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Gareth von Kallenbach (971 KP) rated Django Unchained (2012) in Movies
Aug 7, 2019
Writer-director Quentin Tarantino has returned in a big way with “Django Unchained” his homage to spaghetti Westerns. The film stars Jamie Foxx as a slave named Django who is part of a convoy of slaves being transported through Texas two years before the start of the Civil War. Django is unaware that his life is about to take a monumental turn when his caravan encounters Dr. King Schultz (Christoph Waltz) one dark evening. Schultz wishes to purchase Django, and when his current owners make the mistake of threatening the good doctor, he quickly turns the table on them and sets Django and his fellow slaves free. Schultz reveals to Django that he is in fact a bounty hunter and needs him to help identify three potential targets. Since Django last lived at the plantation where the three targets worked as overseers, he is essential to Schultz’s hunt. Schultz offers to free Django and pay him $75.00 for his assistance and the duo set off on their mission.
Some truly action-packed and hysterical scenes later, Schultz realizes that Django is an absolute natural for the business and decides to take him on for the winter as an assistant, even going so far as to offer to share one third of his bounties with them. In return, Schultz also offers to help Django reclaim his wife who was sold to a plantation somewhere in Tennessee. Schultz rationalizes that to show up now would be extremely dangerous, therefore the duo must wait out the winter earning money before embarking on their rescue mission.
The hard work of the team pays off and they learn that Django’s wife has been sold to one of the largest plantations under the ownership of Calvin Candie (Leonardo di Caprio), a despotic plantation owner who is as greedy as he is cruel. Despite having more money than he could ever use, Calvin likes to force certain members of his slaves to fight to the death. Schultz and Django decide to use this angle as their chance to get close to Calvin so they can verify that Django’s wife is indeed at the plantation and determine what it will take to buy or obtain her freedom. This proves to be no easy task as not only is Calvin surrounded by an army hired guns, but he also has a very surly and suspicious head of a household named Stephen (Samuel L. Jackson), eyeing every move that the strangers make and questioning their actions.
What follows is a hyperkinetic storm of violence, fury, music, and color in the true Tarantino style. The director is never one to shy away from blood and violence and there are tons of it in the film. The amazing thing about it is despite being graphic and, in some cases, borderline gratuitous, it does not distract from the enjoyment of the film and its characters. The performances were absolutely amazing, especially the work of Waltz, Foxx, and diCaprio. Jackson also does very solid supporting work as does Don Johnson in his appearance as an uber-racist plantation owner. Waltz worked previously with Tarantino on “Inglorious Bastards”, and this is where the Austrian actor really gained notice by Hollywood. This time out he gives a captivating performance as the complex killer with a heart of gold.
While I understand Tarantino’s style is not for everybody, it’s hard not to be impressed with the way he is able to paint a picture, fill it with interesting and quirky characters, and quickly tear it all apart as things descend into utter chaos and destruction. You alternate between laughing, cheering, and being shocked all the way through the film’s nearly three-hour runtime. Yet rarely did the film ever seem to drag on unnecessarily. There was some loss of pacing as the characters converged on Calvin’s plantation, and some may question some of the character changes or gaps in logic in the film’s finale.
I believe this film is one of the best films of the year. It captured so much of what an action film and drama should have: interesting, complex and well-acted characters, a good story, and plenty of action. Those who are easily offended will want to take note that the language in the film is extremely rough and there is frequent uses of racials lurs, as well is derogatory comments made about the black characters in the film. While this is intended to show the mindset and lifestyle of the 1860s in which the film is set, some may find it unsettling if they go in unprepared.
That being said I can honestly say that this was the most enjoyable Tarantino film I have ever seen and could be his best work to date.
Some truly action-packed and hysterical scenes later, Schultz realizes that Django is an absolute natural for the business and decides to take him on for the winter as an assistant, even going so far as to offer to share one third of his bounties with them. In return, Schultz also offers to help Django reclaim his wife who was sold to a plantation somewhere in Tennessee. Schultz rationalizes that to show up now would be extremely dangerous, therefore the duo must wait out the winter earning money before embarking on their rescue mission.
The hard work of the team pays off and they learn that Django’s wife has been sold to one of the largest plantations under the ownership of Calvin Candie (Leonardo di Caprio), a despotic plantation owner who is as greedy as he is cruel. Despite having more money than he could ever use, Calvin likes to force certain members of his slaves to fight to the death. Schultz and Django decide to use this angle as their chance to get close to Calvin so they can verify that Django’s wife is indeed at the plantation and determine what it will take to buy or obtain her freedom. This proves to be no easy task as not only is Calvin surrounded by an army hired guns, but he also has a very surly and suspicious head of a household named Stephen (Samuel L. Jackson), eyeing every move that the strangers make and questioning their actions.
What follows is a hyperkinetic storm of violence, fury, music, and color in the true Tarantino style. The director is never one to shy away from blood and violence and there are tons of it in the film. The amazing thing about it is despite being graphic and, in some cases, borderline gratuitous, it does not distract from the enjoyment of the film and its characters. The performances were absolutely amazing, especially the work of Waltz, Foxx, and diCaprio. Jackson also does very solid supporting work as does Don Johnson in his appearance as an uber-racist plantation owner. Waltz worked previously with Tarantino on “Inglorious Bastards”, and this is where the Austrian actor really gained notice by Hollywood. This time out he gives a captivating performance as the complex killer with a heart of gold.
While I understand Tarantino’s style is not for everybody, it’s hard not to be impressed with the way he is able to paint a picture, fill it with interesting and quirky characters, and quickly tear it all apart as things descend into utter chaos and destruction. You alternate between laughing, cheering, and being shocked all the way through the film’s nearly three-hour runtime. Yet rarely did the film ever seem to drag on unnecessarily. There was some loss of pacing as the characters converged on Calvin’s plantation, and some may question some of the character changes or gaps in logic in the film’s finale.
I believe this film is one of the best films of the year. It captured so much of what an action film and drama should have: interesting, complex and well-acted characters, a good story, and plenty of action. Those who are easily offended will want to take note that the language in the film is extremely rough and there is frequent uses of racials lurs, as well is derogatory comments made about the black characters in the film. While this is intended to show the mindset and lifestyle of the 1860s in which the film is set, some may find it unsettling if they go in unprepared.
That being said I can honestly say that this was the most enjoyable Tarantino film I have ever seen and could be his best work to date.
Purple Phoenix Games (2266 KP) rated Dollars to Donuts in Tabletop Games
Jul 21, 2020 (Updated Jul 21, 2020)
I don’t think I even have to say anything up top here to get those juices flowing – just looking at the box to Dollars to Donuts makes you pine for them. Just me? Nah, everyone loves donuts – even most of the diabetics I’ve known. So when I heard that we had a chance to preview a tile-laying, set collection donut-themed game, I knew we had to jump on it. And oh, spoilers, it’s GREAT.
Dollars to Donuts is a game where you are literally turning dollars into donuts. Pretty on the nose with the title, eh? Agreed, but once you play it, I promise you will be hooked.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and the final components may be different from these shown. Also, it is not my intention to detail every rule in the game, but to give our readers an idea of how the game plays. You are invited to back the game on Kickstarter running until August 10, 2020, order from your FLGS, or purchase through any retailers stocking it after it is fulfilled. -T
There really are plenty of rules for this game, and I will not touch on everything. To setup, deal each player a board in their color along with the matching starting 1×1 donut tiles to be placed on the boards according to the rules, as well as the proper starting Dollar Tiles. Populate the Specials Board (shown below), reveal the top four Customer Cards (shown below), separate the Donut Tiles into like piles, and throw the rest of the Dollar Tiles into the cloth bag. The game is now ready to begin!
Each player will be purchasing a Donut tile (1×4) on their turn and placing it on their board. The interesting thing here is that these tiles do NOT have to be confined to the spaces on the Player Mat (board) – tiles can hang off the edge. And icons that are hanging off, however, cannot score or provide any benefit, so that is the trade-off. After placing the Donut Tile on the board, players will then collect Donut VP Tokens if placing on the board created a complete donut. If the placing created a mismatched donut, the player will instead collect as many Dollar Tiles as the highest number of $ symbols of the mismatched donut (so a plain donut half is worth $1 but a chocolate is worth $2 so a mismatched donut of those two flavors would count as $2). At this point, the player may choose to place a 1×1 double-sided Dollar Tile on their board to fill a gap, or hole, and I’ll be darned if you don’t use donut holes to fill holes in your board. Lastly, a player may then Serve a Customer using their earned Donut VP Tokens. Serving customers increases the value of the VP tokens, so serving is certainly beneficial.
Play continues in this fashion until a player has filled their empty board spaces with delicious donuts. Complete the round and then count the scores to see who really is the Donut Champ.
Components. Again, we were provided with a prototype copy of Dollars to Donuts, and upgraded components are stretch goals for a successful Kickstarter campaign. That said, the art on this is really great. Dylan Mangini can illustrate games superbly for sure. I love the colors they have chosen, the art style, and fun start player token that came with it (and I hope it is something that can be offered to all through a stretch goal or something). I have no complaints here and I look forward to seeing how the final products looks.
So it is absolutely no surprise that I loved this one. I have a special place in my heart for games with ever-changing resource costs, tile-placing, donuts, multi-use components, and donuts. I love being able to use any part of the Donut Tiles, even if my board looks kooky at the end (see below). It’s so refreshing when a game comes along that takes a comfortable given and turns it on its head. We all know how to keep components within the boundaries of our player board. But WHYYYYY? Dollars to Donuts fixes that, even at the cost of our more organized players’ sanity. I simply love this game and can’t wait to get my final copy. If you also are excited to grab a copy of this one, head over to Kickstarter and join the campaign going on NOW (at the time of this writing) until August 10, 2020. I would also suggest ordering a dozen or two of your favorite bakery treats to have on hand when you play this – your tummy will thank you. Unless you’re diabetic. Then I am sorry.
Dollars to Donuts is a game where you are literally turning dollars into donuts. Pretty on the nose with the title, eh? Agreed, but once you play it, I promise you will be hooked.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and the final components may be different from these shown. Also, it is not my intention to detail every rule in the game, but to give our readers an idea of how the game plays. You are invited to back the game on Kickstarter running until August 10, 2020, order from your FLGS, or purchase through any retailers stocking it after it is fulfilled. -T
There really are plenty of rules for this game, and I will not touch on everything. To setup, deal each player a board in their color along with the matching starting 1×1 donut tiles to be placed on the boards according to the rules, as well as the proper starting Dollar Tiles. Populate the Specials Board (shown below), reveal the top four Customer Cards (shown below), separate the Donut Tiles into like piles, and throw the rest of the Dollar Tiles into the cloth bag. The game is now ready to begin!
Each player will be purchasing a Donut tile (1×4) on their turn and placing it on their board. The interesting thing here is that these tiles do NOT have to be confined to the spaces on the Player Mat (board) – tiles can hang off the edge. And icons that are hanging off, however, cannot score or provide any benefit, so that is the trade-off. After placing the Donut Tile on the board, players will then collect Donut VP Tokens if placing on the board created a complete donut. If the placing created a mismatched donut, the player will instead collect as many Dollar Tiles as the highest number of $ symbols of the mismatched donut (so a plain donut half is worth $1 but a chocolate is worth $2 so a mismatched donut of those two flavors would count as $2). At this point, the player may choose to place a 1×1 double-sided Dollar Tile on their board to fill a gap, or hole, and I’ll be darned if you don’t use donut holes to fill holes in your board. Lastly, a player may then Serve a Customer using their earned Donut VP Tokens. Serving customers increases the value of the VP tokens, so serving is certainly beneficial.
Play continues in this fashion until a player has filled their empty board spaces with delicious donuts. Complete the round and then count the scores to see who really is the Donut Champ.
Components. Again, we were provided with a prototype copy of Dollars to Donuts, and upgraded components are stretch goals for a successful Kickstarter campaign. That said, the art on this is really great. Dylan Mangini can illustrate games superbly for sure. I love the colors they have chosen, the art style, and fun start player token that came with it (and I hope it is something that can be offered to all through a stretch goal or something). I have no complaints here and I look forward to seeing how the final products looks.
So it is absolutely no surprise that I loved this one. I have a special place in my heart for games with ever-changing resource costs, tile-placing, donuts, multi-use components, and donuts. I love being able to use any part of the Donut Tiles, even if my board looks kooky at the end (see below). It’s so refreshing when a game comes along that takes a comfortable given and turns it on its head. We all know how to keep components within the boundaries of our player board. But WHYYYYY? Dollars to Donuts fixes that, even at the cost of our more organized players’ sanity. I simply love this game and can’t wait to get my final copy. If you also are excited to grab a copy of this one, head over to Kickstarter and join the campaign going on NOW (at the time of this writing) until August 10, 2020. I would also suggest ordering a dozen or two of your favorite bakery treats to have on hand when you play this – your tummy will thank you. Unless you’re diabetic. Then I am sorry.
Lee (2222 KP) rated Rent-A-Pal (2020) in Movies
Nov 2, 2020
If by any chance you’re feeling nostalgic for the days of VHS videotapes, then Rent-A-Pal is here to satisfy that craving. Set in Denver during 1990, VHS video features rather heavily throughout Rent-A-Pal, from the retro font used in the opening titles to the closeups of videotapes being inserted into a VCR, the internal mechanism engaging with the tape as it prepares to play.
The person responsible for firing up the VCR is David (Brian Landis Folkins), who is settling down to view the latest set of video profiles he’s received from dating agency Video Rendezvous, of which he is a member. David lives in the basement flat of his mum’s house, who has dementia. His father died ten years ago, meaning David is now the sole carer for his mother. And David is lonely, painfully lonely. When he calls Video Rendezvous for an update on any profile matches, he’s told that he has still not received any interest from potential partners who have viewed his profile. He is however urged to come into their office and record a new video profile, as his current one is now 6 months old.
When David sits down in front of the camera to record his new profile, he comes across well, showing just how much of a nice guy he is – a caregiver who simply wants the chance to care for a soulmate, sharing life within a loving relationship. You really do feel for him, certain that the genuine sincerity in his video will finally land him the date he so desperately needs and deserves. That is until the cameraman informs him that he has completely overrun the thirty-second limit allocated to male video profiles and that he is going to have to do it again. The shortened version David then delivers under pressure is rushed, with David now coming across as awkward and creepy, and your heart drops, knowing that he’s likely to remain single for a while longer yet. But then, as he’s having his credit card swiped by the dating agency yet again, David notices an interesting VHS sitting in the nearby bargain bin, titled Rent A Pal, and decides to buy it.
Back in his basement, David puts the Rent-A-Pal video into his VCR and presses play. He’s greeted by Andy (Will Wheaton), a cheery-looking man in a colourful knitted tank top. Andy talks of becoming best friends with David, asking him questions and leaving a pause to allow David to answer. Those pauses aren’t always long enough though, resulting in David being cut off mid-sentence, and the responses from Andy don’t always match the answers that David has given him either. But, desperate for a friend, David persists with this strange form of interaction.
We see that after repeat viewings of the tape David has managed to perfect his responses so that the conversation flows between him and Andy as if it were a real-life conversation. There are parts of the video where Andy plays cards with the viewer, takes a selfie with his back to the camera so that the viewer can be in it, and he and David are able to have the kind of deep and meaningful conversations that only two very good friends would have. It’s a rather lengthy and elaborate videotape, with certain sections earning a revisit should David ever feel the need to have a specific conversation about a certain aspect of his life. Eventually, we as the audience begin to wonder how much of this ‘relationship’ is real or imagined, with some of the questions or replies from Andy beginning to sound eerily close to being very specific and personal to David.
In his real life, David finally gets a lucky break with the dating agency, landing a date with Lisa (Amy Rutledge). Lisa also works in the care sector, and she comes across as a very nice person too. Once again you find yourself willing David to do well and thankfully, they do hit it off. But from the moment David brings Lisa down to his basement and you see that somebody is likely to sit on the VCR remote, you just know things are due to take a dark turn.
Watching David as he interacts with Andy for hours on end, day after day is surprisingly riveting. I was completely engrossed in him and his life as I waited and hoped he might catch a break. For much of the movie, I was just mesmerised by the wonderful performances from the entire cast, thoroughly enjoying the believable, likeable characters they portrayed. But, Rent-A-Pal is billed as a horror movie, so when things do eventually take a turn right at the end, we get a fast-paced, gory ending which felt somewhat disappointing, proving to be the weakest aspect of a movie which really did impress me overall.
The person responsible for firing up the VCR is David (Brian Landis Folkins), who is settling down to view the latest set of video profiles he’s received from dating agency Video Rendezvous, of which he is a member. David lives in the basement flat of his mum’s house, who has dementia. His father died ten years ago, meaning David is now the sole carer for his mother. And David is lonely, painfully lonely. When he calls Video Rendezvous for an update on any profile matches, he’s told that he has still not received any interest from potential partners who have viewed his profile. He is however urged to come into their office and record a new video profile, as his current one is now 6 months old.
When David sits down in front of the camera to record his new profile, he comes across well, showing just how much of a nice guy he is – a caregiver who simply wants the chance to care for a soulmate, sharing life within a loving relationship. You really do feel for him, certain that the genuine sincerity in his video will finally land him the date he so desperately needs and deserves. That is until the cameraman informs him that he has completely overrun the thirty-second limit allocated to male video profiles and that he is going to have to do it again. The shortened version David then delivers under pressure is rushed, with David now coming across as awkward and creepy, and your heart drops, knowing that he’s likely to remain single for a while longer yet. But then, as he’s having his credit card swiped by the dating agency yet again, David notices an interesting VHS sitting in the nearby bargain bin, titled Rent A Pal, and decides to buy it.
Back in his basement, David puts the Rent-A-Pal video into his VCR and presses play. He’s greeted by Andy (Will Wheaton), a cheery-looking man in a colourful knitted tank top. Andy talks of becoming best friends with David, asking him questions and leaving a pause to allow David to answer. Those pauses aren’t always long enough though, resulting in David being cut off mid-sentence, and the responses from Andy don’t always match the answers that David has given him either. But, desperate for a friend, David persists with this strange form of interaction.
We see that after repeat viewings of the tape David has managed to perfect his responses so that the conversation flows between him and Andy as if it were a real-life conversation. There are parts of the video where Andy plays cards with the viewer, takes a selfie with his back to the camera so that the viewer can be in it, and he and David are able to have the kind of deep and meaningful conversations that only two very good friends would have. It’s a rather lengthy and elaborate videotape, with certain sections earning a revisit should David ever feel the need to have a specific conversation about a certain aspect of his life. Eventually, we as the audience begin to wonder how much of this ‘relationship’ is real or imagined, with some of the questions or replies from Andy beginning to sound eerily close to being very specific and personal to David.
In his real life, David finally gets a lucky break with the dating agency, landing a date with Lisa (Amy Rutledge). Lisa also works in the care sector, and she comes across as a very nice person too. Once again you find yourself willing David to do well and thankfully, they do hit it off. But from the moment David brings Lisa down to his basement and you see that somebody is likely to sit on the VCR remote, you just know things are due to take a dark turn.
Watching David as he interacts with Andy for hours on end, day after day is surprisingly riveting. I was completely engrossed in him and his life as I waited and hoped he might catch a break. For much of the movie, I was just mesmerised by the wonderful performances from the entire cast, thoroughly enjoying the believable, likeable characters they portrayed. But, Rent-A-Pal is billed as a horror movie, so when things do eventually take a turn right at the end, we get a fast-paced, gory ending which felt somewhat disappointing, proving to be the weakest aspect of a movie which really did impress me overall.
BankofMarquis (1832 KP) rated The Suicide Squad (2021) in Movies
Aug 8, 2021
More Fun Than I Expected
It is almost an effort in futility to review a movie such as THE SUICIDE SQUAD, for most folks fall into 1 of 2 camps:
1). Are a DC (or Comic Book Movie) Fan, and will go see this no matter what.
2). Are not of fan of the darker DCEU movies (as compared to the MCU films) and might have checked out the first SUICIDE SQUAD, but have no intention to watch this one.
This review is for the folks in the 2nd camp - for THE SUICIDE SQUAD is a fun summer action flick with silliness, action, humor and HEART at it’s core.
Directed by James Gunn (GUARDIANS OF THE GALAXY), THE SUICIDE SQUAD starts out like the first SUICIDE SQUAD film (and most of the DCEU films) - dark, gritty and intense - with a new pack of anti-heroes joining in on a fight that absolutely cements this team as THE SUICIDE SQUAD.
After that, the film makes an interesting adjustment, actually giving the audience anti-heroes that you can root for with just enough of a balance between the dark grittiness that one has come to expect from a DCEU film with a bit more humane touch that really is the hallmark of the MCU.
And, under the Direction of James Gunn, this film finds that balance very, very well.
Gunn, of course, knows how to make these films - his balance of action and character moments is accurate, his action sequences are well plotted and choreographed (no need for “shaky cam” to hide the faults) and he populates this Suicide Squad with some memorable characters.
Margot Robbie, of course, is in another stratosphere in her portrayal of Harley Quinn. This is the 3rd film that Robbie stars as Quinn and she has this part down pat. The problem with the other 2 films that she starred in as Quinn (2016’s SUICIDE SQUAD and 2020’s BIRDS OF PREY) is that she was SO GOOD in those films, that everyone else paled in comparison, but in this film, she has some strong actors/characters to play off of, and this benefits the movie.
Starting with Idris Elba as Bloodsport the “Leader” of the Squad (in essence, replacing Will Smith) and this is a smart move for Elba has the commanding presence of a Leader with that sense of foreboding that he might not be such a good guy underneath - a quality that I just didn’t buy from Smith in the first movie.
Joining Elba as characters that were interesting and strong were RatCatcher 1 (Taiki Waititi - in an extended cameo) and RatCatcher 2 (Daniela Melchior), Savant (Michael Rooker), freedom fighter Sol Soria (Sonya Braga), Thinker (Peter Capaldi) and the “Groot” of this piece, King Shark (Sylvester Stallone).
Oh…and special notice needs to be made of the character of Polka Dot Man (David Dastmalchian). Director Gunn has stated he wanted to find the dumbest villain in the DCEU and make him into one of the heroes of this piece. He found him in Polka Dot Man and is played with great pathos by Dastmalchian.
Fairing less well is the great Viola Davis as the hard-nosed Amanda Waller who seems to be still acting in the gritty, dark style of the first SUICIDE SQUAD film, so misses out on some of the fun of this film as well as Joel Kinneman as Colonel Rick Flagg (the military leader of the group). I really wasn’t invested in Flagg (or Kinneman’s portrayal of Flagg) in the first film - and I am not in this one either. He just isn’t at nearly the same level of performance as the others listed above.
Also…a note about John Cena (and his character PeaceMaker). This is the 2nd 2021 Summer Blockbuster Action flick that I have seen Cena in (following his turn in F9) and in both these films I found his performance to be “flat”. It just didn’t fill the screen, nor does he have enough charisma (a la The Rock) to charm his way through. I was bored by him in this film (as well as in F9).
But…this is a James Gunn film - and he doesn’t spend much time with the characters/actors that don’t really work, but rather, spends his camera time on the ones that do - and the over-the-top action sequences (and villain) that are filmed with a slight grin and a wink-in-the-eye.
It’s a much needed shot-in-the-arm for DCEU films, but - I’m afraid - it might be too little too late, as most folks have already tuned out the DCEU for being “too dark”. Which is too bad, for this is the fun summer blockbuster film action and comic book fans have been looking for.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
1). Are a DC (or Comic Book Movie) Fan, and will go see this no matter what.
2). Are not of fan of the darker DCEU movies (as compared to the MCU films) and might have checked out the first SUICIDE SQUAD, but have no intention to watch this one.
This review is for the folks in the 2nd camp - for THE SUICIDE SQUAD is a fun summer action flick with silliness, action, humor and HEART at it’s core.
Directed by James Gunn (GUARDIANS OF THE GALAXY), THE SUICIDE SQUAD starts out like the first SUICIDE SQUAD film (and most of the DCEU films) - dark, gritty and intense - with a new pack of anti-heroes joining in on a fight that absolutely cements this team as THE SUICIDE SQUAD.
After that, the film makes an interesting adjustment, actually giving the audience anti-heroes that you can root for with just enough of a balance between the dark grittiness that one has come to expect from a DCEU film with a bit more humane touch that really is the hallmark of the MCU.
And, under the Direction of James Gunn, this film finds that balance very, very well.
Gunn, of course, knows how to make these films - his balance of action and character moments is accurate, his action sequences are well plotted and choreographed (no need for “shaky cam” to hide the faults) and he populates this Suicide Squad with some memorable characters.
Margot Robbie, of course, is in another stratosphere in her portrayal of Harley Quinn. This is the 3rd film that Robbie stars as Quinn and she has this part down pat. The problem with the other 2 films that she starred in as Quinn (2016’s SUICIDE SQUAD and 2020’s BIRDS OF PREY) is that she was SO GOOD in those films, that everyone else paled in comparison, but in this film, she has some strong actors/characters to play off of, and this benefits the movie.
Starting with Idris Elba as Bloodsport the “Leader” of the Squad (in essence, replacing Will Smith) and this is a smart move for Elba has the commanding presence of a Leader with that sense of foreboding that he might not be such a good guy underneath - a quality that I just didn’t buy from Smith in the first movie.
Joining Elba as characters that were interesting and strong were RatCatcher 1 (Taiki Waititi - in an extended cameo) and RatCatcher 2 (Daniela Melchior), Savant (Michael Rooker), freedom fighter Sol Soria (Sonya Braga), Thinker (Peter Capaldi) and the “Groot” of this piece, King Shark (Sylvester Stallone).
Oh…and special notice needs to be made of the character of Polka Dot Man (David Dastmalchian). Director Gunn has stated he wanted to find the dumbest villain in the DCEU and make him into one of the heroes of this piece. He found him in Polka Dot Man and is played with great pathos by Dastmalchian.
Fairing less well is the great Viola Davis as the hard-nosed Amanda Waller who seems to be still acting in the gritty, dark style of the first SUICIDE SQUAD film, so misses out on some of the fun of this film as well as Joel Kinneman as Colonel Rick Flagg (the military leader of the group). I really wasn’t invested in Flagg (or Kinneman’s portrayal of Flagg) in the first film - and I am not in this one either. He just isn’t at nearly the same level of performance as the others listed above.
Also…a note about John Cena (and his character PeaceMaker). This is the 2nd 2021 Summer Blockbuster Action flick that I have seen Cena in (following his turn in F9) and in both these films I found his performance to be “flat”. It just didn’t fill the screen, nor does he have enough charisma (a la The Rock) to charm his way through. I was bored by him in this film (as well as in F9).
But…this is a James Gunn film - and he doesn’t spend much time with the characters/actors that don’t really work, but rather, spends his camera time on the ones that do - and the over-the-top action sequences (and villain) that are filmed with a slight grin and a wink-in-the-eye.
It’s a much needed shot-in-the-arm for DCEU films, but - I’m afraid - it might be too little too late, as most folks have already tuned out the DCEU for being “too dark”. Which is too bad, for this is the fun summer blockbuster film action and comic book fans have been looking for.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
Marc Riley recommended Hex Enduction Hour by The Fall in Music (curated)
Tui Snider has long since been a favorite author of non-fiction of mine. Her research when it comes to her books is impeccable. I try to never miss an opportunity to read a book by Tui Snider, so when I was presented with the opportunity to read 6 Feet Under Texas by Tui Snider, I jumped at the chance!
6 Feet Under Texas by Tui Snider is a book for those who love history as well as for those who have an appreciation for cemeteries and the people who are buried there. Snider goes all over (mostly) north Texas to talk about the history behind some of the graves famous, infamous, and the just plain interesting. As always, Tui Snider has done excellent research for her book, and it really does show the dedication behind it all. In fact, Tui Snider solved the mystery about the identity of the one legged rope walker who's buried in Corsicana. The photos included in the book aren't in color, but I enjoyed them just the same. It was nice to place the story to the photo. I also appreciated Tui Snider placing each city in alphabetical order for easy findings. She also includes the address to where each cemetery is located after each story in case you wanted to visit.
I will admit that many books, I skip the intro. However, I know that Tui Snider never writes a dull and boring intro for her books. 6 Feet Under Texas' intro did not disappoint. Snider talks about how cemeteries are not morbid at all and how cemeteries are actually for the living. Seriously, read the intro. It is short and so very interesting!
I learned so much reading 6 Feet Under Texas. For example, did you know there was such thing as a backronym? I sure didn't until I read about Amber Hagerman, the little girl from which the AMBER Alert was invented. Tui Snider discusses about Amber's case and gives us an English lesson as well! There's also a touching story about a reverend who took in single mothers back in 1894, a time when society shunned those who weren't married. That story really warmed my heart. In Danville, a young woman by the name of Karen Silkwood is buried. She died under mysterious circumstances back in 1974. The mystery of Silkwood's death definitely left me intrigued. Her story was also very interesting. I learned that in the olden days, scraped graveyards were commonplace. Tui Snider explains that the grass from cemeteries was scraped because the lawn mower actually wasn't invented until 1830, and lawn grasses weren't a thing until the 1930s. Grass, back then, was home to all sorts of snakes and insects, and dry grass could catch on fire easily. So back then, people would get rid of all the grass growing around graves. It's pretty interesting to read about. I also read about Marlene Johnson in 6 Feet Under Texas. Marlene Johnson was the first female postmaster for Eastland, Texas. She made a huge mural out of millions of postage stamps. I loved reading about Mrs. Johnson, and I believe others will too. I was intrigued by Anthony Bascilli's grave. He went all out for his grave including having brick walls around his coffin, doors leading down to his coffin, and pipes sticking out of his coffin where keys to the door were to be dropped. Those pipes are still visible above ground if you take a trip out to the cemetery in Thurber, Texas.
It's not just humans that Tui Snider includes in her book 6 Feet Under Texas. Did you know that back in the day, it was a normal thing to have your limbs buried? For example, there are true stories of people burying amputated limbs and having grave markers made for them. What I really loved was how Tui Snider also mentions animal burials. She discusses the Alamo cats who are buried at the Alamo. (I had no idea that the Alamo had official cats!) She also writes about other animals that were special in some form, but I really loved reading about the Texas horned lizard that had been buried alive for thirty-one years and came back to life when he was exhumed.
I could go on and on about how amazing Tui Snider's newest book is, but you are better off just reading it for yourself. This was one of those books where I never wanted it to end. Luckily, Tui Snider is making a volume 2! I would definitely recommend 6 Feet Under Texas by Tui Snider to everyone that would love to go on a real life adventure without leaving wherever their reading Snider's book from. Seriously, pick up your copy of 6 Feet Under Texas so you can understand why I gushed so much on this book!
--
(A special thank you to Lone Star Literary Life for providing me with a paperback copy of 6 Feet Under Texas by Tui Snider in exchange for an honest and unbiased review.)
6 Feet Under Texas by Tui Snider is a book for those who love history as well as for those who have an appreciation for cemeteries and the people who are buried there. Snider goes all over (mostly) north Texas to talk about the history behind some of the graves famous, infamous, and the just plain interesting. As always, Tui Snider has done excellent research for her book, and it really does show the dedication behind it all. In fact, Tui Snider solved the mystery about the identity of the one legged rope walker who's buried in Corsicana. The photos included in the book aren't in color, but I enjoyed them just the same. It was nice to place the story to the photo. I also appreciated Tui Snider placing each city in alphabetical order for easy findings. She also includes the address to where each cemetery is located after each story in case you wanted to visit.
I will admit that many books, I skip the intro. However, I know that Tui Snider never writes a dull and boring intro for her books. 6 Feet Under Texas' intro did not disappoint. Snider talks about how cemeteries are not morbid at all and how cemeteries are actually for the living. Seriously, read the intro. It is short and so very interesting!
I learned so much reading 6 Feet Under Texas. For example, did you know there was such thing as a backronym? I sure didn't until I read about Amber Hagerman, the little girl from which the AMBER Alert was invented. Tui Snider discusses about Amber's case and gives us an English lesson as well! There's also a touching story about a reverend who took in single mothers back in 1894, a time when society shunned those who weren't married. That story really warmed my heart. In Danville, a young woman by the name of Karen Silkwood is buried. She died under mysterious circumstances back in 1974. The mystery of Silkwood's death definitely left me intrigued. Her story was also very interesting. I learned that in the olden days, scraped graveyards were commonplace. Tui Snider explains that the grass from cemeteries was scraped because the lawn mower actually wasn't invented until 1830, and lawn grasses weren't a thing until the 1930s. Grass, back then, was home to all sorts of snakes and insects, and dry grass could catch on fire easily. So back then, people would get rid of all the grass growing around graves. It's pretty interesting to read about. I also read about Marlene Johnson in 6 Feet Under Texas. Marlene Johnson was the first female postmaster for Eastland, Texas. She made a huge mural out of millions of postage stamps. I loved reading about Mrs. Johnson, and I believe others will too. I was intrigued by Anthony Bascilli's grave. He went all out for his grave including having brick walls around his coffin, doors leading down to his coffin, and pipes sticking out of his coffin where keys to the door were to be dropped. Those pipes are still visible above ground if you take a trip out to the cemetery in Thurber, Texas.
It's not just humans that Tui Snider includes in her book 6 Feet Under Texas. Did you know that back in the day, it was a normal thing to have your limbs buried? For example, there are true stories of people burying amputated limbs and having grave markers made for them. What I really loved was how Tui Snider also mentions animal burials. She discusses the Alamo cats who are buried at the Alamo. (I had no idea that the Alamo had official cats!) She also writes about other animals that were special in some form, but I really loved reading about the Texas horned lizard that had been buried alive for thirty-one years and came back to life when he was exhumed.
I could go on and on about how amazing Tui Snider's newest book is, but you are better off just reading it for yourself. This was one of those books where I never wanted it to end. Luckily, Tui Snider is making a volume 2! I would definitely recommend 6 Feet Under Texas by Tui Snider to everyone that would love to go on a real life adventure without leaving wherever their reading Snider's book from. Seriously, pick up your copy of 6 Feet Under Texas so you can understand why I gushed so much on this book!
--
(A special thank you to Lone Star Literary Life for providing me with a paperback copy of 6 Feet Under Texas by Tui Snider in exchange for an honest and unbiased review.)
Gareth von Kallenbach (971 KP) rated The Comedian (2017) in Movies
Jul 12, 2019
Welcome to the year 2017 …. Another year which promises to bring you HUGE blockbuster theatrical releases including long awaited sequels, groundbreaking independent films, and breakout performances from some of cinemas great veterans as well as its rookie newcomers!
Alright … alright … that’s your standard P.R. HYPE. Not that it’s entirely untrue but let’s face it, we all have a pretty good idea as to what’s in store for us this year am I right?
Today’s film is amongst 2016s ‘leftovers’ if you will. No that that’s a bad thing. Example … leftover pizza. I don’t know one individual who doesn’t like leftover pizza. You can think of this film as such.
The selection we present to you is the dramatic comedy ‘The Comedians’. The latest from film legend Robert De Niro. The film premiered at the AFI Fest on November 11th and will be released in theaters on February 3rd. Directed by Taylor Hackford (An Officer And A Gentleman, RAY) and written by Lewis Friedman, comedian Jeff Ross, Art Linson, and Richard LaGravenese (The Fisher King) the film features an all star cast including Robert DeNiro, Leslie Mann, Harvey Keitel, Danny DeVito, Veronica Ferres, Patti LuPone, Edie Falco, Cloris Leachman, Charles Gordin, Jim Norton, Gilbert Gottfried, Jimmie Walker, Brett Butler, Lois Smith, Happy Anderson, Hannibal Buress, and an appearance by Billy Crystal.
DeNiro is Jack ‘Jackie’ Burke. A comedic legend best known for his iconic T.V. role decades before who has spent the years since then attempting to reinvent himself as an ‘insult’ comic. Despite rave performances and praise from fans and his fellow comedians, he is still frustrated that he cannot escape from the shadow of his television career and the mistakes he made during those years as a husband, father, and brother. During a performance at a comedy club on the outskirts of New York City he berates a husband and wife in the audience who are filming him for their internet show without his permission and later attacks the husband. At his court hearing, he is offered a plea deal but upon learning that part of the plea involves apologizing to the husband and wife he openly berates them in the courtroom and is sentenced to 30 days in jail plus community service. Once out of jail, Jackie begins his community service serving meals to the homeless while fine tuning his act at a local church. However, since he has not worked and has no money he pays a call upon his estranged brother whom he has not visited in ages to ask for a loan.
Jackie’s brother agrees but only if Jackie will appear at his niece’s wedding. Late one evening at the church he meets Harmony (Mann) whom is also serving community service for assault and battery. Shortly after, Harmony and Jackie make the rounds at some of the New York comedy clubs where Jackie is still ‘welcome’ after which Jackie proposes a trade of sorts, Harmony will be Jackie’s date to his niece’s wedding if Jackie will appear at the dinner to celebrate the birthday of Harmony’s father (Keitel) who is a huge fan of Jackie’s television persona. At the wedding, Jackie performed a variation of his stand-up act to the delight of his niece and her fiancé while simultaneously offending the majority of the other family members. A few days later, Jackie accompanies Harmony to her father’s birthday dinner only to become aggravated when Harmony’s father insists Jackie reenact his T.V. character’s. Jackie responds by sarcastically professing his intentions to sleep with Harmony. Without giving everything away, what follows is a re-awakening of sorts in which Jackie comes to terms with the inevitability that he will always be known for the one role he tries so desperately to get away from and realizes that if he wants to distances himself from it, he’s going to have to embrace the character.
Despite the all star cast and the fact there were indeed many laughs in the film, it was honestly a waste at the end. This could’ve been an amazing film but it was lacking in its story. The script just didn’t have the ‘heart’ to combine with the premise and the great performances given by the actors. It’s not that they didn’t try, the film just failed to measure up. The acting was great, the directing was good, and there were indeed a few laughs here and there …. it just didn’t have any life to it. Heaven forbid I criticize a DeNiro film, but I can’t give this one more than two out of five stars. I REALLY wanted to like the film, I just didn’t. If it shows up in your digital cable package, go ahead and give it a try. Rent it on iTunes even. Honestly though, I can’t see myself buying the movie.
Alright … alright … that’s your standard P.R. HYPE. Not that it’s entirely untrue but let’s face it, we all have a pretty good idea as to what’s in store for us this year am I right?
Today’s film is amongst 2016s ‘leftovers’ if you will. No that that’s a bad thing. Example … leftover pizza. I don’t know one individual who doesn’t like leftover pizza. You can think of this film as such.
The selection we present to you is the dramatic comedy ‘The Comedians’. The latest from film legend Robert De Niro. The film premiered at the AFI Fest on November 11th and will be released in theaters on February 3rd. Directed by Taylor Hackford (An Officer And A Gentleman, RAY) and written by Lewis Friedman, comedian Jeff Ross, Art Linson, and Richard LaGravenese (The Fisher King) the film features an all star cast including Robert DeNiro, Leslie Mann, Harvey Keitel, Danny DeVito, Veronica Ferres, Patti LuPone, Edie Falco, Cloris Leachman, Charles Gordin, Jim Norton, Gilbert Gottfried, Jimmie Walker, Brett Butler, Lois Smith, Happy Anderson, Hannibal Buress, and an appearance by Billy Crystal.
DeNiro is Jack ‘Jackie’ Burke. A comedic legend best known for his iconic T.V. role decades before who has spent the years since then attempting to reinvent himself as an ‘insult’ comic. Despite rave performances and praise from fans and his fellow comedians, he is still frustrated that he cannot escape from the shadow of his television career and the mistakes he made during those years as a husband, father, and brother. During a performance at a comedy club on the outskirts of New York City he berates a husband and wife in the audience who are filming him for their internet show without his permission and later attacks the husband. At his court hearing, he is offered a plea deal but upon learning that part of the plea involves apologizing to the husband and wife he openly berates them in the courtroom and is sentenced to 30 days in jail plus community service. Once out of jail, Jackie begins his community service serving meals to the homeless while fine tuning his act at a local church. However, since he has not worked and has no money he pays a call upon his estranged brother whom he has not visited in ages to ask for a loan.
Jackie’s brother agrees but only if Jackie will appear at his niece’s wedding. Late one evening at the church he meets Harmony (Mann) whom is also serving community service for assault and battery. Shortly after, Harmony and Jackie make the rounds at some of the New York comedy clubs where Jackie is still ‘welcome’ after which Jackie proposes a trade of sorts, Harmony will be Jackie’s date to his niece’s wedding if Jackie will appear at the dinner to celebrate the birthday of Harmony’s father (Keitel) who is a huge fan of Jackie’s television persona. At the wedding, Jackie performed a variation of his stand-up act to the delight of his niece and her fiancé while simultaneously offending the majority of the other family members. A few days later, Jackie accompanies Harmony to her father’s birthday dinner only to become aggravated when Harmony’s father insists Jackie reenact his T.V. character’s. Jackie responds by sarcastically professing his intentions to sleep with Harmony. Without giving everything away, what follows is a re-awakening of sorts in which Jackie comes to terms with the inevitability that he will always be known for the one role he tries so desperately to get away from and realizes that if he wants to distances himself from it, he’s going to have to embrace the character.
Despite the all star cast and the fact there were indeed many laughs in the film, it was honestly a waste at the end. This could’ve been an amazing film but it was lacking in its story. The script just didn’t have the ‘heart’ to combine with the premise and the great performances given by the actors. It’s not that they didn’t try, the film just failed to measure up. The acting was great, the directing was good, and there were indeed a few laughs here and there …. it just didn’t have any life to it. Heaven forbid I criticize a DeNiro film, but I can’t give this one more than two out of five stars. I REALLY wanted to like the film, I just didn’t. If it shows up in your digital cable package, go ahead and give it a try. Rent it on iTunes even. Honestly though, I can’t see myself buying the movie.
5 Minute Movie Guy (379 KP) rated Blinded by the Light (2019) in Movies
Sep 16, 2019
Based on a true story, Blinded by the Light follows the life of Javed, a down-on-his-luck Pakistani teenager living in Great Britain in the 1980s, who is in a social stranglehold by his strict father. He just wants to live a life like any other kid his age, and hang out with his friends, and go to parties, and maybe even meet a girl, but his overbearing dad has other expectations and plans for him. Being that they’re minorities in a foreign country in a time of racism, Javed’s father wants him to keep his head down and put his family first and foremost. That means living the life his father chooses for him, and not being able to live the life he desires. Feeling trapped by his circumstances, Javed’s bleak outlook becomes changed completely after he makes a new friend at school who introduces him to the music of the All-American legend, Bruce Springsteen.
One stormy night, fueled by his frustrations with his family, Javed turns to the cassette tapes he borrowed from his friend, and listens to “The Boss” for the very first time. It’s an instantly cathartic and unforgettably life-changing experience. The words speak to him in a way that no song ever has before. The lyrics speak of his ambitions and know his struggles and pain. It’s as if suddenly through the songs of Springsteen, Javed has found his voice and a guiding light. He’s instantly transformed by it, and is given a purpose and a passion to pursue it. For him, the music is the spark to light the fire to his ambitions; to leave his small town, to escape poverty, to resist his father’s oppression, to live on his own accord, to become a writer, and to feed his hungry heart.
As a writer and a lover of Springsteen myself, I connected with Blinded by the Light on a profoundly personal level. Springsteen’s music has spoken to me in a similar fashion as it does to Javed in the film. While I’m not the super fan that he is, I like to think we all have comparable experiences with certain musical artists who resonate with us deep in our souls. Bruce’s music in particular speaks to the common man, and it rallies against the injustices of the world in the pursuit of the American dream. I can’t think of a single musician that I personally find to be more motivational than him. It is my hope that people will watch this movie, particularly those who are unfamiliar with the music of Bruce Springsteen, and they’ll have a reaction to it much like Javed in this movie.
It goes without saying that the soundtrack in Blinded by the Light is fantastic. It has a nice mix of classic hits as well as some lesser known Springsteen songs, including some live versions, and they’re all put to good use here. Out of all of the recent movies inspired by real-life musicians, including Bohemian Rhapsody, Rocketman, and Yesterday, Blinded by the Light is by far my personal favorite. There are no poor cover songs nor bad lip synching to be found here. What you get is 100% The Boss. In a few parts, the movie even breaks out into full-on dancing musical numbers. While they’re a little cheesy and even feel a bit out of place, I found that they remained true to the music and were simply too much fun not to enjoy.
Director Gurinder Chadha does a fine job crafting Javed’s story and all of its complexities while also paying homage to The Boss. The movie explores our innate desire for freedom and finding ourselves, while also exposing the sacrifices we often must make in life for those we love. The film additionally explores social issues of the era, including political turmoil, fascist movements, and racism, which Javed faces first-hand as a Pakistani in England, and which unfortunately still feel uncomfortably relevant today. Javed is played by Viveik Kalra in his motion-picture debut, and he is immensely likable and relatable in his performance. The cast as a whole is pretty good, with the standouts being Hayley Atwell as Javed’s teacher, Ms. Clay, who encourages him to continue with his writing, as well as Kulvinder Ghir, who plays Javed’s controlling father. I also liked Aaron Phagura as Roops, Javed’s loyal Bruce-Springsteen-cassette-tape-sharing friend. We all could use more friends like him!
Overall, Blinded by the Light is a loving tribute to the music of Bruce Springsteen, but more than anything, it’s an emotional, identifiable, and uplifting tale about reaching for your dreams. The struggles that Javed faces resonate brilliantly with the messages of the music, and his story is an inspiring one worth hearing. Springsteen fans in particular definitely won’t want to miss this movie, but I think regardless of your interest or familiarity with Springsteen and his music, you’re likely to find something to enjoy here. And maybe, just maybe, you’ll even walk out of the theater as a fan.
One stormy night, fueled by his frustrations with his family, Javed turns to the cassette tapes he borrowed from his friend, and listens to “The Boss” for the very first time. It’s an instantly cathartic and unforgettably life-changing experience. The words speak to him in a way that no song ever has before. The lyrics speak of his ambitions and know his struggles and pain. It’s as if suddenly through the songs of Springsteen, Javed has found his voice and a guiding light. He’s instantly transformed by it, and is given a purpose and a passion to pursue it. For him, the music is the spark to light the fire to his ambitions; to leave his small town, to escape poverty, to resist his father’s oppression, to live on his own accord, to become a writer, and to feed his hungry heart.
As a writer and a lover of Springsteen myself, I connected with Blinded by the Light on a profoundly personal level. Springsteen’s music has spoken to me in a similar fashion as it does to Javed in the film. While I’m not the super fan that he is, I like to think we all have comparable experiences with certain musical artists who resonate with us deep in our souls. Bruce’s music in particular speaks to the common man, and it rallies against the injustices of the world in the pursuit of the American dream. I can’t think of a single musician that I personally find to be more motivational than him. It is my hope that people will watch this movie, particularly those who are unfamiliar with the music of Bruce Springsteen, and they’ll have a reaction to it much like Javed in this movie.
It goes without saying that the soundtrack in Blinded by the Light is fantastic. It has a nice mix of classic hits as well as some lesser known Springsteen songs, including some live versions, and they’re all put to good use here. Out of all of the recent movies inspired by real-life musicians, including Bohemian Rhapsody, Rocketman, and Yesterday, Blinded by the Light is by far my personal favorite. There are no poor cover songs nor bad lip synching to be found here. What you get is 100% The Boss. In a few parts, the movie even breaks out into full-on dancing musical numbers. While they’re a little cheesy and even feel a bit out of place, I found that they remained true to the music and were simply too much fun not to enjoy.
Director Gurinder Chadha does a fine job crafting Javed’s story and all of its complexities while also paying homage to The Boss. The movie explores our innate desire for freedom and finding ourselves, while also exposing the sacrifices we often must make in life for those we love. The film additionally explores social issues of the era, including political turmoil, fascist movements, and racism, which Javed faces first-hand as a Pakistani in England, and which unfortunately still feel uncomfortably relevant today. Javed is played by Viveik Kalra in his motion-picture debut, and he is immensely likable and relatable in his performance. The cast as a whole is pretty good, with the standouts being Hayley Atwell as Javed’s teacher, Ms. Clay, who encourages him to continue with his writing, as well as Kulvinder Ghir, who plays Javed’s controlling father. I also liked Aaron Phagura as Roops, Javed’s loyal Bruce-Springsteen-cassette-tape-sharing friend. We all could use more friends like him!
Overall, Blinded by the Light is a loving tribute to the music of Bruce Springsteen, but more than anything, it’s an emotional, identifiable, and uplifting tale about reaching for your dreams. The struggles that Javed faces resonate brilliantly with the messages of the music, and his story is an inspiring one worth hearing. Springsteen fans in particular definitely won’t want to miss this movie, but I think regardless of your interest or familiarity with Springsteen and his music, you’re likely to find something to enjoy here. And maybe, just maybe, you’ll even walk out of the theater as a fan.
Bob Mann (459 KP) rated A Monster Calls (2016) in Movies
Sep 29, 2021
“I’ll. Be. Right. Here.”
The worst thing about this movie is its title. The second worst thing about this movie is its trailer. Both will either a) put people off seeing it (it succeeded in that with my wife for example) or b) make people conclude it is a ‘nice holiday film to take the kids to’, which is also an horrendous mistake!
This is a crying shame because it is a riveting drama and a superb piece of film-making by the Spaniard J. A. Bayona (“The Impossible”) that may well catapult it already into my top 10 films of 2017. But it is not, I would suggest, a film that is remotely suitable for kids under 10 to see, dealing as it does with terminal illness, bullying and impending doom. For this is a dark (read pitch black) but hauntingly beautiful film.
Lewis MacDougall, in only his second film (after last year’s “Peter Pan”) plays Conor – a young but talented and sensitive artist growing up as a 12 year old in the North of England with his single mum (Felicity Jones). She is suffering from an aggressive form of cancer and is forever medically grasping for a new hope (D’ya see what I did there?). Young Conor believes fervently that each new treatment will be ‘the one’ but the building tension, the lack of sleep and his recurrent nightmares are destroying him mentally and physically. As if this wasn’t enough, his distracted nature is leading to him being seriously bullied at school and there is the added stress of having to live in his grandmother’s pristine and teen-unfriendly house when his mother is hospitalised.
Towering over the nearby graveyard on the hill is an ancient yew tree and Conor is visited after midnight by this “monster” (voiced by Liam Neeson). Is he dreaming, or is it real? The tree dispatches wisdom in the form of three ‘tales’, with the proviso that Conor tell the tree the fourth tale which “must be the truth”.
A tale of grief, guilt and a search for closure, this is a harrowing but rewarding journey for the viewer.
The film is technically outstanding on so many levels:
the art design is superb, with the gorgeous ‘tale animations’ being highly reminiscent of the beautiful ones in “Harry Potter and the Deathly Hallows, Part 1”;
the use of sound is brilliant, with sudden silence being used as a weapon with which to assault the senses in one key sequence;
the cinematography by Oscar Faura (“The Imitation Game”) is faultless, capturing both the dreary reality in a Northern winter with the comparative warmth of the strange dream-like sequences;
the music by Fernando Velázquez is used effectively and intelligently to reflect the sombre mood;
the special effects team led by Pau Costa (“The Revenant”, “The Impossible”) shines not just with Neesen’s monster, but with the incorporation of the root and branch effects into the ‘normal’ surroundings.
As the BFG illustrated, having a whole film carried by a young actor is a bit of an ask, but here Lewis MacDougall achieves just that like a seasoned pro. His performance is nothing short of staggering and – although a brave move by the Academy – it would be great to see him nominated for a BAFTA acting award for this.
Confirming her position in the acting top-flight is Felicity Jones, heart-wrenching in her role of the declining mum, and Sigourney Weaver is also excellent as the po-faced but grief-stricken grandmother. Liam Neeson probably didn’t add much by getting dressed up in the mo-cap suit for the tree scenes, but his voice is just perfect as the wise old sage.
The only criticism of what is an absorbing and intelligent script (by Patrick Ness, who also wrote the graphical novel) is the introduction of Conor’s Dad, played by Toby Kebbell (Dr Doom from “The Fantastic 4”), who is literally flown in from LA on a flying visit but whose role is a little superfluous to the plot.
This is exactly what “The BFG” should have been but wasn’t. It draws on a number of potential influences including “Mary Poppins”/”Saving Mr Banks” and “ET”. Wise, clever and a thing of beauty from beginning to end, this is a treat for movie-goers and a highly recommended watch. However, if you have lost someone to “the Big C” be aware that this film could be highly traumatic for you….. or highly cathartic: as I’m not a psychiatrist, I’m really not that sure! Also, if you are of the blubbing kind, take LOTS of tissues: the film features the best use of a digital clock since “Groundhog Day” and if you are not reduced to tears by that scene you are certifiably not human.
This is a crying shame because it is a riveting drama and a superb piece of film-making by the Spaniard J. A. Bayona (“The Impossible”) that may well catapult it already into my top 10 films of 2017. But it is not, I would suggest, a film that is remotely suitable for kids under 10 to see, dealing as it does with terminal illness, bullying and impending doom. For this is a dark (read pitch black) but hauntingly beautiful film.
Lewis MacDougall, in only his second film (after last year’s “Peter Pan”) plays Conor – a young but talented and sensitive artist growing up as a 12 year old in the North of England with his single mum (Felicity Jones). She is suffering from an aggressive form of cancer and is forever medically grasping for a new hope (D’ya see what I did there?). Young Conor believes fervently that each new treatment will be ‘the one’ but the building tension, the lack of sleep and his recurrent nightmares are destroying him mentally and physically. As if this wasn’t enough, his distracted nature is leading to him being seriously bullied at school and there is the added stress of having to live in his grandmother’s pristine and teen-unfriendly house when his mother is hospitalised.
Towering over the nearby graveyard on the hill is an ancient yew tree and Conor is visited after midnight by this “monster” (voiced by Liam Neeson). Is he dreaming, or is it real? The tree dispatches wisdom in the form of three ‘tales’, with the proviso that Conor tell the tree the fourth tale which “must be the truth”.
A tale of grief, guilt and a search for closure, this is a harrowing but rewarding journey for the viewer.
The film is technically outstanding on so many levels:
the art design is superb, with the gorgeous ‘tale animations’ being highly reminiscent of the beautiful ones in “Harry Potter and the Deathly Hallows, Part 1”;
the use of sound is brilliant, with sudden silence being used as a weapon with which to assault the senses in one key sequence;
the cinematography by Oscar Faura (“The Imitation Game”) is faultless, capturing both the dreary reality in a Northern winter with the comparative warmth of the strange dream-like sequences;
the music by Fernando Velázquez is used effectively and intelligently to reflect the sombre mood;
the special effects team led by Pau Costa (“The Revenant”, “The Impossible”) shines not just with Neesen’s monster, but with the incorporation of the root and branch effects into the ‘normal’ surroundings.
As the BFG illustrated, having a whole film carried by a young actor is a bit of an ask, but here Lewis MacDougall achieves just that like a seasoned pro. His performance is nothing short of staggering and – although a brave move by the Academy – it would be great to see him nominated for a BAFTA acting award for this.
Confirming her position in the acting top-flight is Felicity Jones, heart-wrenching in her role of the declining mum, and Sigourney Weaver is also excellent as the po-faced but grief-stricken grandmother. Liam Neeson probably didn’t add much by getting dressed up in the mo-cap suit for the tree scenes, but his voice is just perfect as the wise old sage.
The only criticism of what is an absorbing and intelligent script (by Patrick Ness, who also wrote the graphical novel) is the introduction of Conor’s Dad, played by Toby Kebbell (Dr Doom from “The Fantastic 4”), who is literally flown in from LA on a flying visit but whose role is a little superfluous to the plot.
This is exactly what “The BFG” should have been but wasn’t. It draws on a number of potential influences including “Mary Poppins”/”Saving Mr Banks” and “ET”. Wise, clever and a thing of beauty from beginning to end, this is a treat for movie-goers and a highly recommended watch. However, if you have lost someone to “the Big C” be aware that this film could be highly traumatic for you….. or highly cathartic: as I’m not a psychiatrist, I’m really not that sure! Also, if you are of the blubbing kind, take LOTS of tissues: the film features the best use of a digital clock since “Groundhog Day” and if you are not reduced to tears by that scene you are certifiably not human.
Chris Sawin (602 KP) rated Death on the Nile (2022) in Movies
Feb 10, 2022
Most of the female cast. (2 more)
Poirot's backstory.
Kenneth Branagh's mustache.
Slow-moving with little payoff. (2 more)
Nothing substantial happens for the first hour.
Not entertaining. Perfect example of first world problems.
A Drowzy Whodunit Loaded with Mediocrity
Death on the Nile is the sequel to 2017’s Murder on the Orient Express with director and lead actor Kenneth Branagh returning. The mystery thriller is based on the 1937 novel of the same name by Agatha Christie. Death on the Nile has been adapted before as a 1978 film and as a 2004 episode of the Poirot television series starring David Suchet.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.