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Bob Mann (459 KP) rated Live By Night (2017) in Movies
Sep 29, 2021
“Sleep by day…”.
Ben Affleck’s new movie could best be described as “sprawling”. In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a “Godfather” style gangster epic and missed: not missed by a country mile, but missed nonetheless.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Bob Mann (459 KP) rated Greyhound (2020) in Movies
Aug 9, 2020
Hanks and Stephen Graham. (1 more)
Tense cat and mouse hunting
Grey but exciting.
Here's a great movie trivia question for you.... which 2020 movies link Claire Duburcq and Elizabeth Shue, and why? The answer is at the end of this review!
The battle of the Atlantic, which ran from 1939 to the end of the war, was a key battleground of World War 2. Failure to supply the European battlefront with fresh supplies and troops from the States would spell certain failure. (The wiki page addressing this is here.) But it's a field of combat that has been relatively overlooked at the movies. Of the handful of feature films, the most famous are that famously stiff-upper-lipped British offering "The Cruel Sea" from 1953 and Wolfgang Petersen's original 1981 U-boat film, "Das Boot", seeing it from the German's side.
Here, the subject gets the full Tom Hanks treatment. Not only does he star in the movie, but he also wrote it, based on the C.S. Forester novel "The Good Shepherd".
We join Captain Krause (Tom Hanks, with a strangely German-sounding name!) on dry land awaiting his beloved Evelyn (Elizabeth Shue) for a proposal. But that's the last dry land we see in the movie, since Krause is captaining the US destroyer "Greyhound" on its maiden voyage to protect a convoy of UK and US ships heading for England. But danger lurks beneath the waves as a pack of U-boats attempt to sink as many vessels as possible.
The issue with a movie about a war-time transatlantic crossing is that the ships are grey, the sky is grey and the sea is grey. It's a monochromatic and rather depressing context for a movie. To combat that, the CGI used to recreate the action needs to be good, and thankfully the film delivers in that department.
Where I had quibbles - and I'm not sure whether this was in Hank's original screenplay or the result of director Aaron Schneider's attempts at "added flair" - was in stopping the action mid-scene for a zoom up above the clouds to see the Aurora Borealis. Unnecessary and distracting.
Where the film really scores is in the tense action sequences. As a viewer, I found myself straining forwards in my seat for the "ping" of the sonar! The cat and mouse games being played out with the hidden foe are certainly well done.... albeit a colleague of mine refuses to watch it because "torpedoes don't bounce off the sides of ships" as shown in the trailer!
Perhaps what might have made the film richer still would have been the view from the German side. Another star name as the 'heard but never seen' mocking U-boat commander might have turned this into even more of a Shakespearean battle-royale.
Overall, this is an enthralling and enjoyable watch that I would recommend. Tom Hanks delivers YET another compelling captain role. It seems to be the rank that he naturally gravitates to.... having the gravitas to command, but not being too far removed from the common man. Here he is supported by the omnipresent Stephen Graham, also equally good.
It's a great shame that this never got the wide-screen cinematic release, because Greyhound deserved it. Who knows, perhaps with cinemas spasmodically opening up, there's still time for a national release. That would be good, and I'd certainly go and see it again on the big screen.
And, by the way, the answer to my trivia question is this film - Greyhound - and 1917. The reason being that in both movies the actresses named were the sole female players within the whole cast.
(For the full graphical review, please visit https://bob-the-movie-man.com/2020/08/01/one-manns-movies-film-review-greyhound-2020/ .)
The battle of the Atlantic, which ran from 1939 to the end of the war, was a key battleground of World War 2. Failure to supply the European battlefront with fresh supplies and troops from the States would spell certain failure. (The wiki page addressing this is here.) But it's a field of combat that has been relatively overlooked at the movies. Of the handful of feature films, the most famous are that famously stiff-upper-lipped British offering "The Cruel Sea" from 1953 and Wolfgang Petersen's original 1981 U-boat film, "Das Boot", seeing it from the German's side.
Here, the subject gets the full Tom Hanks treatment. Not only does he star in the movie, but he also wrote it, based on the C.S. Forester novel "The Good Shepherd".
We join Captain Krause (Tom Hanks, with a strangely German-sounding name!) on dry land awaiting his beloved Evelyn (Elizabeth Shue) for a proposal. But that's the last dry land we see in the movie, since Krause is captaining the US destroyer "Greyhound" on its maiden voyage to protect a convoy of UK and US ships heading for England. But danger lurks beneath the waves as a pack of U-boats attempt to sink as many vessels as possible.
The issue with a movie about a war-time transatlantic crossing is that the ships are grey, the sky is grey and the sea is grey. It's a monochromatic and rather depressing context for a movie. To combat that, the CGI used to recreate the action needs to be good, and thankfully the film delivers in that department.
Where I had quibbles - and I'm not sure whether this was in Hank's original screenplay or the result of director Aaron Schneider's attempts at "added flair" - was in stopping the action mid-scene for a zoom up above the clouds to see the Aurora Borealis. Unnecessary and distracting.
Where the film really scores is in the tense action sequences. As a viewer, I found myself straining forwards in my seat for the "ping" of the sonar! The cat and mouse games being played out with the hidden foe are certainly well done.... albeit a colleague of mine refuses to watch it because "torpedoes don't bounce off the sides of ships" as shown in the trailer!
Perhaps what might have made the film richer still would have been the view from the German side. Another star name as the 'heard but never seen' mocking U-boat commander might have turned this into even more of a Shakespearean battle-royale.
Overall, this is an enthralling and enjoyable watch that I would recommend. Tom Hanks delivers YET another compelling captain role. It seems to be the rank that he naturally gravitates to.... having the gravitas to command, but not being too far removed from the common man. Here he is supported by the omnipresent Stephen Graham, also equally good.
It's a great shame that this never got the wide-screen cinematic release, because Greyhound deserved it. Who knows, perhaps with cinemas spasmodically opening up, there's still time for a national release. That would be good, and I'd certainly go and see it again on the big screen.
And, by the way, the answer to my trivia question is this film - Greyhound - and 1917. The reason being that in both movies the actresses named were the sole female players within the whole cast.
(For the full graphical review, please visit https://bob-the-movie-man.com/2020/08/01/one-manns-movies-film-review-greyhound-2020/ .)
Bob Mann (459 KP) rated The Last Duel (2021) in Movies
Oct 28, 2021
Three nuanced perspectives on a winter’s tale.
In Ridley Scott’s new movie “The Last Duel” we are in the late 14th century in France. And – apart from in one scene – it appears to be perpetual winter!
Plot Summary:
Widowed Jean de Carrouges (Matt Damon) is a battle-hardened warrior, loyal to King Charles VI of France (Alex Lawther). He is becoming progressively estranged from his one-time friend Jacques Le Gris (Adam Driver), a personal favourite of Normandy ruler Pierre d’Alençon (Ben Affleck).
But Carrouges’ lovely new wife Marguerite (Jodie Comer) accuses Le Gris of a terrible crime. But who is telling the truth? Only God can decide, as Carrouges and Le Gris must duel to the death.
Certification:
US: R. UK: 18.
Talent:
Starring: Jodie Comer, Matt Damon, Adam Driver, Ben Affleck.
Directed by: Ridley Scott.
Written by: Matt Damon, Ben Affleck and Nicole Holofcener.
“The Last Duel” Review: Positives:
It’s an intriguing script – the first collaboration between Damon and Affleck since their Oscar-winning “Good Will Hunting” from 25 years ago. It presents 3 different versions of “the truth” from three different perspectives. (One of these – Marguerite’s version – is suggested as being the ‘actual’ truth through a clever delayed fade of the chapter title). Many of the same scenes are repeated in each variant: sometimes with obvious differences in fact; sometimes with the slightest nuance of tone or expression; and sometimes with no change to the visuals, but with the benefit of hearing the dialogue being spoken. Very clever.
“Killing Eve”‘s Jodie Comer is just brilliant here. She is the master of nuanced expression, and she genuinely deserves an Oscar nomination for this work. Combined with her great and fun role in the surprise summer hit “Free Guy“, Comer is surely on a path to movie acting greatness.
Damon, Driver and Affleck also have great fun with their roles: they are all eminently watchable and this is a study in acting greatness. But I particularly loved Alex Lawther’s turn as the king: all excitable childish power in the body of a young adult.
Battle scenes and the final duel are delivered in visceral nature reminiscent of Ridley Scott’s famous battle and arena scenes in “Gladiator”.
Excellent production design and special effects on show here. Another Oscar nomination perhaps? The movie was filmed in the Dordogne region of France and also – after a 2020 Covid lockdown – in Ireland.
Negatives:
At two and a half hours it’s another long film (is October 2021 designated long film month??). And although the nuances between the different versions of reality are fascinating, there’s a degree of tedium involved in rehashing the same scenes (in some cases) for the third time. Arguably I think a few of these re-versions could have been omitted to reduce the bladder-testing run time.
Summary Thoughts on “The Last Duel”
This is Ridley Scott back on top form again. I found this a gripping watch. As the film opens, we are teased with the start of the ‘boss level’ duel between Damon and Driver. But these final dramatic scenes are the emotional lynchpin of the movie since only then do you understand the background and the ramifications of the fight.
Evidently, 14th Century France was NOT a great time for sexual equality. Women were merely chattels, denied not only fair play and self-determination, but also the bedroom niceties of foreplay and, in most cases, orgasms. As the story was based on real events, the courage and determination of Marguerite of Carrouges were extraordinary. And Jodie Comer’s portrayal of her wonderfully demonstrates, yet again, why she is the UK’s most exciting acting export for many years.
Plot Summary:
Widowed Jean de Carrouges (Matt Damon) is a battle-hardened warrior, loyal to King Charles VI of France (Alex Lawther). He is becoming progressively estranged from his one-time friend Jacques Le Gris (Adam Driver), a personal favourite of Normandy ruler Pierre d’Alençon (Ben Affleck).
But Carrouges’ lovely new wife Marguerite (Jodie Comer) accuses Le Gris of a terrible crime. But who is telling the truth? Only God can decide, as Carrouges and Le Gris must duel to the death.
Certification:
US: R. UK: 18.
Talent:
Starring: Jodie Comer, Matt Damon, Adam Driver, Ben Affleck.
Directed by: Ridley Scott.
Written by: Matt Damon, Ben Affleck and Nicole Holofcener.
“The Last Duel” Review: Positives:
It’s an intriguing script – the first collaboration between Damon and Affleck since their Oscar-winning “Good Will Hunting” from 25 years ago. It presents 3 different versions of “the truth” from three different perspectives. (One of these – Marguerite’s version – is suggested as being the ‘actual’ truth through a clever delayed fade of the chapter title). Many of the same scenes are repeated in each variant: sometimes with obvious differences in fact; sometimes with the slightest nuance of tone or expression; and sometimes with no change to the visuals, but with the benefit of hearing the dialogue being spoken. Very clever.
“Killing Eve”‘s Jodie Comer is just brilliant here. She is the master of nuanced expression, and she genuinely deserves an Oscar nomination for this work. Combined with her great and fun role in the surprise summer hit “Free Guy“, Comer is surely on a path to movie acting greatness.
Damon, Driver and Affleck also have great fun with their roles: they are all eminently watchable and this is a study in acting greatness. But I particularly loved Alex Lawther’s turn as the king: all excitable childish power in the body of a young adult.
Battle scenes and the final duel are delivered in visceral nature reminiscent of Ridley Scott’s famous battle and arena scenes in “Gladiator”.
Excellent production design and special effects on show here. Another Oscar nomination perhaps? The movie was filmed in the Dordogne region of France and also – after a 2020 Covid lockdown – in Ireland.
Negatives:
At two and a half hours it’s another long film (is October 2021 designated long film month??). And although the nuances between the different versions of reality are fascinating, there’s a degree of tedium involved in rehashing the same scenes (in some cases) for the third time. Arguably I think a few of these re-versions could have been omitted to reduce the bladder-testing run time.
Summary Thoughts on “The Last Duel”
This is Ridley Scott back on top form again. I found this a gripping watch. As the film opens, we are teased with the start of the ‘boss level’ duel between Damon and Driver. But these final dramatic scenes are the emotional lynchpin of the movie since only then do you understand the background and the ramifications of the fight.
Evidently, 14th Century France was NOT a great time for sexual equality. Women were merely chattels, denied not only fair play and self-determination, but also the bedroom niceties of foreplay and, in most cases, orgasms. As the story was based on real events, the courage and determination of Marguerite of Carrouges were extraordinary. And Jodie Comer’s portrayal of her wonderfully demonstrates, yet again, why she is the UK’s most exciting acting export for many years.
Ryan Hill (152 KP) rated Black Panther (2018) in Movies
May 11, 2019
"Bury me in the ocean with my ancestors who jumped from the ships, 'cause they knew death was better than bondage"
Full of life, joy, sorrow, and hilarity; Ryan Coogler's Black Panther just has a vibrancy you rarely find in the superhero scene, let alone blockbusters. Enriched with a deep, abiding love for African culture and Afrofuturism; the movie just feels purposeful. Important. Meaningful. Context matters here, as Black Panther will become one of very few films populated by African Americans not dealing with slavery or black history to thrive financially. And that cast is phenomenal. Boseman's soft-spoken panther-of-few-words is the rare MCUer to opt for a moment of silence rather than a snarky comment. Michael B Jordan brings an unmistakable swagger to the perpetually weak slate of Marvel villains, conveying a crushingly sad and challenging story that could just as easily be regarded as the true hero of the film. Letitia Wright as the genius tech maestro was a blast, a character who could give Tony Stark a run for his money both technologically and charismatically. And these are just three of Coogler's creations; drawn from a slate of inspired, unique and wonderfully represented roles for black actors...many of whom will deservingly use this as a career springboard of sorts.
I remember years ago I read a book about the cultural significance of various comic book locales, and the Wakanda entry struck me as uniquely sad and inspiring. Wakanda, a place busting with innovation, tradition, and pride...hidden from the world. Sort of an alternate-timeline Africa which wasn't poisoned irreparably by colonialism and all its horrors. There's a sad duality obvious in this Wakanda, that being for it to exist, it must be hidden. Must be quietly nurtured, developed and treasured. It's an apt metaphor in relation to black pride, culture, and history; something constantly being reworked, reshaped and reimagined to put a sordid past (and present) in the rear-view mirror by those who perpetrate it, knowingly or not. This idea, that for something to thrive it must be isolated, is at the heart of Black Panther. You can understand why T'Challa, and generations before him, sacrificed anything to preserve the myth of Wakanda. But you can also understand Killmonger's feeling of betrayal. The profound moral objections inherent in a small community turning it's back on a larger suffering population in the name of self-preservation. There's no heroes and villains when Black Panther is at it's best, just two sides to a terrifying moral question *loaded* with historical weight.
Because Killmonger isn't really a villain. The best illustration of this is the contrasting "dream" sequences, in which T'Challa shares a promise with his father within a transcendentally beautiful African landscape, and Killmonger is confronted by all his pain, suffering and moral rigidity in the vast concrete jungle of Oakland, in the tiny apartment where his father was murdered for trying to make a difference. They both wake up with tears in their eyes, some from pain and some from catharsis. Coogler marks the chasm between T'Challa's and Killmonger's pasts so perfectly, and illustrates exactly why they feel the way they do with such wisdom. Black Panther so clearly empathizes with Killmonger and understands where his pain was born, and the horrors that nurtured it.
And so there's no hero and no villain to this movie. Just two men in nearly identical black panther suits, clashing over how Wakanda ought to venture into a new era. Nobility and passion, conservation and sacrifice, incremental change against a vengeful redistribution of power and oppression. Both men are correct in their aspirations, being "right" here doesn't matter. it's tough for a good man to be king. Killmonger made T'Challa the hero he is, by instilling in him a mission, a perceived duty to turn around, face an oppressed people and finally lend a hand. But more than that, there's something miraculous here. An apology from a good man. A recognition of a sin even when it's perpetrator was, until now, helpless to prevent it. A declaration that not contributing to hate and prejudice doesn't equate to actively working to prevent it. A plea for a humble brand of superheroism, for countless ghosts of the past to be heard and change to erupt in their name. Divides to be bridged, chasms to be crossed and wrongs to be righted.
Black Panther has a complex, meaningful and profoundly challenging thematic framework; offering a fresh dissection of what it means to grapple with the sins of those who came before. Sure, there are some technical issues along the way, the machinations of Marvel storytelling are evident and errors could be found; but if you understand that superhero stories were meant to ask these sorts of questions and push boundaries since their inception; Black Panther is a dream.
I remember years ago I read a book about the cultural significance of various comic book locales, and the Wakanda entry struck me as uniquely sad and inspiring. Wakanda, a place busting with innovation, tradition, and pride...hidden from the world. Sort of an alternate-timeline Africa which wasn't poisoned irreparably by colonialism and all its horrors. There's a sad duality obvious in this Wakanda, that being for it to exist, it must be hidden. Must be quietly nurtured, developed and treasured. It's an apt metaphor in relation to black pride, culture, and history; something constantly being reworked, reshaped and reimagined to put a sordid past (and present) in the rear-view mirror by those who perpetrate it, knowingly or not. This idea, that for something to thrive it must be isolated, is at the heart of Black Panther. You can understand why T'Challa, and generations before him, sacrificed anything to preserve the myth of Wakanda. But you can also understand Killmonger's feeling of betrayal. The profound moral objections inherent in a small community turning it's back on a larger suffering population in the name of self-preservation. There's no heroes and villains when Black Panther is at it's best, just two sides to a terrifying moral question *loaded* with historical weight.
Because Killmonger isn't really a villain. The best illustration of this is the contrasting "dream" sequences, in which T'Challa shares a promise with his father within a transcendentally beautiful African landscape, and Killmonger is confronted by all his pain, suffering and moral rigidity in the vast concrete jungle of Oakland, in the tiny apartment where his father was murdered for trying to make a difference. They both wake up with tears in their eyes, some from pain and some from catharsis. Coogler marks the chasm between T'Challa's and Killmonger's pasts so perfectly, and illustrates exactly why they feel the way they do with such wisdom. Black Panther so clearly empathizes with Killmonger and understands where his pain was born, and the horrors that nurtured it.
And so there's no hero and no villain to this movie. Just two men in nearly identical black panther suits, clashing over how Wakanda ought to venture into a new era. Nobility and passion, conservation and sacrifice, incremental change against a vengeful redistribution of power and oppression. Both men are correct in their aspirations, being "right" here doesn't matter. it's tough for a good man to be king. Killmonger made T'Challa the hero he is, by instilling in him a mission, a perceived duty to turn around, face an oppressed people and finally lend a hand. But more than that, there's something miraculous here. An apology from a good man. A recognition of a sin even when it's perpetrator was, until now, helpless to prevent it. A declaration that not contributing to hate and prejudice doesn't equate to actively working to prevent it. A plea for a humble brand of superheroism, for countless ghosts of the past to be heard and change to erupt in their name. Divides to be bridged, chasms to be crossed and wrongs to be righted.
Black Panther has a complex, meaningful and profoundly challenging thematic framework; offering a fresh dissection of what it means to grapple with the sins of those who came before. Sure, there are some technical issues along the way, the machinations of Marvel storytelling are evident and errors could be found; but if you understand that superhero stories were meant to ask these sorts of questions and push boundaries since their inception; Black Panther is a dream.
Gareth von Kallenbach (974 KP) rated the PC version of BioShock Infinite in Video Games
Jun 19, 2019
After a few delays the third game in the Bioshock series has arrived from 2K Games and he continues the amazing legacy of the series in grand style. Playing as Booker DeWitt players embark on an epic rescue adventure to the floating city of Columbia in the early 1900s.
Booker is anxious to erase his massive gambling debts and has been told that recovering a girl named Elizabeth from the floating city will clear his accounts. Upon arrival, Booker notes the grand spectacle of the city as well as the Steampunk themes that combine technology, science, and fiction.
Playing from a first person perspective, Booker is able to interact with his environment from looting ammunition, food, health, power ups, money, and other items necessary for survival in a hostile city. Booker can also obtain needed supplies from various mechanical vending machines located throughout the city.
This is a very good thing as despite the beauty of Columbia, it is rife with all manner of dangers as the self-proclaimed savior Comstock has an endless supply of enemies to throw at you to keep you from recovering Elizabeth.
The narration of the story kicks into high gear once you encounter Elizabeth as many of the missions become escort and protect in nature but the back story of the central characters as well as the social strife in Columbia become more and more evident.
An underlying tone of racial tension and labor unrest is threatening the status quo and Booker finds himself squarely in the middle of both factions.
Elizabeth has some amazing abilities of her own such as being able to open tears in time and space which would explain Comstock’s obsession with her. Aside from an arsenal of weapons which includes pistols, shotguns, machine guns, rocket launchers, and various rifles, Booker can gain special powers through the use of vigors that are located throughout the game. While only able to wield to it time, the ability to telekinetic please send enemies flying, blast them with water, fry them to a crisp, and other spectacular feats are absolutely essential to the game as well is highly satisfying. In order to power the special powers, Booker must constantly replenish assault supply which adds a new element to the game strategy.
One of the greatest features of the game was the magnetic melee weapon which also doubles as a magnetic hook. This allows Booker to travel via rail Skyway by taking spectacular leaps and sliding along the rails. The sheer rush of whipping through the city especially during combat situations is a remarkable achievement from both a visual and gameplay perspective.
Graphically the game is fantastic as the amount of detail is simply breathtaking. If one was to nitpick they could state that the character facial animations seem a bit dated but they are definitely in keeping with the previous two games and in my opinion do not detract from the game in any way shape or form.
When death happens in the game, players are able to be resurrected at a nearby point for little bit of their money which allows for a smoother gameplay experience. Some moments the game on normal setting were quite difficult and for gamers who need a break, players can choose to lower or raise the difficulty setting in game.
Unlike the previous games the storyline is more linear and your decisions do not drastically change the outcome of the game unless you are playing the game in the optional 1999 mode where decisions can in deed change the outcome of the game including placing the character in no-win situations.
The voice acting and sound of the game are first rate and I especially enjoyed the nostalgic music and primitive recording and playback devices the time which added a very unique perspective to the game. There is no multiplayer aspect of the game so players who complete the game will have to look forward to the planned DLC content which will be offered in the future.
The immersive factor of the game really captured me and in my opinion sets a new standard for storytelling and player interaction. While enemies tended to be for the most part mindless foes who charged headlong to their doom, this did change as the game went along as some enemies presented some real challenges and displayed some very interesting and clever strategies.
Upon completion of the game, I found myself pausing to reflect on the twist and turns of the storyline as well as look ahead with great anticipation for the next installment of this epic series. Bioshock Infinite is a must own for fans of the series as well as action games and is definitely an early candidate for game of the year awards.
http://sknr.net/2013/04/02/bioshock-infinite/
Booker is anxious to erase his massive gambling debts and has been told that recovering a girl named Elizabeth from the floating city will clear his accounts. Upon arrival, Booker notes the grand spectacle of the city as well as the Steampunk themes that combine technology, science, and fiction.
Playing from a first person perspective, Booker is able to interact with his environment from looting ammunition, food, health, power ups, money, and other items necessary for survival in a hostile city. Booker can also obtain needed supplies from various mechanical vending machines located throughout the city.
This is a very good thing as despite the beauty of Columbia, it is rife with all manner of dangers as the self-proclaimed savior Comstock has an endless supply of enemies to throw at you to keep you from recovering Elizabeth.
The narration of the story kicks into high gear once you encounter Elizabeth as many of the missions become escort and protect in nature but the back story of the central characters as well as the social strife in Columbia become more and more evident.
An underlying tone of racial tension and labor unrest is threatening the status quo and Booker finds himself squarely in the middle of both factions.
Elizabeth has some amazing abilities of her own such as being able to open tears in time and space which would explain Comstock’s obsession with her. Aside from an arsenal of weapons which includes pistols, shotguns, machine guns, rocket launchers, and various rifles, Booker can gain special powers through the use of vigors that are located throughout the game. While only able to wield to it time, the ability to telekinetic please send enemies flying, blast them with water, fry them to a crisp, and other spectacular feats are absolutely essential to the game as well is highly satisfying. In order to power the special powers, Booker must constantly replenish assault supply which adds a new element to the game strategy.
One of the greatest features of the game was the magnetic melee weapon which also doubles as a magnetic hook. This allows Booker to travel via rail Skyway by taking spectacular leaps and sliding along the rails. The sheer rush of whipping through the city especially during combat situations is a remarkable achievement from both a visual and gameplay perspective.
Graphically the game is fantastic as the amount of detail is simply breathtaking. If one was to nitpick they could state that the character facial animations seem a bit dated but they are definitely in keeping with the previous two games and in my opinion do not detract from the game in any way shape or form.
When death happens in the game, players are able to be resurrected at a nearby point for little bit of their money which allows for a smoother gameplay experience. Some moments the game on normal setting were quite difficult and for gamers who need a break, players can choose to lower or raise the difficulty setting in game.
Unlike the previous games the storyline is more linear and your decisions do not drastically change the outcome of the game unless you are playing the game in the optional 1999 mode where decisions can in deed change the outcome of the game including placing the character in no-win situations.
The voice acting and sound of the game are first rate and I especially enjoyed the nostalgic music and primitive recording and playback devices the time which added a very unique perspective to the game. There is no multiplayer aspect of the game so players who complete the game will have to look forward to the planned DLC content which will be offered in the future.
The immersive factor of the game really captured me and in my opinion sets a new standard for storytelling and player interaction. While enemies tended to be for the most part mindless foes who charged headlong to their doom, this did change as the game went along as some enemies presented some real challenges and displayed some very interesting and clever strategies.
Upon completion of the game, I found myself pausing to reflect on the twist and turns of the storyline as well as look ahead with great anticipation for the next installment of this epic series. Bioshock Infinite is a must own for fans of the series as well as action games and is definitely an early candidate for game of the year awards.
http://sknr.net/2013/04/02/bioshock-infinite/
Gareth von Kallenbach (974 KP) rated Logan Lucky (2017) in Movies
Jul 11, 2019
Jimmy Logan (Channing Tatum) just got fired from his job and found out that his ex-wife is moving his daughter to another state. He lives for his daughter and needs to get money fast to pay for a lawyer to fight the move. He decides that the best way to get this fast cash is to rob his previous employer, the Charlotte Motor Speedway. He enlist the help of his brother Clyde Logan (Adam Driver), his fast driving sister Millie Logan (Riley Keough), and explosives expert Joe Bang (Daniel Craig). Together they hatch a plan to rob the cash vault under the NASCAR track during the biggest race of the year. It won’t be easy for the crew as they must overcome many obstacles along the way. For one they only one of them who can blow the massive safe, Bang, is currently in prison. Bang also insists that his two inept brothers be included in the heist. There is also the matter of a large private police force patrolling the track. But the biggest hurdle may be the Logan family curse. Something bad is seemingly always happening to the family. Jimmy was destine to go to the NFL before a freak accident ruined his knee and ended his football career. Clyde was on his way back home from deployment in the Army and was hit by a roadside bomb and lost his arm. If they can overcome all of this they can walk away with a fortune.
This Steven Soderbergh (Ocean’s 11, Ocean’s 12, Ocean’s 13) directed film is a fun and fast paced heist film. It definitely fits into the Ocean’s film model, with a large cast, twists that keep the audience guessing and well thought out ending. This films stands apart from those by being more hillbilly than the sleek well put together Ocean’s crew. The film dialog is well done and written expertly by Rebecca Blunt, this is the first screen writing credit for Rebecca. There are plenty of cameos by West Virginia Natives, NASCAR drivers and commentators, and others. I had heard beforehand that there were several cameos and made for a fun exercise in spotting the NASCAR drivers in various roles. The ensemble cast is stellar led by Tatum, Driver and Craig. The cast includes fun performances by a barely recognizable Seth MacFarlane along with Dwight Yoakam, Katie Holmes, and Hilary Swank. There were times thought that the various accents that the cast were attempting to use felt forced and/or missing from particular scenes. The pace of the film is good but does get a little slow during the heist set up and the two hour run time was a tad too long for me.
Overall this is a fun film that fits the heist movie genre perfectly. One news report in the film characterized the robbery as Ocean’s 7/11 and that pretty well sums up the film. The characters are original and if you are a fan of these types of movies you will not be disappointed.
This Steven Soderbergh (Ocean’s 11, Ocean’s 12, Ocean’s 13) directed film is a fun and fast paced heist film. It definitely fits into the Ocean’s film model, with a large cast, twists that keep the audience guessing and well thought out ending. This films stands apart from those by being more hillbilly than the sleek well put together Ocean’s crew. The film dialog is well done and written expertly by Rebecca Blunt, this is the first screen writing credit for Rebecca. There are plenty of cameos by West Virginia Natives, NASCAR drivers and commentators, and others. I had heard beforehand that there were several cameos and made for a fun exercise in spotting the NASCAR drivers in various roles. The ensemble cast is stellar led by Tatum, Driver and Craig. The cast includes fun performances by a barely recognizable Seth MacFarlane along with Dwight Yoakam, Katie Holmes, and Hilary Swank. There were times thought that the various accents that the cast were attempting to use felt forced and/or missing from particular scenes. The pace of the film is good but does get a little slow during the heist set up and the two hour run time was a tad too long for me.
Overall this is a fun film that fits the heist movie genre perfectly. One news report in the film characterized the robbery as Ocean’s 7/11 and that pretty well sums up the film. The characters are original and if you are a fan of these types of movies you will not be disappointed.
Gareth von Kallenbach (974 KP) rated The Accountant (2016) in Movies
Jun 19, 2019
In the world of high finance keeping an eye on the numbers is essential. But when large incomes are derived from illegal activities speed, accuracy, and discretion are vital and that is why Christian Wolff (Ben Affleck), is in such high demand.
In the new film “The Accountant” we are introduced to Christian as he prepares taxes for a rural couple. The quiet, and social awkward man is a whizz with numbers but thanks to a form of Autism, Christian is socially awkward and has an extreme series of regiments he uses to cope with the modern world.
Much of his life is told through flashbacks but we learn that his military father insisted that he and his brother learn to defend themselves after their mother left them.
FBI agent Ray King (J.K. Simmons) is facing retirement and has past history with The Accountant as he is known, and wants to resolve the situation before he retires. As such he recruits and coerces a young agent to help him track down The Accountant with little more to go on other than reputation and some vague photos.
At the same time Christian is introduced to a company via his service who suspects that money is being stolen from them. The C.E.O. Lamar Black (John Lithgow), is eager to get to the bottom of an irregularity found by bookkeeper Dana Cummings (Anna Kendrick).
Christian tears through 15 years of books in one night and locates an intricate scheme to steal millions yet make the company look like it has kept gaining money and this sets into action a chain of events with dire consequences.
At the same time, a mysterious man (John Bernthal), is eliminating those in the way and has set his sights on both Christian and Dana.
Christian however is far from a weak pacifist as thanks to his work and his father’s training, he is brutally efficient and deadly with his hands, feet, and all manner of weapons.
With danger all around them, Christian and Dana must survive and get to the bottom of the mystery while avoiding Agent King and the authorities.
What follows is an action filled thriller that was an exciting adventure filled with twists, turns, and solid performances.
The film does offer a big twist which I saw coming 40 minutes out, but despite this the solid cast and great work by Affleck, Simmons, and company make this a pleasant surprise and one you will not want to miss.
http://sknr.net/2016/10/14/the-accountant/
In the new film “The Accountant” we are introduced to Christian as he prepares taxes for a rural couple. The quiet, and social awkward man is a whizz with numbers but thanks to a form of Autism, Christian is socially awkward and has an extreme series of regiments he uses to cope with the modern world.
Much of his life is told through flashbacks but we learn that his military father insisted that he and his brother learn to defend themselves after their mother left them.
FBI agent Ray King (J.K. Simmons) is facing retirement and has past history with The Accountant as he is known, and wants to resolve the situation before he retires. As such he recruits and coerces a young agent to help him track down The Accountant with little more to go on other than reputation and some vague photos.
At the same time Christian is introduced to a company via his service who suspects that money is being stolen from them. The C.E.O. Lamar Black (John Lithgow), is eager to get to the bottom of an irregularity found by bookkeeper Dana Cummings (Anna Kendrick).
Christian tears through 15 years of books in one night and locates an intricate scheme to steal millions yet make the company look like it has kept gaining money and this sets into action a chain of events with dire consequences.
At the same time, a mysterious man (John Bernthal), is eliminating those in the way and has set his sights on both Christian and Dana.
Christian however is far from a weak pacifist as thanks to his work and his father’s training, he is brutally efficient and deadly with his hands, feet, and all manner of weapons.
With danger all around them, Christian and Dana must survive and get to the bottom of the mystery while avoiding Agent King and the authorities.
What follows is an action filled thriller that was an exciting adventure filled with twists, turns, and solid performances.
The film does offer a big twist which I saw coming 40 minutes out, but despite this the solid cast and great work by Affleck, Simmons, and company make this a pleasant surprise and one you will not want to miss.
http://sknr.net/2016/10/14/the-accountant/
Phil Leader (619 KP) rated Genesis: Vision of the New World (Terra Nova #2) in Books
Nov 13, 2019
Following on from the events in Universe: Awakening, the first book in the series (which you need to read before this one), this picks up events on Arkos after some time has passed. Minister Odessa is still concerned about the findings of the DEUS probes, and when there is an astronomical anomaly and a disaster on the planet itself she realises that she needs her most trusted allies to determine the threat that is posed. Meanwhile there is a change at the head of the lower-status Gendu, both in terms of politics and religion, which aren't universally popular. Society may be under threat from within and without.
This is a long book, but like the first one it covers a lot of ground. There is a far more investigation of the Gendu, their politics and their religion. The succession of Darius as head of the Gendu, and the rise of a greedy and flawed priest in the religious sect provide the backbone of the story. The Celesti are frustrated by only being allowed to observe and not interfere, but are focused on exploring the anomaly. Odessa also starts a related project to enhance some of the indigenous apes.
This is not a book that can be read in isolation. As the middle of a trilogy it answers few questions from the first book and raises many that are due to be resolved in the final installment. It is clear that everything is converging, momentum carrying people and events along as much they are exerting their own control. The author has constructed a world where the plot is driven from a number of different directions and this ensures that each chapter has something to add.
The writing is very confident. Overttun has really found his voice as an author and uses it to show the reader all of his creation. From the clinical efficiency of Odessa's experiments to the dirt and grime of the seedier areas of Gendu society, the narrative weaves its way inexorably onwards. The prose is lean and efficient, lending impetus to the story. The exploits of the already known characters will entertain as they are old friends, the new characters are all interesting and nuanced.
This is building to be a fabulous epic trilogy, epic in depth, breadth and scale. It isn't science fiction, it isn't a political thriller, it isn't a philosophical treatise. It is all these and more. I really cannot wait to see what happens next. Stunning.
This is a long book, but like the first one it covers a lot of ground. There is a far more investigation of the Gendu, their politics and their religion. The succession of Darius as head of the Gendu, and the rise of a greedy and flawed priest in the religious sect provide the backbone of the story. The Celesti are frustrated by only being allowed to observe and not interfere, but are focused on exploring the anomaly. Odessa also starts a related project to enhance some of the indigenous apes.
This is not a book that can be read in isolation. As the middle of a trilogy it answers few questions from the first book and raises many that are due to be resolved in the final installment. It is clear that everything is converging, momentum carrying people and events along as much they are exerting their own control. The author has constructed a world where the plot is driven from a number of different directions and this ensures that each chapter has something to add.
The writing is very confident. Overttun has really found his voice as an author and uses it to show the reader all of his creation. From the clinical efficiency of Odessa's experiments to the dirt and grime of the seedier areas of Gendu society, the narrative weaves its way inexorably onwards. The prose is lean and efficient, lending impetus to the story. The exploits of the already known characters will entertain as they are old friends, the new characters are all interesting and nuanced.
This is building to be a fabulous epic trilogy, epic in depth, breadth and scale. It isn't science fiction, it isn't a political thriller, it isn't a philosophical treatise. It is all these and more. I really cannot wait to see what happens next. Stunning.
Taut Lines: Extraordinary True Fishing Stories
Book
Since the earliest writings of civilization, people have been writing about fish and the pursuit of...
Bob Mann (459 KP) rated On the Rocks (2020) in Movies
Oct 23, 2020
Bill Murray being Bill Murray, but in sparkling form
Bill Murray is astonishing. Not just in "On the Rocks", but generally in life. Some actors - Johnny Depp, Mark Rylance, Gary Oldman, for instance - disappear completely into their characters so it takes a while to "see" who they are. Whereas with others - Bill Nighy, Tom Cruise, John Wayne, for instance - it's "Oh, there's the famous actor xxxx in a new movie". If we were grading on a scale, Bill Murray would be at the far right of the latter category. In every movie, he IS Bill Murray! In "Ghostbusters" he was the dry, laconic, wisecracking ghost hunter. In "Groundhog Day" he was the dry, laconic, wisecracking weatherman. In "The Monuments Men" he was the dry, laconic, wisecracking art historian. (In the "Zombieland" movies, he excelled himself by playing the dry, laconic, wisecracking Bill Murray!)
For many actors, that would be a problem. But Bill Murray gets away with it, because - - he's Bill freakin' Murray!! And being him is so awesome that however many times you've seen the character, you always want more.
Here's a case in point. In "On the Rocks", a chaffeured car with tinted windows rolls up. You brace yourself as the window winds slowly down. And there he is... the star. This happens quite a way into Sofia Coppola's new film. First up, we get a leisurely, but intelligent, set-up to the plot. The "Parks and Recreation" actress, Rashida Jones, plays Laura; a successful writer (currently with writer's block) married to successful businessman Dean (Marlon Wayans). The couple seem to have it all: high income; large New York apartment; two lovely young children. But Dean is always away, travelling on business - and always with his attractive co-worker "with the legs" Fiona (Jessica Henwick). Is Dean scratching the seven-year itch?
Laura's rich, art-dealing father Felix (Bill Murray) arrives, and won't take no for an answer in sniffing out the truth.
Love, love, love this movie! The pacing, the humour, the witty dialogue (it's Sofia Coppola's script) and - above all - Murray's triumphant performance all fire this well and truly into my Top 10 for the year.
Bill Murray's acting is astounding... is there an actor who spends more time in his "deep in thought" mode, with eyeballs looking at the ceiling? You could quite well believe that none of it is scripted, and he's pausing in deep thought because he really is trying to compose the next best line! A scene where, through appropriate name-dropping, he charms his way out of a traffic infringement with two New York cops is utterly absorbing.
Behind every embarrassing father is a grown-up daughter rolling her eyes. (I should know!) And Rashida Jones is perfect in the role. I'm not familiar with Jones's previous work, but she was just perfect as the foil for Murray's humour.
There's dry comedy to be had throughout "On the Rocks" which I found delightful. A running joke is Laura's drop-off and pick-ups from the local kindergarten, where she is repeatedly pinned against the wall by single-mum Vanessa (Jenny Slate) and bored to death with her moans about boyfriend-hunting on the New York scene! It's an insight that the project is led by a female writer/director, reminiscing about personal experiences!
Coppola's script also buzzes with politically incorrect views of the playboy Felix. (He reminds me strongly of an ex-work colleague: the life and soul of any party and with a charisma that is naturally attractive to women!)
For me, there was just one misstep in the movie. There's a sub-plot about the estranged relationship between Felix and Laura's mother, and the unspoken tension that lies there. This all comes to a head in a hotel bedroom, and for me personally it brought the mood of the movie down and wasn't necessary. It's a relatively minor thing. But the result was that it just took the edge off things for me in declaring it a classic.
This is one of those flicks produced for Apple, in cinemas only while en-route to their streaming service to make it eligible for Oscar consideration. And it's actually available now. This is Coppola's third outing with Murray, with the most famous being the Oscar winner "Lost in Translation". I'm actually not a mad fan of that film. But this one comes with a "Highly recommended".
(For the full graphical review, please check out the bob the movie man review here - https://bob-the-movie-man.com/2020/10/23/love-on-the-rocks-aint-no-surprise/ . Thanks)
For many actors, that would be a problem. But Bill Murray gets away with it, because - - he's Bill freakin' Murray!! And being him is so awesome that however many times you've seen the character, you always want more.
Here's a case in point. In "On the Rocks", a chaffeured car with tinted windows rolls up. You brace yourself as the window winds slowly down. And there he is... the star. This happens quite a way into Sofia Coppola's new film. First up, we get a leisurely, but intelligent, set-up to the plot. The "Parks and Recreation" actress, Rashida Jones, plays Laura; a successful writer (currently with writer's block) married to successful businessman Dean (Marlon Wayans). The couple seem to have it all: high income; large New York apartment; two lovely young children. But Dean is always away, travelling on business - and always with his attractive co-worker "with the legs" Fiona (Jessica Henwick). Is Dean scratching the seven-year itch?
Laura's rich, art-dealing father Felix (Bill Murray) arrives, and won't take no for an answer in sniffing out the truth.
Love, love, love this movie! The pacing, the humour, the witty dialogue (it's Sofia Coppola's script) and - above all - Murray's triumphant performance all fire this well and truly into my Top 10 for the year.
Bill Murray's acting is astounding... is there an actor who spends more time in his "deep in thought" mode, with eyeballs looking at the ceiling? You could quite well believe that none of it is scripted, and he's pausing in deep thought because he really is trying to compose the next best line! A scene where, through appropriate name-dropping, he charms his way out of a traffic infringement with two New York cops is utterly absorbing.
Behind every embarrassing father is a grown-up daughter rolling her eyes. (I should know!) And Rashida Jones is perfect in the role. I'm not familiar with Jones's previous work, but she was just perfect as the foil for Murray's humour.
There's dry comedy to be had throughout "On the Rocks" which I found delightful. A running joke is Laura's drop-off and pick-ups from the local kindergarten, where she is repeatedly pinned against the wall by single-mum Vanessa (Jenny Slate) and bored to death with her moans about boyfriend-hunting on the New York scene! It's an insight that the project is led by a female writer/director, reminiscing about personal experiences!
Coppola's script also buzzes with politically incorrect views of the playboy Felix. (He reminds me strongly of an ex-work colleague: the life and soul of any party and with a charisma that is naturally attractive to women!)
For me, there was just one misstep in the movie. There's a sub-plot about the estranged relationship between Felix and Laura's mother, and the unspoken tension that lies there. This all comes to a head in a hotel bedroom, and for me personally it brought the mood of the movie down and wasn't necessary. It's a relatively minor thing. But the result was that it just took the edge off things for me in declaring it a classic.
This is one of those flicks produced for Apple, in cinemas only while en-route to their streaming service to make it eligible for Oscar consideration. And it's actually available now. This is Coppola's third outing with Murray, with the most famous being the Oscar winner "Lost in Translation". I'm actually not a mad fan of that film. But this one comes with a "Highly recommended".
(For the full graphical review, please check out the bob the movie man review here - https://bob-the-movie-man.com/2020/10/23/love-on-the-rocks-aint-no-surprise/ . Thanks)
