altogether distinct characters and names did make me struggle a little, with slightly too many factions or people introduced.
I also found the pace of the book dropped off after the first third, and it took me way longer to finish than it should have as my enjoyment tapered off.
There were a large number of typos throughout the book, more than would even be acceptable for a self-published book, in some cases I think character names were mixed up which meant conversations were harder to follow than they needed to be. Small things like this really hampered my progress through what was, in hindsight, a really good book. I have rated this up a little having had a day or so to calm down from a disappointing end. I have the follow-on book to read soon for Netgalley and will go in to it hoping for better editing and with more of an idea about the world the book takes place in.
Shirley Manson recommended Exodus by Bob Marley and The Wailers in Music (curated)
graveyardgremlin (7194 KP) rated Impostor (Slide, #2) in Books
Feb 15, 2019
<b>Impostor</b> is a step up in the <a href="http://www.goodreads.com/series/72905-slide"; target="_blank">Slide series</a>, but only slightly. I still feel that the writing is, well, a little basic; it gets the job done, but that's about it. The main plot is an interesting idea that entertained, yet wasn't used to its full potential. I expected it to be darker and for there to be more peril involved, what with an "impostor" involved (impostor is a bit of a misnomer, it's not quite the term I'd use), but it never got close to that point. If there had been more grit and danger, the book could have been a killer sequel instead of disappointing. However, on the plus side, the mystery is tighter and better constructed, and I couldn't say for certain that I had figured it out, but I did have an idea (I so smart. Not.). The other plots are fine, somewhat predictable or didn't go as deep as they could have, but they were alright. All the plots are tied up just a little too neatly at the end, not that there isn't enough of the sliding power to be utilized for future books, but everything ends a little too rosy for the circumstances. Oh well.
In [b:Slide|9542582|Slide (Slide, #1)|Jill Hathaway|https://d.gr-assets.com/books/1332450287s/9542582.jpg|14428945] (the first book), I found Vee to be a rather shallow characterization and dim as far as picking up on clues. I'm happy to say that changed in this book. Sure, she said/did stupid things, not because she was dumb, but because people do say and do stupid things, no matter their intelligence. It's a fact (okay, my fact, but it still counts). For most of the book Vee spent a lot of time having a snotty, self-absorbed, "woe is me" attitude, which might annoy some people, but made me believe her as a teenage character. Face it, most teenagers can act like that to some degree or another (I sure know I could be!). I'm not quite sure where the sliding power is going, if I like where it's gone, or if there's even going to be more books in the series, but it is an idea that has many possibilities. I'm just not positive that it'll ever get to them. Overall, a decent book that passes the time, but nothing spectacular that'll blow your mind (maybe, I could just be assuming things again).
Random notes:
This series sure has many awesome <a href="http://www.goodreads.com/work/editions/14428945-slide"; target="_blank">covers</a>.
What is with YA books featuring a female protagonist "borrowing" some of Veronica Mars' back story? This is the second one I've come across. O__o
In [b:Slide|9542582|Slide (Slide, #1)|Jill Hathaway|https://d.gr-assets.com/books/1332450287s/9542582.jpg|14428945] (the first book), I found Vee to be a rather shallow characterization and dim as far as picking up on clues. I'm happy to say that changed in this book. Sure, she said/did stupid things, not because she was dumb, but because people do say and do stupid things, no matter their intelligence. It's a fact (okay, my fact, but it still counts). For most of the book Vee spent a lot of time having a snotty, self-absorbed, "woe is me" attitude, which might annoy some people, but made me believe her as a teenage character. Face it, most teenagers can act like that to some degree or another (I sure know I could be!). I'm not quite sure where the sliding power is going, if I like where it's gone, or if there's even going to be more books in the series, but it is an idea that has many possibilities. I'm just not positive that it'll ever get to them. Overall, a decent book that passes the time, but nothing spectacular that'll blow your mind (maybe, I could just be assuming things again).
Random notes:
This series sure has many awesome <a href="http://www.goodreads.com/work/editions/14428945-slide"; target="_blank">covers</a>.
What is with YA books featuring a female protagonist "borrowing" some of Veronica Mars' back story? This is the second one I've come across. O__o
Bob Mann (459 KP) rated The Shallows (2016) in Movies
Sep 29, 2021
The Deathly Shallows, part 1
Every shark movie is inevitably compared (unfavourably) against Spielberg’s classic 1975 tourist-muncher. And “The Shallows” is no exception. But while not a 5-Fad classic, this flick comes pretty close by being hugely enjoyable and having a lot going for it.
Waxing lyrically. The shapely Blake Liveley.
Waxing lyrically. The shapely Blake Liveley.
Blake Lively (“The Age of Adeline“) plays surfer and trainee doctor Nancy, still grieving the recent death from cancer of her mother and travelling to a remote Mexican surf beach where she has photos of her mother surfing while pregnant with her. While surfing alone, Nancy is attacked a couple of hundred yards from the shore by a Great White and severely injured. She has the choice of refuge of either a low rock or another less palatable floating object. Choosing the rock (at low tide) she is faced with the dilemma of both surviving her injuries and then being rescued before the high tide takes the rock and leaves her to the mercy of the ever circling big-fish.
We're going to need a bigger rock.
We’re going to need a bigger rock.
A big summer blockbuster this is not, with a total cast of eleven (not including a guest appearance of Steven Seagull (as himself)). But the small cast doesn’t make it less gripping, and gripping it most certainly is, with tension building progressively (emphasised periodically by an on-screen clock) with the countdown to high tide.
Blake Lively is an underrated actress and really delivers the goods here. And bearing in mind the problems that Spielberg had with his mechanical shark Bruce (named after Spielberg’s lawyer) the appearance of the shark is limited to where actually needed, with Lively having to fill in the blanks with reaction shots. As your imagination is still far better than any special effects, this is hugely effective for certain sequences.
Pure horror: here Dad had gone down to the video rental and come back with 'Dirty Grandpa'.
Pure horror: her Dad had gone down to the video rental and come back with ‘Dirty Grandpa’.
The film draws similarities to another interesting entry in the “Jaws” genre – “Open Water 2: Adrift” from 2006. In that film there was the same incessant threat of shark attack combined with the audience frustration that safety (in that case, the deck of their yacht, if only they had let a ladder down) being so near. Here the 200 yards to the shore is shoutable to but still 190 yards too far.
The cinematography (by Flavio Martínez Labiano) is also just beautifully done with some stunning surf and underwater shots that not only highlight Ms Lively’s lithely (sic) figure and her Californian surfing skills, but also the beauty of the ‘Mexican coast’ (actually Lord Howe Island in New South Wales, Australia).
“The Shallows” was written by Anthony Jaswinski and directed by Jaume Collet-Serra (the director of “Non-Stop“, aka Taken 3.5). It comes with a truly impressive BvS quotient of just 5.9%!
So with all of this going for it, you would think that my rating is heading towards at least a 4.5. But all films like this require a satisfying denouement, and unfortunately this is where this one comes off the rails. It is just plain silly and, together with an unnecessary and irritating epilogue scene, diminishes what was on track to be one of the best films of the summer. So here’s the “One Mann’s Movies” solution:
Using Final Cut X, Adobe Premier or your favourite video editing suite, cut out the scene from 115:00 to 116:00 from “Jaws”;
Photoshop Blake Lively’s face onto Roy Scheider’s body.
Insert the finished clip into “The Shallows” at about 82 minutes in.
Enjoy a 5-Fad classic!
This limitation aside, it’s still worth your while hunting it out at a cinema near you, since the fantastic cinematography is best suited to a big screen.
Waxing lyrically. The shapely Blake Liveley.
Waxing lyrically. The shapely Blake Liveley.
Blake Lively (“The Age of Adeline“) plays surfer and trainee doctor Nancy, still grieving the recent death from cancer of her mother and travelling to a remote Mexican surf beach where she has photos of her mother surfing while pregnant with her. While surfing alone, Nancy is attacked a couple of hundred yards from the shore by a Great White and severely injured. She has the choice of refuge of either a low rock or another less palatable floating object. Choosing the rock (at low tide) she is faced with the dilemma of both surviving her injuries and then being rescued before the high tide takes the rock and leaves her to the mercy of the ever circling big-fish.
We're going to need a bigger rock.
We’re going to need a bigger rock.
A big summer blockbuster this is not, with a total cast of eleven (not including a guest appearance of Steven Seagull (as himself)). But the small cast doesn’t make it less gripping, and gripping it most certainly is, with tension building progressively (emphasised periodically by an on-screen clock) with the countdown to high tide.
Blake Lively is an underrated actress and really delivers the goods here. And bearing in mind the problems that Spielberg had with his mechanical shark Bruce (named after Spielberg’s lawyer) the appearance of the shark is limited to where actually needed, with Lively having to fill in the blanks with reaction shots. As your imagination is still far better than any special effects, this is hugely effective for certain sequences.
Pure horror: here Dad had gone down to the video rental and come back with 'Dirty Grandpa'.
Pure horror: her Dad had gone down to the video rental and come back with ‘Dirty Grandpa’.
The film draws similarities to another interesting entry in the “Jaws” genre – “Open Water 2: Adrift” from 2006. In that film there was the same incessant threat of shark attack combined with the audience frustration that safety (in that case, the deck of their yacht, if only they had let a ladder down) being so near. Here the 200 yards to the shore is shoutable to but still 190 yards too far.
The cinematography (by Flavio Martínez Labiano) is also just beautifully done with some stunning surf and underwater shots that not only highlight Ms Lively’s lithely (sic) figure and her Californian surfing skills, but also the beauty of the ‘Mexican coast’ (actually Lord Howe Island in New South Wales, Australia).
“The Shallows” was written by Anthony Jaswinski and directed by Jaume Collet-Serra (the director of “Non-Stop“, aka Taken 3.5). It comes with a truly impressive BvS quotient of just 5.9%!
So with all of this going for it, you would think that my rating is heading towards at least a 4.5. But all films like this require a satisfying denouement, and unfortunately this is where this one comes off the rails. It is just plain silly and, together with an unnecessary and irritating epilogue scene, diminishes what was on track to be one of the best films of the summer. So here’s the “One Mann’s Movies” solution:
Using Final Cut X, Adobe Premier or your favourite video editing suite, cut out the scene from 115:00 to 116:00 from “Jaws”;
Photoshop Blake Lively’s face onto Roy Scheider’s body.
Insert the finished clip into “The Shallows” at about 82 minutes in.
Enjoy a 5-Fad classic!
This limitation aside, it’s still worth your while hunting it out at a cinema near you, since the fantastic cinematography is best suited to a big screen.
Sarah (7800 KP) rated The Witches (2020) in Movies
Mar 6, 2021
Not a patch on the original
The Witches is a 2020 retelling of the Roald Dahl children’s story, from director Robert Zemeckis. Remakes and reboots have been commonplace in the movies for quite some time, so it’s no surprise that The Witches has been given a Hollywood makeover, especially as it has been 30 years since the original film adaptation was released in 1990. I will readily admit that the original film is a childhood favourite, so this remake has very big shows to fill.
This time round, the story has been transported to late 1960s Alabama. It follows a unnamed boy (named in the credits as simply ‘Hero Boy’), played by Jahzir Bruno, and his grandma (Octavia Spencer) as they encounter a witch in their home town, prompting her to whisk him away to a seaside resort. Unbeknownst to them, this seaside resort is also where the Grand High Witch (Anne Hathaway) is due to unveil her dastardly plans to transform the world’s children. In his bids to thwart the witches plans, Hero Boy bumps into some familiar names, greedy English boy Bruno Jenkins (Codie-Lei Eastick) and put-upon hotel manager Mr Stringer (Stanley Tucci).
I was very sceptical about this in general, and while I think my scepticism was most definitely warranted, I was at least pleasantly surprised that moving the action from England to 60s America worked. It gives the film a different vibe with a new setting (with some very good costume and set design too), yet still keeping the same base story. However I’m afraid that’s the only good change that they’ve made in this entire remake. The 60s setting works, but the hotel itself lacks the beauty and grandeur of the hotel in the original. Gone are the imposing shots of a beautiful old hotel set on top of a cliff with its gorgeous landscapes (which incidentally is a real life hotel called The Headland which is on my travel wish list), and instead replaced with something that looks good on the surface, but is sadly lacking in realism and has obviously been entirely computer generated.
And this is the major problem with The Witches (2020), it’s over reliance and overuse of CGI. Everything in this, from the mice to the hotel exteriors to the witches true appearance, are all computer generated, and not particularly well at that. The mice look pretty bad and unrealistic, but the worst of all is what they’ve done to the witches. The changes themselves may have worked had this used practical effects, but sadly the CGI only serves to highlight how ridiculous the changes are. From the missing two fingers on each hand to the elongated mouths with demon like tongues, the witches to begin with seem creepy but after this initial shock, you see how absurd and laughable they really are.
Unfortunately even the performances can’t save this adaptation. Octavia Spencer is as reliable as always and Jazhir Bruno and Codie-Lei Eastick are quite adorable, but the rest of the fairly decent cast are sadly misplaced. The usually loveable Stanley Tucci is given absolutely nothing to work with, not even giving him a chance to try and match up to Rowan Atkinson’s original Mr Stringer, and Chris Rock is sadly out of place as the voice of older Hero Mouse. However the worst offender here is Anne Hathaway. Admittedly she isn’t helped much by the poor transformations to the witches appearance, but all the CGI in the world couldn’t fix her questionable Eastern European accent and hammy performance. The fact that Angelica Huston put in a more sinister and believable performance with 90s facial prosthetics and practical effects is a credit to her and only highlights how bad a choice Hathaway was for this role.
While parts of this remake aren’t entirely condemnable, as some aspects do stick closer to Dahl’s original source material, overall it is a far inferior adaptation that loses everything that made the 1990 film such a classic. Gone are the sinister witches and the dark stories of missing children (the girl stuck in the picture is an image that has always stuck with me), instead replaced with a far too lighthearted story with an over reliance on CGI. The most worrying thing of all is that even Robert Zemeckis and Guillermo Del Toro being involved couldn’t save this.
This time round, the story has been transported to late 1960s Alabama. It follows a unnamed boy (named in the credits as simply ‘Hero Boy’), played by Jahzir Bruno, and his grandma (Octavia Spencer) as they encounter a witch in their home town, prompting her to whisk him away to a seaside resort. Unbeknownst to them, this seaside resort is also where the Grand High Witch (Anne Hathaway) is due to unveil her dastardly plans to transform the world’s children. In his bids to thwart the witches plans, Hero Boy bumps into some familiar names, greedy English boy Bruno Jenkins (Codie-Lei Eastick) and put-upon hotel manager Mr Stringer (Stanley Tucci).
I was very sceptical about this in general, and while I think my scepticism was most definitely warranted, I was at least pleasantly surprised that moving the action from England to 60s America worked. It gives the film a different vibe with a new setting (with some very good costume and set design too), yet still keeping the same base story. However I’m afraid that’s the only good change that they’ve made in this entire remake. The 60s setting works, but the hotel itself lacks the beauty and grandeur of the hotel in the original. Gone are the imposing shots of a beautiful old hotel set on top of a cliff with its gorgeous landscapes (which incidentally is a real life hotel called The Headland which is on my travel wish list), and instead replaced with something that looks good on the surface, but is sadly lacking in realism and has obviously been entirely computer generated.
And this is the major problem with The Witches (2020), it’s over reliance and overuse of CGI. Everything in this, from the mice to the hotel exteriors to the witches true appearance, are all computer generated, and not particularly well at that. The mice look pretty bad and unrealistic, but the worst of all is what they’ve done to the witches. The changes themselves may have worked had this used practical effects, but sadly the CGI only serves to highlight how ridiculous the changes are. From the missing two fingers on each hand to the elongated mouths with demon like tongues, the witches to begin with seem creepy but after this initial shock, you see how absurd and laughable they really are.
Unfortunately even the performances can’t save this adaptation. Octavia Spencer is as reliable as always and Jazhir Bruno and Codie-Lei Eastick are quite adorable, but the rest of the fairly decent cast are sadly misplaced. The usually loveable Stanley Tucci is given absolutely nothing to work with, not even giving him a chance to try and match up to Rowan Atkinson’s original Mr Stringer, and Chris Rock is sadly out of place as the voice of older Hero Mouse. However the worst offender here is Anne Hathaway. Admittedly she isn’t helped much by the poor transformations to the witches appearance, but all the CGI in the world couldn’t fix her questionable Eastern European accent and hammy performance. The fact that Angelica Huston put in a more sinister and believable performance with 90s facial prosthetics and practical effects is a credit to her and only highlights how bad a choice Hathaway was for this role.
While parts of this remake aren’t entirely condemnable, as some aspects do stick closer to Dahl’s original source material, overall it is a far inferior adaptation that loses everything that made the 1990 film such a classic. Gone are the sinister witches and the dark stories of missing children (the girl stuck in the picture is an image that has always stuck with me), instead replaced with a far too lighthearted story with an over reliance on CGI. The most worrying thing of all is that even Robert Zemeckis and Guillermo Del Toro being involved couldn’t save this.