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Gareth von Kallenbach (965 KP) rated The Promise (2017) in Movies
Jul 11, 2019
Roughly a year ago, I found myself in a heated exchange with a friend about full and appropriate representation of people and history in films. I discussed the merits of expanding the scope beyond films about slavery and segregation with respect to African-Americans and stories of despair for other marginalized groups. It is, for me, demeaning to a people’s contributions in society and trivializes experiences. After engaging in what seemed to be an hour, my friend focused more on what she had to say that considering what I was addressing. It proved true when she stated “Well… at least black people have movies about slavery! You should be happy. We don’t even have a movie about the Armenian Genocide!” I was shocked, momentarily. I had never stated that one group deserved more of the spotlight or one’s history is more important that another, just that we need to have appropriate representation and inclusion of stories. All of our stories should be told and shared, especially the ones that are not widely known, understood, or even having a place within social studies courses in our public schools.
I knew of the Armenian Genocide and had a general understanding about the atrocities committed by the Ottoman Empire. There are several international films that address what took place or have the Genocide as part of the story. Even My Big Fat Greek Wedding makes reference to how Greeks were brutalized by the Turks during the period. What we were missing, at least in the realm of American Cinema, was a representation for US audiences to witness the horrors that these people fell victim to and, for some, were able to survive. In The Promise, audiences will get a history lesson about man’s inhumanity to man.
When I first heard that this film was in production, I was interesting in how it would pan out. Would it be truthful, as painful as it may be? Would they overdo certain aspects? How much would they play with the truth? The filmmakers faced the same problems as those who brought forth Schindler’s List, The Pianist, and Life is Beautiful: How do you approach telling the story of genocide? How do you draw people in to a story that they may not be familiar with? Are people ready?
Summaries of the film that I read online made it seem as though this would be an Armenian version of Pearl Harbor in that this was a love story in the foreground of a film that features violence in the background. The summaries were misleading, maybe by design or maybe by mistake. The Promise, stars Oscar Isaac (Star Wars: The Force Awakens) as a young Armenia medical student, and Christian Bale (The Dark Knight) as a journalist for the associated press reporting on developments in the Ottoman Empire as war breaks out. The film whose description touts a love triangle in the midst of the Great War is far from what this films discusses and presents. There is a love story, however, it is not what the film is about or what is able to get the attention of the viewers.
The film reveals the deep held animosity of Armenians and other minority groups in the Ottoman Empire. It demonstrates the depth of mistrust and mistreatment of people who cast as “the other.” It is not simplistic in approach nor relying on over-the-top examples of violence in order for those watching to feel something. The development of events and characters permits the audience to connect with each of the characters, their families, their circumstances, and look for any moment in which they can escape the violence that is being committed to them. In no way does this film minimize what the victims went through. It doesn’t trivialize their experience in order to gain one’s attention.
The Promise satisfies the need for a discussion to emerge allowing for a truer examination of the genocide’s place in world history and within the framing of World War I. It presents a more representative picture of what people bore witness to or experienced themselves. With history, we are continuously searching for the truth and ensuring that history itself does not remained buried or ignored. This films serves the purpose in ensuring that more people are aware of not only the Armenian genocide, but all of the moving pieces that come with people fighting against an injustice or violence that is committed upon them because they are seen as less than or undesirable. It is my hope that with this film, studios see the necessity of bringing more stories of struggle, survival, and the will of humanity to overcome hardship and violence to audiences. The Promise although highly overdue, is essential, poignant, timely, and necessary in order for all of us to see that people are not forgotten.
I knew of the Armenian Genocide and had a general understanding about the atrocities committed by the Ottoman Empire. There are several international films that address what took place or have the Genocide as part of the story. Even My Big Fat Greek Wedding makes reference to how Greeks were brutalized by the Turks during the period. What we were missing, at least in the realm of American Cinema, was a representation for US audiences to witness the horrors that these people fell victim to and, for some, were able to survive. In The Promise, audiences will get a history lesson about man’s inhumanity to man.
When I first heard that this film was in production, I was interesting in how it would pan out. Would it be truthful, as painful as it may be? Would they overdo certain aspects? How much would they play with the truth? The filmmakers faced the same problems as those who brought forth Schindler’s List, The Pianist, and Life is Beautiful: How do you approach telling the story of genocide? How do you draw people in to a story that they may not be familiar with? Are people ready?
Summaries of the film that I read online made it seem as though this would be an Armenian version of Pearl Harbor in that this was a love story in the foreground of a film that features violence in the background. The summaries were misleading, maybe by design or maybe by mistake. The Promise, stars Oscar Isaac (Star Wars: The Force Awakens) as a young Armenia medical student, and Christian Bale (The Dark Knight) as a journalist for the associated press reporting on developments in the Ottoman Empire as war breaks out. The film whose description touts a love triangle in the midst of the Great War is far from what this films discusses and presents. There is a love story, however, it is not what the film is about or what is able to get the attention of the viewers.
The film reveals the deep held animosity of Armenians and other minority groups in the Ottoman Empire. It demonstrates the depth of mistrust and mistreatment of people who cast as “the other.” It is not simplistic in approach nor relying on over-the-top examples of violence in order for those watching to feel something. The development of events and characters permits the audience to connect with each of the characters, their families, their circumstances, and look for any moment in which they can escape the violence that is being committed to them. In no way does this film minimize what the victims went through. It doesn’t trivialize their experience in order to gain one’s attention.
The Promise satisfies the need for a discussion to emerge allowing for a truer examination of the genocide’s place in world history and within the framing of World War I. It presents a more representative picture of what people bore witness to or experienced themselves. With history, we are continuously searching for the truth and ensuring that history itself does not remained buried or ignored. This films serves the purpose in ensuring that more people are aware of not only the Armenian genocide, but all of the moving pieces that come with people fighting against an injustice or violence that is committed upon them because they are seen as less than or undesirable. It is my hope that with this film, studios see the necessity of bringing more stories of struggle, survival, and the will of humanity to overcome hardship and violence to audiences. The Promise although highly overdue, is essential, poignant, timely, and necessary in order for all of us to see that people are not forgotten.
Lee (2222 KP) rated Fisherman's Friends (2019) in Movies
Mar 18, 2019 (Updated Mar 18, 2019)
Formulaic, clichéd, enjoyable bit of fun
Hot on the heels of Fighting with my Family comes yet another true story that I feel I should have known more about beforehand, but didn't. Fisherman's Friends tells the story of a group of singing Cornish fishermen who, in 2010, managed to land themselves not only a top 10 album but an appearance on Glastonbury's pyramid stage! The plot follows a much more formulaic and clichéd approach than Fighting with my Family does though, not quite managing to come close to the high bar that set, but is enjoyable enough all the same.
We begin by following a group of four men heading out on their stag do in the beautiful town of Port Isaac in Cornwall. A&R man Danny (Daniel Mays), his annoying record exec boss Troy (Noel Clarke) and a couple of their colleagues all arrive in the small fishing town for the weekend and immediately find themselves on the wrong side of the locals - driving the wrong way down a narrow one way street, foolishly ordering lager instead of bitter in the local pub (they don't serve fizzy drinks there) and needing to be rescued after their careless weekend enjoyment finds them all stranded at sea. City types who think they know it all, but haven't got a clue.
The fishermen that rescued the lads turn out to be part of a popular local singing group - singing sea shanties together while working out at sea and regularly putting on small concerts for the locals down on the harbour. It's while performing one of those gigs that Danny and his friends come across them. After a few moments of watching, Troy tells Danny that he wants him to go over and sign them up, and that he's not to take no for an answer. Off he goes, not knowing that it's all just a big joke, while his three colleagues all return home. Danny is left behind, struggling to try and convince the group that their unique sound is going to make them all big stars.
Out of the group of fishermen, only a handful of them are really explored and fleshed out as characters in any kind of way, with the majority of them simply fading into the background - backing singers if you will. Jim (James Purefoy) and his father Jago (David Hayman), are the main focus of the movie, along with Jim's single-mum daughter Alwyn (Tuppence Middleton), who Danny eventually begins to strike up a friendship with, and her young daughter. One of the other fishermen runs the local pub at the heart of the community, along with his wife, but is struggling to make ends meet in a sub-plot which comes to a head later on in the movie.
Fisherman's Friends is a movie full of clichés - the city slicker who initially doesn't understand the simple life, the familiar rom-com couple who start off disliking one another, but will clearly be falling madly in love before long, annoying city types who don't even look like they know how to tie their own shoelaces, let alone become successfully music moguls. But, despite it all, the movie works considerably well. The relationship and chemistry between Danny and Alwyn is believable, and the highs and lows that the group go through on their journey to stardom is both heartwarming and fun in equal measure. It's the kind of reliable movie you could quite happily sit and watch on the TV, on a lazy Sunday afternoon.
We begin by following a group of four men heading out on their stag do in the beautiful town of Port Isaac in Cornwall. A&R man Danny (Daniel Mays), his annoying record exec boss Troy (Noel Clarke) and a couple of their colleagues all arrive in the small fishing town for the weekend and immediately find themselves on the wrong side of the locals - driving the wrong way down a narrow one way street, foolishly ordering lager instead of bitter in the local pub (they don't serve fizzy drinks there) and needing to be rescued after their careless weekend enjoyment finds them all stranded at sea. City types who think they know it all, but haven't got a clue.
The fishermen that rescued the lads turn out to be part of a popular local singing group - singing sea shanties together while working out at sea and regularly putting on small concerts for the locals down on the harbour. It's while performing one of those gigs that Danny and his friends come across them. After a few moments of watching, Troy tells Danny that he wants him to go over and sign them up, and that he's not to take no for an answer. Off he goes, not knowing that it's all just a big joke, while his three colleagues all return home. Danny is left behind, struggling to try and convince the group that their unique sound is going to make them all big stars.
Out of the group of fishermen, only a handful of them are really explored and fleshed out as characters in any kind of way, with the majority of them simply fading into the background - backing singers if you will. Jim (James Purefoy) and his father Jago (David Hayman), are the main focus of the movie, along with Jim's single-mum daughter Alwyn (Tuppence Middleton), who Danny eventually begins to strike up a friendship with, and her young daughter. One of the other fishermen runs the local pub at the heart of the community, along with his wife, but is struggling to make ends meet in a sub-plot which comes to a head later on in the movie.
Fisherman's Friends is a movie full of clichés - the city slicker who initially doesn't understand the simple life, the familiar rom-com couple who start off disliking one another, but will clearly be falling madly in love before long, annoying city types who don't even look like they know how to tie their own shoelaces, let alone become successfully music moguls. But, despite it all, the movie works considerably well. The relationship and chemistry between Danny and Alwyn is believable, and the highs and lows that the group go through on their journey to stardom is both heartwarming and fun in equal measure. It's the kind of reliable movie you could quite happily sit and watch on the TV, on a lazy Sunday afternoon.
Goldenarrow74 (10 KP) rated My Scientology Movie (2015) in Movies
Jun 3, 2018
Frustrating but still unashamedly Louis
Now this is a good one:
• Scientology fascinates/horrifies me in equal measure
• I love Louis Theroux’s work over the years, from pornstars to neo-nazis
So, if you add together one of the most unassuming yet tenacious investigative journalists and one of the most misunderstood religions and there’s bound to be sparks flying, right?
Well almost. I recall some comments about a Louis documentary where he kinda lost his usual cool and got wound up/ deterred by his would-be interviewees. Perhaps this could be the one.
Even if this is not the film in question, it’s certainly a little more subdued than his usual material. Because the church told him to sod off.
I guess his view that he wants to offer an unbiased and impartial view on their religion is not one shared by David Whatshisface. This is a shame as I’d loved to have seen LT probe the chief scientist with his softly, softly good cop/nicer cop style of interviewing.
It could well have been a titanic battle of intellect and wills. Almost on a parallel with Westley & Vizzini in the Princess Bride. But now we’ll never know.
Seriously, it’s sort of hobbled the film from the start if we don’t get to speak to anyone from the church, as all we are going to here from therefore are people who don’t know about what really happens or do know but have now come out from the protective umbrella of Scientology and are (quite reasonably) regarded as “embittered”.
Even Louis is being asked a lot to conjure something truly worthwhile with his only evidence coming from potentially biased sources.
It’s only at the hour mark that we even hear of the charitable causes the church supports, from drug abuse to disaster relief. And not long before that we even see a very limited glimpse of the drills, or ‘tech’ that forms part of the Scientologist’s belief system.
What makes me laugh, disappointedly, is that Louis is complaining that the lawyers are accusing him of dwelling on those embittered “squirrels”.... when that’s exactly what he has been doing, out of necessity as he has no other material.
I’m happy to give the benefit of the doubt to LT whenever possible but I think he dropped a bollock there.
I also wonder if the reason we are only given such a brief example of the dianetics system is that the Church’s powerful tentacles reach all the way to the Beeb? I’ve always though that Jeremy Paxman had a steely determination that came from more than just political vigour...
Or maybe it’s because Louis didn’t think it was important enough? Hardly. Maybe because Marty Rathbun got upset and stopped doing it (incidentally he is a crap teacher! Getting visibly disappointed when the student doesn’t immediately see/feel/get what you intend is not the way to help relax and convince someone).
It was slightly disappointing to not see Isaac Hayes who left South Park in a strop because they were planning an episode on Scientology - when he had no problem participating in storylines concerning paedophilia, terrorism, Satan & Saddam Hussein having sex etc..
I jest, of course. And that’s obviously a mistake as it’s abundantly clear that Scientologists have no sense of humour whatsoever. I’m going to be constantly scanning my rear view mirror for a large, clumsily driven Toyota 4x4 now. That won’t stand out at all in the small towns of rural Buckinghamshire will it?
• Scientology fascinates/horrifies me in equal measure
• I love Louis Theroux’s work over the years, from pornstars to neo-nazis
So, if you add together one of the most unassuming yet tenacious investigative journalists and one of the most misunderstood religions and there’s bound to be sparks flying, right?
Well almost. I recall some comments about a Louis documentary where he kinda lost his usual cool and got wound up/ deterred by his would-be interviewees. Perhaps this could be the one.
Even if this is not the film in question, it’s certainly a little more subdued than his usual material. Because the church told him to sod off.
I guess his view that he wants to offer an unbiased and impartial view on their religion is not one shared by David Whatshisface. This is a shame as I’d loved to have seen LT probe the chief scientist with his softly, softly good cop/nicer cop style of interviewing.
It could well have been a titanic battle of intellect and wills. Almost on a parallel with Westley & Vizzini in the Princess Bride. But now we’ll never know.
Seriously, it’s sort of hobbled the film from the start if we don’t get to speak to anyone from the church, as all we are going to here from therefore are people who don’t know about what really happens or do know but have now come out from the protective umbrella of Scientology and are (quite reasonably) regarded as “embittered”.
Even Louis is being asked a lot to conjure something truly worthwhile with his only evidence coming from potentially biased sources.
It’s only at the hour mark that we even hear of the charitable causes the church supports, from drug abuse to disaster relief. And not long before that we even see a very limited glimpse of the drills, or ‘tech’ that forms part of the Scientologist’s belief system.
What makes me laugh, disappointedly, is that Louis is complaining that the lawyers are accusing him of dwelling on those embittered “squirrels”.... when that’s exactly what he has been doing, out of necessity as he has no other material.
I’m happy to give the benefit of the doubt to LT whenever possible but I think he dropped a bollock there.
I also wonder if the reason we are only given such a brief example of the dianetics system is that the Church’s powerful tentacles reach all the way to the Beeb? I’ve always though that Jeremy Paxman had a steely determination that came from more than just political vigour...
Or maybe it’s because Louis didn’t think it was important enough? Hardly. Maybe because Marty Rathbun got upset and stopped doing it (incidentally he is a crap teacher! Getting visibly disappointed when the student doesn’t immediately see/feel/get what you intend is not the way to help relax and convince someone).
It was slightly disappointing to not see Isaac Hayes who left South Park in a strop because they were planning an episode on Scientology - when he had no problem participating in storylines concerning paedophilia, terrorism, Satan & Saddam Hussein having sex etc..
I jest, of course. And that’s obviously a mistake as it’s abundantly clear that Scientologists have no sense of humour whatsoever. I’m going to be constantly scanning my rear view mirror for a large, clumsily driven Toyota 4x4 now. That won’t stand out at all in the small towns of rural Buckinghamshire will it?
BookwormMama14 (18 KP) rated Price of Privilege (Price of Privilege, #3) in Books
Jan 2, 2019
While this is most definitely one of the darkest books I’ve read, I am in awe of the author’s magnificent way of transmitting Julia’s emotions to the reader.
**If you have not read the first two books, please be aware of spoilers**
Julia Elliston is about to face her Goliath and her entire world is crumbling in front of her eyes. Her dream of living happily ever after with Edward is snatched away almost the moment it begins. Julia and Edward are forced to return to Lord Pierson as news of the scandalous vicar has reached the village where Edward served. But before they can even begin to settle into their new life, Macy has returned to “collect his wife”. Using his notorious skills of manipulation, Macy has set in motion the charges that will destroy the entire Pierson family, and return Julia to his safe keeping. Lord Dalry brings forth his old school friend Mr. Whitney to fight her case. We meet another friend in this book, Jameson, the fetching butler. Edward offers Jameson a job after his father decides to replace him. Jameson adds some much needed humor to this story. As she prepares for her court date, Julia comes to hate herself for the mistakes that she has made. But with Isaac’s help, in the most touching and tragic way possible, she comes to see herself as God sees her and loves her. She becomes a new person walking in the love and acceptance of the Father. A place that I hope we can all achieve. As tensions grow and truths are revealed, everyone has very severe choices that must be made. How will Lord Pierson protect his daughter? Will Edward be charged with crimes he didn’t commit? Is there anyway Isaac can free Julia from this monster? Has Macy paid off everyone so he will walk free and claim his wife? But most importantly, will Julia’s faith stand firm throughout the trials and the hardships?
I have had completely mixed emotions about the entire story in general. I have come to realize, however, that it is because I prefer a more lighthearted book. The conclusion of the Price of Privilege Trilogy went above and beyond my expectations. It was also hard for me to relate with Julia in a lot of ways. Her decisions and reactions in specific situations are the complete opposite of how I would think to react (Although I don’t have a blood thirsty husband, who could at any moment snatch me away). I also remain uncomfortable with the portrayal of some of the romantic scenes. They are brief and few, but I feel as if they were a little too provocative without being graphic. That being said, as our story concluded, I was moved to tears. The emotions I was reading were very easy to grasp onto. The series as a whole is very dark and depressing, too much for my own emotional health to handle in 2 ½ weeks. (I need about a week just to process everything now.) I wasn’t sure about the books at first, but I am glad I stuck with it. My congratulations to Jessica Dotta on her first series, I look forward to reading any future works!
I received a free copy of Price of Privilege (Price of Privilege Trilogy Book 3) from Tyndale House Publishers, Inc. in exchange for my honest review.
**If you have not read the first two books, please be aware of spoilers**
Julia Elliston is about to face her Goliath and her entire world is crumbling in front of her eyes. Her dream of living happily ever after with Edward is snatched away almost the moment it begins. Julia and Edward are forced to return to Lord Pierson as news of the scandalous vicar has reached the village where Edward served. But before they can even begin to settle into their new life, Macy has returned to “collect his wife”. Using his notorious skills of manipulation, Macy has set in motion the charges that will destroy the entire Pierson family, and return Julia to his safe keeping. Lord Dalry brings forth his old school friend Mr. Whitney to fight her case. We meet another friend in this book, Jameson, the fetching butler. Edward offers Jameson a job after his father decides to replace him. Jameson adds some much needed humor to this story. As she prepares for her court date, Julia comes to hate herself for the mistakes that she has made. But with Isaac’s help, in the most touching and tragic way possible, she comes to see herself as God sees her and loves her. She becomes a new person walking in the love and acceptance of the Father. A place that I hope we can all achieve. As tensions grow and truths are revealed, everyone has very severe choices that must be made. How will Lord Pierson protect his daughter? Will Edward be charged with crimes he didn’t commit? Is there anyway Isaac can free Julia from this monster? Has Macy paid off everyone so he will walk free and claim his wife? But most importantly, will Julia’s faith stand firm throughout the trials and the hardships?
I have had completely mixed emotions about the entire story in general. I have come to realize, however, that it is because I prefer a more lighthearted book. The conclusion of the Price of Privilege Trilogy went above and beyond my expectations. It was also hard for me to relate with Julia in a lot of ways. Her decisions and reactions in specific situations are the complete opposite of how I would think to react (Although I don’t have a blood thirsty husband, who could at any moment snatch me away). I also remain uncomfortable with the portrayal of some of the romantic scenes. They are brief and few, but I feel as if they were a little too provocative without being graphic. That being said, as our story concluded, I was moved to tears. The emotions I was reading were very easy to grasp onto. The series as a whole is very dark and depressing, too much for my own emotional health to handle in 2 ½ weeks. (I need about a week just to process everything now.) I wasn’t sure about the books at first, but I am glad I stuck with it. My congratulations to Jessica Dotta on her first series, I look forward to reading any future works!
I received a free copy of Price of Privilege (Price of Privilege Trilogy Book 3) from Tyndale House Publishers, Inc. in exchange for my honest review.
Love's Executioner
Book
Love's Executioner offers us the humane and extraordinary insight of renowned psychiatrist Irvin D....
BankofMarquis (1832 KP) rated Annihilation (2018) in Movies
Feb 24, 2018
Just didn't work for me
I like "Intelligent Science Fiction". You know, like Alex Garland's other Directorial effort 2014's EX MACHINA or Jeff Nichols’ involving 2016 film MIDNIGHT SPECIAL. These are the types of films that uses the backdrop of Science Fiction to delve deeper into character, concepts or ideas, leaving time for the audience to take it all in and to really think about what is being shown on the screen and to wrestle with the concepts brought forth. So, I was really excited when I found out the Garland would be helming a film of the first book in Jeff VanderMeer's SOUTHERN REACH trilogy, ANNIHILATION - a trippy sci-fi book series about an alien presence that starts tearing away at the very fabric of human existence. I was convinced that this marriage of source material and filmmaker would create another cinematic gem.
Boy, was I wrong.
ANNIHILATION fails in all the ways that these types of films could fail. It is self-indulgent, favors style over substance, mood over momentum and has long, long, loooong scenes of dialogue (or non-dialogue) that is supposed to convey a sense of dread and, for me, just made me want to yell at the screen "get on with it!"
ANNIHILATION tells the story of a group of women who comprise the 12th group of explorers entering "the shimmer" - an unknown phenomenon in a remote part of the US that is growing and will soon start engulfing populated areas. None of the other groups have returned (save for 1 soldier). This 12th group, led by the mysterious Dr. Ventres, tries to get at the heart of what the shimmer is and succeed where others failed. Once inside "the shimmer" the group must fight with their own nightmares and what makes them human.
Sounds like a really good premise for an intelligent Sci-Fi film doesn't it? Unfortunately, Director and Writer Garland is more interested in the sights, sounds and moods of "the shimmer" and fails to create any interesting characters - or circumstances - for the audience to follow.
Natalie Portman stars as Lena - a biologist (and former military) who's husband (the great Oscar Isaac) is the lone returning solider (though not all of him, mentally, has returned). The pairing of these two strong, interesting actors should have been enough to propel this film forward, but all they do is stare at each other and "not say" anything. They look at each other like something is wrong, but the never say or do anything. Compounding things is the weird portrayal of the weird Dr. Ventres by Jennifer Jason Leigh - an actress not known from shying away from weird. Her portrayal would have worked, I think, if she had some "normal" folks to play against - or if her character had some sort of climax, but she doesn't, she just sort of peters out. Joining these two are Tessa Thompson (losing the goodwill she earned in THOR:RAGNAROK) as a physicist that "has secrets" and Gina Rodriguez (channelling her inner Michelle Rodriguez) as a gung-ho "kick-ass" paramedic (you can guess how that is going to turn out). Only Tuva Novotny as scientist Cass Sheppard has anything approaching an interesting character, but she is on all too briefly.
Also wasted in this film is Benedict Wong (DOCTOR STRANGE) as the "Basil Exposition" of this film (explaining things to the audience) and David Gyasi (INTERSTELLAR) as a pseudo-love interest for Lena.
Maybe I'm just not "artsy" enough to enjoy this. If you are and you enjoy this, let me know what I missed. As it is, I have an early, leading contender for "Worst Film of 2018".
In the meantime, I'm going to rewatch EX MACHINA or MIDNIGHT SPECIAL, two intelligent Science Fiction films that work.
Letter Grade: C
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
Boy, was I wrong.
ANNIHILATION fails in all the ways that these types of films could fail. It is self-indulgent, favors style over substance, mood over momentum and has long, long, loooong scenes of dialogue (or non-dialogue) that is supposed to convey a sense of dread and, for me, just made me want to yell at the screen "get on with it!"
ANNIHILATION tells the story of a group of women who comprise the 12th group of explorers entering "the shimmer" - an unknown phenomenon in a remote part of the US that is growing and will soon start engulfing populated areas. None of the other groups have returned (save for 1 soldier). This 12th group, led by the mysterious Dr. Ventres, tries to get at the heart of what the shimmer is and succeed where others failed. Once inside "the shimmer" the group must fight with their own nightmares and what makes them human.
Sounds like a really good premise for an intelligent Sci-Fi film doesn't it? Unfortunately, Director and Writer Garland is more interested in the sights, sounds and moods of "the shimmer" and fails to create any interesting characters - or circumstances - for the audience to follow.
Natalie Portman stars as Lena - a biologist (and former military) who's husband (the great Oscar Isaac) is the lone returning solider (though not all of him, mentally, has returned). The pairing of these two strong, interesting actors should have been enough to propel this film forward, but all they do is stare at each other and "not say" anything. They look at each other like something is wrong, but the never say or do anything. Compounding things is the weird portrayal of the weird Dr. Ventres by Jennifer Jason Leigh - an actress not known from shying away from weird. Her portrayal would have worked, I think, if she had some "normal" folks to play against - or if her character had some sort of climax, but she doesn't, she just sort of peters out. Joining these two are Tessa Thompson (losing the goodwill she earned in THOR:RAGNAROK) as a physicist that "has secrets" and Gina Rodriguez (channelling her inner Michelle Rodriguez) as a gung-ho "kick-ass" paramedic (you can guess how that is going to turn out). Only Tuva Novotny as scientist Cass Sheppard has anything approaching an interesting character, but she is on all too briefly.
Also wasted in this film is Benedict Wong (DOCTOR STRANGE) as the "Basil Exposition" of this film (explaining things to the audience) and David Gyasi (INTERSTELLAR) as a pseudo-love interest for Lena.
Maybe I'm just not "artsy" enough to enjoy this. If you are and you enjoy this, let me know what I missed. As it is, I have an early, leading contender for "Worst Film of 2018".
In the meantime, I'm going to rewatch EX MACHINA or MIDNIGHT SPECIAL, two intelligent Science Fiction films that work.
Letter Grade: C
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Love, Simon (2018) in Movies
Sep 29, 2021
Time to Exhale.
I saw this as a Cineworld “Secret Unlimited Screening” event (for non-UK readers, Cineworld is one of the main movie-theater chains), so went in – like the majority of the audience I suspect – predicting early sight of Lara Croft in skin tight shorts! This was a bit different! A secret screening is an interesting concept, and really tests the metal of a film in engaging its audience early. This one failed to some degree, with seven people (I was counting) walking out in the first 10 minutes. (To be fair on those seven, the film’s first 20 minutes are rather laborious; and to be fair on the film, this was a pretty full auditorium so as a percentage drop out it was low).
Teen heartthrob Nick Robinson (the older brother from “Jurassic World“) plays the eponymous hero who has a well-buried secret: he’s gay. Growing up in Pleasantville (I almost expected someone to yell “Cat!” and the fire brigade turn up) he feels unable to come out to either his high-school friends or his loving family (“Apple pie cooling on the window-sill anyone?”). But striking up an email relationship with another closeted male from the same high school – nicknamed “Blue” – allows him to explore his feelings about his sexuality and fall in love all at the same time. But neither coming out or love run terribly smoothly for Simon…
Happy families. From left, Nick Robinson, Talitha Bateman, Jennifer Garner and Josh Duhamel.
I am forty years adrift from being able to directly relate to the stresses and strains of modern high-school life (though I AM still 17 on the inside people!) But even to me, this film doesn’t feel like it should be set in the present day. While it needs to be for its tweeting and blogging story-line, surely there are few backwaters in either America or Western Europe where gay people have to stay so silent? An 80’s or early 90’s setting would, I think, have worked so much better. (Ironically, its not his gay-ness or otherwise that his friends get upset by, but something far more fundamental in the human condition).
Definitely set in the present day.
That aside, this is a sweet and ultimately quite engaging film that I’m sure will be a big hit with a teenage audience. While for me it didn’t come close to ticking all of the coming-of-age boxes that the inestimable “Lady Bird” did, it does cover old ground in a new and refreshing way, and I’m sure it WILL be very helpful for many gay people in getting the courage to come out. Times are different today, but I still can imagine few things requiring more bravery than declaring you are gay to your parents and closest friends (even though, deep down, they surely already suspect).
So, it’s sweet, but also for me (although far from its target audience) rather flat. As a comedy drama, the moments of comedy are few and far between, with only one or two of the lines making me chuckle rather than smile. A quiet auditorium is not a good sign for a film with “Comedy” in its imdb description. It does however occasionally break through with something memorable: a full on college “La La Land” scene (“Not that gay” – LoL) is a case in point. And all of the scenes featuring comedy actress Natasha Rothwell as drama teacher Ms Allbright add much needed energy and humour to the film.
Someone should tell him… regardless of gender preference, sex is never going to work like this.
Of the teen actors, Robinson is fine but it is Katherine Langford as Simon’s friend Leah who stood out for me. Talitha Eliana Bateman (“The 5th Wave“; looking a whole lot younger than her 16 years!) is also impressive as Simon’s culinary sister Nora. Simon’s parents are played by Jennifer Garner (“Dallas Buyers Club“) and Josh Duhamel (a new one on me… he’s been in the “Transformers” films apparently).
Simon says walk this way. From left, Jorge Lendeborg Jr., Nich Robinson, Alexandra Shipp and Katherine Langford.
The screenplay is by movie virgins Elizabeth Berger and Isaac Aptaker, and is a slightly patchy affair. There are scenes that worked well (a cringe inducing sports stadium scene for example) but other times where it seems to be trying too hard for T-shirt captions…. a line from Ethan (Clark Moore) about hate crime was a “Ye-what?” moment.
Some of the characters really don’t quite work either: Tony Hale (so memorable as the useless PA in “Veep”) plays almost a school-ified version of Stephen Stucker’s Johnny from “Airplane”. Perhaps that would work as some sort of whacky hall monitor guy… but it transpires that he is the headmaster. No, I don’t think so.
A bit OTT. Veep’s Tony Hale as the principal with a surfeit of bonhomie.
So, in summary, after a bit of a bumpy start, its a pleasant watch that culminates in a feel-good ending. Feel good, that is, providing you have liberal views: I can’t see it pleasing many Trump supporters. I also can’t see it getting a cinema release in Gambia or Nigeria, though God only knows they could use one. If I could give half stars I would give this one an extra half as I applaud both the theme its trying to promote and for bringing something fresh to the screen…
Teen heartthrob Nick Robinson (the older brother from “Jurassic World“) plays the eponymous hero who has a well-buried secret: he’s gay. Growing up in Pleasantville (I almost expected someone to yell “Cat!” and the fire brigade turn up) he feels unable to come out to either his high-school friends or his loving family (“Apple pie cooling on the window-sill anyone?”). But striking up an email relationship with another closeted male from the same high school – nicknamed “Blue” – allows him to explore his feelings about his sexuality and fall in love all at the same time. But neither coming out or love run terribly smoothly for Simon…
Happy families. From left, Nick Robinson, Talitha Bateman, Jennifer Garner and Josh Duhamel.
I am forty years adrift from being able to directly relate to the stresses and strains of modern high-school life (though I AM still 17 on the inside people!) But even to me, this film doesn’t feel like it should be set in the present day. While it needs to be for its tweeting and blogging story-line, surely there are few backwaters in either America or Western Europe where gay people have to stay so silent? An 80’s or early 90’s setting would, I think, have worked so much better. (Ironically, its not his gay-ness or otherwise that his friends get upset by, but something far more fundamental in the human condition).
Definitely set in the present day.
That aside, this is a sweet and ultimately quite engaging film that I’m sure will be a big hit with a teenage audience. While for me it didn’t come close to ticking all of the coming-of-age boxes that the inestimable “Lady Bird” did, it does cover old ground in a new and refreshing way, and I’m sure it WILL be very helpful for many gay people in getting the courage to come out. Times are different today, but I still can imagine few things requiring more bravery than declaring you are gay to your parents and closest friends (even though, deep down, they surely already suspect).
So, it’s sweet, but also for me (although far from its target audience) rather flat. As a comedy drama, the moments of comedy are few and far between, with only one or two of the lines making me chuckle rather than smile. A quiet auditorium is not a good sign for a film with “Comedy” in its imdb description. It does however occasionally break through with something memorable: a full on college “La La Land” scene (“Not that gay” – LoL) is a case in point. And all of the scenes featuring comedy actress Natasha Rothwell as drama teacher Ms Allbright add much needed energy and humour to the film.
Someone should tell him… regardless of gender preference, sex is never going to work like this.
Of the teen actors, Robinson is fine but it is Katherine Langford as Simon’s friend Leah who stood out for me. Talitha Eliana Bateman (“The 5th Wave“; looking a whole lot younger than her 16 years!) is also impressive as Simon’s culinary sister Nora. Simon’s parents are played by Jennifer Garner (“Dallas Buyers Club“) and Josh Duhamel (a new one on me… he’s been in the “Transformers” films apparently).
Simon says walk this way. From left, Jorge Lendeborg Jr., Nich Robinson, Alexandra Shipp and Katherine Langford.
The screenplay is by movie virgins Elizabeth Berger and Isaac Aptaker, and is a slightly patchy affair. There are scenes that worked well (a cringe inducing sports stadium scene for example) but other times where it seems to be trying too hard for T-shirt captions…. a line from Ethan (Clark Moore) about hate crime was a “Ye-what?” moment.
Some of the characters really don’t quite work either: Tony Hale (so memorable as the useless PA in “Veep”) plays almost a school-ified version of Stephen Stucker’s Johnny from “Airplane”. Perhaps that would work as some sort of whacky hall monitor guy… but it transpires that he is the headmaster. No, I don’t think so.
A bit OTT. Veep’s Tony Hale as the principal with a surfeit of bonhomie.
So, in summary, after a bit of a bumpy start, its a pleasant watch that culminates in a feel-good ending. Feel good, that is, providing you have liberal views: I can’t see it pleasing many Trump supporters. I also can’t see it getting a cinema release in Gambia or Nigeria, though God only knows they could use one. If I could give half stars I would give this one an extra half as I applaud both the theme its trying to promote and for bringing something fresh to the screen…
Bob Mann (459 KP) rated Star Wars: Episode IX - The Rise of Skywalker (2019) in Movies
Dec 20, 2019
Young ensemble cast actually ensembling! (1 more)
Adam Driver on great form
After 42 years - does it leave with a bang or a whimper?
This review will be spoiler-free.
And so we come to the grand conclusion of George Lucas's nine-film vision, and someone can at last put the multi-limbed behemoth in a coffin and nail down the lid. It's certainly been a bumpy ride for this latest trilogy under Disney's stewardship, with rabidly negative fan-boys getting very hot under the collar about 'their baby' being despoiled by the evil empire!
We left the end of the last film with the Rebellion in tatters, reduced to a tiny fleet of ships. (It was truly fortunate that our key players were not on any of the lost ships wasn't it?) Rey (Daisy Ridley) is progressing her Jedi-training under the guidance of a new teacher. But the presence of Kylo-Ren (Adam Driver) is forever there, and their long-distance "psycho-chats" are becoming ever more 'substantial' as the bond between them grows.
But a dark presence from the past has returned, and both are drawn to it in different ways. A showdown between the forces of good and evil is inevitable.
The pace of the film is frenetic and totally exhausting. The first 30 minutes hardly pause for a breath as we zap around from location to location. Where the film really worked better for me was in the quieter and more reflective moments. Kylo Ren is in many of these moments: one, where he visits a very dark place, is well done; and one, where he receives a special visitor, is an interlude that is surprisingly effective. Adam Driver really is in excellent form here; he's never been my favourite actor in the world, but here truly impresses.
One of the problems of the first two films in the trilogy is that it sent all the young leads off in multiple different directions. The result was that there was very little of the interplay of the first films (between Han, Luke and Leia) that made them so memorable. Here that issue is rectified and Poe (Oscar Isaac) and Finn (John Boyega) develop a close onscreen bond with much resultant banter. Ridley's Rey also gets thrown into the mix, with the result that a group hug feels at last normal and right. It's bizarre, but you suddenly realise what was missing here when - FOR THE FIRST TIME - two of the characters get introduced to each other!
A welcome inclusion is that of the late Carrie Fisher as Leia. It's actually extraordinary that they had enough unused footage to be able to weave in a full role for the character into the story. It never feels forced and there were only a few 'hugs' where I found myself thinking "I bet that's not her".
C3PO (Anthony Daniels) also gets much more screen time and has some really nice and comical scenes in here. And a new uni-wheeled robot (voiced by director J.J. Abrams) adds to both the comic potential (and the available Disney merchandise!).
One of the new characters on show is the physically impressive Naomi Ackie as the horse (or something!) riding Jannah. But she's given little to do in the plot.
Elsewhere, there are a whole bunch of famous faces cropping up. Watching the end credit roll is an "OH! That was who that was" revelation in some cases. I won't list them here, since it is delicious to go in blind and have the surprise of seeing them. But some are famous actors from screen and TV, and one is an Abrams' favourite from a past TV glory. The biggest cheer though was reserved for a certain X-wing fighter near the end of the film. A blink-and-you'll-miss-him moment, it was a white-haired appearance to treasure.
What the film does very well (or very badly if you read some reviews) is hark back to the glories of the earlier films, and particularly Episodes IV to VI. Many places are revisited or scenes re-enacted until the place is just SOGGY with nostalgia (to use an old Tom Lehrer line). Although greatly contrived, I enjoyed these scenes immensely.
Making maximum use of the opportunity, John Williams bashes out theme after theme from most of the nine films. The soundtrack really is a "John Williams Greatest Hits" collection. Williams also actually gets a cameo as well - apparently as an eye-patch wearing bar-tender in the Nepalese-like town, though I must admit I missed it. (I've seen comment online that this is his first on-screen appearance: actually not true... he was conducting the orchestra in the "bird-lady's concert hall" in "Home Alone 2").
There are also a huge number of similarities I saw in certain scenes with other cinematic releases outside of the Star Wars universe:
"Raiders of the Lost Ark" - in two particular scenes;
"Dunkirk" - but done properly!
"Dora and the Lost City of Gold" - it doesn't make any physics sense here either!
"Power Rangers" - just because of one of the characters - you'll know the one
"Harry Potter and the Deathly Hallows Part 2" - but to say more would be a spoiler!
And there are probably others I've forgotten!
One of my key issues with "The Last Jedi" was the way in which it invented mad-cap tasks, objects and people that had to be completed/found for the plot to be moved forwards. A massive and pointless diversion to a casino planet, for example, was made just to get into a secure area of an imperial vessel: something in this film they 'just do'!
This movie also suffers to a degree from the disease of 'McGuffinitis'. Where's the beacon? There's a dagger that must be found; Where's the interpreter?; etc. It's all very formulaic. But at least in this case, there is a certain logical flow that follows within the plot.
The LP soundtrack of "Star Wars" got me into a lifelong love of film music. One of the last tracks on the soundtrack of the first film was called "The Last Battle". Well, THAT wasn't true! There have been so many space battles since then that we've all lost count. But we all knew this would build to a doozy of a finale, and the film doesn't disappoint. There is utter mayhem in the skies: WILL NOBODY THINK OF THE HENCHMEN'S FAMILIES?
It all drives to a satisfying ending for me and feels like a good closure to the saga. Is it perfect? No, not at all. It really sets itself with too much to do, and then tries to do it all within the available running time. The film will - and has by looking at the volume of IMDB 1* ratings - upset a lot of the fan-boys. But, you know what? Stuff 'em! The film should be judged on how it makes YOU feel as a standalone piece of entertainment, rather than as a part of some sort of pseudo-religious cult. And I personally think Abrams did a pretty decent job here of trying to please most of the people most of the time.
(For the full graphical review, please visit One Mann's Movies here - https://bob-the-movie-man.com/2019/12/20/one-manns-movies-film-review-star-wars-the-rise-of-skywalker-2019/ )
And so we come to the grand conclusion of George Lucas's nine-film vision, and someone can at last put the multi-limbed behemoth in a coffin and nail down the lid. It's certainly been a bumpy ride for this latest trilogy under Disney's stewardship, with rabidly negative fan-boys getting very hot under the collar about 'their baby' being despoiled by the evil empire!
We left the end of the last film with the Rebellion in tatters, reduced to a tiny fleet of ships. (It was truly fortunate that our key players were not on any of the lost ships wasn't it?) Rey (Daisy Ridley) is progressing her Jedi-training under the guidance of a new teacher. But the presence of Kylo-Ren (Adam Driver) is forever there, and their long-distance "psycho-chats" are becoming ever more 'substantial' as the bond between them grows.
But a dark presence from the past has returned, and both are drawn to it in different ways. A showdown between the forces of good and evil is inevitable.
The pace of the film is frenetic and totally exhausting. The first 30 minutes hardly pause for a breath as we zap around from location to location. Where the film really worked better for me was in the quieter and more reflective moments. Kylo Ren is in many of these moments: one, where he visits a very dark place, is well done; and one, where he receives a special visitor, is an interlude that is surprisingly effective. Adam Driver really is in excellent form here; he's never been my favourite actor in the world, but here truly impresses.
One of the problems of the first two films in the trilogy is that it sent all the young leads off in multiple different directions. The result was that there was very little of the interplay of the first films (between Han, Luke and Leia) that made them so memorable. Here that issue is rectified and Poe (Oscar Isaac) and Finn (John Boyega) develop a close onscreen bond with much resultant banter. Ridley's Rey also gets thrown into the mix, with the result that a group hug feels at last normal and right. It's bizarre, but you suddenly realise what was missing here when - FOR THE FIRST TIME - two of the characters get introduced to each other!
A welcome inclusion is that of the late Carrie Fisher as Leia. It's actually extraordinary that they had enough unused footage to be able to weave in a full role for the character into the story. It never feels forced and there were only a few 'hugs' where I found myself thinking "I bet that's not her".
C3PO (Anthony Daniels) also gets much more screen time and has some really nice and comical scenes in here. And a new uni-wheeled robot (voiced by director J.J. Abrams) adds to both the comic potential (and the available Disney merchandise!).
One of the new characters on show is the physically impressive Naomi Ackie as the horse (or something!) riding Jannah. But she's given little to do in the plot.
Elsewhere, there are a whole bunch of famous faces cropping up. Watching the end credit roll is an "OH! That was who that was" revelation in some cases. I won't list them here, since it is delicious to go in blind and have the surprise of seeing them. But some are famous actors from screen and TV, and one is an Abrams' favourite from a past TV glory. The biggest cheer though was reserved for a certain X-wing fighter near the end of the film. A blink-and-you'll-miss-him moment, it was a white-haired appearance to treasure.
What the film does very well (or very badly if you read some reviews) is hark back to the glories of the earlier films, and particularly Episodes IV to VI. Many places are revisited or scenes re-enacted until the place is just SOGGY with nostalgia (to use an old Tom Lehrer line). Although greatly contrived, I enjoyed these scenes immensely.
Making maximum use of the opportunity, John Williams bashes out theme after theme from most of the nine films. The soundtrack really is a "John Williams Greatest Hits" collection. Williams also actually gets a cameo as well - apparently as an eye-patch wearing bar-tender in the Nepalese-like town, though I must admit I missed it. (I've seen comment online that this is his first on-screen appearance: actually not true... he was conducting the orchestra in the "bird-lady's concert hall" in "Home Alone 2").
There are also a huge number of similarities I saw in certain scenes with other cinematic releases outside of the Star Wars universe:
"Raiders of the Lost Ark" - in two particular scenes;
"Dunkirk" - but done properly!
"Dora and the Lost City of Gold" - it doesn't make any physics sense here either!
"Power Rangers" - just because of one of the characters - you'll know the one
"Harry Potter and the Deathly Hallows Part 2" - but to say more would be a spoiler!
And there are probably others I've forgotten!
One of my key issues with "The Last Jedi" was the way in which it invented mad-cap tasks, objects and people that had to be completed/found for the plot to be moved forwards. A massive and pointless diversion to a casino planet, for example, was made just to get into a secure area of an imperial vessel: something in this film they 'just do'!
This movie also suffers to a degree from the disease of 'McGuffinitis'. Where's the beacon? There's a dagger that must be found; Where's the interpreter?; etc. It's all very formulaic. But at least in this case, there is a certain logical flow that follows within the plot.
The LP soundtrack of "Star Wars" got me into a lifelong love of film music. One of the last tracks on the soundtrack of the first film was called "The Last Battle". Well, THAT wasn't true! There have been so many space battles since then that we've all lost count. But we all knew this would build to a doozy of a finale, and the film doesn't disappoint. There is utter mayhem in the skies: WILL NOBODY THINK OF THE HENCHMEN'S FAMILIES?
It all drives to a satisfying ending for me and feels like a good closure to the saga. Is it perfect? No, not at all. It really sets itself with too much to do, and then tries to do it all within the available running time. The film will - and has by looking at the volume of IMDB 1* ratings - upset a lot of the fan-boys. But, you know what? Stuff 'em! The film should be judged on how it makes YOU feel as a standalone piece of entertainment, rather than as a part of some sort of pseudo-religious cult. And I personally think Abrams did a pretty decent job here of trying to please most of the people most of the time.
(For the full graphical review, please visit One Mann's Movies here - https://bob-the-movie-man.com/2019/12/20/one-manns-movies-film-review-star-wars-the-rise-of-skywalker-2019/ )
Daniel Boyd (1066 KP) rated Star Wars: Episode VII - The Force Awakens (2015) in Movies
Jul 20, 2017
There has been an awakening...
Contains spoilers, click to show
There was a point where I honestly thought that this day was never going to come. Ladies and gentlemen, for the first time in 30 years we have an exciting, entertaining Star Wars movie. Now this review will contain a non spoilers section and a spoilers section, so if you haven’t seen the movie yet, maybe don’t read past the spoiler warning. So, strap in because if this franchise is starting as it means to go on, then I’ve got a good feeling about this…
First off, let’s talk about the new cast. All three of them are fantastic in their performances, with Daisy Ridley as Rey, John Boyega as Finn and Oscar Isaac as Poe Dameron respectively. Poe has the smallest role, which is my biggest and only complaint about the character, because he is awesome. He is funny, he’s an amazing pilot, he reeks of cool and he is the one character in this movie that I’d love to get a pint with. Finn is another new character, dealing with an inner conflict, (which I won’t ruin,) but is still likeable and relatable. Rey is arguably the most central of the three new main cast members and she delivers also, she sold the fairly bland character dealing with an exciting new adventure calling her name pretty well, but possibly could have done more in a few scenes, as it sort of feels like they could have cast anyone of the same age in this role and they would have delivered, but she did well enough. Of course, the old cast are also back, Anthony Daniels as C3PO is just as irritating as he was 30 years ago and while it’s nice to see Peter Mahew back as Chewie, they really could have put any tall, thin guy into the furry costume and it wouldn’t have made any difference. Carrie Fisher is back as Leia and the while lines she had were entertaining and at times touching, she simply wasn’t in the movie enough. I won’t talk about Luke until the spoilers section, so let’s move on to Han. It’s nice to see grumpy old gramps Harrison Ford actually look enthusiastic and as if he is actually enjoying himself for a change. His performance surprisingly isn’t phoned in and he genuinely commits to the role just as much as he did 30 years ago. Also, out of the original returning cast, he is definitely in the movie most.
Now that we have discussed the light side, now let’s move onto the dark side. Personally I don’t think these characters are as strong as the protagonists. It’s not the fault of the actors, Domnall Gleason as Hux is great, super evil and almost Nazi-like, Andy Serkis as Snoke is intimidating in his performance also and Adam Driver as Kylo Ren is one of the best performances in the movie, showing sadness and anger, all while being an unhinged threatening presence. The problem here is that the villains in this movie just don’t have the same impact as the villains in the original , Hux and Ren are made out to be young and naïve and while Snoke is pulling the strings, but we only ever see him as a hologram and even then, we don’t see him all that much. It’s as if this is these villain’s origin story, but in A New Hope, the villains and the Empire already felt like an established, villainous organisation, whereas in this movie it is as if a bunch of amateurs have happened across a new death star (let’s not lie, that’s all that the Starkiller base is,) and they don’t really know what they are doing. And Captain Phasma? Hardly worth talking about, she is in two scenes and does nothing in either of them besides let herself get taken advantage of. So that’s a summary on how I felt about the characters in general, onto the movie as a whole.
I feel that Abrams has gotten the tone of this movie just right. It’s funny enough that it’s constantly entertaining and never boring and it’s serious enough that you feel a genuine, palpable threat throughout. The score is also fantastic, as is expected from John Williams and overall the effects are spot on also. I did have a slight problem with some of the CGI characters, namely Snoke, the tentacle monsters that show up briefly and the market owner that was in possession of the Falcon at the start of the movie played by Simon Pegg, but there were also a lot of puppets and practical effects were used and it really pays off in the overall look of the movie, no more crammed scenes of cartoon garbage like the prequels, just what matters. The pacing of this movie is very fast, some might say too fast, with Abrams not really giving the viewers time to breathe and digest what they just saw before throwing another dogfight or lightsaber battle at them, but hey, at least you can’t say it’s boring and I’m happy to say that there isn’t a senate discussion in sight. I really do feel like I have to see the movie again however before making an overall verdict and that is due to the extremely fast pacing and because of all of the significant events that happen nothing really stands out, which leaves a lack of meat on the bone. The story is well written however, the world is built well and the characters are all introduced well, but the story does follow a lot of the same beats as the original trilogy. Without giving anything away, the story is divided up into three distinct acts, with each taking place on a different planet followed by an epilogue at the end. There is a cantina scene, a robot carrying an important message to be delivered, Tie Fighter vs. X Wing dogfights and a death star-like weapon of mass destruction, there is even a trench run.
Okay, so I saw the movie again on Tuesday this week and while most of what I felt the first time I felt again, making a lot of the feelings I had after my first viewing more concrete, I did notice a few new things. Also, from this point on there will be spoilers.
Knowing what was coming before it did really helped the pacing of this movie, it was much easier to digest a second time, but at no point was it a chore to watch the film again. I also noticed a lot more lens flares this time, upon first viewing I thought that the only lens flare in the movie was when the Starkiller base fires it’s weapon, but there are in fact quite a few throughout the film. Also the end scene with Luke was a lot better the second time, it didn’t feel as awkward or drawn out and felt more like a fitting end to the movie, although if you ask me, Luke should have at least had a line. Also the revelation that Kylo Ren was actually Ben Solo, Han’s son and Han’s death scene at the hands of Ren were also better on second viewing. While Han’s death was somewhat predictable and probably could have been executed better, it was nice to have him in this movie for the time we got him and I’m sure Harrison Ford is more than happy to never have to play the character again. Also BB-8 is possibly even more likable the second time. Seeing the movie again I also gained a greater appreciation for the cinematography in it, with some awesome long shots showing off the dogfights and the First Order vs. Resistance action. I’m glad I got to see the movie a second time as it has upped my opinion of the movie and if you are a Star Wars fan, it’s something that I would strongly recommend you do.
First off, let’s talk about the new cast. All three of them are fantastic in their performances, with Daisy Ridley as Rey, John Boyega as Finn and Oscar Isaac as Poe Dameron respectively. Poe has the smallest role, which is my biggest and only complaint about the character, because he is awesome. He is funny, he’s an amazing pilot, he reeks of cool and he is the one character in this movie that I’d love to get a pint with. Finn is another new character, dealing with an inner conflict, (which I won’t ruin,) but is still likeable and relatable. Rey is arguably the most central of the three new main cast members and she delivers also, she sold the fairly bland character dealing with an exciting new adventure calling her name pretty well, but possibly could have done more in a few scenes, as it sort of feels like they could have cast anyone of the same age in this role and they would have delivered, but she did well enough. Of course, the old cast are also back, Anthony Daniels as C3PO is just as irritating as he was 30 years ago and while it’s nice to see Peter Mahew back as Chewie, they really could have put any tall, thin guy into the furry costume and it wouldn’t have made any difference. Carrie Fisher is back as Leia and the while lines she had were entertaining and at times touching, she simply wasn’t in the movie enough. I won’t talk about Luke until the spoilers section, so let’s move on to Han. It’s nice to see grumpy old gramps Harrison Ford actually look enthusiastic and as if he is actually enjoying himself for a change. His performance surprisingly isn’t phoned in and he genuinely commits to the role just as much as he did 30 years ago. Also, out of the original returning cast, he is definitely in the movie most.
Now that we have discussed the light side, now let’s move onto the dark side. Personally I don’t think these characters are as strong as the protagonists. It’s not the fault of the actors, Domnall Gleason as Hux is great, super evil and almost Nazi-like, Andy Serkis as Snoke is intimidating in his performance also and Adam Driver as Kylo Ren is one of the best performances in the movie, showing sadness and anger, all while being an unhinged threatening presence. The problem here is that the villains in this movie just don’t have the same impact as the villains in the original , Hux and Ren are made out to be young and naïve and while Snoke is pulling the strings, but we only ever see him as a hologram and even then, we don’t see him all that much. It’s as if this is these villain’s origin story, but in A New Hope, the villains and the Empire already felt like an established, villainous organisation, whereas in this movie it is as if a bunch of amateurs have happened across a new death star (let’s not lie, that’s all that the Starkiller base is,) and they don’t really know what they are doing. And Captain Phasma? Hardly worth talking about, she is in two scenes and does nothing in either of them besides let herself get taken advantage of. So that’s a summary on how I felt about the characters in general, onto the movie as a whole.
I feel that Abrams has gotten the tone of this movie just right. It’s funny enough that it’s constantly entertaining and never boring and it’s serious enough that you feel a genuine, palpable threat throughout. The score is also fantastic, as is expected from John Williams and overall the effects are spot on also. I did have a slight problem with some of the CGI characters, namely Snoke, the tentacle monsters that show up briefly and the market owner that was in possession of the Falcon at the start of the movie played by Simon Pegg, but there were also a lot of puppets and practical effects were used and it really pays off in the overall look of the movie, no more crammed scenes of cartoon garbage like the prequels, just what matters. The pacing of this movie is very fast, some might say too fast, with Abrams not really giving the viewers time to breathe and digest what they just saw before throwing another dogfight or lightsaber battle at them, but hey, at least you can’t say it’s boring and I’m happy to say that there isn’t a senate discussion in sight. I really do feel like I have to see the movie again however before making an overall verdict and that is due to the extremely fast pacing and because of all of the significant events that happen nothing really stands out, which leaves a lack of meat on the bone. The story is well written however, the world is built well and the characters are all introduced well, but the story does follow a lot of the same beats as the original trilogy. Without giving anything away, the story is divided up into three distinct acts, with each taking place on a different planet followed by an epilogue at the end. There is a cantina scene, a robot carrying an important message to be delivered, Tie Fighter vs. X Wing dogfights and a death star-like weapon of mass destruction, there is even a trench run.
Okay, so I saw the movie again on Tuesday this week and while most of what I felt the first time I felt again, making a lot of the feelings I had after my first viewing more concrete, I did notice a few new things. Also, from this point on there will be spoilers.
Knowing what was coming before it did really helped the pacing of this movie, it was much easier to digest a second time, but at no point was it a chore to watch the film again. I also noticed a lot more lens flares this time, upon first viewing I thought that the only lens flare in the movie was when the Starkiller base fires it’s weapon, but there are in fact quite a few throughout the film. Also the end scene with Luke was a lot better the second time, it didn’t feel as awkward or drawn out and felt more like a fitting end to the movie, although if you ask me, Luke should have at least had a line. Also the revelation that Kylo Ren was actually Ben Solo, Han’s son and Han’s death scene at the hands of Ren were also better on second viewing. While Han’s death was somewhat predictable and probably could have been executed better, it was nice to have him in this movie for the time we got him and I’m sure Harrison Ford is more than happy to never have to play the character again. Also BB-8 is possibly even more likable the second time. Seeing the movie again I also gained a greater appreciation for the cinematography in it, with some awesome long shots showing off the dogfights and the First Order vs. Resistance action. I’m glad I got to see the movie a second time as it has upped my opinion of the movie and if you are a Star Wars fan, it’s something that I would strongly recommend you do.