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Gareth von Kallenbach (971 KP) rated Team America: World Police (2004) in Movies
Aug 14, 2019
With world tensions at an all time high with the very real threat of terrorism, the creators of South Park, Trey Parker and Matt Stone, have rushed to the rescue with a biting political and social satire named “Team America: World Police”.
The film is a puppet movie based upon the old Thunderbirds television show about a team of specialists who fight to save the world from all manner of threats both real and imagined. The story is told entirely by puppets and miniatures which allows Stone and Parker to push the boundaries much further than they would be allowed to with live actors and in doing so, give the audience some of the deepest albeit raunchiest laughs seen in a long time.
The story opens with Team America battling the terrorists in Paris. Ever quick on the trigger, the team is able to stop the deployment of a weapon of mass destruction but in the process much of the cities famed landmarks fall from collateral damage.
Forced to find a new team member, the leader of Team America, Spottswoode recruits a stage actor named Gary Johnston to join the team and infiltrate the terrorist organization to learn what new attacks are being planned.
While this is seen as a good move by the team, there are parts of the team that are unsure of this as one in particular does not trust actors and thinks that he will escalate an already volatile situation. Undaunted, the team sets off for Cairo Egypt and eventually leaves a trail of mayhem and destruction in their path.
It is at this point that the real story of the films kicks into gear. It is learned that North Korean leader Kim Jong Il is working with the terrorists to plot the ultimate attack and have convinced a cadre of Hollywood actors to attend a peace conference with other world leaders in an attempt to undermine Team America.
In between battles, Team America has plenty of time to take on other concerns such as love, self-doubt, personal issues, and suspicions, some of which result in a side-splitting sex scene that will soon become legend, as even though it involved puppets, it has to be severely edited in order to avoid an NC-17 rating. As it stands, it is one of the funniest moments in cinematic history and worth the price of admission alone.
The film does a good job of mixing comedy and commentary without ever drawing a line and saying this is how it is. We see Team America as a gun happy bunch, but we are also shown that they are true patriots who are willing to do what it takes to keep the country safe. Such is the genius of Parker and Stone as they are able to create a biting social commentary that makes you aware of issues without pounding the audience over their heads with the creator’s viewpoints. Instead the audience is given a situation and watch things taken to highly comical levels in an effort to entertain. People are free to draw their own conclusions and interpretations of the messages in the film as despite your beliefs or political leanings, we all laugh. There will be those that take umbrage to the crude humor and language, and others will not like what they may call a right-wing message. Instead I looked at the film as a very funny comedy with solid social commentary.
The only fault I had with the film is that it does drag a bit about ¾ in before getting to the final confrontations but those are well worth the wait. The film also parodies many action films and it is fun to try to try to uncover which film is being parodied. The puppets themselves are very impressive as their movements and facial expressions are easily the best ever captured on film.
The film is a puppet movie based upon the old Thunderbirds television show about a team of specialists who fight to save the world from all manner of threats both real and imagined. The story is told entirely by puppets and miniatures which allows Stone and Parker to push the boundaries much further than they would be allowed to with live actors and in doing so, give the audience some of the deepest albeit raunchiest laughs seen in a long time.
The story opens with Team America battling the terrorists in Paris. Ever quick on the trigger, the team is able to stop the deployment of a weapon of mass destruction but in the process much of the cities famed landmarks fall from collateral damage.
Forced to find a new team member, the leader of Team America, Spottswoode recruits a stage actor named Gary Johnston to join the team and infiltrate the terrorist organization to learn what new attacks are being planned.
While this is seen as a good move by the team, there are parts of the team that are unsure of this as one in particular does not trust actors and thinks that he will escalate an already volatile situation. Undaunted, the team sets off for Cairo Egypt and eventually leaves a trail of mayhem and destruction in their path.
It is at this point that the real story of the films kicks into gear. It is learned that North Korean leader Kim Jong Il is working with the terrorists to plot the ultimate attack and have convinced a cadre of Hollywood actors to attend a peace conference with other world leaders in an attempt to undermine Team America.
In between battles, Team America has plenty of time to take on other concerns such as love, self-doubt, personal issues, and suspicions, some of which result in a side-splitting sex scene that will soon become legend, as even though it involved puppets, it has to be severely edited in order to avoid an NC-17 rating. As it stands, it is one of the funniest moments in cinematic history and worth the price of admission alone.
The film does a good job of mixing comedy and commentary without ever drawing a line and saying this is how it is. We see Team America as a gun happy bunch, but we are also shown that they are true patriots who are willing to do what it takes to keep the country safe. Such is the genius of Parker and Stone as they are able to create a biting social commentary that makes you aware of issues without pounding the audience over their heads with the creator’s viewpoints. Instead the audience is given a situation and watch things taken to highly comical levels in an effort to entertain. People are free to draw their own conclusions and interpretations of the messages in the film as despite your beliefs or political leanings, we all laugh. There will be those that take umbrage to the crude humor and language, and others will not like what they may call a right-wing message. Instead I looked at the film as a very funny comedy with solid social commentary.
The only fault I had with the film is that it does drag a bit about ¾ in before getting to the final confrontations but those are well worth the wait. The film also parodies many action films and it is fun to try to try to uncover which film is being parodied. The puppets themselves are very impressive as their movements and facial expressions are easily the best ever captured on film.
Gareth von Kallenbach (971 KP) rated Hellboy II: The Golden Army (Hellboy 2) (2008) in Movies
Aug 14, 2019
Hollywood is often littered with decisions that in hindsight seem to be utterly insane. For all of the big budgeted films that go on to do huge business, there are films such as “Waterworld”, “Howard The Duck”, “Hudson Hawk”, and countless others that make you scratch your head and wonder who thought they were worth the investment of millions of dollars that were needed to bring them to the big screen.
One such decision that will undoubtedly look bad with the passage of time, was the decision for Columbia not to continue the “Hellboy” film series and allow it to walk away to find a home elsewhere.
Thankfully due to the strength of “Pan’s Labyrinth”, creator Guillmo del Toro who is riding a wave of critical success, “Hellboy II: The Golden Army”, is a step up from the previous film and sets the stage for a potential series of sequels for Universal.
The film once again stars Ron Perlman as the title character, a demon of supernatural origin who was raised by humans and leads a team of gifted individuals in the ultra-secret Bureau for Paranormal Research and Defense (BPRD).
The story begins shortly after the events of the last film, and finds BPRD Director Tom Manning (Jeffrey Tambor), frustrated with Hellboy’s continued flaunting of the rules by posing for pictures and autographs while on missions, despite being sworn to keep himself and the agency a closely guarded secret.
As if this was not enough trouble, Hellboy is having issues with the love of his life Liz (Selma Blair), who is starting to have issues with his gruff mannerisms and slovenly ways.
Unknown to the BRPD a new threat is brewing in the form of Prince Nauada (Luke Goss), who plans to retrieve three pieces of a golden crown so that he may control a fabled army of golden soldiers, and wage war on humanity.
Nauada is part of the mythical world of beings that long ago formed a truce with humanity and have lived in peace. Nauada, who has lived under the rule of his father for centuries, strikes out and sets events into motion which require the BPRD to respond to a threat greater than any they have previously faced,.
With the able help of Abe Sapien (Doug Jones), and new member Johann Krauss (Seth MacFarlane), the BPRD clash with themselves and the forces of Nauada with the fate of the world in the balance.
The new film is significantly better than the previous one, and del Toro has masterfully blended the characters and many interesting sub-stories with solid action, FX, and surprising humor. There is a scene in the film where Hellboy and Abe bond over music and beer to discuss women that is truly classic as is the confrontation between Hellboy and Krauss over leadership.
del Toro is a master at creating world of fantasy and splendor and when he allows the film to venture into this area, the film truly shines. It is during the transition between fantasy and alleged reality where the film has a few rough edges. While it was great to see the characters have a more defined relationship and interaction with one another, it seemed at times that areas for potential gold were glossed over or rushed to get back to the action and FX. There are some great storylines about Hellboy’s relationship with humanity, Liz being caught between two worlds, and many more that I hope get developed more in any future films.
There were times in the film where the nearly two hour run time seemed excessive and dragged, especially leading up to a finale, that did not deliver as big an impact as the setup had hinted at.
That being said, thanks to great characters and visuals “Hellboy II: The Golden Army”, is the rare sequel that is better than the original.
One such decision that will undoubtedly look bad with the passage of time, was the decision for Columbia not to continue the “Hellboy” film series and allow it to walk away to find a home elsewhere.
Thankfully due to the strength of “Pan’s Labyrinth”, creator Guillmo del Toro who is riding a wave of critical success, “Hellboy II: The Golden Army”, is a step up from the previous film and sets the stage for a potential series of sequels for Universal.
The film once again stars Ron Perlman as the title character, a demon of supernatural origin who was raised by humans and leads a team of gifted individuals in the ultra-secret Bureau for Paranormal Research and Defense (BPRD).
The story begins shortly after the events of the last film, and finds BPRD Director Tom Manning (Jeffrey Tambor), frustrated with Hellboy’s continued flaunting of the rules by posing for pictures and autographs while on missions, despite being sworn to keep himself and the agency a closely guarded secret.
As if this was not enough trouble, Hellboy is having issues with the love of his life Liz (Selma Blair), who is starting to have issues with his gruff mannerisms and slovenly ways.
Unknown to the BRPD a new threat is brewing in the form of Prince Nauada (Luke Goss), who plans to retrieve three pieces of a golden crown so that he may control a fabled army of golden soldiers, and wage war on humanity.
Nauada is part of the mythical world of beings that long ago formed a truce with humanity and have lived in peace. Nauada, who has lived under the rule of his father for centuries, strikes out and sets events into motion which require the BPRD to respond to a threat greater than any they have previously faced,.
With the able help of Abe Sapien (Doug Jones), and new member Johann Krauss (Seth MacFarlane), the BPRD clash with themselves and the forces of Nauada with the fate of the world in the balance.
The new film is significantly better than the previous one, and del Toro has masterfully blended the characters and many interesting sub-stories with solid action, FX, and surprising humor. There is a scene in the film where Hellboy and Abe bond over music and beer to discuss women that is truly classic as is the confrontation between Hellboy and Krauss over leadership.
del Toro is a master at creating world of fantasy and splendor and when he allows the film to venture into this area, the film truly shines. It is during the transition between fantasy and alleged reality where the film has a few rough edges. While it was great to see the characters have a more defined relationship and interaction with one another, it seemed at times that areas for potential gold were glossed over or rushed to get back to the action and FX. There are some great storylines about Hellboy’s relationship with humanity, Liz being caught between two worlds, and many more that I hope get developed more in any future films.
There were times in the film where the nearly two hour run time seemed excessive and dragged, especially leading up to a finale, that did not deliver as big an impact as the setup had hinted at.
That being said, thanks to great characters and visuals “Hellboy II: The Golden Army”, is the rare sequel that is better than the original.
Gareth von Kallenbach (971 KP) rated Charlie and the Chocolate Factory (2005) in Movies
Aug 14, 2019
It seems of late that every month Hollywood either releases or plans to release a remake of a classic film. This summer has spawned no less than 5 remakes of classic films or televisions shows and with box office receipts in decline, it would seem that the public is craving for something fresh.
Thankfully the Tim Burton remake of Charlie and the Chocolate Factory is not only a winner, but injects a much needed jolt of camp, charm, and wit into a late summer season that desperately needed it.
The film stars Johnny Depp as the mysterious candy maker Willie Wonka. Wonka has become a reclusive for two decades in order to protect his secret recipes from corporate spies and thieves.
As the film opens, a young boy named Charlie Bucket, (Freddie Highmore), returns home to his family shack, which he shares with his parents and four grandparents. As told via narration, that despite the poverty of his family, Charlie is a very lucky boy. Over their meager dinner of cabbage soup, Charlie’s grandfather (David Kelly) regales the family with tales of Willie Wonka and his exploits which he saw first hand while working in the factory decades earlier.
When Wonka resumed candy shipments after a hiatus the world was delighted, but many wondered who was making the candy as aside from shipping trucks, nobody was ever seen coming or going from the factory.
Such secrecy only added to the legend of Wonka as amazing candy creations continued to arrive in shops to the delight of customer’s world wide.
When it is announced that five golden tickets have been hidden inside candy bars world wide, and that the winners will be given a full day tour of the factory by Wonka himself, frenzy erupts across the globe as Wonka Bars are snatched up by a rabid public. Charlie dreams of getting one of the precious tickets, but his family’s meager income limits him to one bar a year on his birthday. Undaunted Charlie counts the days until his coming birthday, undaunted by the discovery of tickets around the globe.
When his efforts to get a ticket are daunted, and the fifth ticket is reported to be found, Charlie consoles himself by finding money in the street and purchases a Wonka Bar from the corner store. In the blink of an eye Charlie finds himself holding the last ticket when he learns that the last one reported found was a hoax.
Soon Charlie and his Grandfather are touring the magical factory complete with rivers of chocolate and edible candy forests in the company of the quirky Wonka and the fellow contest winners. What follows next is not going to be much of a surprise for those who have seen the 1971 version starring Gene Wilder or those who have read the novel by Roald Dahl, what is a surprise is how fresh and spirited this new version is. I was utterly charmed by the story and the effective pacing of the film.
Burton is a master of mixing visuals and fantasy and this time he not only excels, but he adds an effective touch of humanity to the fantasy which keeps the film from being lost in a see of color and effects.
Depp is brilliant as the eccentric Wonka as his mirth and camp, is underscored by equal amounts of fear and mistrust. The film is essentially a morality tale, but it never losses its focus or the charm by becoming preachy or drawn out. In a role that could easily have been mishandled, Depp soars and shows that he is one of the greatest actors of our generation.
Parents should note that there are a few moments in the film that may be a bit intense for the youngest of viewers, but that being said, the film is a true delight full of magic and fantasy that will delight young and old.
Thankfully the Tim Burton remake of Charlie and the Chocolate Factory is not only a winner, but injects a much needed jolt of camp, charm, and wit into a late summer season that desperately needed it.
The film stars Johnny Depp as the mysterious candy maker Willie Wonka. Wonka has become a reclusive for two decades in order to protect his secret recipes from corporate spies and thieves.
As the film opens, a young boy named Charlie Bucket, (Freddie Highmore), returns home to his family shack, which he shares with his parents and four grandparents. As told via narration, that despite the poverty of his family, Charlie is a very lucky boy. Over their meager dinner of cabbage soup, Charlie’s grandfather (David Kelly) regales the family with tales of Willie Wonka and his exploits which he saw first hand while working in the factory decades earlier.
When Wonka resumed candy shipments after a hiatus the world was delighted, but many wondered who was making the candy as aside from shipping trucks, nobody was ever seen coming or going from the factory.
Such secrecy only added to the legend of Wonka as amazing candy creations continued to arrive in shops to the delight of customer’s world wide.
When it is announced that five golden tickets have been hidden inside candy bars world wide, and that the winners will be given a full day tour of the factory by Wonka himself, frenzy erupts across the globe as Wonka Bars are snatched up by a rabid public. Charlie dreams of getting one of the precious tickets, but his family’s meager income limits him to one bar a year on his birthday. Undaunted Charlie counts the days until his coming birthday, undaunted by the discovery of tickets around the globe.
When his efforts to get a ticket are daunted, and the fifth ticket is reported to be found, Charlie consoles himself by finding money in the street and purchases a Wonka Bar from the corner store. In the blink of an eye Charlie finds himself holding the last ticket when he learns that the last one reported found was a hoax.
Soon Charlie and his Grandfather are touring the magical factory complete with rivers of chocolate and edible candy forests in the company of the quirky Wonka and the fellow contest winners. What follows next is not going to be much of a surprise for those who have seen the 1971 version starring Gene Wilder or those who have read the novel by Roald Dahl, what is a surprise is how fresh and spirited this new version is. I was utterly charmed by the story and the effective pacing of the film.
Burton is a master of mixing visuals and fantasy and this time he not only excels, but he adds an effective touch of humanity to the fantasy which keeps the film from being lost in a see of color and effects.
Depp is brilliant as the eccentric Wonka as his mirth and camp, is underscored by equal amounts of fear and mistrust. The film is essentially a morality tale, but it never losses its focus or the charm by becoming preachy or drawn out. In a role that could easily have been mishandled, Depp soars and shows that he is one of the greatest actors of our generation.
Parents should note that there are a few moments in the film that may be a bit intense for the youngest of viewers, but that being said, the film is a true delight full of magic and fantasy that will delight young and old.
Gareth von Kallenbach (971 KP) rated Constantine (2005) in Movies
Aug 14, 2019
The battle between Heaven and Hell has been chronicled numerous times on film. Ranging from the “Omen” and “Exorcist” series to the recent “Hellboy” and “End of Days”, Hollywood has never shied away from the struggle between good and evil and audiences have usually responded by attending in droves.
The latest entry into the genre is Constantine, which chronicles the exploits of supernatural detective John Constantine (Keanu Reeves), who is tasked to walk the line between good and evil to make sure that balance is maintained. John is a very troubled individual and his transactions with angels and demons have warped his views on life, humanity, and the afterlife.
Due to things in his past, John is trying to right his wrongs so he can gain a place in heaven, toward that end, the forces of Hell are trying there best to ensure that John is unable to gain redemption so they will be able to collect his soul, and repay him for all of their minions that he has vanquished over the years.
As if this was not bad enough, the rules between Heaven and Hell seem to be blurring as there is a growing demon presence on Earth which does not bode well for the future of humanity. It is learned that there is an agreement in place that there can be no direct contact, only influence to humans giving them the freedom to pick between good and evil and thus the fate of ones soul.
When a local detective named Angela (Rachael Weisz), contacts John, she is desperate to learn the truth behind her twin sister’s apparent suicide. Although skeptical at first, John soon learns that he and Angela have become players in a much larger game with the very fate of humanity dependant upon their actions.
Before long, John and Angela are facing off against legions of Hell’s minions as they attempt to save the soul of Angela’s sister and save humanity.
The film will be different things to many viewers as on one hand; some many take exception to the story and the bland tone and mannerisms of Reeves, as well as some of the films theological stances.
That being said, the film works, the action is good without being in your face as the computer generated effects enhance the film, complimenting the story and actors rather than upstaging them. The film has a murky look to it which sets the tone perfectly as this is not a happy movie filled with lovable people, instead it is a tail of people trying to do what is right and staying true to their beliefs though surrounded by temptations and numerous chances to stray.
Reeves plays Constantine as a man who is dedicated to what he does, but also shows us that he is unhappy with his life and past choices as they have forever haunted him. John is forced to do things he would rather not do as it is the only chance he has left at redemption and this has seen him deteriorate as he feels he is a tool that is being used with no end in sight.
Weisz does a good job with a very limited role as she is able to keep up with the action without falling prey to the damsel in distress mode that haunted her character in the “Mummy Films”. Singer Gavin Rossdale does a good job as the smarmy demon Balthazar who is a constant bane to John.
Despite the occasional hiccups with the plot and Reeves inability to show range or expressions, for the most part Constantine works and looks to be a good starting point for what is likely to be a franchise series for Warner Bros.
The latest entry into the genre is Constantine, which chronicles the exploits of supernatural detective John Constantine (Keanu Reeves), who is tasked to walk the line between good and evil to make sure that balance is maintained. John is a very troubled individual and his transactions with angels and demons have warped his views on life, humanity, and the afterlife.
Due to things in his past, John is trying to right his wrongs so he can gain a place in heaven, toward that end, the forces of Hell are trying there best to ensure that John is unable to gain redemption so they will be able to collect his soul, and repay him for all of their minions that he has vanquished over the years.
As if this was not bad enough, the rules between Heaven and Hell seem to be blurring as there is a growing demon presence on Earth which does not bode well for the future of humanity. It is learned that there is an agreement in place that there can be no direct contact, only influence to humans giving them the freedom to pick between good and evil and thus the fate of ones soul.
When a local detective named Angela (Rachael Weisz), contacts John, she is desperate to learn the truth behind her twin sister’s apparent suicide. Although skeptical at first, John soon learns that he and Angela have become players in a much larger game with the very fate of humanity dependant upon their actions.
Before long, John and Angela are facing off against legions of Hell’s minions as they attempt to save the soul of Angela’s sister and save humanity.
The film will be different things to many viewers as on one hand; some many take exception to the story and the bland tone and mannerisms of Reeves, as well as some of the films theological stances.
That being said, the film works, the action is good without being in your face as the computer generated effects enhance the film, complimenting the story and actors rather than upstaging them. The film has a murky look to it which sets the tone perfectly as this is not a happy movie filled with lovable people, instead it is a tail of people trying to do what is right and staying true to their beliefs though surrounded by temptations and numerous chances to stray.
Reeves plays Constantine as a man who is dedicated to what he does, but also shows us that he is unhappy with his life and past choices as they have forever haunted him. John is forced to do things he would rather not do as it is the only chance he has left at redemption and this has seen him deteriorate as he feels he is a tool that is being used with no end in sight.
Weisz does a good job with a very limited role as she is able to keep up with the action without falling prey to the damsel in distress mode that haunted her character in the “Mummy Films”. Singer Gavin Rossdale does a good job as the smarmy demon Balthazar who is a constant bane to John.
Despite the occasional hiccups with the plot and Reeves inability to show range or expressions, for the most part Constantine works and looks to be a good starting point for what is likely to be a franchise series for Warner Bros.
Darren (1599 KP) rated Child's Play (2019) in Movies
Jun 22, 2019
Thoughts on Child’s Play
Characters – Andy is a young teenager that has just moved to a new city with his mother, he hasn’t made any friends, turning to his phone to keep him busy, he does have a hearing aid, but it is never clear how bad his hearing is, he gets a Buddi doll that will keep him company as he starts to become friends with the doll. Once he learns of the evil inside the doll, he does all he can to make sure his loved ones are safe, as he starts to make friends away from the doll, he never seems to go to school though. Karen is the single mother that is working double shifts to keep Andy happy, she starts dating a new man, which doesn’t please Andy and does all she can to put Andy first when things start getting out of hand. Chucky is the Buddi doll that has been unleashed from his safety restrictions, he is constantly learning from watching people, which brings out his violent side, which will see him going on a killing spree targeting anyone that hurts or tries to replace him as a friend to Andy. Detective Norris visits the apartment building where his mother lives for dinner once a week, he does notice Andy around the apartment building making sure he is safe.
Performances – Aubrey Plaza as the single mother is strong in her role, she does bring added character to a character that could have come off plain. Gabriel Bateman is great too because he shows us the isolation that he is going through during the film. Mark Hamill does voice the character of Chucky well giving us an entertaining character that get plenty of laughs. Brian Tyree Henry does bring comedy to his role, which is usually a more uptight figure in the film.
Story – The story here follows a boy that given a Buddi doll which soon starts to go on a killing rampage after learning from the technology around him. I do have conflicting feelings about this story, on one side I am disappointed we have scrapped the serial killer trying to get his soul into another body, which I feel is the main part of the franchise. On the positive side we do get to dive into the world where people are letting themselves are being controlled by technology, connecting everything to one source where an error could break everything. seeing Chucky learn is interesting to see too because we see how he processing each clip, line and environmental side of the world. it does borrow from a lot of different films from the past which can be picked up on. This des come off very fun, only it could have been its own new doll instead of just using Chucky showing the lack of originality coming out of the Hollywood.
Horror – The horror in the film is mostly slasher material, we see Chucky getting kills with plenty of blood splatter, with some original kills along the way.
Settings – The film keeps the settings looking very similar with the apartment building showing how hard up the family is, the department store does bring us a great showdown location too.
Special Effects – The effects in the film are strong with the Chucky doll being both creepy and moving in a robotic motion which seems nature.
Scene of the Movie – Chucky has a present for Andy.
That Moment That Annoyed Me – No Serial Killer side.
Final Thoughts – This is a fun horror that does get laughs and blood splatter, it does frustrate though by having to use the Chucky doll for what is a completely original idea.
Overall: Blood Splattering fun.
Characters – Andy is a young teenager that has just moved to a new city with his mother, he hasn’t made any friends, turning to his phone to keep him busy, he does have a hearing aid, but it is never clear how bad his hearing is, he gets a Buddi doll that will keep him company as he starts to become friends with the doll. Once he learns of the evil inside the doll, he does all he can to make sure his loved ones are safe, as he starts to make friends away from the doll, he never seems to go to school though. Karen is the single mother that is working double shifts to keep Andy happy, she starts dating a new man, which doesn’t please Andy and does all she can to put Andy first when things start getting out of hand. Chucky is the Buddi doll that has been unleashed from his safety restrictions, he is constantly learning from watching people, which brings out his violent side, which will see him going on a killing spree targeting anyone that hurts or tries to replace him as a friend to Andy. Detective Norris visits the apartment building where his mother lives for dinner once a week, he does notice Andy around the apartment building making sure he is safe.
Performances – Aubrey Plaza as the single mother is strong in her role, she does bring added character to a character that could have come off plain. Gabriel Bateman is great too because he shows us the isolation that he is going through during the film. Mark Hamill does voice the character of Chucky well giving us an entertaining character that get plenty of laughs. Brian Tyree Henry does bring comedy to his role, which is usually a more uptight figure in the film.
Story – The story here follows a boy that given a Buddi doll which soon starts to go on a killing rampage after learning from the technology around him. I do have conflicting feelings about this story, on one side I am disappointed we have scrapped the serial killer trying to get his soul into another body, which I feel is the main part of the franchise. On the positive side we do get to dive into the world where people are letting themselves are being controlled by technology, connecting everything to one source where an error could break everything. seeing Chucky learn is interesting to see too because we see how he processing each clip, line and environmental side of the world. it does borrow from a lot of different films from the past which can be picked up on. This des come off very fun, only it could have been its own new doll instead of just using Chucky showing the lack of originality coming out of the Hollywood.
Horror – The horror in the film is mostly slasher material, we see Chucky getting kills with plenty of blood splatter, with some original kills along the way.
Settings – The film keeps the settings looking very similar with the apartment building showing how hard up the family is, the department store does bring us a great showdown location too.
Special Effects – The effects in the film are strong with the Chucky doll being both creepy and moving in a robotic motion which seems nature.
Scene of the Movie – Chucky has a present for Andy.
That Moment That Annoyed Me – No Serial Killer side.
Final Thoughts – This is a fun horror that does get laughs and blood splatter, it does frustrate though by having to use the Chucky doll for what is a completely original idea.
Overall: Blood Splattering fun.
James P. Sumner (65 KP) rated Official Secrets (2019) in Movies
Oct 16, 2019
Should this tense, dramatic thriller remain a Secret?
I was lucky enough to be invited to an advanced screening of this film, ahead of it's general release.
"Official Secrets (2019)" is a tense and clever thriller based on real events that occurred during the beginning of the Iraq War in 2003. Keira Knightley plays Katherine Gun, a British spy-turned-whistleblower who worked for GCHQ at the time. She leaked confidential information to the press, exposing illegal activities at the highest levels of government intended to falsely justify the invasion of Iraq. Backed by a high-calibre support cast, which includes Matt Smith and Ralph Fiennes, this film serves to show you the true story of what happened during this shadowy and questionable chapter in our history.
The film uses actual news footage from the time to great effect, making you feel as if you're watching a biographical documentary on the History Channel. Knightley is captivating as the Robin Hood-esque lead, delivering a truly believable and heartfelt performance throughout. It wasn't until the credits began to roll and they showed you footage of the real Katherine Gun from news reels at the time that you realise just how good Knightley's performance really was. From the way she dressed to the tone in which she spoke and the small mannerisms of her personality, it was a very, very good portrayal.
As with most films like this, I imagine certain events and aspects of the story were dramatised or exaggerated for the purposes of cinema, but at no point did it ever feel like it. Any changes to real events were subtle enough that you couldn't spot them without detailed knowledge of what really happened at the time - something, it turns out, very few people actually had.
Matt Smith is both charming and uncompromising as the stubborn reporter who champions Gun's crusade for the truth, giving her support and a platform to get her message out to the world. Similarly, Ralph Fiennes looks right at home as the lawyer who defends her in the public eye.
I admit that certain aspects and legalities within the plot felt, at times, a little far-fetched, but honestly, the film did such a good job of telling this story, I'm inclined to think that's still how things actually happened.
Spoilers aren't as much of an issue for films like this, as you already know the outcome. But this film isn't about the destination, it's about the journey. It shines a spotlight on the down-and-dirty world of global politics, as well as how difficult it can sometimes be to choose to do the right thing.
The film moves along at a slow yet perfect pace. It doesn't look or feel like a Hollywood movie, which I think is a very good thing. Instead, it feels like a BBC drama, similar to Line of Duty or Luther or Spooks, and that's exactly the kind of approach this film needed to work.
I went into this admittedly understanding very little of what went on back in 2003. I was much younger and wasn't interested in geopolitics, or even the news in general. But seeing this film piqued my interest, and after a few hours of Googling the events depicted in the film, I'm even more in awe of just how well made this was. Kudos to everyone involved.
My only criticism, if I had to give one, would be the number of times people had to say "Official Secrets Act"... I get that's what the film is about, but it seemed like every character had a quota for the number of times they had to mention it! But that's just nit-picking for nit-picking's sake. This truly is a cracking film. One of the gems of the year that's not to be missed!
"Official Secrets (2019)" is a tense and clever thriller based on real events that occurred during the beginning of the Iraq War in 2003. Keira Knightley plays Katherine Gun, a British spy-turned-whistleblower who worked for GCHQ at the time. She leaked confidential information to the press, exposing illegal activities at the highest levels of government intended to falsely justify the invasion of Iraq. Backed by a high-calibre support cast, which includes Matt Smith and Ralph Fiennes, this film serves to show you the true story of what happened during this shadowy and questionable chapter in our history.
The film uses actual news footage from the time to great effect, making you feel as if you're watching a biographical documentary on the History Channel. Knightley is captivating as the Robin Hood-esque lead, delivering a truly believable and heartfelt performance throughout. It wasn't until the credits began to roll and they showed you footage of the real Katherine Gun from news reels at the time that you realise just how good Knightley's performance really was. From the way she dressed to the tone in which she spoke and the small mannerisms of her personality, it was a very, very good portrayal.
As with most films like this, I imagine certain events and aspects of the story were dramatised or exaggerated for the purposes of cinema, but at no point did it ever feel like it. Any changes to real events were subtle enough that you couldn't spot them without detailed knowledge of what really happened at the time - something, it turns out, very few people actually had.
Matt Smith is both charming and uncompromising as the stubborn reporter who champions Gun's crusade for the truth, giving her support and a platform to get her message out to the world. Similarly, Ralph Fiennes looks right at home as the lawyer who defends her in the public eye.
I admit that certain aspects and legalities within the plot felt, at times, a little far-fetched, but honestly, the film did such a good job of telling this story, I'm inclined to think that's still how things actually happened.
Spoilers aren't as much of an issue for films like this, as you already know the outcome. But this film isn't about the destination, it's about the journey. It shines a spotlight on the down-and-dirty world of global politics, as well as how difficult it can sometimes be to choose to do the right thing.
The film moves along at a slow yet perfect pace. It doesn't look or feel like a Hollywood movie, which I think is a very good thing. Instead, it feels like a BBC drama, similar to Line of Duty or Luther or Spooks, and that's exactly the kind of approach this film needed to work.
I went into this admittedly understanding very little of what went on back in 2003. I was much younger and wasn't interested in geopolitics, or even the news in general. But seeing this film piqued my interest, and after a few hours of Googling the events depicted in the film, I'm even more in awe of just how well made this was. Kudos to everyone involved.
My only criticism, if I had to give one, would be the number of times people had to say "Official Secrets Act"... I get that's what the film is about, but it seemed like every character had a quota for the number of times they had to mention it! But that's just nit-picking for nit-picking's sake. This truly is a cracking film. One of the gems of the year that's not to be missed!
Gareth von Kallenbach (971 KP) rated The Wolfman (2010) in Movies
Aug 8, 2019
During the golden age of cinematic horror, Lon Chaney terrified audiences with his portrayal of the Wolfman which launched the character as a cultural mainstay.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Gareth von Kallenbach (971 KP) rated 2012 (2009) in Movies
Aug 8, 2019
Disaster films and Hollywood have enjoyed a long and successful partnership over the years as box office gold has been found in fictional disasters. Irwin Allen had a string of hits such as “The Towering Inferno” and “The Poseidon Adventure” which in turn lead to the films such as “Dante’s Peak”, “Volcano”, “Deep Impact”, and “Armageddon” who kept the tried and true formula of relatable, regular people forced to cope with extraordinary situations where they must battle against all odds to survive.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
BankofMarquis (1832 KP) rated Roma (2018) in Movies
Jan 16, 2019
A lush and beautiful memory
Alfonso Cuaron - the magnificent Director from Mexico who directed such big Hollywood hits as HARRY POTTER AND THE PRISONER OF AZKABAN (the best HP flick, IMHO) and GRAVITY (one of the best films of 2013, IMHO) has made a little "personal" film that was financed and released by Netflix. Netflix, in their wisdom, realized they might have an Oscar contender on it's hands, so has released ROMA in limited release to Theaters (mostly Art Houses) and...in some instances...you can catch a 70mm print of this film. Or...you can watch it on your TV via your Netflix subscription.
I would highly recommend checking this film out at your local movie theater house and, if you are lucky enough to have a theater that is showing the 70mm print, I would tell you to run...don't walk...to check this out.
For ROMA is a beautifully filmed Black and White film, in Spanish (with English subtitles) that tells a very personal story of a family in Mexico City in the early 1970's - as seen through the eyes of their house maid. This story is based (according to what I have read) on Cuaron's own childhood and he has lovingly, beautifully recreated this world and populated it with some interesting characters/experiences.
It is also languidly paced (read: slow) and - if I am honest about it - not much happens. So if you add languid pace with black and white photography with Spanish language (and English subtitles) with not much in the way of plot or action, your attention span will be stretched and, I'm afraid, if you're home, you will be tempted to be distracted by your phone, the dog, the dishes, a magazine, etc...
And that would be a shame, for I fell in love with this film, the beauty of the cinematography and the slow pace of it all and I think you will too if you give it a chance.
Cuaron, most certainly, will be nominated for an Oscar for his writing and directing of this piece - and I am sure that this film will be nominated for Best Picture (and deservedly so), but it is in two other places that I was entranced by ROMA. I have mentioned the first - the Cinematography. This film is a shoo-in for a Best Cinematography Oscar, the black and white is lush and rich throughout the film and adds to the memory-style idealized world that Cuaron has put on screen. So, the Best Cinematography Oscar should go to...Alfonso Cuaron.
The other area that I am surprised to say worked very well for me is the performances of the cast, all Mexican actors, unknown to U.S. audiences. Standing out most notably are Marina de Tavira as the matriarch of the family, Senora Sofia and, most surprisingly, Yalitza Aparicio as the focal point of this film, Cleo. Her part is mostly mute (or at least mute for me, for I don't speak Spanish) so the emotions I felt coming from her were brought forth through her facial features, looks and reactions, much more than what she says. I would be fine with either of these two getting an Oscar nomination.
Despite a slow start - and a slow pace throughout this film - and not much going on, I was entranced and enthralled by the world that Cuaron put on screen. A world that exists, mostly, in Cuaron's memory and that, now, exists for us to see in this wonderful film.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
I would highly recommend checking this film out at your local movie theater house and, if you are lucky enough to have a theater that is showing the 70mm print, I would tell you to run...don't walk...to check this out.
For ROMA is a beautifully filmed Black and White film, in Spanish (with English subtitles) that tells a very personal story of a family in Mexico City in the early 1970's - as seen through the eyes of their house maid. This story is based (according to what I have read) on Cuaron's own childhood and he has lovingly, beautifully recreated this world and populated it with some interesting characters/experiences.
It is also languidly paced (read: slow) and - if I am honest about it - not much happens. So if you add languid pace with black and white photography with Spanish language (and English subtitles) with not much in the way of plot or action, your attention span will be stretched and, I'm afraid, if you're home, you will be tempted to be distracted by your phone, the dog, the dishes, a magazine, etc...
And that would be a shame, for I fell in love with this film, the beauty of the cinematography and the slow pace of it all and I think you will too if you give it a chance.
Cuaron, most certainly, will be nominated for an Oscar for his writing and directing of this piece - and I am sure that this film will be nominated for Best Picture (and deservedly so), but it is in two other places that I was entranced by ROMA. I have mentioned the first - the Cinematography. This film is a shoo-in for a Best Cinematography Oscar, the black and white is lush and rich throughout the film and adds to the memory-style idealized world that Cuaron has put on screen. So, the Best Cinematography Oscar should go to...Alfonso Cuaron.
The other area that I am surprised to say worked very well for me is the performances of the cast, all Mexican actors, unknown to U.S. audiences. Standing out most notably are Marina de Tavira as the matriarch of the family, Senora Sofia and, most surprisingly, Yalitza Aparicio as the focal point of this film, Cleo. Her part is mostly mute (or at least mute for me, for I don't speak Spanish) so the emotions I felt coming from her were brought forth through her facial features, looks and reactions, much more than what she says. I would be fine with either of these two getting an Oscar nomination.
Despite a slow start - and a slow pace throughout this film - and not much going on, I was entranced and enthralled by the world that Cuaron put on screen. A world that exists, mostly, in Cuaron's memory and that, now, exists for us to see in this wonderful film.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Emma @ The Movies (1786 KP) rated Judy (2019) in Movies
Dec 8, 2019
There's a definite fatigue now with films based on music stars and their works, I was already feeling it earlier in the year with Yesterday and Blinded By The Light. While I wasn't particularly enthusiastic about seeing Judy the trailer had me as soon as I heard "Somewhere over the rainbow".
Judy, once a household name, is short on money and her reputation is making it hard to get the work she needs. As her welcome at hotels is no longer guaranteed and her ex-husband's concern for what sort of life she's giving their children grows she realises she needs to find a way to make enough money to get them a proper home.
Her answer lies in England with nightly sellout performances to the crowds. But as the loneliness and isolation set in it might be that her not so glamorous lifestyle has caught up with her.
As with many real life depictions I came out wanting to know what was true to Garland's actual life and what was added with artistic license. Perhaps the worst thing about this film is just how accurate it is, the bullying, the abuse, the drugs, it shows a shocking side of Hollywood as it brought up its young stars. It was a little sad to find out that my two favourite bits of the film were probably the only bits in the whole thing that weren't based on actual events, but when you think about it that's not a bad statistic.
Renée Zellweger is outstanding. A year of vocal training before even getting to the set and being able to deliver such a stellar singing performance while simultaneously having to act like you're high on pills, exhaustion and drink... I'm genuinely amazed when I think back to some moments in the film.
I didn't get that same rush from listening to her singing in the film as I did in the trailer. She's wonderful performing the songs but I just felt that everything around the songs was too much of a distraction from it.
Yes, there are other people in Judy beyond Renée Zellweger but I'm not sure that there was anything to them that could shine as much as she did. Jessie Buckley felt underused, and after seeing Wild Rose earlier this year it was sad to see her so close to a stage without her getting to sing. I thought Andy Nyman made a good show as Dan, one half of the gay couple Judy befriends, the emotion that ran through his scenes with her had me wrecked.
I felt a little thrown by the flashbacks initially, but the drip feeding of scenes from her life as we progressed through the modern part of the story worked well. Each reveal would make you a little more heartbroken and concerned for adult Judy, the balance was perfect.
From the glamorous hotels to the dark night streets of London I thought all the settings were chosen well. The design overall with the costumes and sets felt spot on too. Seeing images of the cast against their real life counterparts really gives you pause to think about how hard everyone on that film worked to make the perfect shot.
There aren't all that many drawbacks here, apart from the fatigue for this sort of film that I mentioned earlier it felt very much like I've seen this film before. The recent biopic Stan & Ollie has so many similar features and scenarios that Judy ended up feeling like it wasn't such a new release. Despite that I did enjoy it, I just wish there had been more songs in it, I'm a sucker for a good tune.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/judy-movie-review.html
Judy, once a household name, is short on money and her reputation is making it hard to get the work she needs. As her welcome at hotels is no longer guaranteed and her ex-husband's concern for what sort of life she's giving their children grows she realises she needs to find a way to make enough money to get them a proper home.
Her answer lies in England with nightly sellout performances to the crowds. But as the loneliness and isolation set in it might be that her not so glamorous lifestyle has caught up with her.
As with many real life depictions I came out wanting to know what was true to Garland's actual life and what was added with artistic license. Perhaps the worst thing about this film is just how accurate it is, the bullying, the abuse, the drugs, it shows a shocking side of Hollywood as it brought up its young stars. It was a little sad to find out that my two favourite bits of the film were probably the only bits in the whole thing that weren't based on actual events, but when you think about it that's not a bad statistic.
Renée Zellweger is outstanding. A year of vocal training before even getting to the set and being able to deliver such a stellar singing performance while simultaneously having to act like you're high on pills, exhaustion and drink... I'm genuinely amazed when I think back to some moments in the film.
I didn't get that same rush from listening to her singing in the film as I did in the trailer. She's wonderful performing the songs but I just felt that everything around the songs was too much of a distraction from it.
Yes, there are other people in Judy beyond Renée Zellweger but I'm not sure that there was anything to them that could shine as much as she did. Jessie Buckley felt underused, and after seeing Wild Rose earlier this year it was sad to see her so close to a stage without her getting to sing. I thought Andy Nyman made a good show as Dan, one half of the gay couple Judy befriends, the emotion that ran through his scenes with her had me wrecked.
I felt a little thrown by the flashbacks initially, but the drip feeding of scenes from her life as we progressed through the modern part of the story worked well. Each reveal would make you a little more heartbroken and concerned for adult Judy, the balance was perfect.
From the glamorous hotels to the dark night streets of London I thought all the settings were chosen well. The design overall with the costumes and sets felt spot on too. Seeing images of the cast against their real life counterparts really gives you pause to think about how hard everyone on that film worked to make the perfect shot.
There aren't all that many drawbacks here, apart from the fatigue for this sort of film that I mentioned earlier it felt very much like I've seen this film before. The recent biopic Stan & Ollie has so many similar features and scenarios that Judy ended up feeling like it wasn't such a new release. Despite that I did enjoy it, I just wish there had been more songs in it, I'm a sucker for a good tune.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/judy-movie-review.html