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Gareth von Kallenbach (965 KP) rated Atomic Blonde (2017) in Movies
Jul 11, 2019
The beginning of the end of the Cold War,1989. East and West Germany still separated by more than just a wall. An MI6 agent sent to retrieve a knock list two weeks prior has been killed and the list is missing. It contains information on every agent for each agency who have representation in Berlin. MI6 sends in Lorraine Broughton (Charlize Theron), specialist in intelligence collection and hand to hand combat. She would have to work with the section chief David Percival (James McAvoy) to retrieve the list before it falls into the hands of the competition.
Lorraine’s fight scenes, carefully choreographed to deliver efficiency in movement where not one strike is wasted. The action sequences truly drives the pace of the storyline. one would think that this is just the average action film but it’s not. This film’s storyline has very good pacing although there are points of slight foreshadowing, but it keeps one guessing about peoples loyalties even after it is established…or is it?
Charlize plays Lorraine with the coolness on par with 007, but with a realistic enemy. McAvoy’s Percival is the agent that has spent so much time in Berlin where he has become entrenched in the role of a black-market trader so familiar with the east/west that he believes he knows how to run the game. He toggles back and forth from East to West like an eel slithering through the hands of fishermen.
We also see a few familiar faces playing key appointments in the spy game. Toby Jones as Eric Gray, Lorraine’s boss and John Goodman as Emmet Kurzfeld, the CIA attaché to this mission with MI6. Sofia Boutella, who we have seen in Kingsman and The Mummy plays Delphine Lasalle, the fledgling agent from France documenting Lorraine’s every move.
The film is set to the steady rhythm of 80’s electronic New Wave. The soundtrack in this movie does not function solely as accompaniment. Each scene is accentuated by songs carefully curated to enhance each moment as a supporting character.
Based on Antony Johnston’s 2012 Graphic Novel “The Coldest City” Director David Leitch (John Wick & Deadpool 2 ) gives us an ass kicking female protagonist that is clever, darkly witty and can take on pretty much anything that comes her way. The stunts are filmed with an experienced fluidity and the movements are crisp, definitely a benefit from Leitch’s stunt expertise.
So far, the summer blockbuster season can be named the point where female action heroes can hold the attention of the viewer, no longer seen as the frail victim or second fiddle to the man. She can take care of business and put the hurt on anyone that comes at her as well as share with the audience that she has emotional depth.
My attention was captured from the first shot to the ending credits.
Lorraine’s fight scenes, carefully choreographed to deliver efficiency in movement where not one strike is wasted. The action sequences truly drives the pace of the storyline. one would think that this is just the average action film but it’s not. This film’s storyline has very good pacing although there are points of slight foreshadowing, but it keeps one guessing about peoples loyalties even after it is established…or is it?
Charlize plays Lorraine with the coolness on par with 007, but with a realistic enemy. McAvoy’s Percival is the agent that has spent so much time in Berlin where he has become entrenched in the role of a black-market trader so familiar with the east/west that he believes he knows how to run the game. He toggles back and forth from East to West like an eel slithering through the hands of fishermen.
We also see a few familiar faces playing key appointments in the spy game. Toby Jones as Eric Gray, Lorraine’s boss and John Goodman as Emmet Kurzfeld, the CIA attaché to this mission with MI6. Sofia Boutella, who we have seen in Kingsman and The Mummy plays Delphine Lasalle, the fledgling agent from France documenting Lorraine’s every move.
The film is set to the steady rhythm of 80’s electronic New Wave. The soundtrack in this movie does not function solely as accompaniment. Each scene is accentuated by songs carefully curated to enhance each moment as a supporting character.
Based on Antony Johnston’s 2012 Graphic Novel “The Coldest City” Director David Leitch (John Wick & Deadpool 2 ) gives us an ass kicking female protagonist that is clever, darkly witty and can take on pretty much anything that comes her way. The stunts are filmed with an experienced fluidity and the movements are crisp, definitely a benefit from Leitch’s stunt expertise.
So far, the summer blockbuster season can be named the point where female action heroes can hold the attention of the viewer, no longer seen as the frail victim or second fiddle to the man. She can take care of business and put the hurt on anyone that comes at her as well as share with the audience that she has emotional depth.
My attention was captured from the first shot to the ending credits.
Gareth von Kallenbach (965 KP) rated Wanted (2009) in Movies
Aug 14, 2019
Wesley Gibson (James Mc Avoy) is a man with issues. He toils away in his office cubicle taking countless amounts of grief from his boss and lamenting the fact that he has gone nowhere with his life. As if this was not bad enough, his best friend is having an affair with his girlfriend, and he has a standing order for anti anxiety medication to deal with his frequent flare ups.
One day while waiting in line for his prescription, Wesley encounters a very attractive lady, and before long, is in a world gone mad as a violent gunfight has erupted all around him. As he attempts to flee the scene, the mysterious woman comes to his aid and whisks him away in dramatic style only to thrust Wesley into a frantic chase through the city streets as they attempt to escape from their mysterious attacker.
Eventually Wesley learns that the woman is named Fox (Angelina Jolie), and that he has been recruited to join a secret society known as The Fraternity.
At first awash in disbelief, Wesley is told that the man who tried to kill him also killed his father. Wesley had thought that his father had abandoned him at childhood and despite initial reservations, joins the group.
Under the leadership of Sloan (Morgan Freeman), Wesley begins to train and learns that he is part of an elite assassin’s guild and has abilities that go beyond the powers of normal men. As the training progresses, Wesley changes from the docile offer drone to an efficient and deadly adversary who is capable of killing with a variety of weapons.
Wesley will soon have to use all of his training and abilities to the fullest extent as the action switches into overdrive leaving a path of death and destruction as this bloody tale of revenge unfolds.
In the new movie “Wanted” Director Timur Bekmambetov, the guiding power behind the highly successful Russian Vampire “Day Watch” trilogy, has crafted a sleek action film that pulls no punches. From edge of your seat action and stunts to graphic violence, the film is a ballet of bullets and blood that mixes in equal amounts of humor with solid FX in a winning formula.
The leads work well with one another, and the story and characters are a cut above the standard genre staples. While the film does drag in the final third, it recovers nicely to conclude with an action filled finale as well as a few unexpected twists.
Angelina Jolie does well with a very physical role as does McAvoy who shows that he is a talent to be watched. The film is based on a graphic novel and as such has a distinctive style that mixes the real world with the unknown to help illustrate the transformation of Wesley from doormat to deadly weapon. The FX is solid, though at times the bullet time may seem a bit repetitive after you see it a few times. That being said, “Wanted” is a solid action film that is not afraid to take chances and step outside the box.
One day while waiting in line for his prescription, Wesley encounters a very attractive lady, and before long, is in a world gone mad as a violent gunfight has erupted all around him. As he attempts to flee the scene, the mysterious woman comes to his aid and whisks him away in dramatic style only to thrust Wesley into a frantic chase through the city streets as they attempt to escape from their mysterious attacker.
Eventually Wesley learns that the woman is named Fox (Angelina Jolie), and that he has been recruited to join a secret society known as The Fraternity.
At first awash in disbelief, Wesley is told that the man who tried to kill him also killed his father. Wesley had thought that his father had abandoned him at childhood and despite initial reservations, joins the group.
Under the leadership of Sloan (Morgan Freeman), Wesley begins to train and learns that he is part of an elite assassin’s guild and has abilities that go beyond the powers of normal men. As the training progresses, Wesley changes from the docile offer drone to an efficient and deadly adversary who is capable of killing with a variety of weapons.
Wesley will soon have to use all of his training and abilities to the fullest extent as the action switches into overdrive leaving a path of death and destruction as this bloody tale of revenge unfolds.
In the new movie “Wanted” Director Timur Bekmambetov, the guiding power behind the highly successful Russian Vampire “Day Watch” trilogy, has crafted a sleek action film that pulls no punches. From edge of your seat action and stunts to graphic violence, the film is a ballet of bullets and blood that mixes in equal amounts of humor with solid FX in a winning formula.
The leads work well with one another, and the story and characters are a cut above the standard genre staples. While the film does drag in the final third, it recovers nicely to conclude with an action filled finale as well as a few unexpected twists.
Angelina Jolie does well with a very physical role as does McAvoy who shows that he is a talent to be watched. The film is based on a graphic novel and as such has a distinctive style that mixes the real world with the unknown to help illustrate the transformation of Wesley from doormat to deadly weapon. The FX is solid, though at times the bullet time may seem a bit repetitive after you see it a few times. That being said, “Wanted” is a solid action film that is not afraid to take chances and step outside the box.
Lee (2222 KP) rated Glass (2019) in Movies
Jan 18, 2019 (Updated Jan 18, 2019)
A strong start to this concluding chapter but ultimately Glass fails to deliver
Kevin Wendell Crumb, or more specifically the Horde within him, are up to their old tricks again - kidnapping and chaining up four cheerleaders in a disused warehouse, subjecting them to the impressive and unsettling array of characters so brilliantly introduced to us in Split. Meanwhile, David Dunn runs a security company with his son, venturing out on walks to try and get a sense of any bad guys out on the streets, continuing the work he began in Unbreakable. Delivering justice in his hooded poncho, he's earned himself many names but social media seem to have settled on 'The Overseer'. He's keen to find and save the cheerleaders and following a brush with their captor on a nearby street, manages to discover their location with the help of his son, who provides help and direction over an earpiece. He sets them free, just as The Beast returns. A fight breaks out and Glass gets off to an impressive start, finally bringing together two distinct parts of a movie universe that's been very slowly built over the last 19 years.
But their fight is cut short by Dr Ellie Staple, a psychiatrist specialising in people who believe they are superheroes. She's brought with her a team of heavily armed soldiers who capture both men and take them to the hospital where Dr Staple works, Raven Hill Memorial. Mr Glass is already being held in the hospital, slumped in a wheelchair - motionless and with just the occasional facial tic to show that he's still alive. Is he faking it? Spoiler alert: yes he is, but then I'm sure you knew that anyway!
With Kevin and David both trapped in specially designed cells, preventing any outbursts of strength or transformations into violent personalities, the movie immediately slows in pace while Dr Ellie sets about evaluating them, trying to prove that they're delusional in their beliefs regarding their abilities. It's another chance for James McAvoy to shine, showcasing 20 of the 24 personalities within him, while David Dunn takes a bit of a backseat, brooding in his cell for the most part. Meanwhile, Mr Glass is quietly masterminding something bigger than anyone can imagine. Pretty much the remainder of the movie is set within the confines of the hospital - a tricky juggling act combining the slow burn mystery of Unbreakable with the thrilling horror of Split, which for the most part I found to be enjoyable, entertaining and at times thrilling. The problems began for me when Mr Glass begins executing his big plan, and all three break free from their cells. This latter part of the movie is full of tension and repeatedly builds towards something that it never manages to fully deliver on, ultimately resulting in disappointment. It kind of just fizzles out, with a few twists and turns along the way that are nowhere near as impressive or inventive as previous M Night Shyamalan offerings. And while I fully appreciate and understand what he was aiming for with regards to the ending, it just didn't quite work for me at all. A bit of an anticlimax to what was a very strong and promising start to the concluding chapter of the trilogy.
But their fight is cut short by Dr Ellie Staple, a psychiatrist specialising in people who believe they are superheroes. She's brought with her a team of heavily armed soldiers who capture both men and take them to the hospital where Dr Staple works, Raven Hill Memorial. Mr Glass is already being held in the hospital, slumped in a wheelchair - motionless and with just the occasional facial tic to show that he's still alive. Is he faking it? Spoiler alert: yes he is, but then I'm sure you knew that anyway!
With Kevin and David both trapped in specially designed cells, preventing any outbursts of strength or transformations into violent personalities, the movie immediately slows in pace while Dr Ellie sets about evaluating them, trying to prove that they're delusional in their beliefs regarding their abilities. It's another chance for James McAvoy to shine, showcasing 20 of the 24 personalities within him, while David Dunn takes a bit of a backseat, brooding in his cell for the most part. Meanwhile, Mr Glass is quietly masterminding something bigger than anyone can imagine. Pretty much the remainder of the movie is set within the confines of the hospital - a tricky juggling act combining the slow burn mystery of Unbreakable with the thrilling horror of Split, which for the most part I found to be enjoyable, entertaining and at times thrilling. The problems began for me when Mr Glass begins executing his big plan, and all three break free from their cells. This latter part of the movie is full of tension and repeatedly builds towards something that it never manages to fully deliver on, ultimately resulting in disappointment. It kind of just fizzles out, with a few twists and turns along the way that are nowhere near as impressive or inventive as previous M Night Shyamalan offerings. And while I fully appreciate and understand what he was aiming for with regards to the ending, it just didn't quite work for me at all. A bit of an anticlimax to what was a very strong and promising start to the concluding chapter of the trilogy.
Kirk Bage (1775 KP) rated His Dark Materials in TV
Mar 3, 2020
Any fan of Phillip Pullman’s epic trilogy will tell you that His Dark Materials is one of the best stories ever told. There is so much scope to adapt and interpret the narrative, so rich are the textures, characterisation and pure weight of its many themes. Which is perhaps why any re-imagining will always come under such intense and divisive scrutiny.
The American studio version, patronisingly renamed The Golden Compass for the hard of thinking, was absolutely woeful, despite some canny casting. Choosing to focus too much on the potential of spectacular effects, rather than concentrating on the key elements of plot that make Northern Lights the perfect exposition for a much larger message.
You could always trust the BBC in conjunction with HBO not to make that same mistake. Which is why this version largely succeeds, regardless of some valid criticism concerning clunky dialogue and some creative re-arranging of events from the book. Yes, there is still a lot of telling rather than showing, in an attempt to engage an audience that have yet to read the source material; but, really, it didn’t bother me at all.
Casting Logan’s Dafne Keen as Lyra was the first stroke of genius. This girl has some serious potential, and, as the episodes unfold, she more than holds her own against more experienced actors in key roles. Her presence is a driving force from the get go that at times left me breathless at just how much she understands this complex young character. Truly exciting for the next chapter…
Of course, Ruth Wilson is more than capable of fulfilling the nuance of the sinister Mrs Coulter. And James McAvoy does an admirable job also, in a pivotal, but thankless role (for now) as Lord Asriel. But, no part is neglected, in this cast of dozens, which depends hugely on the idea of adults trying to control a world (eventually many worlds) in crisis!
The casting throughout is immensely bold – hardly a single actor matched my inner vision of them from the book, but the more I came to trust the production, the more I appreciated the clever choices made in this respect. Again, story-telling is always more important than spectacle, and episode to episode I simply began to believe in this version whole-heartedly – and I include in that all the voice actors who bring to life the demons, bears and all other CGI characters.
It is easy to gripe about what is wrong about it all. I can’t ever imagine a perfect visual re-telling of HDM that doesn’t disappoint at some level… but, more important to see what is very right about it! I felt moved, shocked, excited and elated at all the right moments! Basically, I got onboard and allowed myself to enjoy the story.
And what a story! Northern Lights exists as a phenomenon on its merits, but The Subtle Knife is where the themes of this idea really take off! Almost a year to wait for the next season… All I can say is, what an opportunity to make this one of the best things BBC has ever done.
Too many debating points for a brief summary. Keep watching is all I would say to anyone. Or perhaps I just want it too much…
The American studio version, patronisingly renamed The Golden Compass for the hard of thinking, was absolutely woeful, despite some canny casting. Choosing to focus too much on the potential of spectacular effects, rather than concentrating on the key elements of plot that make Northern Lights the perfect exposition for a much larger message.
You could always trust the BBC in conjunction with HBO not to make that same mistake. Which is why this version largely succeeds, regardless of some valid criticism concerning clunky dialogue and some creative re-arranging of events from the book. Yes, there is still a lot of telling rather than showing, in an attempt to engage an audience that have yet to read the source material; but, really, it didn’t bother me at all.
Casting Logan’s Dafne Keen as Lyra was the first stroke of genius. This girl has some serious potential, and, as the episodes unfold, she more than holds her own against more experienced actors in key roles. Her presence is a driving force from the get go that at times left me breathless at just how much she understands this complex young character. Truly exciting for the next chapter…
Of course, Ruth Wilson is more than capable of fulfilling the nuance of the sinister Mrs Coulter. And James McAvoy does an admirable job also, in a pivotal, but thankless role (for now) as Lord Asriel. But, no part is neglected, in this cast of dozens, which depends hugely on the idea of adults trying to control a world (eventually many worlds) in crisis!
The casting throughout is immensely bold – hardly a single actor matched my inner vision of them from the book, but the more I came to trust the production, the more I appreciated the clever choices made in this respect. Again, story-telling is always more important than spectacle, and episode to episode I simply began to believe in this version whole-heartedly – and I include in that all the voice actors who bring to life the demons, bears and all other CGI characters.
It is easy to gripe about what is wrong about it all. I can’t ever imagine a perfect visual re-telling of HDM that doesn’t disappoint at some level… but, more important to see what is very right about it! I felt moved, shocked, excited and elated at all the right moments! Basically, I got onboard and allowed myself to enjoy the story.
And what a story! Northern Lights exists as a phenomenon on its merits, but The Subtle Knife is where the themes of this idea really take off! Almost a year to wait for the next season… All I can say is, what an opportunity to make this one of the best things BBC has ever done.
Too many debating points for a brief summary. Keep watching is all I would say to anyone. Or perhaps I just want it too much…
Lee (2222 KP) rated It: Chapter Two (2019) in Movies
Sep 6, 2019 (Updated Sep 6, 2019)
Bloated, messy at times, not quite as good as chapter 1 :(
It's fair to say that IT Chapter 2 has been one of my most anticipated movies this year. The trailer, which I've probably watched just as many times now as I watched the Endgame trailer, gives me goosebumps every time, and I couldn't wait to rejoin the losers club for another battle with Pennywise the clown. I was lucky enough to secure tickets to the immersive IT experience in London last weekend, adding further fuel to my excitement, and I decided to book the double bill showing of both chapters at the cinema in order to fully enjoy the complete story. Watching chapter 1 up on the big screen again proved to be just as enjoyable for me as the first time I saw it. Sadly though, I feel that chapter 2 didn't quite measure up to chapter 1.
It's now been 27 years since the events of chapter 1. One night, at the Derry funfair, a prolonged and brutal homophobic attack takes place, seemingly serving no other purpose than to provide us with a lengthy setup for the return of Pennywise. Yes, the clown is back and looking for revenge. It falls to Mike (Isaiah Mustafa), the only member of the losers club still living in Derry, to call on the others, to tell them they need to come home and to fulfill the oath they all pledged as children - no matter where they are, if "It" ever comes back, they'll come back to finish it. They all take the call they never thought they'd get and immediately their lives feel the impact - Bill (James McAvoy) is now a famous writer and suddenly starts to regain his stutter, Beverly (Jessica Chastain) clearly hasn't managed to escape a life of abuse, Ben (Jay Ryan) has managed to shed a lot of weight, Richie (Bill Hader) throws up before going on stage to perform stand-up, Eddie (James Ransome) simply refuses to believe what he's hearing. And Stanley (Andy Bean), well he fully appreciates the horror that lies ahead of them all.
The adult versions of the losers club are all perfectly cast, and just as entertaining in adult form as they are as children. Any reviews you read for this movie will no doubt mention Bill Hader as adult Richie, and all praise for him is well deserved. Just as Finn Wolfhard stole the show as the young, wise cracking and potty mouthed Richie in chapter 1, so does Bill Hader here. But the entire adult cast is all simply spot on.
They all meet up at a Chinese restaurant in Derry, gradually recalling forgotten events from their childhood over a meal and falling back into old friendships once again. We get multiple flashbacks of them all as teenagers, new scenes that help to flesh out the story-line, and these continue throughout the entire movie. It's a real nostalgic joy to revisit these younger versions again, and to immediately see how each flashback moment ultimately affects them as adults. The threat of Pennywise constantly lingers though, and they know they have work to do.
They go their separate ways, remaining in Derry but taking time to reacquainte themselves with the town and their own personal history there. Mike has a theory on how to defeat Pennywise once and for all, but first they must face him individually - grow stronger and more confident so that they can hopefully overcome him together as a team.
Unfortunately though, Pennywise never really feels as much of a threat as he did in the first movie. The slow brooding, creepy scares that worked so effectively then are all but lost here. There certainly are still a handful of those in chapter 2, and those do work extremely well, but they're simply outnumbered by a constant barrage of jump scares and CGI monsters. I lost count of the number of times we got a random CGI creature rapidly approaching us and the over-reliance on CGI is noticeably jarring, even more so in the final act. The use of practical, psychological scares is sorely missed and the whole thing is nowhere near as scary as chapter 1.
The run-time clocks in at 2hr 50, compared to a tighter 2hr 15 for chapter 1, and it really notices. Admittedly, the Stephen King source material is pretty hefty anyway (so I hear), but at times this just felt bloated and messy in its interpretation, too much being thrown at you and not enough of it sticking. That CG heavy finale I mentioned is also way too long, and really drags. It's a shame because I really enjoyed the introduction of the adult losers and the interweaving of their lives with the flashbacks from 27 years earlier. There's talk of an extended cut being out there and potentially being released. Personally, I would prefer a much leaner, shorter cut.
It's now been 27 years since the events of chapter 1. One night, at the Derry funfair, a prolonged and brutal homophobic attack takes place, seemingly serving no other purpose than to provide us with a lengthy setup for the return of Pennywise. Yes, the clown is back and looking for revenge. It falls to Mike (Isaiah Mustafa), the only member of the losers club still living in Derry, to call on the others, to tell them they need to come home and to fulfill the oath they all pledged as children - no matter where they are, if "It" ever comes back, they'll come back to finish it. They all take the call they never thought they'd get and immediately their lives feel the impact - Bill (James McAvoy) is now a famous writer and suddenly starts to regain his stutter, Beverly (Jessica Chastain) clearly hasn't managed to escape a life of abuse, Ben (Jay Ryan) has managed to shed a lot of weight, Richie (Bill Hader) throws up before going on stage to perform stand-up, Eddie (James Ransome) simply refuses to believe what he's hearing. And Stanley (Andy Bean), well he fully appreciates the horror that lies ahead of them all.
The adult versions of the losers club are all perfectly cast, and just as entertaining in adult form as they are as children. Any reviews you read for this movie will no doubt mention Bill Hader as adult Richie, and all praise for him is well deserved. Just as Finn Wolfhard stole the show as the young, wise cracking and potty mouthed Richie in chapter 1, so does Bill Hader here. But the entire adult cast is all simply spot on.
They all meet up at a Chinese restaurant in Derry, gradually recalling forgotten events from their childhood over a meal and falling back into old friendships once again. We get multiple flashbacks of them all as teenagers, new scenes that help to flesh out the story-line, and these continue throughout the entire movie. It's a real nostalgic joy to revisit these younger versions again, and to immediately see how each flashback moment ultimately affects them as adults. The threat of Pennywise constantly lingers though, and they know they have work to do.
They go their separate ways, remaining in Derry but taking time to reacquainte themselves with the town and their own personal history there. Mike has a theory on how to defeat Pennywise once and for all, but first they must face him individually - grow stronger and more confident so that they can hopefully overcome him together as a team.
Unfortunately though, Pennywise never really feels as much of a threat as he did in the first movie. The slow brooding, creepy scares that worked so effectively then are all but lost here. There certainly are still a handful of those in chapter 2, and those do work extremely well, but they're simply outnumbered by a constant barrage of jump scares and CGI monsters. I lost count of the number of times we got a random CGI creature rapidly approaching us and the over-reliance on CGI is noticeably jarring, even more so in the final act. The use of practical, psychological scares is sorely missed and the whole thing is nowhere near as scary as chapter 1.
The run-time clocks in at 2hr 50, compared to a tighter 2hr 15 for chapter 1, and it really notices. Admittedly, the Stephen King source material is pretty hefty anyway (so I hear), but at times this just felt bloated and messy in its interpretation, too much being thrown at you and not enough of it sticking. That CG heavy finale I mentioned is also way too long, and really drags. It's a shame because I really enjoyed the introduction of the adult losers and the interweaving of their lives with the flashbacks from 27 years earlier. There's talk of an extended cut being out there and potentially being released. Personally, I would prefer a much leaner, shorter cut.
Kiruji (13 KP) rated X-Men: First Class (2011) in Movies
Jul 18, 2018
I'm not an X-Men fan. I know, it's strange, right? I mean, I'm a comic book fan in general. Iron Man's a dude. I dig the Hulk. I love all things Batman (except when Joel Schumacher tweaked the Batman's Batnipples). I geekgasmed all over my trousers in the lead up to THE DARK KNIGHT and actually watching it at an IMAX was like losing my virginity again. But the X-Men? Kinda leave me cold. Even though, on the face of it, it should be pretty awesome. Mutant humans with the ability to do just about anything you can imagine, fighting each other and various other bad things? Why the hell wouldn't I like that? But I could never get into it. The first X-Men movie, way back in 2000, left me feeling indifferent. It was OK, but nothing special. The second one was worse. The third one just plain awful. WOLVERINE: ORIGINS was quite fun, but then, a hard drinking, smoking, swearing brawler with friendly mutton-chops and blades in his hands was always going to be appealing to me.
And so, it was with a feeling of complete indifference that I flashed my Cineworld Unlimited card at a bored usher and got my ticket and a mixed slushie last week. I only went to see it because my buddy wanted to and, well, we'd missed the start of THE HANGOVER PART II.
So, into the darkened room early for a change. Managed to get prime seats. Mainly because the auditorium was pretty much empty. Something I didn't think was the most fortuitous portent to the movie we were about to watch. On the plus side however, as we were watching a comic book movie, we got the comic book trailer reel... First was THE GREEN LANTERN, which excited me a little (mainly because I have a man crush on Ryan Reynolds). Then came CAPTAIN AMERICA, which excited me a little more (mainly because it looks FREAKIN' AWESOME). Then we got RISE OF THE PLANET OF THE APES, which intrigued me (mainly because James Franco was doing a 'learned man' accent). Presumably because Cineworld were already scraping the comic book movie barrel, they then repeated the APES trailer, which killed the mood and left me feeling indifferent again.
But I digress. I think you get that I didn't really give a crap one way or the other about the movie I was about to watch. The opening scenes however, are set in a WWII concentration camp and I found my interest piqued. At first, I couldn't figure out whether it had been newly filmed or if they were recycling one of the flashbacks from one of the earlier movies. Then, Kevin Bacon. Suddenly, I was transfixed by the German pouring forth from his mouth which seemed authentic and I couldn't quite work out if he was lip-synching or not. That's somewhat besides the point though, as the scene itself was very tense and only marginally spoiled by the child actor when it was his turn to scream the longest NOOOOOOO!!! (sorry, NEEEEEEEEIN!!!) since Adolf Vader in Episode 3.
The film very quickly moved on in leaps and bounds, sucking me in and winning me over. Kevin Bacon seemed to enjoy hamming it up as the evil Sebastian Shaw. James McAvoy is an exceptionally talented chap and made for an excellent Charles Xavier - a cocky, beer-swilling, genius ladies man. Similarly, Michael Fassbender did a top notch job in playing Erik Lehnsherr, coming across as a Holocaust-surviving Bond, maybe even slightly cooler. Even Jason Flemyng was pretty good, although I don't think he actually spoke at all, which might have helped his case.
I loved the whole origins story, seeing how Xavier and Lehnsherr were good friends despite their obvious differences and started the School for the Gifted together was pretty cool. The only little blight on the movie (after the whole NEEEEEEEIN!!! incident) was that when it came time for Fassbender to don Magneto's helmet, the prop department had obviously measured his noggin wrong and it was clearly too tight. I say that because, every time he slapped it on his dome, his accent turned from gruff-hero-of-indeterminate-country-of-origin to... Well, to Oirish. The only reason I can think of is that the helmet was squeezing his bonce a bit too snugly. It didn't happen when Kevin Bacon was wearing it.
Helmet business aside, on the whole, I left feeling like I'd just seen a proper comic book movie. Full of fantastical, incredible things dancing around a plot that made sense and characters that I, on the whole, cared about at least a little. There was even a Wolverine cameo in it, which made me chuckle more than it should have. Far from being indifferent towards the X-Men now, I'm looking forward to seeing where the story goes next. I just hope Matthew Vaughn is directing again. He's turned out an X-Men film that is much, much better than mediocre and they'd be idiots to give it to anyone else.
And so, it was with a feeling of complete indifference that I flashed my Cineworld Unlimited card at a bored usher and got my ticket and a mixed slushie last week. I only went to see it because my buddy wanted to and, well, we'd missed the start of THE HANGOVER PART II.
So, into the darkened room early for a change. Managed to get prime seats. Mainly because the auditorium was pretty much empty. Something I didn't think was the most fortuitous portent to the movie we were about to watch. On the plus side however, as we were watching a comic book movie, we got the comic book trailer reel... First was THE GREEN LANTERN, which excited me a little (mainly because I have a man crush on Ryan Reynolds). Then came CAPTAIN AMERICA, which excited me a little more (mainly because it looks FREAKIN' AWESOME). Then we got RISE OF THE PLANET OF THE APES, which intrigued me (mainly because James Franco was doing a 'learned man' accent). Presumably because Cineworld were already scraping the comic book movie barrel, they then repeated the APES trailer, which killed the mood and left me feeling indifferent again.
But I digress. I think you get that I didn't really give a crap one way or the other about the movie I was about to watch. The opening scenes however, are set in a WWII concentration camp and I found my interest piqued. At first, I couldn't figure out whether it had been newly filmed or if they were recycling one of the flashbacks from one of the earlier movies. Then, Kevin Bacon. Suddenly, I was transfixed by the German pouring forth from his mouth which seemed authentic and I couldn't quite work out if he was lip-synching or not. That's somewhat besides the point though, as the scene itself was very tense and only marginally spoiled by the child actor when it was his turn to scream the longest NOOOOOOO!!! (sorry, NEEEEEEEEIN!!!) since Adolf Vader in Episode 3.
The film very quickly moved on in leaps and bounds, sucking me in and winning me over. Kevin Bacon seemed to enjoy hamming it up as the evil Sebastian Shaw. James McAvoy is an exceptionally talented chap and made for an excellent Charles Xavier - a cocky, beer-swilling, genius ladies man. Similarly, Michael Fassbender did a top notch job in playing Erik Lehnsherr, coming across as a Holocaust-surviving Bond, maybe even slightly cooler. Even Jason Flemyng was pretty good, although I don't think he actually spoke at all, which might have helped his case.
I loved the whole origins story, seeing how Xavier and Lehnsherr were good friends despite their obvious differences and started the School for the Gifted together was pretty cool. The only little blight on the movie (after the whole NEEEEEEEIN!!! incident) was that when it came time for Fassbender to don Magneto's helmet, the prop department had obviously measured his noggin wrong and it was clearly too tight. I say that because, every time he slapped it on his dome, his accent turned from gruff-hero-of-indeterminate-country-of-origin to... Well, to Oirish. The only reason I can think of is that the helmet was squeezing his bonce a bit too snugly. It didn't happen when Kevin Bacon was wearing it.
Helmet business aside, on the whole, I left feeling like I'd just seen a proper comic book movie. Full of fantastical, incredible things dancing around a plot that made sense and characters that I, on the whole, cared about at least a little. There was even a Wolverine cameo in it, which made me chuckle more than it should have. Far from being indifferent towards the X-Men now, I'm looking forward to seeing where the story goes next. I just hope Matthew Vaughn is directing again. He's turned out an X-Men film that is much, much better than mediocre and they'd be idiots to give it to anyone else.
BankofMarquis (1832 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 22, 2019
These X-Men end not with a Bang but with a Whimper
"This is how it ends,not with a bang, but with a whimper".
Running a successful movie franchise is a tricky thing. For every franchise that ends successfully (the original Harry Potter series, the recent Avengers), there are many, many more that just sort of peter out (The Hunger Games, The Maze Runner, every version of Star Trek), and, unfortunately, this run of the X-MEN is finishing up with a look of boredom and disinterest.
And that's too bad for the DARK PHOENIX story line had great, dramatic potential to go with a series of whiz-bang special effect set pieces that should have been spectacular. Telling the tale of erswhile X-Men "hero", Jean Grey, who is turned into a villain and battles her former mates, DARK PHOENIX is filled with missed opportunities.
Let's start with the lackluster Direction and lame script - both by Simon Kinberg - a Producer and sometime writer who is making his Feature Film Directorial debut with this film. He should stay with Producing. His direction is limp and uninspired which fits in well with his uninspiring dialogue and clunky interactions and plot machinations.
At least the top notch actors can save this turkey, right?
Nope. For the most part, they are just as uninspired and mediocre as the direction and writing and that is too bad for they are a strong collection of performers. James McAvoy is just lost as Charles Xavier. I can see the look in his eyes as he is thinking to himself "what is my character trying to do here"? I didn't believe for a second that he believed anything his character was saying and doing. Same goes for the usually reliable Nicholas Hoult as Hank McCoy/Beast. The script has these two at odds with each and they both act these scenes with a "we don't buy this contrived fight either" chagrined look.
The usually reliable Jessica Chastain is wasted as the main villain in this film, a mysterious figure who serves as the anti-Charles Xavier mentor to Jean Grey (Sophie Turner, more on her later). It looks to me that she was given the "George Lucas/Natalie Portman/Star Wars: Episode 1" acting guideline - be one note and monotonous and take out any hint of emotion. Which also takes out any hint of interest.
As for Turner, I'm sorry to say this about an actress that I generally loved in GAME OF THRONES, but she is just plain bad in her role as the conflicted Jean Grey. Her character is torn between the good and the bad, but instead of acting that, she says it over and over again "I don't know what's happening to me", "I feel torn". She (and Director/Writer Kinberg) violate the #1 rule in movies - "Show, don't tell". They "tell" over and over and don't take the time to show. Disappointing wouldn't begin to describe my reaction to Turner's performance.
At least Jennifer Lawrence is there to ground this film and bring some of her star power, right? Nope. She waltzes through the few scenes she has in this film with the look of "I am contractually obligated to be here".
Well...how about Even Peters who was a bit of a breakout as Quicksilver? Nope...they, inexplicably, sideline his character fairly early on in this film.
The only saving grace in this movie is the great Michael Fassbender as Magneto. He was a welcome, charismatic presence in this film that drew my attention - and interest - the second he appeared on screen. It was great to see him and I found myself rooting for him - no matter what. Doesn't matter that Magneto's presence in this film is shoe-horned in. You could take his character out of this film and the outcomes probably wouldn't change a bit. But...I don't care...at least there was someone interesting to watch.
At least there are decent action scenes, right? Nope. Kinberg chooses to use the quick/cut edit confuse the audience style of action to cover mistakes in both choreography and geography and figures a quick cut and an explosion can cover lack of emotional commitment and interesting fight choreography.
This film closes this Chapter on these X-Men and (besides Fassbender and an "AVENGERS ASSEMBLE" moment that was pretty cool) I say good riddance. With Disney's purchase of Fox and Marvel, the X-Men can now be incorporated into the Marvel Cinematic Universe and that can only be an improvement on this.
Letter Grade C+ (Fassbender's performance keeps this from being a total failure)
5 stars out of 10 and you can take that to the Bank(OfMarquis)
Running a successful movie franchise is a tricky thing. For every franchise that ends successfully (the original Harry Potter series, the recent Avengers), there are many, many more that just sort of peter out (The Hunger Games, The Maze Runner, every version of Star Trek), and, unfortunately, this run of the X-MEN is finishing up with a look of boredom and disinterest.
And that's too bad for the DARK PHOENIX story line had great, dramatic potential to go with a series of whiz-bang special effect set pieces that should have been spectacular. Telling the tale of erswhile X-Men "hero", Jean Grey, who is turned into a villain and battles her former mates, DARK PHOENIX is filled with missed opportunities.
Let's start with the lackluster Direction and lame script - both by Simon Kinberg - a Producer and sometime writer who is making his Feature Film Directorial debut with this film. He should stay with Producing. His direction is limp and uninspired which fits in well with his uninspiring dialogue and clunky interactions and plot machinations.
At least the top notch actors can save this turkey, right?
Nope. For the most part, they are just as uninspired and mediocre as the direction and writing and that is too bad for they are a strong collection of performers. James McAvoy is just lost as Charles Xavier. I can see the look in his eyes as he is thinking to himself "what is my character trying to do here"? I didn't believe for a second that he believed anything his character was saying and doing. Same goes for the usually reliable Nicholas Hoult as Hank McCoy/Beast. The script has these two at odds with each and they both act these scenes with a "we don't buy this contrived fight either" chagrined look.
The usually reliable Jessica Chastain is wasted as the main villain in this film, a mysterious figure who serves as the anti-Charles Xavier mentor to Jean Grey (Sophie Turner, more on her later). It looks to me that she was given the "George Lucas/Natalie Portman/Star Wars: Episode 1" acting guideline - be one note and monotonous and take out any hint of emotion. Which also takes out any hint of interest.
As for Turner, I'm sorry to say this about an actress that I generally loved in GAME OF THRONES, but she is just plain bad in her role as the conflicted Jean Grey. Her character is torn between the good and the bad, but instead of acting that, she says it over and over again "I don't know what's happening to me", "I feel torn". She (and Director/Writer Kinberg) violate the #1 rule in movies - "Show, don't tell". They "tell" over and over and don't take the time to show. Disappointing wouldn't begin to describe my reaction to Turner's performance.
At least Jennifer Lawrence is there to ground this film and bring some of her star power, right? Nope. She waltzes through the few scenes she has in this film with the look of "I am contractually obligated to be here".
Well...how about Even Peters who was a bit of a breakout as Quicksilver? Nope...they, inexplicably, sideline his character fairly early on in this film.
The only saving grace in this movie is the great Michael Fassbender as Magneto. He was a welcome, charismatic presence in this film that drew my attention - and interest - the second he appeared on screen. It was great to see him and I found myself rooting for him - no matter what. Doesn't matter that Magneto's presence in this film is shoe-horned in. You could take his character out of this film and the outcomes probably wouldn't change a bit. But...I don't care...at least there was someone interesting to watch.
At least there are decent action scenes, right? Nope. Kinberg chooses to use the quick/cut edit confuse the audience style of action to cover mistakes in both choreography and geography and figures a quick cut and an explosion can cover lack of emotional commitment and interesting fight choreography.
This film closes this Chapter on these X-Men and (besides Fassbender and an "AVENGERS ASSEMBLE" moment that was pretty cool) I say good riddance. With Disney's purchase of Fox and Marvel, the X-Men can now be incorporated into the Marvel Cinematic Universe and that can only be an improvement on this.
Letter Grade C+ (Fassbender's performance keeps this from being a total failure)
5 stars out of 10 and you can take that to the Bank(OfMarquis)
Movie Metropolis (309 KP) rated It: Chapter Two (2019) in Movies
Sep 13, 2019
Part of this post is sponsored by 4DX Cinemas. With poignancy and heart on its side, 2017’s IT managed to avoid its occasional flaws to become an unnerving addition to the horror genre. While the film could never be classed as outright terrifying, the character of Pennywise, portrayed exceptionally by Bill Skarsgard, is an unsettling antagonist and one of the best in film.
Two years later, the town of Derry is back on the big screen in Andy Muschietti’s epic conclusion. But at nearly 3 hours long, is IT: Chapter Two just a bloated mess, or does it float to new heights?
Defeated by members of the Losers’ Club, the evil clown Pennywise returns 27 years later to terrorise the town of Derry, Maine, once again. Now adults, the childhood friends have long since gone their separate ways. But when people start disappearing, Mike Hanlon (Isaiah Mustafa) calls the others home for one final stand. Damaged by scars from the past, the united Losers must conquer their deepest fears to destroy the shape-shifting Pennywise – who is now more powerful than ever.
The film follows many of the same tropes as its predecessor, with beautiful cinematography and excellent performances masking some shoddy CGI and an over-reliance on jump scares, and while it does lack the simplicity and tightly-wound script of its predecessor, IT: Chapter Two is even more unsettling.
For director Andy Muschietti, it’s clear that the training wheels are off. After being guided through the process by Warner Bros. first time around, the success of IT (it grossed over $700million worldwide) now means he’s been free to splash his creative vision all over the screen – and it shows. A deeply disconcerting opening involving two of Derry’s LGBT community and some town bigots lets the audience know early on that this is going to be even darker and much more graphic than its predecessor.
From a casting point of view, they couldn’t have done better. Each adult version of the Loser’s Club nicely embodies their child counterpart, even if we spend more time with some than others. James McAvoy is as reliable as ever and Jessica Chastain plays Beverly nicely but it’s in Bill Hader and James Ransome that we find the perfect embodiments of their juvenile characters.
Hader and Ransome share the same chemistry that made Eddie and Richie so watchable in the first instalment and there is even some well-judged poignancy to go with their playful teasing. The Chinese restaurant scene, a fan favourite from the book and the TV mini-series, is present and correct and remains a highlight over the course of the running time.
IT: Chapter Two is a confident finale to one of 2017’s best films; filled with exceptional performances
Praise must be given to the scriptwriters here as ensembles of this size can all too often get lost with little character development. Thankfully, each cast member feels fully fleshed out, meaning we care for them a lot more than your typical horror-movie character.
However, this is Bill Skarsgard’s film and Pennywise is as menacing as ever. Skarsgard turns up the ante here with his physical performance being absolutely incredible. This portrayal is Heath Ledger Joker levels of good. It would be a shame if he wasn’t recognised officially for the exceptional work he has done to bring this wretched character to life.
While much of the film sees the Loser’s Club separate from each other as they try to locate tokens from their pasts, this allows the production team to create some truly staggering set pieces – although it’s unfortunate that many of them have been spoilt in the trailers. The much-marketed house of mirrors scene is brief but leaves a lasting impression and there’s a sequence early on involving a small girl that was really troubling.
Unfortunately, it’s not all good news. While the pacing for such a long film is spot on, the appearances of our titular character are not. Despite being billed as appearing more often, the movie’s gargantuan length means that Pennywise doesn’t feel like he’s on screen for any longer than in the first instalment. With such a great character and performance, it would have been nice to see him a little more.
And while you’ll have noticed me using adjectives like ‘unsettling’ and ‘unnerving’, the film isn’t truly scary unless Pennywise in clown form is on the screen. That’s mainly down to some of the CGI used to create the monsters. As in its predecessor, IT: Chapter Two’s monsters feel too glossy, lacking in any true sense of realism.
Nevertheless, IT: Chapter Two is a confident finale to one of 2017’s best films; filled with exceptional performances and the wit and humour that made its predecessor such a hit. While not reaching quite the same dizzy heights as that film and relying even more on jump scares, as a pair, it’s hard to think of a horror series that has made its mark in the last decade quite as much as IT.
⭐⭐⭐⭐ IT: Chapter Two in 4DX
I was unsure how a horror film would translate to 4DX but the good news is that the experience became even more immersive, with sight, smell and feel all being utilised to great effect.
Soaring over Derry, the advanced seating that 4DX provides means that you feel like you’re flying over the town too. Of course, while this is a pleasant experience when the film is playing nicely, as soon as the horror hits, 4DX jolts you back to reality with some well-timed movement, strobe lighting and weather effects.
A nice touch in this film was the use of smell, something not utilised in Hobbs & Shaw. Every time Pennywise was about to appear on screen, a sweet aroma would fill the cinema, lulling you into a false sense of security. It was a nice effect that added to the drama of the film beautifully.
Naturally, being a horror film, rain was utilised a lot and having the spray nozzle behind your seat was great. Although you are able to turn it off if you so wish, having the weather effects left on meant that you became immersed in what was happening on screen.
This was my first experience of 4D cinema utilised in a horror film and the overall impact was one that added to the terror rather than detracted from it. I would highly recommend viewing IT: Chapter Two in 4DX, and you can book tickets at 19 Cineworld locations across the UK.
Two years later, the town of Derry is back on the big screen in Andy Muschietti’s epic conclusion. But at nearly 3 hours long, is IT: Chapter Two just a bloated mess, or does it float to new heights?
Defeated by members of the Losers’ Club, the evil clown Pennywise returns 27 years later to terrorise the town of Derry, Maine, once again. Now adults, the childhood friends have long since gone their separate ways. But when people start disappearing, Mike Hanlon (Isaiah Mustafa) calls the others home for one final stand. Damaged by scars from the past, the united Losers must conquer their deepest fears to destroy the shape-shifting Pennywise – who is now more powerful than ever.
The film follows many of the same tropes as its predecessor, with beautiful cinematography and excellent performances masking some shoddy CGI and an over-reliance on jump scares, and while it does lack the simplicity and tightly-wound script of its predecessor, IT: Chapter Two is even more unsettling.
For director Andy Muschietti, it’s clear that the training wheels are off. After being guided through the process by Warner Bros. first time around, the success of IT (it grossed over $700million worldwide) now means he’s been free to splash his creative vision all over the screen – and it shows. A deeply disconcerting opening involving two of Derry’s LGBT community and some town bigots lets the audience know early on that this is going to be even darker and much more graphic than its predecessor.
From a casting point of view, they couldn’t have done better. Each adult version of the Loser’s Club nicely embodies their child counterpart, even if we spend more time with some than others. James McAvoy is as reliable as ever and Jessica Chastain plays Beverly nicely but it’s in Bill Hader and James Ransome that we find the perfect embodiments of their juvenile characters.
Hader and Ransome share the same chemistry that made Eddie and Richie so watchable in the first instalment and there is even some well-judged poignancy to go with their playful teasing. The Chinese restaurant scene, a fan favourite from the book and the TV mini-series, is present and correct and remains a highlight over the course of the running time.
IT: Chapter Two is a confident finale to one of 2017’s best films; filled with exceptional performances
Praise must be given to the scriptwriters here as ensembles of this size can all too often get lost with little character development. Thankfully, each cast member feels fully fleshed out, meaning we care for them a lot more than your typical horror-movie character.
However, this is Bill Skarsgard’s film and Pennywise is as menacing as ever. Skarsgard turns up the ante here with his physical performance being absolutely incredible. This portrayal is Heath Ledger Joker levels of good. It would be a shame if he wasn’t recognised officially for the exceptional work he has done to bring this wretched character to life.
While much of the film sees the Loser’s Club separate from each other as they try to locate tokens from their pasts, this allows the production team to create some truly staggering set pieces – although it’s unfortunate that many of them have been spoilt in the trailers. The much-marketed house of mirrors scene is brief but leaves a lasting impression and there’s a sequence early on involving a small girl that was really troubling.
Unfortunately, it’s not all good news. While the pacing for such a long film is spot on, the appearances of our titular character are not. Despite being billed as appearing more often, the movie’s gargantuan length means that Pennywise doesn’t feel like he’s on screen for any longer than in the first instalment. With such a great character and performance, it would have been nice to see him a little more.
And while you’ll have noticed me using adjectives like ‘unsettling’ and ‘unnerving’, the film isn’t truly scary unless Pennywise in clown form is on the screen. That’s mainly down to some of the CGI used to create the monsters. As in its predecessor, IT: Chapter Two’s monsters feel too glossy, lacking in any true sense of realism.
Nevertheless, IT: Chapter Two is a confident finale to one of 2017’s best films; filled with exceptional performances and the wit and humour that made its predecessor such a hit. While not reaching quite the same dizzy heights as that film and relying even more on jump scares, as a pair, it’s hard to think of a horror series that has made its mark in the last decade quite as much as IT.
⭐⭐⭐⭐ IT: Chapter Two in 4DX
I was unsure how a horror film would translate to 4DX but the good news is that the experience became even more immersive, with sight, smell and feel all being utilised to great effect.
Soaring over Derry, the advanced seating that 4DX provides means that you feel like you’re flying over the town too. Of course, while this is a pleasant experience when the film is playing nicely, as soon as the horror hits, 4DX jolts you back to reality with some well-timed movement, strobe lighting and weather effects.
A nice touch in this film was the use of smell, something not utilised in Hobbs & Shaw. Every time Pennywise was about to appear on screen, a sweet aroma would fill the cinema, lulling you into a false sense of security. It was a nice effect that added to the drama of the film beautifully.
Naturally, being a horror film, rain was utilised a lot and having the spray nozzle behind your seat was great. Although you are able to turn it off if you so wish, having the weather effects left on meant that you became immersed in what was happening on screen.
This was my first experience of 4D cinema utilised in a horror film and the overall impact was one that added to the terror rather than detracted from it. I would highly recommend viewing IT: Chapter Two in 4DX, and you can book tickets at 19 Cineworld locations across the UK.
Gareth von Kallenbach (965 KP) rated It: Chapter Two (2019) in Movies
Sep 13, 2019
I’ve always been a fan of Stephen King movies, even some of those that were not particularly good or well received. For someone who is a fan you think that would inspire me to pick up at least one of his books to get a feel for what the author truly intended over the stripped down,
“Hollywood-ised” versions. I can’t put my finger on why I haven’t, it’s not because the size of many of his novels are daunting, it’s more that as a reader I’m just not a horror book fan. So when it comes to sitting in on a Stephen king movie I have to rely on the story by it’s modified merits then to compare and contrast what IT does well (or not).
Like many before me, my first movie experience of IT was the classic mini-series featuring an incredibly creepy (and non-CGI’d version) of Pennywise portrayed by the extremely talented Tim Curry.
I even went out and purchased the mini-series before I went to see the first chapter of the remake of IT, just to see how those two compared. IT: Chapter One introduced us in great depth to the teens of the original losers club. A group of misfits, who went on their own personal crusade to attack and kill the nefarious clown while saving one of their own. A strong pact was formed and an oath sworn that if IT ever returned to Derry that the group would once again join together to put a stop to IT for good.
IT: Chapter Two picks up 27 years later, the group has moved on with their lives, all except Mike (Isaiah Mustafa as an adult and Chosen Jacobs as a younger version) who has felt a sense of responsibility to watch over the town and research how to kill IT if IT were to ever return. A horrific killing of an adult at the fair and subsequent disappearances of children alert Mike that the plague that has befallen Derry for generations has returned to feed. Mike reaches out to each of the losers reminding them that something they have all feared has come to pass.
Each when notified experience a fear that is indescribable yet for some reason the groups memories of the past have become clouded.
The now adult losers (with several flashbacks featuring the original cast) come together to remind themselves of the past, and the pact they made to protect the future. Featuring a star studded cast, Mike, Bill (James McAvoy/Jaeden Martell), Beverly (Jessica Chastain/Sophia Lillis), Ben (Jay Ryan/Jeremy Ray Taylor), Richie (Bill Hader/Finn Wolfhard), Eddie (James Ransone/Jack Dylan Grazer) and Stanley (Andy Bean/Wyatt Oleff), must battle their lost memories, their fears and the very real danger if they are to save Derry and themselves.
IT: Chapter 2 continues the incredible character building that Chapter 1 began. Where each of the young actors were perfectly cast as their book counterparts, their adult versions could easily be mistaken for the grown-up versions. This is the area where IT shines the most, the story of the losers who have grown and moved away, yet still share the unescapable bond of friendship. While an older Bill struggles (much like Stephen King himself) to come up with good endings to his stories it’s what he writes at the end of IT: Chapter 2 that really sums up the movie as a whole. To summarize, there are no good friends or bad friends, there are only friends, and chapter 2 is an example of how you take a band of misfits and turn them into heroes.
Sadly, for all the things IT does from a character side, it tends to drag on and over CGI its monster side. Pennywise the clown (portrayed brilliantly by Bill Skarsgård) brings with him all the creepiness and fear that the movie needs, even posters of his maniacal self is promoting lawsuits in other countries due to his ability to scare small children. So, it seems a bit disheartening that the studio felt it was necessary to go overboard with their CGI budgets. Many scenes go from being creepy and scary to simply being silly when our favorite clown is turned into a giant naked hag like figure. This is where I felt the mini-series did a far better job, due to its limited budget and shorter time requirements it allowed for the viewers to imagine the evil and not see it thrown out for the world to see.
IT: Chapter 2 also drags out far longer than it needed to. Make sure you get your bathroom breaks in, because the film, not counting previews, is just about 10 minutes shy of being three hours. I’m normally not one to complain about the length of a movie, as I’d rather they tell the story they want instead of trying to compress it into a shorter run time. However, in this case, it seemed entirely wasted on an overabundance of clown mutations and an extremely drawn out final battle. It’s unfortunate, because one of the most unused (and potentially interesting characters) Henry Bowers (Teach Grant/Nicholas Hamilton) is given only a few minutes of screen time and ultimately adds nothing to the movie as a whole. As I stated earlier, I haven’t read the novel, but I have to assume that he played a far bigger role in the book.
As it stands in the movie, his character is both unnecessary and completely ineffective at whatever he was attempting to do. I think some of the time taken away from the battle scenes to flesh out his (or other supporting characters) would have be time better spent.
IT: Chapter 2 is a good movie, that with some reduced special effects and better time management is just shy of being a great movie. The story of the kids, now grown up, is one of forgiveness, bravery and love. It shows how true friendship can overcome distance and time and that those things never truly vanish, even if the particulars of what separated you in the first place is a bit fuzzy. Horror movies with outrageous budgets tend to lose the spirit of what makes a true horror movie scary…it’s rarely about the effects, and more about the imagination.
That’s what makes the books typically so much better than the movies, after all, each one of us imagines our own version of what truly scares us (although clowns tend to be scary regardless of how they are portrayed). IT: Chapter 2 provides a satisfying ending to a story that began a few years ago, it suffers a bit from its budget and its use of CGI effects, but it’s still a story of what all of us losers can accomplish if we band together.
“Hollywood-ised” versions. I can’t put my finger on why I haven’t, it’s not because the size of many of his novels are daunting, it’s more that as a reader I’m just not a horror book fan. So when it comes to sitting in on a Stephen king movie I have to rely on the story by it’s modified merits then to compare and contrast what IT does well (or not).
Like many before me, my first movie experience of IT was the classic mini-series featuring an incredibly creepy (and non-CGI’d version) of Pennywise portrayed by the extremely talented Tim Curry.
I even went out and purchased the mini-series before I went to see the first chapter of the remake of IT, just to see how those two compared. IT: Chapter One introduced us in great depth to the teens of the original losers club. A group of misfits, who went on their own personal crusade to attack and kill the nefarious clown while saving one of their own. A strong pact was formed and an oath sworn that if IT ever returned to Derry that the group would once again join together to put a stop to IT for good.
IT: Chapter Two picks up 27 years later, the group has moved on with their lives, all except Mike (Isaiah Mustafa as an adult and Chosen Jacobs as a younger version) who has felt a sense of responsibility to watch over the town and research how to kill IT if IT were to ever return. A horrific killing of an adult at the fair and subsequent disappearances of children alert Mike that the plague that has befallen Derry for generations has returned to feed. Mike reaches out to each of the losers reminding them that something they have all feared has come to pass.
Each when notified experience a fear that is indescribable yet for some reason the groups memories of the past have become clouded.
The now adult losers (with several flashbacks featuring the original cast) come together to remind themselves of the past, and the pact they made to protect the future. Featuring a star studded cast, Mike, Bill (James McAvoy/Jaeden Martell), Beverly (Jessica Chastain/Sophia Lillis), Ben (Jay Ryan/Jeremy Ray Taylor), Richie (Bill Hader/Finn Wolfhard), Eddie (James Ransone/Jack Dylan Grazer) and Stanley (Andy Bean/Wyatt Oleff), must battle their lost memories, their fears and the very real danger if they are to save Derry and themselves.
IT: Chapter 2 continues the incredible character building that Chapter 1 began. Where each of the young actors were perfectly cast as their book counterparts, their adult versions could easily be mistaken for the grown-up versions. This is the area where IT shines the most, the story of the losers who have grown and moved away, yet still share the unescapable bond of friendship. While an older Bill struggles (much like Stephen King himself) to come up with good endings to his stories it’s what he writes at the end of IT: Chapter 2 that really sums up the movie as a whole. To summarize, there are no good friends or bad friends, there are only friends, and chapter 2 is an example of how you take a band of misfits and turn them into heroes.
Sadly, for all the things IT does from a character side, it tends to drag on and over CGI its monster side. Pennywise the clown (portrayed brilliantly by Bill Skarsgård) brings with him all the creepiness and fear that the movie needs, even posters of his maniacal self is promoting lawsuits in other countries due to his ability to scare small children. So, it seems a bit disheartening that the studio felt it was necessary to go overboard with their CGI budgets. Many scenes go from being creepy and scary to simply being silly when our favorite clown is turned into a giant naked hag like figure. This is where I felt the mini-series did a far better job, due to its limited budget and shorter time requirements it allowed for the viewers to imagine the evil and not see it thrown out for the world to see.
IT: Chapter 2 also drags out far longer than it needed to. Make sure you get your bathroom breaks in, because the film, not counting previews, is just about 10 minutes shy of being three hours. I’m normally not one to complain about the length of a movie, as I’d rather they tell the story they want instead of trying to compress it into a shorter run time. However, in this case, it seemed entirely wasted on an overabundance of clown mutations and an extremely drawn out final battle. It’s unfortunate, because one of the most unused (and potentially interesting characters) Henry Bowers (Teach Grant/Nicholas Hamilton) is given only a few minutes of screen time and ultimately adds nothing to the movie as a whole. As I stated earlier, I haven’t read the novel, but I have to assume that he played a far bigger role in the book.
As it stands in the movie, his character is both unnecessary and completely ineffective at whatever he was attempting to do. I think some of the time taken away from the battle scenes to flesh out his (or other supporting characters) would have be time better spent.
IT: Chapter 2 is a good movie, that with some reduced special effects and better time management is just shy of being a great movie. The story of the kids, now grown up, is one of forgiveness, bravery and love. It shows how true friendship can overcome distance and time and that those things never truly vanish, even if the particulars of what separated you in the first place is a bit fuzzy. Horror movies with outrageous budgets tend to lose the spirit of what makes a true horror movie scary…it’s rarely about the effects, and more about the imagination.
That’s what makes the books typically so much better than the movies, after all, each one of us imagines our own version of what truly scares us (although clowns tend to be scary regardless of how they are portrayed). IT: Chapter 2 provides a satisfying ending to a story that began a few years ago, it suffers a bit from its budget and its use of CGI effects, but it’s still a story of what all of us losers can accomplish if we band together.
Movie Metropolis (309 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Goodbye Normal Jean
It would be easy to write off X-Men: Dark Phoenix as a complete and utter disaster. With the departure of Bryan Singer (again) from the franchise, first-time director Simon Kinberg taking his place and rumours of costly reshoots pushing the budget north of $200million, things weren’t looking good for this adaptation of the popular Marvel comic.
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/