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JT (287 KP) rated Street Kings (2008) in Movies
Mar 10, 2020
Street Kings follows the likes of Training Day and Harsh Crimes in dramatising the murky underworld of police corruption. In the hands of director David Ayer he’s scattered the narrative with gritty confetti. Pre John Wick, Keanu Reeves was still kicking ass and taking names – he is a shoot first ask questions later kind of guy – nothing new there then.
Reeves plays vodka-swilling undercover cop Tom Ludlow, who is still reeling from the death of his wife and has been implicated in the murder of an officer. Now he has to fight to clear his name with the help of Forest Whitaker.
Ayer is well suited to this genre having written the scripts for Training Day, End of Watch and Harsh Times, so he understands the complexities of the genre in order to deliver a fast paced story. Intercutting the action at the right times.
Of course corruption is not uncommon in fiction and there is always a group of officers hell bent on covering up as much as they can and disposing of as many people as they need to.
The introduction of Hugh Laurie as Captain James Biggs, a man who seems clean cut but is not to be trusted, is a solid addition, although I still seem him as the idiotic Prince Regent in the Blackadder series.
Reeves and Whitaker each turn in a decent performance and there is enough meat on the bone make this a intelligently paced thriller.
Reeves plays vodka-swilling undercover cop Tom Ludlow, who is still reeling from the death of his wife and has been implicated in the murder of an officer. Now he has to fight to clear his name with the help of Forest Whitaker.
Ayer is well suited to this genre having written the scripts for Training Day, End of Watch and Harsh Times, so he understands the complexities of the genre in order to deliver a fast paced story. Intercutting the action at the right times.
Of course corruption is not uncommon in fiction and there is always a group of officers hell bent on covering up as much as they can and disposing of as many people as they need to.
The introduction of Hugh Laurie as Captain James Biggs, a man who seems clean cut but is not to be trusted, is a solid addition, although I still seem him as the idiotic Prince Regent in the Blackadder series.
Reeves and Whitaker each turn in a decent performance and there is enough meat on the bone make this a intelligently paced thriller.
Bleak Expectations: The Story So Far
Mark Evans, Full Cast and Anthony Head
Book
The epic Victorian comedy includes all of Pip Bin's remarkable adventures as he battles his evil...
How Hard Can It Be?
Book
How Hard Can It Be? is the fourth hilarious volume in Jeremy Clarkson's The World According to...
Planetary Combination
Book
Planetary Combination picks up where Planetary Strength left off, explaining how the planetary...
Uchi: The Cookbook
Book
For chef Tyson Cole, sushi has always been more than just food; it's an expression of his love and...
ClareR (6256 KP) rated The Drowned City in Books
Apr 15, 2021
The Drowned City is the first book in a new series by Karen Maitland, and it bodes really well for the next book!
Jacobean England, where a year to the day after the failed Gunpowder Plot, a huge wave destroys much of Bristol, killing hundreds of people and destroying homes and businesses. This is a superstitious time, where the blame is put on witches and demons. And Catholics.
Daniel Pursglove is freed from Newgate jail where he has been imprisoned, suspected of witchcraft, by one of King James’ closest advisors, Charles FitzAlan. He is given the task of tracking down Spero Pettingar - the man who got away during the arrests of the Gunpowder Plot. He is suspected of going to Bristol to recruit supporters - namely Jesuits.
The descriptions of Newgate Prison are horrific - as are those of a destroyed Bristol. This is a really atmospheric book with some great descriptions. Not that you’d really want to be, but you can imagine yourself there, amidst the mud, filth and decay.
I really liked how the chapters flashed between Daniel and London, where we would see the King or Robert Cecil (a man who fascinates me!).
Daniel doesn’t seem to me to be the most accomplished investigator. Most of what he discovers he does by accident, but he does get results. Just not the ones he was necessarily asked to get.
I’m really looking forward to reading the next in this series, it really has piqued my interest!
Jacobean England, where a year to the day after the failed Gunpowder Plot, a huge wave destroys much of Bristol, killing hundreds of people and destroying homes and businesses. This is a superstitious time, where the blame is put on witches and demons. And Catholics.
Daniel Pursglove is freed from Newgate jail where he has been imprisoned, suspected of witchcraft, by one of King James’ closest advisors, Charles FitzAlan. He is given the task of tracking down Spero Pettingar - the man who got away during the arrests of the Gunpowder Plot. He is suspected of going to Bristol to recruit supporters - namely Jesuits.
The descriptions of Newgate Prison are horrific - as are those of a destroyed Bristol. This is a really atmospheric book with some great descriptions. Not that you’d really want to be, but you can imagine yourself there, amidst the mud, filth and decay.
I really liked how the chapters flashed between Daniel and London, where we would see the King or Robert Cecil (a man who fascinates me!).
Daniel doesn’t seem to me to be the most accomplished investigator. Most of what he discovers he does by accident, but he does get results. Just not the ones he was necessarily asked to get.
I’m really looking forward to reading the next in this series, it really has piqued my interest!
Bubba Gee (147 KP) rated Baby Driver (2017) in Movies
Jun 27, 2019
Driving, music and heists
Contains spoilers, click to show
I went onto this thinking it was just a film about a heist crew getaway driver, in truth it is much deeper.
Baby, a talented driver (played by Ansel Elgort) is a quirky likeable slightly weird character.
We quickly come to learn he is in debt to a crime boss Doc (played creepily by Kevin Spacey) for a mistake made several years earlier.
He is used as the driver for every one of Doc's planned heists with colourful criminals (played by Jon Bernthal, Jon Hamm, Eiza Gonzalez and Jamie Foxx), this is unusual as Doc changes the whole crew for each heist except for Baby whom is used again and again due to his driving talent.
From here there is lots of action and crime, we also however learn about Baby's difficult upbringing and love of music and how that all ties in with the movie.
There is of course the awkward introduction of a love interest Debora (played by Lily James). In the later scenes there is more crime, action and death with twists of revenge.
All in this is a complex and deeply moving take on a crime film where we find ourselves rooting for the main character and hoping he makes it, if he does or not, you will have to see for yourself.
The soundtrack is also very good.
Baby, a talented driver (played by Ansel Elgort) is a quirky likeable slightly weird character.
We quickly come to learn he is in debt to a crime boss Doc (played creepily by Kevin Spacey) for a mistake made several years earlier.
He is used as the driver for every one of Doc's planned heists with colourful criminals (played by Jon Bernthal, Jon Hamm, Eiza Gonzalez and Jamie Foxx), this is unusual as Doc changes the whole crew for each heist except for Baby whom is used again and again due to his driving talent.
From here there is lots of action and crime, we also however learn about Baby's difficult upbringing and love of music and how that all ties in with the movie.
There is of course the awkward introduction of a love interest Debora (played by Lily James). In the later scenes there is more crime, action and death with twists of revenge.
All in this is a complex and deeply moving take on a crime film where we find ourselves rooting for the main character and hoping he makes it, if he does or not, you will have to see for yourself.
The soundtrack is also very good.
Mark @ Carstairs Considers (2621 KP) rated Gone but Not Furgotten in Books
Aug 17, 2022 (Updated Aug 17, 2022)
Tail of Two Halves
Summer is in full swing, and that means Maddie James is busy with her cat café thanks to the tourists on Daybreak Island. However, when her friend Cass informs her of a potential cat hoarding situation, Maddie readily agrees to help. Sadly, when they arrive, they find Laurel at the bottom of her stairs. It appears that her cats tripped her, but Maddie starts to notice a few things that don’t make any sense. Can she figure out what happened?
This book can almost be divided into two parts. Unfortunately, the first half is rather weak. While a few threads of the mystery are set up, the focus is on rescuing the cats. Meanwhile, some of the characters, including Maddie, over react to what they find. Yes, the situation was bad, but their reactions were over the top. However, the book gets stronger in the second half as the mystery becomes front and center. There are some good twists and a logical solution even if a few pieces set up early don’t seem to quite be paid off. Also, a bit of character development is rushed. I do see that I’m in the minority in my reaction to this book, so if you are a fan of the series, give it a chance. But if you haven’t started it yet, try some of the earlier books before jumping in to this one.
This book can almost be divided into two parts. Unfortunately, the first half is rather weak. While a few threads of the mystery are set up, the focus is on rescuing the cats. Meanwhile, some of the characters, including Maddie, over react to what they find. Yes, the situation was bad, but their reactions were over the top. However, the book gets stronger in the second half as the mystery becomes front and center. There are some good twists and a logical solution even if a few pieces set up early don’t seem to quite be paid off. Also, a bit of character development is rushed. I do see that I’m in the minority in my reaction to this book, so if you are a fan of the series, give it a chance. But if you haven’t started it yet, try some of the earlier books before jumping in to this one.
David McK (3857 KP) rated Aliens (1986) in Movies
Jun 23, 2020 (Updated Mar 16, 2022)
The action (1 more)
Powerloader scene
James Cameron's sequel to Ridley Scott's 'Alien', set 57 years later and turning the 'haunted-house' setup of the original into a full-blown Vietnam war movie metaphor, with the sole survivor of the Nostromo, Ellen Ripley (a career best Sigourney Weaver) rescued and woken up from hypersleep by The Company, and convinced to return to the planet where she first encountered the Xenomorph, when they suddenly lose contact with the colonists on said planets.
The Extended Edition of the movie adds even more context, with the revelation that Ripley had a daughter who has since died, to the 'found family' at the heart of the narrative - especially between Newt and Ripley herself - while Bill Paxton has the honour(?) of becoming the only actor to be killed by a Predator, an Alien and a Terminator, as one of the (initially) cocksure Colonial Marines trapped behind enemy lines.
Top it off with the iconic final act (Ripley in a Powerloader Vs the Alien Queen) and some eminently quotable lines throughout:
"Game over, man! Game Over!!"
"They mostly come at night, mostly …"
"I say we take off and nuke the entire site from orbit. It's the only way to be sure"
"Get away from her, you b..."
And we have what most surely be one of the best sequels ever. Even, in my opinion, eclipsing the original.
It's just a pity it's all downhill from here ...
The Extended Edition of the movie adds even more context, with the revelation that Ripley had a daughter who has since died, to the 'found family' at the heart of the narrative - especially between Newt and Ripley herself - while Bill Paxton has the honour(?) of becoming the only actor to be killed by a Predator, an Alien and a Terminator, as one of the (initially) cocksure Colonial Marines trapped behind enemy lines.
Top it off with the iconic final act (Ripley in a Powerloader Vs the Alien Queen) and some eminently quotable lines throughout:
"Game over, man! Game Over!!"
"They mostly come at night, mostly …"
"I say we take off and nuke the entire site from orbit. It's the only way to be sure"
"Get away from her, you b..."
And we have what most surely be one of the best sequels ever. Even, in my opinion, eclipsing the original.
It's just a pity it's all downhill from here ...
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
