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Elli H Burton (1288 KP) rated The Silence of the Lambs (1991) in Movies
Nov 7, 2019
The acting is 100% (2 more)
The story is fantastic
The way it is shot is genuinely awesome.
Have the lambs stopped screaming?
Okay so this is one of my favourite films because it just ticks every box.
Acting - Anthony Hopkins won an oscar for best actor because of this film. He is excellent, he is so creepy, elegant, scary, inviting, chilling, intriguing and he just oozes the sophistication, intelligence and depth of the character. He delivers his performance in this with a real passion. He is also so limited with what he can do physically (usually locked up) but he owns the set when the cameras are rolling.
Jodie Foster - I haven't seen her in anything else which I am actually embarrassed about because I loved her in this. No surprise, she won an oscar for best actress in this film. I genuinely feel like (towards the end mainly, as she has said in an interview that Anthony Hopkins did actually frighten her) she was terrified for her life. She could have been in the situation irl and i wouldn't be shocked. The character could have been played so many ways but Jodie played it perfectly. A clever, naive, strong, determined woman.
All other supporting actors were fantastic, such as Ted Levine as Buffalo Bill (my goodness he is so creepy he makes your skin crawl) and Scott Glenn as Jack Crawford (definitely feel the underlying tones of an unsavory character).
It is shot in such a way you dont see often, the talking to the camera shots, showing you things in Bills house like the pictures are all such subtle things but make it even more chilling. They also don't shy away with language(a word is said in this film atleast twice and it's so rare to hear on film) which sometimes, as not very nice this word is, the situation calls for it in this unnerving thriller, gross words and scenes need to be real to feel uneasy which you do in this.
Hats off to the wonderful Thomas Harris for writing such a gripping, interesting story that we were fortunate enough to see made to this magnificent film.
Acting - Anthony Hopkins won an oscar for best actor because of this film. He is excellent, he is so creepy, elegant, scary, inviting, chilling, intriguing and he just oozes the sophistication, intelligence and depth of the character. He delivers his performance in this with a real passion. He is also so limited with what he can do physically (usually locked up) but he owns the set when the cameras are rolling.
Jodie Foster - I haven't seen her in anything else which I am actually embarrassed about because I loved her in this. No surprise, she won an oscar for best actress in this film. I genuinely feel like (towards the end mainly, as she has said in an interview that Anthony Hopkins did actually frighten her) she was terrified for her life. She could have been in the situation irl and i wouldn't be shocked. The character could have been played so many ways but Jodie played it perfectly. A clever, naive, strong, determined woman.
All other supporting actors were fantastic, such as Ted Levine as Buffalo Bill (my goodness he is so creepy he makes your skin crawl) and Scott Glenn as Jack Crawford (definitely feel the underlying tones of an unsavory character).
It is shot in such a way you dont see often, the talking to the camera shots, showing you things in Bills house like the pictures are all such subtle things but make it even more chilling. They also don't shy away with language(a word is said in this film atleast twice and it's so rare to hear on film) which sometimes, as not very nice this word is, the situation calls for it in this unnerving thriller, gross words and scenes need to be real to feel uneasy which you do in this.
Hats off to the wonderful Thomas Harris for writing such a gripping, interesting story that we were fortunate enough to see made to this magnificent film.
Phillip McSween (751 KP) rated Jumanji: Welcome to the Jungle (2017) in Movies
Feb 24, 2018 (Updated Feb 24, 2018)
Jumanji: Welcome to the Jungle is a solid film-going experience, albeit a little cheesy at times. While its overdone ending keeps it just short of a being an action/adventure classic, I have to say I was impressed with how well they were able to take the source material of the original and truly make it something entirely new. In this newer version of the remake, four kids in detention get trapped inside a video game and have to play their way out. They are eached armed with a set of "lives" and, just like in a game, losing lives brings you closer to losing everything. They must rely on the skills of their avatars to traverse the dangerous jungle terrain.
Jumanji gives you conventional funny meaning it's not going to be one of those films where you spend half of it doubled over in laughter. When it comes to characteristics of a solid film, however, the film checks all the boxes. Solid, hilarious characters that make it easy to root for them. The Bethany/Jack Black role alone was enough to keep a smile on my face for the majority of the movie. He is the ringleader in a lot of the hilarious moments, but the other stars (Dwayne Johnson, Kevin Hart) provide plenty of comedy as well. While the comedy isn't side-splitting, I give it it's due respect for being consistent. A solid, flowing story gets the same recognition as it never lingers in one spot for too long. The action does a good job of connecting plot points while not being overbearing.
I thought that by the time I finally got around to writing this, I would be recommending Jumanji for a home viewing. However, due to some great box office success, it's still kicking in theaters. So....go see it if you haven't already! I give it a solid 90.
Jumanji gives you conventional funny meaning it's not going to be one of those films where you spend half of it doubled over in laughter. When it comes to characteristics of a solid film, however, the film checks all the boxes. Solid, hilarious characters that make it easy to root for them. The Bethany/Jack Black role alone was enough to keep a smile on my face for the majority of the movie. He is the ringleader in a lot of the hilarious moments, but the other stars (Dwayne Johnson, Kevin Hart) provide plenty of comedy as well. While the comedy isn't side-splitting, I give it it's due respect for being consistent. A solid, flowing story gets the same recognition as it never lingers in one spot for too long. The action does a good job of connecting plot points while not being overbearing.
I thought that by the time I finally got around to writing this, I would be recommending Jumanji for a home viewing. However, due to some great box office success, it's still kicking in theaters. So....go see it if you haven't already! I give it a solid 90.
Bob Mann (459 KP) rated Jack Reacher: Never Go Back (2016) in Movies
Sep 29, 2021
I’m a big fan of Tom Cruise. He is a real old-fashioned film star, generous with his fans on the red carpet and with real star power at the box office. And I can happily sit down in front of just about any one of his DVD’s time and time again and still enjoy it. Unlike many critics, I even enjoyed his last outing as Jack Reacher.
Unfortunately, and it pains me to say this but, his latest outing – “Jack Reacher: Never Go Back” – is a bit dull.
Lee Child’s Reacher has many years before turned his back on his military past and wanders the country as a drifter righting wrongs outside of the law. In this film, his military past again makes a major (“No, ex-Major”) intrusion into his life. Potential love interest Major Susan Turner (Colbie Smulders, from the “Avengers” world) is arrested on trumped-up espionage charges and Cruise sets out to clear her name. Along the way he accidentally (and rather too conveniently for the plot) discovers that a paternity suit has been filed against him and Reacher confronts the rebellious and light-fingered teenager Samantha (Danika Yarosh, aged 18 playing 15).
Unfortunately the big-cheeses involved in the international arms skulduggery are determined to tie up each and every loose end in their intrigue, and that includes Reacher, Turner and young Samantha by association. Needless to say, the villains – led by a one-man killing machine (Patrick Heusinger) – haven’t counted on Reacher’s ‘particular set of skills’.
My problem with the film (after an entertaining opening) is that the screenplay lumbers from standard thriller set-piece to standard thriller set-piece in a highly predictable way. It’s as if the scripts from 20 different films have been stuck in a blender. Shadowy arms dealing shenanigans: check; Cute teenager in peril: check; Gun fight on a dockside: check; Rooftop chase: check.
Are all the individual set-pieces decently done? Yes, sure. But the combination of these bits of action tapas really don’t add up to a satisfying meal. The story arc is almost non-existent as there is no suspense in the ‘investigation’: the plot is all pretty well laid out for you.
Where there is some fun to be had is in the play-off between the born-leader Reacher and the born-leader Turner, both trying to be top-dog in the decision making. The romantic connection between the leads seems almost plausible despite their 20 (TWENTY!) year age difference: this is more down to how incredibly good Cruise still looks at age 54 (damn him!). Turner makes a good female role-model right up to the point where there is a confrontation in a hotel room and Turner backs down: despite Cruise being the “hero” it would have been nice for female equality for this face-off to have gone the other way.
The director is Edward Zwick, who helmed Cruise’s more interesting movie “The Last Samurai”.
The trailer started off well and then progressed into general mediocrity. Unfortunately – for me at least – the film lived up to the trailer. Watchable, but not memorable.
Unfortunately, and it pains me to say this but, his latest outing – “Jack Reacher: Never Go Back” – is a bit dull.
Lee Child’s Reacher has many years before turned his back on his military past and wanders the country as a drifter righting wrongs outside of the law. In this film, his military past again makes a major (“No, ex-Major”) intrusion into his life. Potential love interest Major Susan Turner (Colbie Smulders, from the “Avengers” world) is arrested on trumped-up espionage charges and Cruise sets out to clear her name. Along the way he accidentally (and rather too conveniently for the plot) discovers that a paternity suit has been filed against him and Reacher confronts the rebellious and light-fingered teenager Samantha (Danika Yarosh, aged 18 playing 15).
Unfortunately the big-cheeses involved in the international arms skulduggery are determined to tie up each and every loose end in their intrigue, and that includes Reacher, Turner and young Samantha by association. Needless to say, the villains – led by a one-man killing machine (Patrick Heusinger) – haven’t counted on Reacher’s ‘particular set of skills’.
My problem with the film (after an entertaining opening) is that the screenplay lumbers from standard thriller set-piece to standard thriller set-piece in a highly predictable way. It’s as if the scripts from 20 different films have been stuck in a blender. Shadowy arms dealing shenanigans: check; Cute teenager in peril: check; Gun fight on a dockside: check; Rooftop chase: check.
Are all the individual set-pieces decently done? Yes, sure. But the combination of these bits of action tapas really don’t add up to a satisfying meal. The story arc is almost non-existent as there is no suspense in the ‘investigation’: the plot is all pretty well laid out for you.
Where there is some fun to be had is in the play-off between the born-leader Reacher and the born-leader Turner, both trying to be top-dog in the decision making. The romantic connection between the leads seems almost plausible despite their 20 (TWENTY!) year age difference: this is more down to how incredibly good Cruise still looks at age 54 (damn him!). Turner makes a good female role-model right up to the point where there is a confrontation in a hotel room and Turner backs down: despite Cruise being the “hero” it would have been nice for female equality for this face-off to have gone the other way.
The director is Edward Zwick, who helmed Cruise’s more interesting movie “The Last Samurai”.
The trailer started off well and then progressed into general mediocrity. Unfortunately – for me at least – the film lived up to the trailer. Watchable, but not memorable.
Darren (64 KP) rated Midnight Run (1988) in Movies
Oct 28, 2019
An under-rated Masterpiece
Midnight Run is an Action/Comedy masterpiece.
A modest hit at the box office way back in 1988, Midnight Run, Is the perfect buddy buddy movie. Robert De NIro stars as Jack Walsh, an ex Chicago cop turned bounty hunter, who is hire by his slimy bail bondsman Eddie Moscone (played by Joe Pantoliano) to bring in Jonathan Mardukas aka The Duke ~(fantastically played by Charles Grodin) a former mafia accountant who has jumped bail and is wanted by the FBI and the Mafia themselves.
Walsh succeeds in easily finding The Duke in New York which embarrasses the FBI. Walsh plans to bring back "The Duke" on a plane but, An incident on the plane leads Jack having just 5 days to travel cross country to bring in Mardukas from New York.
Moscone, not sure that Walsh can deliver Mardukas in 5 days, hires another bounty hunter Marvin Dorfler ( John Ashton) to take Mardukas from Walsh. Not only is Marvin trying to Mardukas for a payday but Walsh also has FBI agent Alonzo Mosely (Yaphet Kotto) on his tail so that they can bring him in.
On top of all of that, Mafia Boss Jimmy Serrano (The late great Dennis Farina) has his guys hunting Walsh and Mardukas so, they can have them dead before reaching LA as Mardukas was Jimmy's accountant and has damning evidence which can land Jimmy and his pals in prison for a very long time.
I really can't say enough good things about Midnight Run. Never at any point do you get bored or fed up of this film. In fact, at 2hrs and 6mins i wished it had gone on a little more.
How many films can you say that about?
De Niro and Grodin play off each other wonderfully. Their relationship goes from hunter and hunted to a nicely played out bromance of mutual respect.
John Ashton as Marvin, always thinking he's one step ahead of Walsh when he is actually one step behind. Joe Pantoliano is a fine character actor and here once again, As Eddie Moscone he plays slimy brilliantly. Yaphet Kotto never puts in a bad performance and finally, Dennis Farina as Jimmy Serrano has some of the best lines in the film.
Martin Brest delivers an absolute all time classic as director. It's a shame that after Gigli he decided to never direct again. Understandable i suppose because of the reviews but, Lets not forget he did bring us Beverley Hills Cop and Scent of A Woman and only ever directed 9 films in his career.
As for the 18 rating, That was down to the language! There are a lot of FUCKS in this film and it really isn't a violent film.
If you have not seen it, I implore you to take a chance! I promise you will not be disappointed.
A modest hit at the box office way back in 1988, Midnight Run, Is the perfect buddy buddy movie. Robert De NIro stars as Jack Walsh, an ex Chicago cop turned bounty hunter, who is hire by his slimy bail bondsman Eddie Moscone (played by Joe Pantoliano) to bring in Jonathan Mardukas aka The Duke ~(fantastically played by Charles Grodin) a former mafia accountant who has jumped bail and is wanted by the FBI and the Mafia themselves.
Walsh succeeds in easily finding The Duke in New York which embarrasses the FBI. Walsh plans to bring back "The Duke" on a plane but, An incident on the plane leads Jack having just 5 days to travel cross country to bring in Mardukas from New York.
Moscone, not sure that Walsh can deliver Mardukas in 5 days, hires another bounty hunter Marvin Dorfler ( John Ashton) to take Mardukas from Walsh. Not only is Marvin trying to Mardukas for a payday but Walsh also has FBI agent Alonzo Mosely (Yaphet Kotto) on his tail so that they can bring him in.
On top of all of that, Mafia Boss Jimmy Serrano (The late great Dennis Farina) has his guys hunting Walsh and Mardukas so, they can have them dead before reaching LA as Mardukas was Jimmy's accountant and has damning evidence which can land Jimmy and his pals in prison for a very long time.
I really can't say enough good things about Midnight Run. Never at any point do you get bored or fed up of this film. In fact, at 2hrs and 6mins i wished it had gone on a little more.
How many films can you say that about?
De Niro and Grodin play off each other wonderfully. Their relationship goes from hunter and hunted to a nicely played out bromance of mutual respect.
John Ashton as Marvin, always thinking he's one step ahead of Walsh when he is actually one step behind. Joe Pantoliano is a fine character actor and here once again, As Eddie Moscone he plays slimy brilliantly. Yaphet Kotto never puts in a bad performance and finally, Dennis Farina as Jimmy Serrano has some of the best lines in the film.
Martin Brest delivers an absolute all time classic as director. It's a shame that after Gigli he decided to never direct again. Understandable i suppose because of the reviews but, Lets not forget he did bring us Beverley Hills Cop and Scent of A Woman and only ever directed 9 films in his career.
As for the 18 rating, That was down to the language! There are a lot of FUCKS in this film and it really isn't a violent film.
If you have not seen it, I implore you to take a chance! I promise you will not be disappointed.
Gareth von Kallenbach (980 KP) rated King Kong (2005) in Movies
Aug 14, 2019
Following up the box office and Oscar success of the Lord of the Rings Trilogy is an undertaking that is sure to have its dangers. Expectations of the fans notwithstanding, the ability to recapture the magic of the trilogy could be akin to capturing lightning in a bottle. When it was announced that Peter Jackson would follow his Oscar success by doing yet another adaptation of King Kong, there were plenty of questions amidst the excitement.
When an earlier remake was a critical and commercial bomb, “Would Jackson be able to do justice to one of the all time classics?” was one of the biggest questions. When it was announced that comedian Jack Black would be in the film, people began to wonder what Jackson had brewing. Black, as well as Academy Award winner Adrian Brody were seen as offbeat choices. As the release date for the film neared, so did speculation over the look of the film, the running time, and its decision to follow the screenplay of the original rather than adapt to a modern setting.
The film follows a filmmaker named Carl Denham (Jack Black), who in an act of desperation flees New York for a mysterious and uncharted island in an attempt to finish his latest movie before the studio can shut him down. Amidst the backdrop of the Great Depression, it is clear that Denham knows that failure now could be the end of his livelihood and his long term future. As he embarks on his fly by night production, Denham encounters Ann Darrow (Naomi Watts), a recently unemployed Vaudeville performer who is enticed into the film in the hopes of meeting its writer Jack Driscoll (Adrian Brody). It seems that Ann has long coveted a part in Driscoll’s plays and hopes that by meeting him, she will obtain her long sought after audition.
With the cops and studio hot on their heels, the cast and crew board a tramp steamer named “The Venture” as they set off for the mysterious island that is known only to Denham via a mysterious map he obtained through methods unknown.
As the voyage unwinds, not only does Denham get the chance to film segments of the film, but Ann and a stranded Jack find themselves becoming an item. Jack is inspired by Ann, and he works like a man inspired turning out page after page of material for various projects which he hopes Ann will star.
Eventually the ship finds its way to the mysterious Skull Island surrounded in fog, and the crew venture ashore to take in the bizarre and exotic land that has previously been unexplored. Upon finding a fortified wall and settlement the crew has a run in with some dangerous natives which in turn leads to Ann being kidnapped and offered up sacrificial style to a gigantic creature the Islanders refer to as Kong. Undaunted, Jack and the crew set off to rescue Ann while Denham shoots footage along the way, as the island offers visuals the likes of which have never been seen by mankind.
Along the way, the crew encounters deadly creatures and obstacles at every turn, as does Ann who plays a dangerous game of cat and mouse with Kong as she comes to grips with her situation. Kong is taken with the lovely Ann and protects her against numerous dangers including a pack of Tyrannosauruses in one of the film’s best action sequences.
Of course few will be surprised at the final act of the film so I will leave it to say that the fish out of water nature of the previous versions remains intact as Kong finds himself dealing with an urban jungle which leads to a spectacular finale atop the Empire State Building.
In many ways Jackson’s film is three separate films. The first hour of the film is an interesting and, at times witty, character piece where the lead characters assemble. The look of the city is amazing, making it very clear that enormous amounts of effort went into crafting the look of Depression Era New York, and to remind the audience that Prohibition was also in effect. The interplay between the characters is decent.Black does standout work as the slick Denham, as does Watts as the wholesome and lovable Ann.
The second hour of the film is the special effects showcase where the mysteries of Skull Island and Kong are shown complete with all manner of CGI creatures and action sequences. While most of them are well staged, I could not help but note that on more than one occasion the CGI backdrops did not match up well with their live action counterparts. There is one scene of a stampede where it looked like the actors had been drawn in and that they were running in place as they clearly did not mesh with the spectacle behind them.
Throughout the film this occurrence happened more and more which really had me wondering if the effects house was overtaxed. A film with a budget reportedly over 100 million should not have these technical issues. Thankfully Kong himself is a wonder, with everything from his expressive eyes and facial features, captured in a remarkable way. It is just a shame that the other effects did not get the same treatment as the films namesake, as he truly is a site to behold. Andy Serkis who did the character mannerisms for the animators program did a phenomenal job. The movements of Kong progress with a strength and agility that bellies a simian rather than a skilled performer.
I do not want it to sound as if I did not enjoy the film, as much of the film worked very well, technical issues aside. What my biggest issue with the film was that at over 3 Hours, it was far too long for the material to support. We get numerous scenes of Ann and Kong flirting, bonding, fighting, running, and more. What is cute the first couple of times becomes dull the more it is repeated. It is obvious that they have a bond; we do not need to see it over and over ad nauseum to get the message. Also, the character development and interplay between the characters that was so effective in the first part of the film all but vanishes amidst the effects.
The finale of the film is a rousing success as the daring visuals and camera angles are very inventive and thrilling. This segment with its fury of motion and sound will have viewers on the edge of their seat as it certainly delivers the goods. The biggest issue again is having to sit through three hours to get to it. Anyone who has seen either version of Kong knows exactly where the film is heading, and after two hours of screen time I found myself wishing they would just hurry up and get to it.
Jackson has crafted a very entertaining and lavish film that packs its share of thrills. What the film needed is someone to reign in Jackson and his boundless enthusiasm for the project to remind him that sometimes less is more. Jackson has said that he had over 4 hours worth of material filmed but trimmed it down to its current running time. When the film is almost twice the running time of the original, I found myself thinking that minus 45 minutes the same story could have been told.
Despite the flaws and the hype, King Kong is a solid film that for me was more satisfying in many ways than any of the “Rings” films. While not quite a masterpiece, this Kong is worthy of the name and pedigree of the timeless original that inspired it.
When an earlier remake was a critical and commercial bomb, “Would Jackson be able to do justice to one of the all time classics?” was one of the biggest questions. When it was announced that comedian Jack Black would be in the film, people began to wonder what Jackson had brewing. Black, as well as Academy Award winner Adrian Brody were seen as offbeat choices. As the release date for the film neared, so did speculation over the look of the film, the running time, and its decision to follow the screenplay of the original rather than adapt to a modern setting.
The film follows a filmmaker named Carl Denham (Jack Black), who in an act of desperation flees New York for a mysterious and uncharted island in an attempt to finish his latest movie before the studio can shut him down. Amidst the backdrop of the Great Depression, it is clear that Denham knows that failure now could be the end of his livelihood and his long term future. As he embarks on his fly by night production, Denham encounters Ann Darrow (Naomi Watts), a recently unemployed Vaudeville performer who is enticed into the film in the hopes of meeting its writer Jack Driscoll (Adrian Brody). It seems that Ann has long coveted a part in Driscoll’s plays and hopes that by meeting him, she will obtain her long sought after audition.
With the cops and studio hot on their heels, the cast and crew board a tramp steamer named “The Venture” as they set off for the mysterious island that is known only to Denham via a mysterious map he obtained through methods unknown.
As the voyage unwinds, not only does Denham get the chance to film segments of the film, but Ann and a stranded Jack find themselves becoming an item. Jack is inspired by Ann, and he works like a man inspired turning out page after page of material for various projects which he hopes Ann will star.
Eventually the ship finds its way to the mysterious Skull Island surrounded in fog, and the crew venture ashore to take in the bizarre and exotic land that has previously been unexplored. Upon finding a fortified wall and settlement the crew has a run in with some dangerous natives which in turn leads to Ann being kidnapped and offered up sacrificial style to a gigantic creature the Islanders refer to as Kong. Undaunted, Jack and the crew set off to rescue Ann while Denham shoots footage along the way, as the island offers visuals the likes of which have never been seen by mankind.
Along the way, the crew encounters deadly creatures and obstacles at every turn, as does Ann who plays a dangerous game of cat and mouse with Kong as she comes to grips with her situation. Kong is taken with the lovely Ann and protects her against numerous dangers including a pack of Tyrannosauruses in one of the film’s best action sequences.
Of course few will be surprised at the final act of the film so I will leave it to say that the fish out of water nature of the previous versions remains intact as Kong finds himself dealing with an urban jungle which leads to a spectacular finale atop the Empire State Building.
In many ways Jackson’s film is three separate films. The first hour of the film is an interesting and, at times witty, character piece where the lead characters assemble. The look of the city is amazing, making it very clear that enormous amounts of effort went into crafting the look of Depression Era New York, and to remind the audience that Prohibition was also in effect. The interplay between the characters is decent.Black does standout work as the slick Denham, as does Watts as the wholesome and lovable Ann.
The second hour of the film is the special effects showcase where the mysteries of Skull Island and Kong are shown complete with all manner of CGI creatures and action sequences. While most of them are well staged, I could not help but note that on more than one occasion the CGI backdrops did not match up well with their live action counterparts. There is one scene of a stampede where it looked like the actors had been drawn in and that they were running in place as they clearly did not mesh with the spectacle behind them.
Throughout the film this occurrence happened more and more which really had me wondering if the effects house was overtaxed. A film with a budget reportedly over 100 million should not have these technical issues. Thankfully Kong himself is a wonder, with everything from his expressive eyes and facial features, captured in a remarkable way. It is just a shame that the other effects did not get the same treatment as the films namesake, as he truly is a site to behold. Andy Serkis who did the character mannerisms for the animators program did a phenomenal job. The movements of Kong progress with a strength and agility that bellies a simian rather than a skilled performer.
I do not want it to sound as if I did not enjoy the film, as much of the film worked very well, technical issues aside. What my biggest issue with the film was that at over 3 Hours, it was far too long for the material to support. We get numerous scenes of Ann and Kong flirting, bonding, fighting, running, and more. What is cute the first couple of times becomes dull the more it is repeated. It is obvious that they have a bond; we do not need to see it over and over ad nauseum to get the message. Also, the character development and interplay between the characters that was so effective in the first part of the film all but vanishes amidst the effects.
The finale of the film is a rousing success as the daring visuals and camera angles are very inventive and thrilling. This segment with its fury of motion and sound will have viewers on the edge of their seat as it certainly delivers the goods. The biggest issue again is having to sit through three hours to get to it. Anyone who has seen either version of Kong knows exactly where the film is heading, and after two hours of screen time I found myself wishing they would just hurry up and get to it.
Jackson has crafted a very entertaining and lavish film that packs its share of thrills. What the film needed is someone to reign in Jackson and his boundless enthusiasm for the project to remind him that sometimes less is more. Jackson has said that he had over 4 hours worth of material filmed but trimmed it down to its current running time. When the film is almost twice the running time of the original, I found myself thinking that minus 45 minutes the same story could have been told.
Despite the flaws and the hype, King Kong is a solid film that for me was more satisfying in many ways than any of the “Rings” films. While not quite a masterpiece, this Kong is worthy of the name and pedigree of the timeless original that inspired it.
Matthew Krueger (10051 KP) rated Son of Frankenstein (1939) in Movies
Oct 9, 2020
Boris Karloff (3 more)
Bela Lugosi
Basil Rathbone
Lionel Atwill
The Monster's Alive Once More
Son of Frankenstein- is a great continuation of the frankenstein franchise. Boris Karloff os back as the monster but this would be the last time he would play the monster in the universal monster universe. Its sad cause when you think of frankenstein, you think of Boris.
The plot: Baron Wolf von Frankenstein (Basil Rathbone) is determined to prove the legitimacy of his father's scientific work, thus rescuing the family name from disgrace. With the help of Ygor (Bela Lugosi), a grave robber, Wolf successfully reanimates the monster (Boris Karloff) his father originally brought back from the dead. But when several villagers are killed mysteriously, Wolf must find the culprit in order to vindicate his creation, or face the possibility that he may be responsible.
Universal's declining horror output was revitalized with the enormously successful Son of Frankenstein, in which the studio cast both stars.
After the ousting of the Laemmles from Universal and the British embargo on American horror films in 1936, Karloff and Lugosi found themselves in a career slump. For two years, horror films were out of favor at Universal Studios. On April 5, 1938, a nearly bankrupt theater in Los Angeles staged a desperate stunt by showing Frankenstein, Dracula and King Kong as a triple feature. The impressive box office results led to similarly successful revivals nationwide. Universal soon decided to make a big-budget Frankenstein sequel.
Son of Frankenstein marks changes in the Monster's character from Bride of Frankenstein. The Monster is duller and no longer speaks, explained by being injured by a lightning strike. The monster also wore a giant fur vest, not seen in the first two Frankenstein films, perhaps to add color to his appearance when the film was planned to be shot in color. He is fond of Ygor and obeys his orders. The Monster shows humanity in three scenes: first when he is disturbed by his image in a mirror, especially when compared to the Baron. Next, when he discovers Ygor's body, letting out a powerful scream, and later when he contemplates killing Peter but changes his mind. While the first two films were clearly set in the 1900s, this film appears to take place in the 1930s, judging by the appearance of a modern automobile.
Peter Lorre was originally cast as Baron Wolf von Frankenstein, but he had to leave the production when he became ill. Replacing Lorre was Basil Rathbone, who had scored a major triumph as Sir Guy of Gisbourne in The Adventures of Robin Hood, released the previous year.
According to the documentary Universal Horror (1998), the film was intended to be shot in color and some Technicolor test footage was filmed, but for artistic or budgetary reasons the plan was abandoned. No color test footage is known to survive, but a clip from a Kodachrome color home movie filmed at the studio and showing Boris Karloff in the green monster makeup, clowning around with makeup artist Jack Pierce, is included in the same documentary.
Its a excellent universal monster film.
The plot: Baron Wolf von Frankenstein (Basil Rathbone) is determined to prove the legitimacy of his father's scientific work, thus rescuing the family name from disgrace. With the help of Ygor (Bela Lugosi), a grave robber, Wolf successfully reanimates the monster (Boris Karloff) his father originally brought back from the dead. But when several villagers are killed mysteriously, Wolf must find the culprit in order to vindicate his creation, or face the possibility that he may be responsible.
Universal's declining horror output was revitalized with the enormously successful Son of Frankenstein, in which the studio cast both stars.
After the ousting of the Laemmles from Universal and the British embargo on American horror films in 1936, Karloff and Lugosi found themselves in a career slump. For two years, horror films were out of favor at Universal Studios. On April 5, 1938, a nearly bankrupt theater in Los Angeles staged a desperate stunt by showing Frankenstein, Dracula and King Kong as a triple feature. The impressive box office results led to similarly successful revivals nationwide. Universal soon decided to make a big-budget Frankenstein sequel.
Son of Frankenstein marks changes in the Monster's character from Bride of Frankenstein. The Monster is duller and no longer speaks, explained by being injured by a lightning strike. The monster also wore a giant fur vest, not seen in the first two Frankenstein films, perhaps to add color to his appearance when the film was planned to be shot in color. He is fond of Ygor and obeys his orders. The Monster shows humanity in three scenes: first when he is disturbed by his image in a mirror, especially when compared to the Baron. Next, when he discovers Ygor's body, letting out a powerful scream, and later when he contemplates killing Peter but changes his mind. While the first two films were clearly set in the 1900s, this film appears to take place in the 1930s, judging by the appearance of a modern automobile.
Peter Lorre was originally cast as Baron Wolf von Frankenstein, but he had to leave the production when he became ill. Replacing Lorre was Basil Rathbone, who had scored a major triumph as Sir Guy of Gisbourne in The Adventures of Robin Hood, released the previous year.
According to the documentary Universal Horror (1998), the film was intended to be shot in color and some Technicolor test footage was filmed, but for artistic or budgetary reasons the plan was abandoned. No color test footage is known to survive, but a clip from a Kodachrome color home movie filmed at the studio and showing Boris Karloff in the green monster makeup, clowning around with makeup artist Jack Pierce, is included in the same documentary.
Its a excellent universal monster film.
50 Traditional Toys to Make: Easy-to-Follow Projects to Create for and with Kids
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This title contains easy-to-follow projects to create for and with kids. How to make a wide range of...
BankofMarquis (1832 KP) rated Doctor Sleep (2019) in Movies
Oct 5, 2020
Better Than I Expected
Over the years, there has been "cash grab" sequels thrown out onto an unsuspecting public years after the beloved original film has settled into the warm memories of time. Films like THE TWO JAKES (sequel to CHINATOWN), THE EVENING STAR (sequel to TERMS OF ENDEARMENT) and, most notably, THE GODFATHER III (sequel to the first two, terrific GODFATHER films) all were filmed more than 10 years after the original classic and quickly died at the box office.
Thus, I steered very clear of the sequel to the great Stanley Kubrick film THE SHINING (based on the novel by Stephen King). This time it was Ewan MacGregor as a grown up Danny Torrance, otherwise known as DOCTOR SLEEP. True, this one was based on Stephen King's sequel novel, but still, I avoided it.
Well...2020 being 2020...I was searching for something "new" to watch and tripped across this, so thought "what the heck, I'll give it a go"...
And...I was pleasantly surprised - Doctor Sleep is actually a pretty good flick, capturing the flavor of the original while becoming an entity of it's own.
Doctor Sleep tells the tale of an adult Danny Torrance (Ewan MacGregor) the grown-up son of the Jack Nicholson character (Jack Torrance) in THE SHINING. Danny struggles to come to grips with what happened at the Overlook Hotel - and with his ability to "Shine".
As written and directed by Mike Flanagan (GERALD'S GAME), Doctor Sleep serves as a creepy "chase flick" and a homage to The Shining at the same time. Flanagan does a decent job of giving us motivations and meanings to Danny's own personal journey while weaving in a plausible, effective use of the characters and locations of The Shining.
Part of this success rests on the castings of actors to recreate the roles - and feelings - of characters from the original Stanley Kubrick film. Alex Essoe (Wendy Torrance), Carl Lumbly (Dick Halloran) and Henry Thomas - yes the kid from ET - (as "the bartender", who is clearly Jack Torrance) all bring the essence of the previous film's characters to the events while carving out their own versions of the characters. The same can be said for Flanagan's use (re-use?) of the Overlook Hotel locations and stylings. From the patterned carpet to the typewriter in the lobby to the elevators spewing blood to the hole in the bathroom door that the axe went through - all added to the creepy eeriness of "I've been here before".
But, I think Flanagan was more interested in that part of the story/film than the other part, for faring less successfully is Danny's journey. Fault cannot be made of Ewan MacGregor's performance, he is very good, considering the clunky dialogue he is given, and he gives Danny a haunted feeling, simultaneously chasing and running from his past. But Flanagan really skims over this part of the film - why/how Danny becomes the titular "Doctor Sleep" is almost in a "blink and you'll miss it" moment. While I like the pacing of this film, I think it could have used a little more care and feeding on the front end, to help us understand/invest in Danny's journey more.
Also not faring as well as it could have is the bad guys in this film - a group of characters called THE KNOT. Flanagan enlists a "decent enough" group of character actors for this group though, I think, this film pulls it's punches with these villains and it suffers from it. The leader of the group is "Rose The Hat", played by Rebecca Ferguson (THE GIRL ON THE TRAIN) and she is charismatic (as always) and draws you into her world, and her group. She is very seductive in this role - and that is really good. HOWEVER, when it is time for this "spider" to pounce on her prey, she just doesn't have the intimidation and fear factor, so I was never really scared or unnerved by her.
But, as far as sequels go, this one holds up very well and does a very good job of being an homage to the original film while driving it's own story - and characters - along.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Thus, I steered very clear of the sequel to the great Stanley Kubrick film THE SHINING (based on the novel by Stephen King). This time it was Ewan MacGregor as a grown up Danny Torrance, otherwise known as DOCTOR SLEEP. True, this one was based on Stephen King's sequel novel, but still, I avoided it.
Well...2020 being 2020...I was searching for something "new" to watch and tripped across this, so thought "what the heck, I'll give it a go"...
And...I was pleasantly surprised - Doctor Sleep is actually a pretty good flick, capturing the flavor of the original while becoming an entity of it's own.
Doctor Sleep tells the tale of an adult Danny Torrance (Ewan MacGregor) the grown-up son of the Jack Nicholson character (Jack Torrance) in THE SHINING. Danny struggles to come to grips with what happened at the Overlook Hotel - and with his ability to "Shine".
As written and directed by Mike Flanagan (GERALD'S GAME), Doctor Sleep serves as a creepy "chase flick" and a homage to The Shining at the same time. Flanagan does a decent job of giving us motivations and meanings to Danny's own personal journey while weaving in a plausible, effective use of the characters and locations of The Shining.
Part of this success rests on the castings of actors to recreate the roles - and feelings - of characters from the original Stanley Kubrick film. Alex Essoe (Wendy Torrance), Carl Lumbly (Dick Halloran) and Henry Thomas - yes the kid from ET - (as "the bartender", who is clearly Jack Torrance) all bring the essence of the previous film's characters to the events while carving out their own versions of the characters. The same can be said for Flanagan's use (re-use?) of the Overlook Hotel locations and stylings. From the patterned carpet to the typewriter in the lobby to the elevators spewing blood to the hole in the bathroom door that the axe went through - all added to the creepy eeriness of "I've been here before".
But, I think Flanagan was more interested in that part of the story/film than the other part, for faring less successfully is Danny's journey. Fault cannot be made of Ewan MacGregor's performance, he is very good, considering the clunky dialogue he is given, and he gives Danny a haunted feeling, simultaneously chasing and running from his past. But Flanagan really skims over this part of the film - why/how Danny becomes the titular "Doctor Sleep" is almost in a "blink and you'll miss it" moment. While I like the pacing of this film, I think it could have used a little more care and feeding on the front end, to help us understand/invest in Danny's journey more.
Also not faring as well as it could have is the bad guys in this film - a group of characters called THE KNOT. Flanagan enlists a "decent enough" group of character actors for this group though, I think, this film pulls it's punches with these villains and it suffers from it. The leader of the group is "Rose The Hat", played by Rebecca Ferguson (THE GIRL ON THE TRAIN) and she is charismatic (as always) and draws you into her world, and her group. She is very seductive in this role - and that is really good. HOWEVER, when it is time for this "spider" to pounce on her prey, she just doesn't have the intimidation and fear factor, so I was never really scared or unnerved by her.
But, as far as sequels go, this one holds up very well and does a very good job of being an homage to the original film while driving it's own story - and characters - along.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Nadya R (9 KP) rated The Tea Rose in Books
Jul 2, 2018
Fiona is 17 years old girl who works in Burton's tea factory. She leads a life of Irish emigrant with her big family. There is Joe as well. The next door boy she is inlove with and also he is inlove with her since they were children. The only light in their light is their cacao box. It consist all of their savings set aside to support their dream - to have their own shop. When one day everything broke down. His father died in accident. Joe, the men she always love, is forced to marry to other woman.
London's atmosphere is so vivdly described. With only two word Donnally took us into her universe. Everything is so bright. It's make you feel the smell of the tea into English's humid air. You can hear Joe, who call you to go and buy some of his fruits and veggies. This is also the time of Jack the Ripper. Series of brutally killed women spread the fear trough the people in Whitechapel. Trying to take the ill baby to the doctor, Fiona's mother Kate became a witness of another Jack's murder and for that she paid with her life. The baby died a couple of days after her mom. Fiona's bigger brother Charlie disappeared, heart-broken because of his mother death. And Fiona end up with her little brother. But when their life is threatened, they catch the first ship to New York. There from poor little girl without a family, she become one of the richest women in New York.
Unputdownable! Totally deserve to be read. All this tragedy. Her misfortune love with Joe. Every time when they are going to meet I became so happy, only to be disappointed because they missed out the chance. Its a huge book with its 800 pages (Bulgarian edition), but they aren't enough for me. I wanted to learn more about Fiona's success. How she became this powerful woman. I missed this ten years that aren't described in the book.
Amazing book that kept me awake three nights in a row.
London's atmosphere is so vivdly described. With only two word Donnally took us into her universe. Everything is so bright. It's make you feel the smell of the tea into English's humid air. You can hear Joe, who call you to go and buy some of his fruits and veggies. This is also the time of Jack the Ripper. Series of brutally killed women spread the fear trough the people in Whitechapel. Trying to take the ill baby to the doctor, Fiona's mother Kate became a witness of another Jack's murder and for that she paid with her life. The baby died a couple of days after her mom. Fiona's bigger brother Charlie disappeared, heart-broken because of his mother death. And Fiona end up with her little brother. But when their life is threatened, they catch the first ship to New York. There from poor little girl without a family, she become one of the richest women in New York.
Unputdownable! Totally deserve to be read. All this tragedy. Her misfortune love with Joe. Every time when they are going to meet I became so happy, only to be disappointed because they missed out the chance. Its a huge book with its 800 pages (Bulgarian edition), but they aren't enough for me. I wanted to learn more about Fiona's success. How she became this powerful woman. I missed this ten years that aren't described in the book.
Amazing book that kept me awake three nights in a row.
Matthew Krueger (10051 KP) rated Targets (1968) in Movies
Jun 18, 2020
Targeting Frankenstein: A Horror Icon
Targets- is a very suspenseful film that stars a old boris Karloff. His performance in this film is different. Usually he is type-cast in a horror movie. Targets is not the cast, its a more serious role for Karloff and I liked it alot. He is dramatic in Targets. It was Karloff's last appearance in a marjor american film, before he passed away in 1968.
The plot: After unhinged Vietnam vet Bobby Thompson (Tim O'Kelly) kills his wife and mother, he goes on a brutal shooting spree. Starting at an oil refinery, he evades the police and continues his murderous outing at a drive-in movie theater, where Byron Orlock (Boris Karloff), a retiring horror film icon, is making a promotional appearance. Before long, Orlock, a symbol of fantastical old-fashioned scares, faces off against Thompson, a remorseless psychopath rooted in a harsh modern reality.
Even Karloff's charcter is a retired horror film actor, so he can never get away from the horror genre/type-casting.
In the film's finale at a drive-in theater, Orlok – the old-fashioned, traditional screen monster who always obeyed the rules – confronts the new, realistic, nihilistic late-1960s "monster" in the shape of a clean-cut, unassuming multiple murderer.
Bogdanovich got the chance to make Targets because Boris Karloff owed studio head Roger Corman two days' work. Corman told Bogdanovich he could make any film he liked provided he used Karloff and stayed under budget. In addition, Bogdanovich had to use clips from Corman's Napoleonic-era thriller The Terror in the movie. The clips from The Terror feature Jack Nicholson and Boris Karloff. A brief clip of Howard Hawks' 1931 film The Criminal Code featuring Karloff was also used.
American International Pictures offered to release, but Bogdanovich wanted to try to see if the film could get a deal with a major studio. It was seen by Robert Evans of Paramount who bought it for $150,000, giving Corman an instant profit on the movie before it was even released.
Although the film was written and production photography completed in late 1967, it was released after the assassinations of Martin Luther King and Robert F. Kennedy in early 1968 and thus had some topical relevance to then-current events. Nevertheless, it was not very successful at the box office.
Quentin Tarantino later called it "the most political movie Corman ever made since The Intruder. And forty years later it’s still one of the strongest cries for gun control in American cinema. The film isn’t a thriller with a social commentary buried inside of it (the normal Corman model), it’s a social commentary with a thriller buried inside of it... It was one of the most powerful films of 1968 and one of the greatest directorial debuts of all time. And I believe the best film ever produced by Roger Corman.
Its a excellent mystery suspenseful thrilling starring Boris Karloff, last appearance in a marjor american film, before he passed away in 1968. A great film to end your career on.
The plot: After unhinged Vietnam vet Bobby Thompson (Tim O'Kelly) kills his wife and mother, he goes on a brutal shooting spree. Starting at an oil refinery, he evades the police and continues his murderous outing at a drive-in movie theater, where Byron Orlock (Boris Karloff), a retiring horror film icon, is making a promotional appearance. Before long, Orlock, a symbol of fantastical old-fashioned scares, faces off against Thompson, a remorseless psychopath rooted in a harsh modern reality.
Even Karloff's charcter is a retired horror film actor, so he can never get away from the horror genre/type-casting.
In the film's finale at a drive-in theater, Orlok – the old-fashioned, traditional screen monster who always obeyed the rules – confronts the new, realistic, nihilistic late-1960s "monster" in the shape of a clean-cut, unassuming multiple murderer.
Bogdanovich got the chance to make Targets because Boris Karloff owed studio head Roger Corman two days' work. Corman told Bogdanovich he could make any film he liked provided he used Karloff and stayed under budget. In addition, Bogdanovich had to use clips from Corman's Napoleonic-era thriller The Terror in the movie. The clips from The Terror feature Jack Nicholson and Boris Karloff. A brief clip of Howard Hawks' 1931 film The Criminal Code featuring Karloff was also used.
American International Pictures offered to release, but Bogdanovich wanted to try to see if the film could get a deal with a major studio. It was seen by Robert Evans of Paramount who bought it for $150,000, giving Corman an instant profit on the movie before it was even released.
Although the film was written and production photography completed in late 1967, it was released after the assassinations of Martin Luther King and Robert F. Kennedy in early 1968 and thus had some topical relevance to then-current events. Nevertheless, it was not very successful at the box office.
Quentin Tarantino later called it "the most political movie Corman ever made since The Intruder. And forty years later it’s still one of the strongest cries for gun control in American cinema. The film isn’t a thriller with a social commentary buried inside of it (the normal Corman model), it’s a social commentary with a thriller buried inside of it... It was one of the most powerful films of 1968 and one of the greatest directorial debuts of all time. And I believe the best film ever produced by Roger Corman.
Its a excellent mystery suspenseful thrilling starring Boris Karloff, last appearance in a marjor american film, before he passed away in 1968. A great film to end your career on.
Andy K (10821 KP) Nov 7, 2019
Versusyours (757 KP) Nov 7, 2019