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Gareth von Kallenbach (980 KP) rated The Hitman's Wife's Bodyguard (2021) in Movies
Jun 9, 2021
When audiences last saw Bodyguard Michael Bryce (Ryan Reynolds); he was dealing with the aftermath of helping save the day and his long-time nemesis Darius Kincaid (Samuel L. Jackson). Taking place shortly after the events of the first film; “The Hitman’s Wife’s Bodyguard” finds Michael trying therapy after he has a reoccurring and disturbing dream following the loss of his AAA Bodyguard license.
His Therapist is eager to be rid of him and his multiple neuroses and suggests that he give up guns and the life he knew and find himself and his future self while relaxing in Italy.
Michael accepts this and becomes at peace and is so clueless that while lounging with his noise-canceling headphones by the pool; he is oblivious to a brutal and protracted gunfight around him.
In no time; Sonia Kincaid (Selma Hayek); whisks Michael away and fills his ears with a string of highly unfiltered comments and rants. It seems that Darius has been kidnapped and asked her to get Michael to help him out. Michael is unwilling to use guns and finds the to say unstable would be kind; Sonia to be way too unhinged for his new lease on life and that Kincaid wanted “Anyone but Michael” when he asked his wife to get help.
The trio is forced to work with one another by Interpol as it seems there is a plot underway to destroy the European Union and Michael, Sonia, and Darius have no choice but to do the bidding of the Government or face charges.
The fact that Sonia is desperate for a baby and a Honeymoon only complicates matters further as they recklessly head to their assigned mission and find that a very wealthy individual has nefarious plans and has hired elite professionals to ensure all opposition to his plans are removed.
What follows is a madcap, violent, and dysfunctional romp as the trio battle the bad guys, the law, their own abundant issues, and each other to try to save the day and clear their slate with the authorities.
While the film is not going to win many points for an original, complex, or overly complex plot; the setup and narrative serve to give the film a showcase for its strengths which are the three leads. Reynolds and Jackson work very well with one another and Hayek often steals her scenes with her compassionate yet teetering on the unhinged portrayal of Sonia.
The jokes fly as frequently as the blood and the bullets and there is some great scenery as well which frames the action and story perfectly. There are also some appearances by some very good actors in significant supporting roles which I will not spoil but suffice it to say they really support the main cast well.
I summarized my reaction to the local Publicist as follows…” Not much plot, cartoony bad guys; but the great cast, action, and humor”. While the film will not set a new standard in the Action Comedy category, it is still an enjoyable enough romp despite the flaws and it would be great to see the trio back for another madcap adventure down the line.
His Therapist is eager to be rid of him and his multiple neuroses and suggests that he give up guns and the life he knew and find himself and his future self while relaxing in Italy.
Michael accepts this and becomes at peace and is so clueless that while lounging with his noise-canceling headphones by the pool; he is oblivious to a brutal and protracted gunfight around him.
In no time; Sonia Kincaid (Selma Hayek); whisks Michael away and fills his ears with a string of highly unfiltered comments and rants. It seems that Darius has been kidnapped and asked her to get Michael to help him out. Michael is unwilling to use guns and finds the to say unstable would be kind; Sonia to be way too unhinged for his new lease on life and that Kincaid wanted “Anyone but Michael” when he asked his wife to get help.
The trio is forced to work with one another by Interpol as it seems there is a plot underway to destroy the European Union and Michael, Sonia, and Darius have no choice but to do the bidding of the Government or face charges.
The fact that Sonia is desperate for a baby and a Honeymoon only complicates matters further as they recklessly head to their assigned mission and find that a very wealthy individual has nefarious plans and has hired elite professionals to ensure all opposition to his plans are removed.
What follows is a madcap, violent, and dysfunctional romp as the trio battle the bad guys, the law, their own abundant issues, and each other to try to save the day and clear their slate with the authorities.
While the film is not going to win many points for an original, complex, or overly complex plot; the setup and narrative serve to give the film a showcase for its strengths which are the three leads. Reynolds and Jackson work very well with one another and Hayek often steals her scenes with her compassionate yet teetering on the unhinged portrayal of Sonia.
The jokes fly as frequently as the blood and the bullets and there is some great scenery as well which frames the action and story perfectly. There are also some appearances by some very good actors in significant supporting roles which I will not spoil but suffice it to say they really support the main cast well.
I summarized my reaction to the local Publicist as follows…” Not much plot, cartoony bad guys; but the great cast, action, and humor”. While the film will not set a new standard in the Action Comedy category, it is still an enjoyable enough romp despite the flaws and it would be great to see the trio back for another madcap adventure down the line.
Joe Goodhart (27 KP) rated X-Men Red, Vol. 1: The Hate Machine in Books
Nov 30, 2020
While I was starting to tire of Tom Taylor's run on ALL-NEW WOLVERINE (I didn't hate it or anything, I just was starting to tire of some of the humor incorporated in the series. Still, if I had to decide between him and Tamiko, who took over after him on the X-23 series, I would take Taylor for another run, no question!), I wasn't sure if I wanted to read any X-Men stories leading into "Dawn of X". I also had lost a lot of interest in the X-franchise, as the stories were just awful (yes, Bendis and Hopeless, I am talking about you both in this sentence!)! However, I have gotten back on board with the wonderful re-invigoration of the mutants, making them cool again! Thus, when the recent Comixology sale came through, I took advantage of snagging both Volumes!
Dear God, this was some solid writing here! Edgy as heck, VERY socially relevent ("mutant hate" subbing in for "immigrant hate"!), and more representative of the team as a whole! I seriously wanted to sit up in bed and cheer last night, as I found myself coming to the end of this first volume!
I know there has been some off-handed remarks towards this series, citing its content as being too "on the nose" as far as the social relevance of what was being portrayed. There has also been that <b>waaaay</b> TOO OVER-USED word "SJW" thrown out, when forward-thinking makes some folks have to <i>think</i> a bit <u>too</u> forwardly! Yeah, well, maybe that's the only way to get the message across, as trying to do it subtle-like, leads to the overly message often getting missed or brushed off!
I applaud Tom Taylor for his writing here. The feeling I got from reading this was it not only began to reset the X-line in a positive, and very socially relevant way, but it also helped set the stage for what would lead into Moira's "Dawn of X" temporal reboot! Not only that, but for me, anyways, it helped restore the X-Men as being heroes and doing truly heroic deeds again! Something we most definitely need in this racially-imbalanced toxicity that is the current state of our culture! Thank you, Tom!!
My only quibble with the series, and it is more of a superficial quibble at best, was Kurt (Nightcrawler) sporting facial hair. I dunno. With all the negative connotation that hipsters have been generating with the whole <i>"I just rolled out from under a dumpster!"</i> look for those that choose to adopt the regrettable "neck-beard" look! Yeah, can't think of Kurt as anything other than clean-shaven! But, it did not take away from the story in any way! Just like I ignore hipsters, whether sporting a "neck-beard" or just in general, I was able to forget about it! lol
Again, I loved this book! Looking forward to starting Volume 2 tonight! Still not sure if this is for you? Ask yourself what makes a hero a Hero, and chances are, you will find yourself enjoying what is a solid read!
Dear God, this was some solid writing here! Edgy as heck, VERY socially relevent ("mutant hate" subbing in for "immigrant hate"!), and more representative of the team as a whole! I seriously wanted to sit up in bed and cheer last night, as I found myself coming to the end of this first volume!
I know there has been some off-handed remarks towards this series, citing its content as being too "on the nose" as far as the social relevance of what was being portrayed. There has also been that <b>waaaay</b> TOO OVER-USED word "SJW" thrown out, when forward-thinking makes some folks have to <i>think</i> a bit <u>too</u> forwardly! Yeah, well, maybe that's the only way to get the message across, as trying to do it subtle-like, leads to the overly message often getting missed or brushed off!
I applaud Tom Taylor for his writing here. The feeling I got from reading this was it not only began to reset the X-line in a positive, and very socially relevant way, but it also helped set the stage for what would lead into Moira's "Dawn of X" temporal reboot! Not only that, but for me, anyways, it helped restore the X-Men as being heroes and doing truly heroic deeds again! Something we most definitely need in this racially-imbalanced toxicity that is the current state of our culture! Thank you, Tom!!
My only quibble with the series, and it is more of a superficial quibble at best, was Kurt (Nightcrawler) sporting facial hair. I dunno. With all the negative connotation that hipsters have been generating with the whole <i>"I just rolled out from under a dumpster!"</i> look for those that choose to adopt the regrettable "neck-beard" look! Yeah, can't think of Kurt as anything other than clean-shaven! But, it did not take away from the story in any way! Just like I ignore hipsters, whether sporting a "neck-beard" or just in general, I was able to forget about it! lol
Again, I loved this book! Looking forward to starting Volume 2 tonight! Still not sure if this is for you? Ask yourself what makes a hero a Hero, and chances are, you will find yourself enjoying what is a solid read!
Matthew Krueger (10051 KP) rated Drag Me to Hell (2009) in Movies
Oct 28, 2020
Sam Raimi (1 more)
Alison Lohman
PG-13 (1 more)
Justin Long
Old Lady Curse
Drag me to Hell- is a anethor movie that ive wanted to see for couple years now and it was not disappointed. Its gory, horrorfying, terrorfying, scary, gory and overall a excellent movie.
The plot: Christine Brown (Alison Lohman) has a loving boyfriend (Justin Long) and a great job at a Los Angeles bank. But her heavenly life becomes hellish when, in an effort to impress her boss, she denies an old woman's request for an extension on her home loan. In retaliation, the crone places a curse on Christine, threatening her soul with eternal damnation. Christine seeks a psychic's help to break the curse, but the price to save her soul may be more than she can pay.
Raimi wrote Drag Me to Hell with his brother, Ivan, before working on the Spider-Man trilogy.
The original story for Drag Me to Hell was written ten years before the film went into production and was written by Sam Raimi and his brother Ivan Raimi. The film went into production under the name The Curse. The Raimis wrote the script as a morality tale, desiring to write a story about a character who wants to be a good person, but makes a sinful choice out of greed for her own betterment and pays the price for it. The Raimis tried to make the character of Christine the main focal point in the film, and tried to have Christine in almost all the scenes in the film.
The most significant parallel is that both stories involve the passing of a cursed object, which has to be passed to someone else, or its possessor will be devoured by one or more demons. Unlike his past horror films, Raimi wanted the film to be rated PG-13 and not strictly driven by gore, stating, "I didn't want to do exactly the same thing I had done before."
After finishing the script, Raimi desired to make the picture after the first draft of the script was completed, but other projects such as the Spider-Man film series became a nearly decade-long endeavor, pushing opportunities to continue work on Drag Me to Hell to late 2007. Raimi offered director Edgar Wright to direct Drag Me to Hell which Wright turned down as he was filming Hot Fuzz and felt that "If I did it, it would just feel like karaoke." After the previous three Spider-Man films, Raimi came back to the script of Drag Me to Hell, wanting to make a simpler and lower-budget film.
Raimi said he set out to create “a horror film with lots of wild moments and lots of suspense and big shocks that’ll hopefully make audiences jump. But I also wanted to have a lot of dark humor sprinkled throughout. I spent the last decade doing Spider-Man and you come to rely on a lot of people doing things for you and a lot of help, but it’s refreshing and wonderful to be reminded that, as with most filmmakers, the best way to do it is yourself, with a tight team doing the main jobs."
Its a excellent movie.
The plot: Christine Brown (Alison Lohman) has a loving boyfriend (Justin Long) and a great job at a Los Angeles bank. But her heavenly life becomes hellish when, in an effort to impress her boss, she denies an old woman's request for an extension on her home loan. In retaliation, the crone places a curse on Christine, threatening her soul with eternal damnation. Christine seeks a psychic's help to break the curse, but the price to save her soul may be more than she can pay.
Raimi wrote Drag Me to Hell with his brother, Ivan, before working on the Spider-Man trilogy.
The original story for Drag Me to Hell was written ten years before the film went into production and was written by Sam Raimi and his brother Ivan Raimi. The film went into production under the name The Curse. The Raimis wrote the script as a morality tale, desiring to write a story about a character who wants to be a good person, but makes a sinful choice out of greed for her own betterment and pays the price for it. The Raimis tried to make the character of Christine the main focal point in the film, and tried to have Christine in almost all the scenes in the film.
The most significant parallel is that both stories involve the passing of a cursed object, which has to be passed to someone else, or its possessor will be devoured by one or more demons. Unlike his past horror films, Raimi wanted the film to be rated PG-13 and not strictly driven by gore, stating, "I didn't want to do exactly the same thing I had done before."
After finishing the script, Raimi desired to make the picture after the first draft of the script was completed, but other projects such as the Spider-Man film series became a nearly decade-long endeavor, pushing opportunities to continue work on Drag Me to Hell to late 2007. Raimi offered director Edgar Wright to direct Drag Me to Hell which Wright turned down as he was filming Hot Fuzz and felt that "If I did it, it would just feel like karaoke." After the previous three Spider-Man films, Raimi came back to the script of Drag Me to Hell, wanting to make a simpler and lower-budget film.
Raimi said he set out to create “a horror film with lots of wild moments and lots of suspense and big shocks that’ll hopefully make audiences jump. But I also wanted to have a lot of dark humor sprinkled throughout. I spent the last decade doing Spider-Man and you come to rely on a lot of people doing things for you and a lot of help, but it’s refreshing and wonderful to be reminded that, as with most filmmakers, the best way to do it is yourself, with a tight team doing the main jobs."
Its a excellent movie.
Gareth von Kallenbach (980 KP) rated Murder on the Orient Express (2017) in Movies
Jul 11, 2019
Murder on the Orient Express is a mystery drama directed by, and starring, Kenneth Branagh and is based on the 1934 Agatha Christie novel of the same name. The film brings in a spectacular cast alongside Branagh, including Penelope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Michelle Pfeiffer and Daisy Ridley. Also part of the main cast, while not well known, but equally as talented, are Tom Bateman, Derek Jacobi, Leslie Odom Jr. and Lucy Boynton.
For those unfamiliar with the novel, or the 1974 and 2001 adaptations, Murder tells the story of, well… a murder. On a train. It’s really a lot more than that. Branagh portrays Hercule Poirot, a famed Belgian detective who is looking forward to some time off. But during his travels, a most unfortunate thing happens. Two things actually. Someone is murdered aboard the train he is traveling on, the Orient Express (naturally). And the murderer would’ve gotten away free and clear had storm not caused an avalanche, which thanks to a derailed engine, caused the train to become stuck and the body to be discovered. Poirot’s friend, Bouc (Bateman), runs the train and requested that Poirot solve the mystery before the police arrive in fear of someone innocent being accused, and to save himself from a heyday with his father. Can Poirot find out who is the killer between the star-studded cast?
I’ve read the novel. Seen both adaptations. This film blows those earlier adaptations out of the water. There is no contest here. Now clearly, nothing can beat the book. But Murder is about as great a film you can get in the murky land of Hollywood these days. As mentioned, Branagh directed and starred in the film, which he shot on 65 mm. The last time he did this was with Hamlet in 1996. It looked good then, and it looks even better now. With eye-popping visuals throughout the entirety of the film, and a masterful soundtrack that seamlessly blended with the tones and themes of each scene, the film is a modern masterpiece.
It wasn’t without its faults. (Most) every film has them. And there are a lot of people who are upset with Branagh’s portrayal of Poirot, particularly the representation of his eccentric facial hair. I am not one of those people. I believe it, along with other amazing moments, lent a bit of humor to the movie to break up what should otherwise be, and is, a serious whodunit mystery. Also, I felt they changed a few things in the adaptation that didn’t necessarily need to be changed.
I found it hard to sit and write about the film though. Given the nature of a great mystery, I can’t tell you too much about it without risk of giving out crucial details to the plot and outcome. So I will leave you with this, boys, girls, and everything in between and beyond… with a great and talented cast (bravo to Michelle Pfeiffer in particular) who nailed home their characters, to great visuals, and a great score, this movie is definitely one you want to catch.
For those unfamiliar with the novel, or the 1974 and 2001 adaptations, Murder tells the story of, well… a murder. On a train. It’s really a lot more than that. Branagh portrays Hercule Poirot, a famed Belgian detective who is looking forward to some time off. But during his travels, a most unfortunate thing happens. Two things actually. Someone is murdered aboard the train he is traveling on, the Orient Express (naturally). And the murderer would’ve gotten away free and clear had storm not caused an avalanche, which thanks to a derailed engine, caused the train to become stuck and the body to be discovered. Poirot’s friend, Bouc (Bateman), runs the train and requested that Poirot solve the mystery before the police arrive in fear of someone innocent being accused, and to save himself from a heyday with his father. Can Poirot find out who is the killer between the star-studded cast?
I’ve read the novel. Seen both adaptations. This film blows those earlier adaptations out of the water. There is no contest here. Now clearly, nothing can beat the book. But Murder is about as great a film you can get in the murky land of Hollywood these days. As mentioned, Branagh directed and starred in the film, which he shot on 65 mm. The last time he did this was with Hamlet in 1996. It looked good then, and it looks even better now. With eye-popping visuals throughout the entirety of the film, and a masterful soundtrack that seamlessly blended with the tones and themes of each scene, the film is a modern masterpiece.
It wasn’t without its faults. (Most) every film has them. And there are a lot of people who are upset with Branagh’s portrayal of Poirot, particularly the representation of his eccentric facial hair. I am not one of those people. I believe it, along with other amazing moments, lent a bit of humor to the movie to break up what should otherwise be, and is, a serious whodunit mystery. Also, I felt they changed a few things in the adaptation that didn’t necessarily need to be changed.
I found it hard to sit and write about the film though. Given the nature of a great mystery, I can’t tell you too much about it without risk of giving out crucial details to the plot and outcome. So I will leave you with this, boys, girls, and everything in between and beyond… with a great and talented cast (bravo to Michelle Pfeiffer in particular) who nailed home their characters, to great visuals, and a great score, this movie is definitely one you want to catch.
Leisure Suit Larry: Reloaded
Games
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It’s not just the funniest game you've ever played… …it’s also the most infamous video game...
This Is Me: Loving the Person You Are Today
8.7
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An inspirational book about life and its lessons from the Golden Globe and Emmy nominated star of...
Celebrity Memoir Celebrity Humor Body Positivity Confidence
Gareth von Kallenbach (980 KP) rated Spider-Man: No Way Home (2021) in Movies
Dec 15, 2021
Life for Peter Parker (Tom Holland) is complicated thanks to his dual life as Spider-Man and the challenges of being in High School. Unfortunately for him; his best intentions are about to make things much worse in "Spider-Man: No Way Home".
Taking place where "Spider-Man: Far From Home" ended; Peter must deal with his secret identity being leaked by Tabloid Journalist J. Jonah Jameson (J. K. Simmons); and the throngs of people, helicopters, and protestors who follow his every move and camp outside his home.
As if this was not bad enough; being accused of being a murderer has drawn the attention of the authorities which further complicates his life as does returning to a school where everyone knows his identity.
Desperate to get away from the constant scrutiny and observation; Peter seeks out Doctor Strange (Benedict Cumberbatch), and asks him to cast a spell that would make the world forget that Peter Parker is Spider-Man.
Strange agrees but mid-spell Peter requests that there are some exemptions from the spell which include his Girlfriend MJ (Zendaya); his Aunt May (Marisa Tomei); and his friend Ned (Jacob Batalon).
Strange agrees but in doing so; complications arise which allows entrants from other dimensions to enter their realm. Soon Peter is accosted by villains whom he does not know but seem to know him; that is until he is unmasked and they have no idea who this Peter Parker is before them.
As more villains arrive; Peter learns of their fates in their natural dimension and is determined to save them and give them a second chance which puts him at odds with Doctor Strange who says they must go back to whatever fate they had.
What follows is a descent into humor and darkness as Peter despite his best intentions sees the situation go from bad to worse and he must fight to stay true to himself and save the day.
The film is a difficult one to review in the fact that there are so many surprise guests, twists, and turns that it is challenging to not reveal anything but suffice it to say that fans should absolutely enjoy it.
The film takes its time getting to the action as it has a very slow and deliberate climb and Director Jon Watts is confident enough in the characters and premise that he allows ample time for the characters and setting to build and be established before he gets to the action.
While there is considerable fan service in the film; it never once seems like it is pandering and it all fits very well within the story and the MCU and opens up numerous possibilities for the future.
There is a mid-credit scene and a post-credit scene which is basically a trailer and both are very engaging in terms of the possibilities as Marvel has again shown that their plan of interwoven stories and characters continues to deliver and that Spider-Man still remains as popular and engaging as ever.
Taking place where "Spider-Man: Far From Home" ended; Peter must deal with his secret identity being leaked by Tabloid Journalist J. Jonah Jameson (J. K. Simmons); and the throngs of people, helicopters, and protestors who follow his every move and camp outside his home.
As if this was not bad enough; being accused of being a murderer has drawn the attention of the authorities which further complicates his life as does returning to a school where everyone knows his identity.
Desperate to get away from the constant scrutiny and observation; Peter seeks out Doctor Strange (Benedict Cumberbatch), and asks him to cast a spell that would make the world forget that Peter Parker is Spider-Man.
Strange agrees but mid-spell Peter requests that there are some exemptions from the spell which include his Girlfriend MJ (Zendaya); his Aunt May (Marisa Tomei); and his friend Ned (Jacob Batalon).
Strange agrees but in doing so; complications arise which allows entrants from other dimensions to enter their realm. Soon Peter is accosted by villains whom he does not know but seem to know him; that is until he is unmasked and they have no idea who this Peter Parker is before them.
As more villains arrive; Peter learns of their fates in their natural dimension and is determined to save them and give them a second chance which puts him at odds with Doctor Strange who says they must go back to whatever fate they had.
What follows is a descent into humor and darkness as Peter despite his best intentions sees the situation go from bad to worse and he must fight to stay true to himself and save the day.
The film is a difficult one to review in the fact that there are so many surprise guests, twists, and turns that it is challenging to not reveal anything but suffice it to say that fans should absolutely enjoy it.
The film takes its time getting to the action as it has a very slow and deliberate climb and Director Jon Watts is confident enough in the characters and premise that he allows ample time for the characters and setting to build and be established before he gets to the action.
While there is considerable fan service in the film; it never once seems like it is pandering and it all fits very well within the story and the MCU and opens up numerous possibilities for the future.
There is a mid-credit scene and a post-credit scene which is basically a trailer and both are very engaging in terms of the possibilities as Marvel has again shown that their plan of interwoven stories and characters continues to deliver and that Spider-Man still remains as popular and engaging as ever.
BankofMarquis (1832 KP) rated The Marvels (2022) in Movies
Nov 10, 2023
Fun. Lightweight Romp
If you, like many others, have opted out of the past few Marvel Cinematic Universe (MCU) films and are, likewise, suffering from “SuperHero” fatigue but are now looking for a re-entry into the MCU, then THE MARVELS is the film for you, for unlike some previous MCU films, it does not take much in the way of previous knowledge to get into the flow of this (somewhat) lightweight, fun action comic-book flick.
Academy Award winner Brie Larson returns as Captain Marvel and is joined (literally) with Monica Rambeau (Teyonah Parris - who’s SuperHero Origin story can be found in the DisneyPlus TV Series WANDAVISION, but is summed up pretty quickly here, so you’ll get the drift) as well as young MS. MARVEL (Iman Vellani, who’s origin story is told in the DisnePlus TV Series MS. MARVEL but who’s story is summed pretty quickly - and pretty well - here). They join forces to fight a villain, Dar-Benn (Zawe Ashton) intent on inflicting revenge/punishment on Captain Marvel. Also along for the ride is good ol’ Samuel L. Jackson as Nick Fury (in his 15th appearance in an MCU vehicle). They all bounce around the scenarios with a winking knowledge - and earnestness - about what kind of movie they are making…and with which what tone they need to hit.
In the hands of Director Nia DaCosta (the 2020 remake of CANDYMAN), THE MARVELS moves along at a brisk pace, injecting some humor and decent (enough) action sequences and CGI mixed in with a clever segment or 2 (one scene set to a classic Musical Theater song is worth the price of admission in and of itself). There is enough light, breezy sequences and banter that the main word that comes out of this film is “fun”. DaCosta succeeds, very well, with fun in this film. Where she doesn’t succeed as well is in emotional heft. Captain Marvel is given a few “self reflective” moments and while Larson is a terrific actor and tries to succeed with these moments, they didn’t feel earned, so they fell flat. Unfortunately, the other characters are there to battle and throw off one-liners…and not much more.
Wisely, DaCosta limits this film to 1 hours and 45 minutes - the shortest MCU film to date - and this is a positive for she just “gets to it” and doesn’t linger on any of the moments that don’t work or would fall apart if anyone had anytime to think about them.
And, of course, the “extra scenes” (an MCU staple) set up 2 new franchises, so you want to stick around for them (but you don’t need to stick around to the end of the credits).
All-in-all - Ms. Marvel is a fun, lightweight romp that will entertain for the time you are in the cineplex. But not much more. But…isn’t that what going to the movies is all about?
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Academy Award winner Brie Larson returns as Captain Marvel and is joined (literally) with Monica Rambeau (Teyonah Parris - who’s SuperHero Origin story can be found in the DisneyPlus TV Series WANDAVISION, but is summed up pretty quickly here, so you’ll get the drift) as well as young MS. MARVEL (Iman Vellani, who’s origin story is told in the DisnePlus TV Series MS. MARVEL but who’s story is summed pretty quickly - and pretty well - here). They join forces to fight a villain, Dar-Benn (Zawe Ashton) intent on inflicting revenge/punishment on Captain Marvel. Also along for the ride is good ol’ Samuel L. Jackson as Nick Fury (in his 15th appearance in an MCU vehicle). They all bounce around the scenarios with a winking knowledge - and earnestness - about what kind of movie they are making…and with which what tone they need to hit.
In the hands of Director Nia DaCosta (the 2020 remake of CANDYMAN), THE MARVELS moves along at a brisk pace, injecting some humor and decent (enough) action sequences and CGI mixed in with a clever segment or 2 (one scene set to a classic Musical Theater song is worth the price of admission in and of itself). There is enough light, breezy sequences and banter that the main word that comes out of this film is “fun”. DaCosta succeeds, very well, with fun in this film. Where she doesn’t succeed as well is in emotional heft. Captain Marvel is given a few “self reflective” moments and while Larson is a terrific actor and tries to succeed with these moments, they didn’t feel earned, so they fell flat. Unfortunately, the other characters are there to battle and throw off one-liners…and not much more.
Wisely, DaCosta limits this film to 1 hours and 45 minutes - the shortest MCU film to date - and this is a positive for she just “gets to it” and doesn’t linger on any of the moments that don’t work or would fall apart if anyone had anytime to think about them.
And, of course, the “extra scenes” (an MCU staple) set up 2 new franchises, so you want to stick around for them (but you don’t need to stick around to the end of the credits).
All-in-all - Ms. Marvel is a fun, lightweight romp that will entertain for the time you are in the cineplex. But not much more. But…isn’t that what going to the movies is all about?
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
SMART Futures for a Flourishing World
Book
We know we have to change but the question is how. Many of us feel powerless to solve the looming...
A Bibliophagist (113 KP) rated Space Opera in Books
Jan 25, 2020 (Updated Jan 25, 2020)
Fun writing (2 more)
Creative
Witty
Overwritten (3 more)
Lacking plot
Disjointed and distracted
Boring
Technicolor Encyclopedia entry
Space Opera seems to be a book, that based on other reviews, you either love or hate. The love reviewers can't seem to tell me why they love it, most attempting to replicate the style of the author and relying on a menagerie of adjectives to express themselves. "A glitter punk, Eurovision romp!" "Technicolor whirlwind!" but not actually saying WHY they liked it, or just saying "well you didn't get the humor". The ones who disliked it are pretty clear, and as I struggled with this book I found I agreed with their complaints. However, I have to thank the sheer number of DNFs from the disliked group for causing me to, ironically, finish it. I hate DNFing books, to begin with, but when I saw just how many bad reviews didn't make it through, it felt as bad as the good reviews not actually reviewing anything. So I powered through, and honestly, it was worth finishing. The author really got back on track and it was a great ending.
Valente has in fact given us a Eurovision, glitter punk, electric baby with Douglas Adams, her writing fantastical and humorous, her characters vapid but in a washed-out musician kind of way. She really thought about this book, creating droves of aliens and probably destroying a number of thesauri to bring them to life. We follow Decibel Jones of the "oh you haven't heard of it, well we used to be a thing" Decibel Jones and the Absolute Zeros. A washed-up, no longer active glitter punk band who is an amalgam of every band you probably are thinking of when trying to grasp what that description means.
The book opens with a wonderfully witty description of how there is in fact other life out there in the universe, life is easy to come by, they've just been off doing a galactic war and while they were gone we kind of popped up. Life is stupid. This part is the best part of the book. The humor is on point, the prose magnificant. She is spot on and very pointed in her argument for why war happens. It's people vs meat, and how does one determine something isn't meat, but in fact sentient? Well, no one really figured that out, hence the galactic war, but NOW post-war they think they've figured it out. Intergalactic Music competition. Makes sense, only something sentient could create music right?
Well, this year is a special year because Earth is invited, we've been deemed "may be sentient", but questionable enough that they'd rather not let us just hang out and become annoying someday. So we have to present a band and performance for consideration. We just have to not place last. If we don't place last, we're part of the club and we'll be a-ok. If we place last, we'll be destroyed, because they already think we're annoying and that will mean we're meat. People vs meat remember?
So, one day everyone on the planet earth, everyone, awake or sleeping is visited by the blue birdlike projection of our assigned guides, the Esca, and alien species that are new to the whole being accepted as a sentient thing, and will guide us through the competition. Which it is now telling us about, Suprise! They've chosen a list of musicians they think will do well, however it's outdated and only one band is really able to do it, the has-beens, who are they, Decibel Jones and the Absolute Zeros. Time was rough on our glam-punk friends as it tends to be on musicians, they lost the third member about a decade ago, the two remaining no longer talk. Decibel is a trainwreck, and Oort St Ultraviolet is now just a dad who very much wants to be a regular dude. But now they're being whisked off into space to sing for the world's salvation.
Sounds pretty fun right? This plus Douglas Adams type prose and humor? A real knock out. Unfortunately, that story I just described takes up... maybe a quarter of the book, MAYBE. You can pull the main story out and put it into a book that might be too small to be a novella. Because of this, the backstory, development, and exploration of these characters are slim to nothing. There is some mind you, but very little. It isn't until the 180pg mark or so that Valente actually decides to focus on the plot, giving very little time to do the entire Grand Prix, the actual competition takes up a page. A 288-page book about a singing competition and only 1-2 pages is actually the singing competition. Tack on another 10 maybe for the weird cocktail death party right before, that didn't have enough attempted death to make any real point of it, plus maybe another 5-10 scattered throughout the book on the back story and leading up to the story, and we've got MAYBE 25 pages of the actual plot. My math is wrong, I know, but it sure FEELS like this.
So, in a 288-page book, with 25 pages being the actual story, what are the other 263 pages? It was the author being somewhat... I don't mean to sound mean, but full of herself? She tried WAY too hard on this style she was going for. It felt like an "oh, you liked that opening chapter, didn't you? You totally read it out loud to your boyfriend, well here let me give it to you again, and again, and ... again". This book suffers from a severe case of needing to be edited. Of someone saying "that's enough now dear, but what about the story". Every few pages of the backstory of the plot we got were met with full chapters, sometimes multiple of Valente describing yet another alien species she's created, in yet another chain of witty simile and metaphor. To the point where sometimes I no longer knew what was happening, they were all interchangeable, which alien are we talking about now? It went on and on and on, and I never knew how such humorous writing could be just so soul suckingly boring. When she ran out of aliens it was describing previous grand prix's and how the aliens sang. In the exact same, formulaic, witty simile, witty simile, witty simile. Don't get me wrong, there were some absolute gems in here. Some that made me laugh out loud. But it's all about the ratio. I would trade in a heartbeat the ratio in this book. 263 pages of plot, and 25 pages of aliens described in witty simile. It took everything in my power after the third alien chapter to not skim. But she fit so much into a sentence that I was scared somewhere hiding would be a plot point (spoiler alert, there wasn't, skim away).
Then around the 180 page mark, a flip was switched, it was almost as if she went "crap, a story!" the adjective use was slimmed down dramatically and we actually got more than one chapter in a row with a plot point. But at this point, it was too late, the end of the book was hurdling at us and very little had happened and the book pretty much fizzled out with an "oh yeah, the Grand Prix happened". Mind you, the finale was very heartwarming and I liked it a lot. I just wish I hadn't had to read a full chapter about hairbrush interspecies sex to get there, and instead had more of it. But ironically, the hairbrush sex had more plot advancement that the majority of the book.
The ending did, however, for one moment, make me forget that I had just read an encyclopedia of descriptors and was happy for a few minutes. So good on her for that. That proves to me that she can write more than glittery descriptions, which then made me sad I didn't have more of that writing. With just a spattering of the gold of her opening chapters. I am glad I finished the book, the story, what little there was, was worth the read. However, I have no desire to read any other of Valente's writing now, and if there was a sequel, I just don't think I have it in me to read another 263 pages of description. Cool idea, good ability, just terribly executed. She could easily have released a separate book, expanding on a handful of species she established in the book, like an alien compendium, and I would have read it, and laughed, and been okay because I went into it expecting it. But I went into this wanting a story, not a neon throwup encyclopedia of just how "oh so creative" Valente is. That came off harsh, I know, but they blew past the fine line of interesting and well into the self-serving, look what I can do, territory. What suffered for it wasn't just a large number of DNFs, and my sanity for a few days, but an actually interesting, fun, Eurovision, glitter punk, heartwarming story about loss, life, how stupid it is, how beautiful it is, and why we should fight for it. It's in there, hiding beneath the layers and layers of word vomit. I want that story. Please release a second edition that is just that, the opening, and say... 3-5 of your favorite aliens Valente, I promise I'll give it another try if you do.
Valente has in fact given us a Eurovision, glitter punk, electric baby with Douglas Adams, her writing fantastical and humorous, her characters vapid but in a washed-out musician kind of way. She really thought about this book, creating droves of aliens and probably destroying a number of thesauri to bring them to life. We follow Decibel Jones of the "oh you haven't heard of it, well we used to be a thing" Decibel Jones and the Absolute Zeros. A washed-up, no longer active glitter punk band who is an amalgam of every band you probably are thinking of when trying to grasp what that description means.
The book opens with a wonderfully witty description of how there is in fact other life out there in the universe, life is easy to come by, they've just been off doing a galactic war and while they were gone we kind of popped up. Life is stupid. This part is the best part of the book. The humor is on point, the prose magnificant. She is spot on and very pointed in her argument for why war happens. It's people vs meat, and how does one determine something isn't meat, but in fact sentient? Well, no one really figured that out, hence the galactic war, but NOW post-war they think they've figured it out. Intergalactic Music competition. Makes sense, only something sentient could create music right?
Well, this year is a special year because Earth is invited, we've been deemed "may be sentient", but questionable enough that they'd rather not let us just hang out and become annoying someday. So we have to present a band and performance for consideration. We just have to not place last. If we don't place last, we're part of the club and we'll be a-ok. If we place last, we'll be destroyed, because they already think we're annoying and that will mean we're meat. People vs meat remember?
So, one day everyone on the planet earth, everyone, awake or sleeping is visited by the blue birdlike projection of our assigned guides, the Esca, and alien species that are new to the whole being accepted as a sentient thing, and will guide us through the competition. Which it is now telling us about, Suprise! They've chosen a list of musicians they think will do well, however it's outdated and only one band is really able to do it, the has-beens, who are they, Decibel Jones and the Absolute Zeros. Time was rough on our glam-punk friends as it tends to be on musicians, they lost the third member about a decade ago, the two remaining no longer talk. Decibel is a trainwreck, and Oort St Ultraviolet is now just a dad who very much wants to be a regular dude. But now they're being whisked off into space to sing for the world's salvation.
Sounds pretty fun right? This plus Douglas Adams type prose and humor? A real knock out. Unfortunately, that story I just described takes up... maybe a quarter of the book, MAYBE. You can pull the main story out and put it into a book that might be too small to be a novella. Because of this, the backstory, development, and exploration of these characters are slim to nothing. There is some mind you, but very little. It isn't until the 180pg mark or so that Valente actually decides to focus on the plot, giving very little time to do the entire Grand Prix, the actual competition takes up a page. A 288-page book about a singing competition and only 1-2 pages is actually the singing competition. Tack on another 10 maybe for the weird cocktail death party right before, that didn't have enough attempted death to make any real point of it, plus maybe another 5-10 scattered throughout the book on the back story and leading up to the story, and we've got MAYBE 25 pages of the actual plot. My math is wrong, I know, but it sure FEELS like this.
So, in a 288-page book, with 25 pages being the actual story, what are the other 263 pages? It was the author being somewhat... I don't mean to sound mean, but full of herself? She tried WAY too hard on this style she was going for. It felt like an "oh, you liked that opening chapter, didn't you? You totally read it out loud to your boyfriend, well here let me give it to you again, and again, and ... again". This book suffers from a severe case of needing to be edited. Of someone saying "that's enough now dear, but what about the story". Every few pages of the backstory of the plot we got were met with full chapters, sometimes multiple of Valente describing yet another alien species she's created, in yet another chain of witty simile and metaphor. To the point where sometimes I no longer knew what was happening, they were all interchangeable, which alien are we talking about now? It went on and on and on, and I never knew how such humorous writing could be just so soul suckingly boring. When she ran out of aliens it was describing previous grand prix's and how the aliens sang. In the exact same, formulaic, witty simile, witty simile, witty simile. Don't get me wrong, there were some absolute gems in here. Some that made me laugh out loud. But it's all about the ratio. I would trade in a heartbeat the ratio in this book. 263 pages of plot, and 25 pages of aliens described in witty simile. It took everything in my power after the third alien chapter to not skim. But she fit so much into a sentence that I was scared somewhere hiding would be a plot point (spoiler alert, there wasn't, skim away).
Then around the 180 page mark, a flip was switched, it was almost as if she went "crap, a story!" the adjective use was slimmed down dramatically and we actually got more than one chapter in a row with a plot point. But at this point, it was too late, the end of the book was hurdling at us and very little had happened and the book pretty much fizzled out with an "oh yeah, the Grand Prix happened". Mind you, the finale was very heartwarming and I liked it a lot. I just wish I hadn't had to read a full chapter about hairbrush interspecies sex to get there, and instead had more of it. But ironically, the hairbrush sex had more plot advancement that the majority of the book.
The ending did, however, for one moment, make me forget that I had just read an encyclopedia of descriptors and was happy for a few minutes. So good on her for that. That proves to me that she can write more than glittery descriptions, which then made me sad I didn't have more of that writing. With just a spattering of the gold of her opening chapters. I am glad I finished the book, the story, what little there was, was worth the read. However, I have no desire to read any other of Valente's writing now, and if there was a sequel, I just don't think I have it in me to read another 263 pages of description. Cool idea, good ability, just terribly executed. She could easily have released a separate book, expanding on a handful of species she established in the book, like an alien compendium, and I would have read it, and laughed, and been okay because I went into it expecting it. But I went into this wanting a story, not a neon throwup encyclopedia of just how "oh so creative" Valente is. That came off harsh, I know, but they blew past the fine line of interesting and well into the self-serving, look what I can do, territory. What suffered for it wasn't just a large number of DNFs, and my sanity for a few days, but an actually interesting, fun, Eurovision, glitter punk, heartwarming story about loss, life, how stupid it is, how beautiful it is, and why we should fight for it. It's in there, hiding beneath the layers and layers of word vomit. I want that story. Please release a second edition that is just that, the opening, and say... 3-5 of your favorite aliens Valente, I promise I'll give it another try if you do.
