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Bob Mann (459 KP) rated Deepwater Horizon (2016) in Movies
Sep 29, 2021
“Full of sound and fury, Signifying nothing” could be a summary of this modern-age disaster movie. In 2010 the “Deepwater Horizon” drilling rig off the coast of Louisiana failed in spectacular fashion, bursting into flames and spewing millions of barrels of crude oil into the Gulf of Mexico in what was the worst oil-spill in American history. Mark Wahlberg plays the well-respected electrical ‘Mr fixit’ Mike Williams on the rig, reporting to the Operations Manager Jimmy Harrell (Kurt Russell).
The exploratory project is way-behind and BP are not happy. Big-wigs from the company add support to Donald Vidrine, the BP site leader, in applying mounting pressure on Harrell to press on regardless without all the necessary and time-consuming tests by Schlumberger being completed. Rogue numbers in further tests are waved away as ‘glitches’. A familiar story of corporate greed and pressure overriding the expert’s better judgment.
When disaster strikes it strikes quickly, with some spectacular and exciting special effects that leave the audience especially hot under the collar. Female support is provided by the comely Andrea Fleytas (Gina Rodriguez), given the almost impossible job of keeping the floating bomb on station as chaos reigns about her. As an audience we are back on familiar ground here from classic Irwin Allen disaster movies such as “The Towering Inferno” and “The Poseidon Adventure”. Who will make it, and who won’t?
A more telling question here is “Do we care?” and unfortunately for the film, the answer is “Not really”. This feels a callous thing to say when this was a real and recent event and eleven people and – as touchingly illustrated at the end of the film in tribute – many of them family men with young kids, never went home again. But film-wise, we only really get bought into the fate of Williams, whose back-story, with cute wife (Kate Hudson) and cute daughter (Stella Allen) we get to meet and sympathize with.
We get a minimalist view of Fleytas’s backstory, but only enough to provide a recurring “Mustang” reference. And that’s it. All the other characters are just two-dimensional “rig crew”: cannon-fodder for the special effects team. The screenplay by Matthew Sand and Matthew Carnahan really doesn’t deliver enough heft to get us bought in.
While the special effects are good, the sound design isn’t, with much of the dialogue being incomprehensible.
All the acting is fine, with the ever-watchable John Malkovich nicely portraying the corporate head you love to hate. Wahlberg as well delivers enough range to make you forget in this “action mode” that he was also in “Ted”. And Rodriguez as a junior lead holds her own against the big guns in what is a creditable performance in a big film role for her.
While “Lone Survivor”/”Battleship” director Peter Berg neatly provides an insight into life on and around rigs, and (via subtitles) descriptions of the drilling process which I found interesting, this comes down to the sum of a tense build up, an hour of frenetic disaster, and then a whimper of an ending. Where were some of the dramatic scenes of conflict in the congressional hearing that the film’s opening implies might come? Where are the scenes of ecological disaster and local financial ruin to add emotional angles to the story? None of this is really exploited and the whole concoction comes across a bit “meh” as a result. Not a bad film by any means. But not one I will remember in a month or two’s time.
The exploratory project is way-behind and BP are not happy. Big-wigs from the company add support to Donald Vidrine, the BP site leader, in applying mounting pressure on Harrell to press on regardless without all the necessary and time-consuming tests by Schlumberger being completed. Rogue numbers in further tests are waved away as ‘glitches’. A familiar story of corporate greed and pressure overriding the expert’s better judgment.
When disaster strikes it strikes quickly, with some spectacular and exciting special effects that leave the audience especially hot under the collar. Female support is provided by the comely Andrea Fleytas (Gina Rodriguez), given the almost impossible job of keeping the floating bomb on station as chaos reigns about her. As an audience we are back on familiar ground here from classic Irwin Allen disaster movies such as “The Towering Inferno” and “The Poseidon Adventure”. Who will make it, and who won’t?
A more telling question here is “Do we care?” and unfortunately for the film, the answer is “Not really”. This feels a callous thing to say when this was a real and recent event and eleven people and – as touchingly illustrated at the end of the film in tribute – many of them family men with young kids, never went home again. But film-wise, we only really get bought into the fate of Williams, whose back-story, with cute wife (Kate Hudson) and cute daughter (Stella Allen) we get to meet and sympathize with.
We get a minimalist view of Fleytas’s backstory, but only enough to provide a recurring “Mustang” reference. And that’s it. All the other characters are just two-dimensional “rig crew”: cannon-fodder for the special effects team. The screenplay by Matthew Sand and Matthew Carnahan really doesn’t deliver enough heft to get us bought in.
While the special effects are good, the sound design isn’t, with much of the dialogue being incomprehensible.
All the acting is fine, with the ever-watchable John Malkovich nicely portraying the corporate head you love to hate. Wahlberg as well delivers enough range to make you forget in this “action mode” that he was also in “Ted”. And Rodriguez as a junior lead holds her own against the big guns in what is a creditable performance in a big film role for her.
While “Lone Survivor”/”Battleship” director Peter Berg neatly provides an insight into life on and around rigs, and (via subtitles) descriptions of the drilling process which I found interesting, this comes down to the sum of a tense build up, an hour of frenetic disaster, and then a whimper of an ending. Where were some of the dramatic scenes of conflict in the congressional hearing that the film’s opening implies might come? Where are the scenes of ecological disaster and local financial ruin to add emotional angles to the story? None of this is really exploited and the whole concoction comes across a bit “meh” as a result. Not a bad film by any means. But not one I will remember in a month or two’s time.
BankofMarquis (1832 KP) rated The Killer (2023) in Movies
Nov 18, 2023
Interesting...but ends with a "thud"
Director David Fincher has a strong track record of interesting films…SE7EN, FIGHT CLUB, THE SOCIAL NETWORK (to name a few). Michael Fassbender is one of the more interesting actors working today…HUNGER, INGLORIOUS BASTERDS, PROMETHEUS (to name a few). So when these 2 got together to make a film of the graphic novel THE KILLER, anticipation was high.
Lower those expectations just a bit and you’ll be rewarded by an enteraning (enough) film/character study that is…interesting, but lands with a “thud”.
Based on the aforementioned graphic novel that was written by Alexis Nolent and illustrated by Luc Jacamon, THE KILLER follows the titular character after a hit has gone wrong and he must fight to save his life, while seeking vengeance on those that wronged him.
It is a “thinking man’s” hit-man film set in the seedy underground of a high-priced assassin. In lesser hands this could be a lesser John Wick knock-off, but in Fincher’s skilled fingers, THE KILLER is an intriguing character study.
It helps that the central figure of this film is portrayed by Michael Fassbender who is fascinating to watch even if he is just sitting around looking out a window. And this is good…for he spends the first 20 minutes of this film…sitting around looking out a window (waiting for his target to show up). It is a unique choice in a film such as this and with Fincher’s direction and Fassbender’s performance, it works more often than it doesn’t.
After the initial hit goes awry, sending Fassbender’s character on a global manhunt, the rest of the film is a series of one-on-one scenes with THE KILLER versus THE LAWYER (Charles Parnell - who is turning into a pretty reliable “that guy” character actor). THE KILLER versus THE BEAST (in what is the best action scene in the film) and THE KILLER versus THE CLIENT (portrayed by Arliss Howard in another portrayal of an “a-hole rich guy”). All of these scenes work for the most part, but none of them “knock it out of the park”.
The only scene that comes close to knocking it out of the park is THE KILLER versus THE EXPERT and that is because The Expert is played by Tilda Swinton and has 90% of the dialogue in the scene. It is always exciting to see 2 marvelous performers sitting across a table, playing off each other and Fassbender and Swinton (especially) shine in this portion of the film.
The problem with THE KILLER is that the separate scenes do not add up to a cohesive whole - and certainly the parts are more interesting than the final procduct and that blame needs to be placed at the feet of Director Fincher who should have been able to blend these scenes together better. He isn’t helped by a finale scene that lands with a thud…on purpose. But a “thud” is a “thud” and that is a tricky way to end the film.
And…in the case of THE KILLER…Fincher (and Fassbender) did not build up enough equity heading into the final scene that one can forgive “the thud”….though it is still a pretty good film. The “thud” pulls this film down from “really good” (not great) to just…”good”.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
Lower those expectations just a bit and you’ll be rewarded by an enteraning (enough) film/character study that is…interesting, but lands with a “thud”.
Based on the aforementioned graphic novel that was written by Alexis Nolent and illustrated by Luc Jacamon, THE KILLER follows the titular character after a hit has gone wrong and he must fight to save his life, while seeking vengeance on those that wronged him.
It is a “thinking man’s” hit-man film set in the seedy underground of a high-priced assassin. In lesser hands this could be a lesser John Wick knock-off, but in Fincher’s skilled fingers, THE KILLER is an intriguing character study.
It helps that the central figure of this film is portrayed by Michael Fassbender who is fascinating to watch even if he is just sitting around looking out a window. And this is good…for he spends the first 20 minutes of this film…sitting around looking out a window (waiting for his target to show up). It is a unique choice in a film such as this and with Fincher’s direction and Fassbender’s performance, it works more often than it doesn’t.
After the initial hit goes awry, sending Fassbender’s character on a global manhunt, the rest of the film is a series of one-on-one scenes with THE KILLER versus THE LAWYER (Charles Parnell - who is turning into a pretty reliable “that guy” character actor). THE KILLER versus THE BEAST (in what is the best action scene in the film) and THE KILLER versus THE CLIENT (portrayed by Arliss Howard in another portrayal of an “a-hole rich guy”). All of these scenes work for the most part, but none of them “knock it out of the park”.
The only scene that comes close to knocking it out of the park is THE KILLER versus THE EXPERT and that is because The Expert is played by Tilda Swinton and has 90% of the dialogue in the scene. It is always exciting to see 2 marvelous performers sitting across a table, playing off each other and Fassbender and Swinton (especially) shine in this portion of the film.
The problem with THE KILLER is that the separate scenes do not add up to a cohesive whole - and certainly the parts are more interesting than the final procduct and that blame needs to be placed at the feet of Director Fincher who should have been able to blend these scenes together better. He isn’t helped by a finale scene that lands with a thud…on purpose. But a “thud” is a “thud” and that is a tricky way to end the film.
And…in the case of THE KILLER…Fincher (and Fassbender) did not build up enough equity heading into the final scene that one can forgive “the thud”….though it is still a pretty good film. The “thud” pulls this film down from “really good” (not great) to just…”good”.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
Smashbomb (4687 KP) created a post in Smashbomb AMA
Mar 26, 2019 (Updated Mar 26, 2019)
Purple Phoenix Games (2266 KP) rated Beasty Bar in Tabletop Games
Jun 12, 2019
When I say ‘nightclub,’ I know what you’re thinking – strobe lights, loud music, and dancing. What you DON’T think of is the fact that getting into the club in the first place probably means you had to wait in line outside. Some people take their clubbing very seriously, and the entrance line can become a cut-throat battlefield of subtle tricks or blatant line-jumping to get you ahead (literally) of the other patrons!
Welcome to Beasty Bar – the hottest nightclub in the animal kingdom! The house is jumpin’ and the line is out the door! All of the animals are dressed to the nines and are vying for an opportunity to get into the club. But unfortunately, only a certain number of animals will be granted access. So, naturally, it’s time to get sly! Each animal has a different tactic, but if they’re not careful, they could get booted out of the line completely!
In Beasty Bar, a game of hand management with a sprinkle of ‘take that,’ players are trying to get the most animals from their hand into the club. All players receive an identical deck of cards, which are then shuffled, and draw 4 cards into their hand. On their turn, players will play one card from their hand into the line, perform the corresponding action, address any on-going abilities, and draw another card from their deck. Each animal card has a special ability, either immediate or on-going, that can be used to alter its place in the line. Choose your cards wisely – all players have the same pool of cards, and a power you used to your benefit could later be used against you! Once all cards have been played, the game ends – the player with the most animals in the club is the winner!
I generally do not like ‘Take That’ games – I can be pretty competitive and this mechanic can sometimes turn confrontational for me. That being said, I actually like Beasty Bar. Since it has such a small play area (only 5 cards at a time), the line-up is always changing. And that requires some fast and strategic thinking that negates the ‘Take That’ aspect for me – I am more focused on getting my animals ahead in line than I am in booting my opponents out of the way out of spite. You really have to think about what animal abilities you want to use and when, depending on the current line-up. Yes, cards will inevitably be kicked out of the line, but for me it doesn’t feel as vengeful in this game.
I really like that this game is easy to learn and fast to play. The concept and gameplay are simple enough, they only need to be explained once. And the game plays relatively quickly, so you can either play it multiple times in a row or use it as a filler between some heavier/longer games. All of the animal abilities are outlined in the rulebook, but if you’re ever unsure of an animal’s power, it is illustrated right at the bottom of the card for you! Gone are the days of referring back to the rulebook every turn to double-check, or having to reveal a card in your hand because you have to ask for clarification again.
Is Beasty Bar my favorite game? Absolutely not. But it’s one that I don’t mind playing when I am crunched for time or need to take a breather from a more complicated game. It’s made its way into my collection, and I think it’s going to stay. Purple Phoenix Games gives Beasty Bar a 7 / 12 (Bryan and Josh have not played it yet).
https://purplephoenixgames.wordpress.com/2019/01/18/beasty-bar-review/
Welcome to Beasty Bar – the hottest nightclub in the animal kingdom! The house is jumpin’ and the line is out the door! All of the animals are dressed to the nines and are vying for an opportunity to get into the club. But unfortunately, only a certain number of animals will be granted access. So, naturally, it’s time to get sly! Each animal has a different tactic, but if they’re not careful, they could get booted out of the line completely!
In Beasty Bar, a game of hand management with a sprinkle of ‘take that,’ players are trying to get the most animals from their hand into the club. All players receive an identical deck of cards, which are then shuffled, and draw 4 cards into their hand. On their turn, players will play one card from their hand into the line, perform the corresponding action, address any on-going abilities, and draw another card from their deck. Each animal card has a special ability, either immediate or on-going, that can be used to alter its place in the line. Choose your cards wisely – all players have the same pool of cards, and a power you used to your benefit could later be used against you! Once all cards have been played, the game ends – the player with the most animals in the club is the winner!
I generally do not like ‘Take That’ games – I can be pretty competitive and this mechanic can sometimes turn confrontational for me. That being said, I actually like Beasty Bar. Since it has such a small play area (only 5 cards at a time), the line-up is always changing. And that requires some fast and strategic thinking that negates the ‘Take That’ aspect for me – I am more focused on getting my animals ahead in line than I am in booting my opponents out of the way out of spite. You really have to think about what animal abilities you want to use and when, depending on the current line-up. Yes, cards will inevitably be kicked out of the line, but for me it doesn’t feel as vengeful in this game.
I really like that this game is easy to learn and fast to play. The concept and gameplay are simple enough, they only need to be explained once. And the game plays relatively quickly, so you can either play it multiple times in a row or use it as a filler between some heavier/longer games. All of the animal abilities are outlined in the rulebook, but if you’re ever unsure of an animal’s power, it is illustrated right at the bottom of the card for you! Gone are the days of referring back to the rulebook every turn to double-check, or having to reveal a card in your hand because you have to ask for clarification again.
Is Beasty Bar my favorite game? Absolutely not. But it’s one that I don’t mind playing when I am crunched for time or need to take a breather from a more complicated game. It’s made its way into my collection, and I think it’s going to stay. Purple Phoenix Games gives Beasty Bar a 7 / 12 (Bryan and Josh have not played it yet).
https://purplephoenixgames.wordpress.com/2019/01/18/beasty-bar-review/
Chris Sawin (602 KP) rated Paprika (2006) in Movies
Jun 19, 2019
The DC Mini was created to not only record and watch a person's dreams, but to actually enter them as well. It was created by Kosaku Tokita at the Foundation for Psychiatric Research and was meant to be a form of therapy to help people find the purpose of manic disorders and other manias such as fear or anxiety issues. But when the DC Mini is stolen and the same dream is being implanted into people while they're awake with chaotic results, then the research foundation takes it upon themselves to try and find out who is behind all of this. Tokita, along with Atsuko Chiba and Torataro Shima, are on the case. But who is Paprika and how does Detective Toshimi Konakawa fit into the equation?
Let me just start off by saying I loved this film. It is weird, it is unusual, and it's creatively original. I think those are some of the best reasons to like Paprika other than the fact that the animation is incredibly fluid and crisp and the story is quite good, but we'll come back to those points shortly. With a film like Paprika that is so complex and so good, there's a lot of key points to mention.
There seems to be so much going on in the film even though it pretty much centers around one dream and it's a dream for the ages. One of the things I love about Paprika is that whenever this dream is implanted into somebody while they're awake, they just start spitting this random gibberish that doesn't make sense until you actually see the dream and see this parade. The way this parade bleeds into not only Detective Kogawa's dream, but into the real world is also a sight within itself.
Over the years I've found that not only anime fans but fans of foreign cinema prefer to watch the film in its natural language with subtitles rather than the English dubbed version. I'm not talking about someone who just watches anime occasionally, but die hard fans. The English dubbing used to be pretty bad on a lot of anime titles, but it's either progressed quite a bit since I last watched a dubbed title or this film is an exception. I had no problems watching the English dub of Paprika. The voices all fit the characters, it was synced up well, nothing really sounded out of place. I'd actually recommend the English dub over the subtitled version. The audio, in general, was very good. The soundtrack also fit Paprika like a glove. The music during the parade dream is a perfect example of this.
The animation of Paprika is where the film really shines. Each surreal dream is illustrated beautifully and each cel of animation flows in an almost realistic fashion. It's some of the best animation I've seen in an animated film that isn't entirely CGI. The story also reeled me in since what started off as something somewhat simple wound up being more complex than what I once thought. Most of Tokita's dialogue where he's describing why he created the DC Mini and it's purposes are a huge mouthful of scientific jargon that's hard to comprehend to its full extent on the first viewing of Paprika. I got more than what I expected story-wise and I was extremely happy with that.
Paprika is an extremely well animated, intelligent, trip into one's imagination that I'd recommend to anyone. The best way I can describe the film is by saying it's kind of like Akira with a story that actually makes sense. Track this film down, whether you're a fan of animated films or not. I think you'll be pleasantly surprised.
Let me just start off by saying I loved this film. It is weird, it is unusual, and it's creatively original. I think those are some of the best reasons to like Paprika other than the fact that the animation is incredibly fluid and crisp and the story is quite good, but we'll come back to those points shortly. With a film like Paprika that is so complex and so good, there's a lot of key points to mention.
There seems to be so much going on in the film even though it pretty much centers around one dream and it's a dream for the ages. One of the things I love about Paprika is that whenever this dream is implanted into somebody while they're awake, they just start spitting this random gibberish that doesn't make sense until you actually see the dream and see this parade. The way this parade bleeds into not only Detective Kogawa's dream, but into the real world is also a sight within itself.
Over the years I've found that not only anime fans but fans of foreign cinema prefer to watch the film in its natural language with subtitles rather than the English dubbed version. I'm not talking about someone who just watches anime occasionally, but die hard fans. The English dubbing used to be pretty bad on a lot of anime titles, but it's either progressed quite a bit since I last watched a dubbed title or this film is an exception. I had no problems watching the English dub of Paprika. The voices all fit the characters, it was synced up well, nothing really sounded out of place. I'd actually recommend the English dub over the subtitled version. The audio, in general, was very good. The soundtrack also fit Paprika like a glove. The music during the parade dream is a perfect example of this.
The animation of Paprika is where the film really shines. Each surreal dream is illustrated beautifully and each cel of animation flows in an almost realistic fashion. It's some of the best animation I've seen in an animated film that isn't entirely CGI. The story also reeled me in since what started off as something somewhat simple wound up being more complex than what I once thought. Most of Tokita's dialogue where he's describing why he created the DC Mini and it's purposes are a huge mouthful of scientific jargon that's hard to comprehend to its full extent on the first viewing of Paprika. I got more than what I expected story-wise and I was extremely happy with that.
Paprika is an extremely well animated, intelligent, trip into one's imagination that I'd recommend to anyone. The best way I can describe the film is by saying it's kind of like Akira with a story that actually makes sense. Track this film down, whether you're a fan of animated films or not. I think you'll be pleasantly surprised.
Gareth von Kallenbach (980 KP) rated Zombieland (2009) in Movies
Aug 9, 2019
Columbus (Jesse Eisenberg) is an unassuming young man who makes his way through life the best way he can despite being plagued by Irritable Bowel Syndrome. This particular affliction is a serious concern for Columbus as according to his rules for survival, bathrooms are a very dangerous place.
In the new horror/comedy “Zombieland”, Columbus finds himself as one of the few remaining people left alive, and is trying to make his way from Texas back to his family in Columbus in the hopes of finding them alive.
Despite being alone, Columbus keeps himself sharp through constant vigilance, and a list of rules he has created for surviving a world gone mad which he has dubbed Zombieland. As the film opens, Columbus establishes some of his most common rules which are then illustrated in very funny examples, which also serve to establish the backdrop of the film.
As he travels, Columbus crosses paths with Tallahassee (Woody Harrelson), who is on a quest to find the last remaining Twinkies in the world. Tallahassee established a no names rule, hence the characters in the film are known by the locales they are from. When he is not cruising the roads in search of his elusive snack cake, Tallahassee is an avid Zombie killer and takes great delight in dispatching as many of them as he can.
When a stop introduces the duo to a pair of sisters named Wichita (Emma Stone), and Little Rock (Abigail Breslin), who are dedicated to survival at all costs, and are not above taking some serious measures of manipulation to get ahead.
After some initial difficulties, the group joins up and head for California where Wichita has convinced Little Rock that a local theme park is a Zombie free area that will provide them a safe haven.
Despite some skepticism but buoyed by his attraction to Wichita, Columbus tags along, and awkwardly attempts to impress her which results in some very touching and funny moments.
The film shifts into high gear when the group arrives in L.A. and takes refuge in a mansion which has tons of laughs as well as a very solid celebrity appearance which is a true gem.
Eventually the subplots of the film all converge in a frantic array of action, humor, and romance that had the audience at the preview screening cheering and laughing.
“Zombieland” is a very enjoyable film that provides plenty of laughs and a good mix of action yet remains a character driven story. The leads all work very well with one another and Eisenberg follows his turn in “Adventureland” with a performance that establishes him as a young actor to watch. His likeable everyman quality combined with his charming sincerity and awkwardness makes Columbus a great foil and companion for the outrageous antics of Tallahassee.
The young love storyline is handled well in the film, and does not resort to any of the usual staples, and unfolds as a very realistic event in a world where Zombies are commonplace.
Director Reuben Fleischer keeps things moving at a brisk pace yet allows time for the characters to shine.
Naturally the film will draw comparison to the classic British film “Shaun of the Dead”, which features normal guys trying to cope with a Zombie invasion. Shaun had plenty of laughs, but at times seemed unsure of what direction it was trying to go in, especially toward the end of the film.
“Zombieland” almost defies you to categorize it as it is great mix of horror, comedy, and action disguised as a romantic comedy. The winning cast and formula makes “Zombieland” one of the most enjoyable films of the summer and a real treat.
In the new horror/comedy “Zombieland”, Columbus finds himself as one of the few remaining people left alive, and is trying to make his way from Texas back to his family in Columbus in the hopes of finding them alive.
Despite being alone, Columbus keeps himself sharp through constant vigilance, and a list of rules he has created for surviving a world gone mad which he has dubbed Zombieland. As the film opens, Columbus establishes some of his most common rules which are then illustrated in very funny examples, which also serve to establish the backdrop of the film.
As he travels, Columbus crosses paths with Tallahassee (Woody Harrelson), who is on a quest to find the last remaining Twinkies in the world. Tallahassee established a no names rule, hence the characters in the film are known by the locales they are from. When he is not cruising the roads in search of his elusive snack cake, Tallahassee is an avid Zombie killer and takes great delight in dispatching as many of them as he can.
When a stop introduces the duo to a pair of sisters named Wichita (Emma Stone), and Little Rock (Abigail Breslin), who are dedicated to survival at all costs, and are not above taking some serious measures of manipulation to get ahead.
After some initial difficulties, the group joins up and head for California where Wichita has convinced Little Rock that a local theme park is a Zombie free area that will provide them a safe haven.
Despite some skepticism but buoyed by his attraction to Wichita, Columbus tags along, and awkwardly attempts to impress her which results in some very touching and funny moments.
The film shifts into high gear when the group arrives in L.A. and takes refuge in a mansion which has tons of laughs as well as a very solid celebrity appearance which is a true gem.
Eventually the subplots of the film all converge in a frantic array of action, humor, and romance that had the audience at the preview screening cheering and laughing.
“Zombieland” is a very enjoyable film that provides plenty of laughs and a good mix of action yet remains a character driven story. The leads all work very well with one another and Eisenberg follows his turn in “Adventureland” with a performance that establishes him as a young actor to watch. His likeable everyman quality combined with his charming sincerity and awkwardness makes Columbus a great foil and companion for the outrageous antics of Tallahassee.
The young love storyline is handled well in the film, and does not resort to any of the usual staples, and unfolds as a very realistic event in a world where Zombies are commonplace.
Director Reuben Fleischer keeps things moving at a brisk pace yet allows time for the characters to shine.
Naturally the film will draw comparison to the classic British film “Shaun of the Dead”, which features normal guys trying to cope with a Zombie invasion. Shaun had plenty of laughs, but at times seemed unsure of what direction it was trying to go in, especially toward the end of the film.
“Zombieland” almost defies you to categorize it as it is great mix of horror, comedy, and action disguised as a romantic comedy. The winning cast and formula makes “Zombieland” one of the most enjoyable films of the summer and a real treat.
Emma @ The Movies (1786 KP) rated Bombshell (2019) in Movies
Jan 19, 2020
I had been wildly swaying between wanting and not wanting to see this, but Cineworld gave us an Unlimited Screening so of course I was going to go.
Life in the media spotlight is difficult enough without having to deal with the unwanted advances and comments of those around you. When one of Fox News' ex-employees comes forward with allegations of sexual harassment the whole network is a buzz as it tries to rally. Roger Ailes has a hold over everyone there and it's time someone put a stop to it.
Before I go into the acting I want to mention the style the movie has. There are sections done to camera in news report style, that seems like a given considering the subject matter, and as well as the "standard" on-screen there's some voiceover on scenes. The whole opening is done to camera in the news style and it sets up the story well, but I wasn't sure I enjoyed that later in the film, I like my fourth wall intact unless it involves Deadpool.
Out of our three leading ladies I was most impressed with Margot Robbie, potentially this is because she wasn't constrained by the role of real life person, Kayla's fictional amalgamation of people and experiences allows for more of a range. At times though I did think the role wasn't going anywhere but seeing her interactions with Lithgow as Ailes, and McKinnon as Carr, I was reassured.
The scene between Roger Ailes and Kayla that becomes the pivotal point in the story for her was excellent while actually being absolutely horrendous. That such a short scene can make me feel so much was a credit to both Robbie and Lithgow... and the sound department. Hearing his breathing so prominently was quite effective in the worst way possible.
Something they successfully managed to do throughout the film is show the competitive nature of the world and just a selection of the hideous things that are put up with through fear and ambition. There's one particular montage of moments with women defending their boss that illustrated that perfectly.
There's a very talented cast hidden in Bombshell, and I say hidden because at least half the people that popped on screen made me drop my jaw in surprise. I hadn't realised how many "cameos" there were, I'm sure I could have discovered them all on IMDb, it certainly helped to keep me interested. Though I don't think it necessarily needed that extra help.
Have you ever read a James Patterson novel? The chapters are so short, everything changes perspective so quickly that you're hooked and suddenly you've read half the book, this movie felt like that. As we switch scenes and characters you're constantly moved along at a pace that keeps you engaged, at no time did I feel like it was getting too confusing to follow, it was very well done.
I enjoyed the film but there's part of me that wonders if it did actually hit the mark. I'm left with one moment in particular that felt a little wrong, later in the movie between Pospisil (Robbie) and Kelly (Theron). It was the only moment that really hit me as feeling out of place. By that point we'd managed to get a lot of ideas about both characters and Kelly's behaviour and Pospisil's reaction stuck out like a sore thumb. It felt like a little slip in something that was otherwise a powerful watch.
While I don't think that every note was hit perfectly, overall Bombshell was a good exploration of this subject. With its impressive acting and great pace it's definitely an interesting addition to the conversations happening in the media at the moment.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/bombshell-movie-review.html
Life in the media spotlight is difficult enough without having to deal with the unwanted advances and comments of those around you. When one of Fox News' ex-employees comes forward with allegations of sexual harassment the whole network is a buzz as it tries to rally. Roger Ailes has a hold over everyone there and it's time someone put a stop to it.
Before I go into the acting I want to mention the style the movie has. There are sections done to camera in news report style, that seems like a given considering the subject matter, and as well as the "standard" on-screen there's some voiceover on scenes. The whole opening is done to camera in the news style and it sets up the story well, but I wasn't sure I enjoyed that later in the film, I like my fourth wall intact unless it involves Deadpool.
Out of our three leading ladies I was most impressed with Margot Robbie, potentially this is because she wasn't constrained by the role of real life person, Kayla's fictional amalgamation of people and experiences allows for more of a range. At times though I did think the role wasn't going anywhere but seeing her interactions with Lithgow as Ailes, and McKinnon as Carr, I was reassured.
The scene between Roger Ailes and Kayla that becomes the pivotal point in the story for her was excellent while actually being absolutely horrendous. That such a short scene can make me feel so much was a credit to both Robbie and Lithgow... and the sound department. Hearing his breathing so prominently was quite effective in the worst way possible.
Something they successfully managed to do throughout the film is show the competitive nature of the world and just a selection of the hideous things that are put up with through fear and ambition. There's one particular montage of moments with women defending their boss that illustrated that perfectly.
There's a very talented cast hidden in Bombshell, and I say hidden because at least half the people that popped on screen made me drop my jaw in surprise. I hadn't realised how many "cameos" there were, I'm sure I could have discovered them all on IMDb, it certainly helped to keep me interested. Though I don't think it necessarily needed that extra help.
Have you ever read a James Patterson novel? The chapters are so short, everything changes perspective so quickly that you're hooked and suddenly you've read half the book, this movie felt like that. As we switch scenes and characters you're constantly moved along at a pace that keeps you engaged, at no time did I feel like it was getting too confusing to follow, it was very well done.
I enjoyed the film but there's part of me that wonders if it did actually hit the mark. I'm left with one moment in particular that felt a little wrong, later in the movie between Pospisil (Robbie) and Kelly (Theron). It was the only moment that really hit me as feeling out of place. By that point we'd managed to get a lot of ideas about both characters and Kelly's behaviour and Pospisil's reaction stuck out like a sore thumb. It felt like a little slip in something that was otherwise a powerful watch.
While I don't think that every note was hit perfectly, overall Bombshell was a good exploration of this subject. With its impressive acting and great pace it's definitely an interesting addition to the conversations happening in the media at the moment.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/bombshell-movie-review.html
Emma @ The Movies (1786 KP) rated Parasite (2019) in Movies
Jan 23, 2020
All I'd been hearing about Parasite was that it was a masterpiece and amazing, so many people were getting to see previews but of course they were all in London. Then Odeon came to the rescue with their Screen Unseen program so I defected from Cineworld for an evening.
The Kim family are desperately trying to make ends meet, their cramped home is uncomfortable and located in one of the shabbiest districts of Seoul. Things take a turn when the son's friend suggests that he takes over his tutoring job for the daughter of a well off family. Ki-woo doesn't have the qualifications but all he needs is to show confidence, he decides to take the job.
Once he gets to the upscale house opportunities start to present themselves and he sees a chance to set his family up with jobs too. Bringing their mother onboard sets in motion something that no one could have seen coming.
I seriously considered not writing a review for this, please excuse me if it seems a little disjointed but I'm still not entirely convinced that I have a proper conclusion.
Coming out of the film I was a little confused, mainly because apart from hearing about it being a masterpiece I had seen people saying it was a horror... IMDb lists it as "comedy, crime, drama", at least I agree with one of those.
The contrast between rich and poor is shown perfectly throughout, from their homes to the human senses expressed, the way it's all represented on screen solidifies the differences between the two families.
In each home environment we also see it, the sleek versus the chaotic, the clean versus the dirty. The Park's designer home is white, open and ordered, the Kim's is claustrophobic, cluttered and busy. The two are illustrated perfectly on each end of the spectrum and the two overlap briefly when the Kim's briefly take over the Park's home.
I thought the acting was good but I wasn't blown away by anything, potentially more of an issue with the script for me as I wasn't keen on some of the character traits that came out. The divide between the two families is obviously something that carries through to their members, but whereas we might expect the rich to be the villains in a story (and yes, they aren't necessarily the best people in the world) it is in fact the poor that are verging on the bad side of things. It does appear that in this instance money is the corrupting influence on the Kims and they get the taste for the high life. All the actors involved are very strong in helping this come across to the audience.
Beyond this set up I wasn't left with the gushing feeling that many, MANY others were. Maybe this just went over my head, I'm the first to admit that when I go to a movie I turn my brain down. Maybe it was more thinking than I'm willing to put into a film. When films touch a lot of different genres I feel like I have some trouble with then so this could also contribute to my underwhelmed feeling. My instinct coming out was that I wanted it to be a little darker and closer to a thriller than just drama.
After one viewing I would say I wouldn't have chosen to see it again but there's an Unlimited Screening coming I feel like it's worth giving it a second viewing in case I see something I didn't see before, but I'm not sure how much it will change things.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/parasite-movie-review.html
The Kim family are desperately trying to make ends meet, their cramped home is uncomfortable and located in one of the shabbiest districts of Seoul. Things take a turn when the son's friend suggests that he takes over his tutoring job for the daughter of a well off family. Ki-woo doesn't have the qualifications but all he needs is to show confidence, he decides to take the job.
Once he gets to the upscale house opportunities start to present themselves and he sees a chance to set his family up with jobs too. Bringing their mother onboard sets in motion something that no one could have seen coming.
I seriously considered not writing a review for this, please excuse me if it seems a little disjointed but I'm still not entirely convinced that I have a proper conclusion.
Coming out of the film I was a little confused, mainly because apart from hearing about it being a masterpiece I had seen people saying it was a horror... IMDb lists it as "comedy, crime, drama", at least I agree with one of those.
The contrast between rich and poor is shown perfectly throughout, from their homes to the human senses expressed, the way it's all represented on screen solidifies the differences between the two families.
In each home environment we also see it, the sleek versus the chaotic, the clean versus the dirty. The Park's designer home is white, open and ordered, the Kim's is claustrophobic, cluttered and busy. The two are illustrated perfectly on each end of the spectrum and the two overlap briefly when the Kim's briefly take over the Park's home.
I thought the acting was good but I wasn't blown away by anything, potentially more of an issue with the script for me as I wasn't keen on some of the character traits that came out. The divide between the two families is obviously something that carries through to their members, but whereas we might expect the rich to be the villains in a story (and yes, they aren't necessarily the best people in the world) it is in fact the poor that are verging on the bad side of things. It does appear that in this instance money is the corrupting influence on the Kims and they get the taste for the high life. All the actors involved are very strong in helping this come across to the audience.
Beyond this set up I wasn't left with the gushing feeling that many, MANY others were. Maybe this just went over my head, I'm the first to admit that when I go to a movie I turn my brain down. Maybe it was more thinking than I'm willing to put into a film. When films touch a lot of different genres I feel like I have some trouble with then so this could also contribute to my underwhelmed feeling. My instinct coming out was that I wanted it to be a little darker and closer to a thriller than just drama.
After one viewing I would say I wouldn't have chosen to see it again but there's an Unlimited Screening coming I feel like it's worth giving it a second viewing in case I see something I didn't see before, but I'm not sure how much it will change things.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/parasite-movie-review.html
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