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Gareth von Kallenbach (965 KP) rated Winter's Tale (2014) in Movies
Aug 6, 2019
“Winter’s Tale”, starring Colin Farrell (Peter Lake), Jessica Brown Findlay (Beverly Penn), Russell Crowe (Pearly Soames), William Hurt (Isaac Penn), Jennifer Connelly (Virginia Gamely) and Will Smith (The Judge) is a fantastic love story, although the beginning was a little slow. It did help define the three different timelines involved in the plot
After a brief scene set in 1895, where we see a set of parents put their baby in a model ship, lower him down into the Hudson River and set him afloat, the timeline jumps to 1916. In this timeline we meet Peter Lake and Pearly Soames for the first time, and are drawn into their story of good versus evil. As Pearly hunts for Peter, in order to destroy him, Peter is assisted by a beautiful white horse named Athansor. The horse is absolutely stunning and along with the incredible use of light throughout the movie, it is possibly one of the most memorable things about the film. The stallion is the guardian angel of the adult Peter – and he flies! The CGI was seamless and beautiful.
As Peter tries again and again to escape Pearly, he ends up meeting Beverly who is ill with consumption. Of course, it’s a love story and they fall in love. Farrell and Penn’s portrayal of their characters’ romance was so poignant, you will need to have tissues on hand. Throughout the movie a voiceover says “inside each of us is a miracle, a miracle intended for one person alone.” The plot twists connected to that statement were just enough to keep me guessing – often incorrectly.
It was a total and complete shock to see Will Smith play an antagonist so well. Russell Crowe was great as Pearly, very believable as a demon obsessed with getting his way and wreaking vengeance on someone who he saw as having “done him wrong.”
When the storyline jumped to present day New York, 2014, the imagery of the lights and stars helped with the transition but the magic of the film seemed to disappear afterwards. While the last third of the movie was not hard to follow, it was still a bit hard to understand its point right away. I definitely felt like the movie lost some momentum after the jump to present day. In the end, it just felt like there was something missing – possibly left in the editing room. Maybe we’ll find it on the DVD extras.
I would give this movie 3.5 out of 5 stars.
After a brief scene set in 1895, where we see a set of parents put their baby in a model ship, lower him down into the Hudson River and set him afloat, the timeline jumps to 1916. In this timeline we meet Peter Lake and Pearly Soames for the first time, and are drawn into their story of good versus evil. As Pearly hunts for Peter, in order to destroy him, Peter is assisted by a beautiful white horse named Athansor. The horse is absolutely stunning and along with the incredible use of light throughout the movie, it is possibly one of the most memorable things about the film. The stallion is the guardian angel of the adult Peter – and he flies! The CGI was seamless and beautiful.
As Peter tries again and again to escape Pearly, he ends up meeting Beverly who is ill with consumption. Of course, it’s a love story and they fall in love. Farrell and Penn’s portrayal of their characters’ romance was so poignant, you will need to have tissues on hand. Throughout the movie a voiceover says “inside each of us is a miracle, a miracle intended for one person alone.” The plot twists connected to that statement were just enough to keep me guessing – often incorrectly.
It was a total and complete shock to see Will Smith play an antagonist so well. Russell Crowe was great as Pearly, very believable as a demon obsessed with getting his way and wreaking vengeance on someone who he saw as having “done him wrong.”
When the storyline jumped to present day New York, 2014, the imagery of the lights and stars helped with the transition but the magic of the film seemed to disappear afterwards. While the last third of the movie was not hard to follow, it was still a bit hard to understand its point right away. I definitely felt like the movie lost some momentum after the jump to present day. In the end, it just felt like there was something missing – possibly left in the editing room. Maybe we’ll find it on the DVD extras.
I would give this movie 3.5 out of 5 stars.
BankofMarquis (1832 KP) rated Alita: Battle Angel (2019) in Movies
Feb 20, 2019
Good visuals, not much else to recommend it
A few of my loyal readers recommended that I check out ALITA: BATTLE ANGEL in the biggest screen I could find, and in 3D. And...I'm glad I did for this film is a visual feast for the eyes, filled with eye-popping CGI and an interesting futuristic world on which the events of the film take place.
Unfortunately...that is all that there is to this film, for the rest of the movie does not live up to the fantastical elements laid forth visually.
Adapted to the screen from filmmakers James Cameron and Robert Rodriguez, ALITA: BATTLE ANGEL is a combination of the first 4 of Yukito Kishiro's series of 9 manga books, and (hopefully) the first in a trilogy of films that follows a robot, Alita, who is put back together by the mysterious Dr. Ido. When she awakens, she does not know what her past was, but as events transpire, it soon becomes apparent that Alita is much more than the sweet, young girl robot that her outward appearance would suggest.
Rosa Salazar is winning enough as the completely CGI creation of Alita, but no so charismatic that she can carry the film on her own, she will need help - and that's where this film falls down. Christoph Waltz is mediocre in the underwritten part of Dr. Ido. Instead of being interesting and mysterious, he is bland and boring. I'm beginning to think that Waltz needs the words of Quentin Tarantino to shine (because he does shine in Tarantino films) but is just so-so when speaking someone else's lines. Jennifer Connelly is wasted as Ido's ex-wife, somehow connected to the power elite of the Universe and Marashala Ali (who will soon win his 2nd Oscar) is completely shutdown and "one-note" as the big bad guy. Ed Skrein, Jackie Earle Haley (completely unrecognizable in voice or character as the CGI bad guy Grewishka) and Keean Johnson are all very forgettable as others in this world. Only Jeff Fahey (as a robot-Cowboy bounty hunter) is able to jump off the screen with what is the beginnings of an interesting character.
The battles, races, action and plot twists and turns are all "standard issue", pretty predictable and unsurprising. It is clear that Cameron and Rodriguez were so focused on the CGI and world building that they did not spend enough time on the plot, dialogue or pacing. And that's too bad, for besides the impressive visuals and graphics (and they are impressive), there is not much else to recommend from this film.
Letter Grade: B- (for the visuals)
6 (out of 10) stars and you can take that to the Bank(ofMarquis)
Unfortunately...that is all that there is to this film, for the rest of the movie does not live up to the fantastical elements laid forth visually.
Adapted to the screen from filmmakers James Cameron and Robert Rodriguez, ALITA: BATTLE ANGEL is a combination of the first 4 of Yukito Kishiro's series of 9 manga books, and (hopefully) the first in a trilogy of films that follows a robot, Alita, who is put back together by the mysterious Dr. Ido. When she awakens, she does not know what her past was, but as events transpire, it soon becomes apparent that Alita is much more than the sweet, young girl robot that her outward appearance would suggest.
Rosa Salazar is winning enough as the completely CGI creation of Alita, but no so charismatic that she can carry the film on her own, she will need help - and that's where this film falls down. Christoph Waltz is mediocre in the underwritten part of Dr. Ido. Instead of being interesting and mysterious, he is bland and boring. I'm beginning to think that Waltz needs the words of Quentin Tarantino to shine (because he does shine in Tarantino films) but is just so-so when speaking someone else's lines. Jennifer Connelly is wasted as Ido's ex-wife, somehow connected to the power elite of the Universe and Marashala Ali (who will soon win his 2nd Oscar) is completely shutdown and "one-note" as the big bad guy. Ed Skrein, Jackie Earle Haley (completely unrecognizable in voice or character as the CGI bad guy Grewishka) and Keean Johnson are all very forgettable as others in this world. Only Jeff Fahey (as a robot-Cowboy bounty hunter) is able to jump off the screen with what is the beginnings of an interesting character.
The battles, races, action and plot twists and turns are all "standard issue", pretty predictable and unsurprising. It is clear that Cameron and Rodriguez were so focused on the CGI and world building that they did not spend enough time on the plot, dialogue or pacing. And that's too bad, for besides the impressive visuals and graphics (and they are impressive), there is not much else to recommend from this film.
Letter Grade: B- (for the visuals)
6 (out of 10) stars and you can take that to the Bank(ofMarquis)
Ryan Hill (152 KP) rated Spider-Man: Homecoming (2017) in Movies
May 11, 2019
"if you are nothing without the suit then you shouldn't have it."
A John Hughes-esque coming-of-age movie, disguised as a friendly neighborhood adventure from the MCU; Spider-Man: Homecoming is more about growing up, and less about saving the world.
Tom Holland is great as Spider-man. His Spidey is different, and in a way, refreshing. I like how the origin story is skipped, and instead, we dive head into the day-to-day adventures of a semi-awkward, fifteen-year-old. I'm more interested in the growth of Peter Parker, than the development of Holland's Spider-Man Spidey-Powers. I'm still undecided about the way Spidey looks in his costume. To me, he looks more like a CGI goofnut, than an Avenger. But, how many kids get to have Jennifer Connelly on standby, whenever they need a helpful voice?
Homecoming might not feel and act like your typical MCU movie, but it does prove we still need Tony Stark, Happy Hogan and Pepper Potts in our lives. I smiled with all the screen time Happy has. He's truly an underrated character in the MCU. Plus, Tony plays the "cool uncle" spot-on.
One of the biggest criticisms with the MCU people have is the boring villain. Not in this case. Michael Keaton plays reverse-Batman, and his character actually has depth, an interesting storyline and a surprise twist. Bookem Woodbine plays a fun henchman, and all movies benefit from the presence of Donald Glover. The bad guys are not a snore nor a bore at this Homecoming Dance with the Devil.
I hope I wasn't the only one laughing at the casting of Tony Revolori as Flash the Bully. He's about as intimidating as a can of ravioli. Zendaya is way underused, but she shines in her scenes. I wish Ned was my best friend, but the poor fella will probably be typecast for life. However, he's a hilarious guy. How can you not like him?
Did you think I forgot about Aunt May? Of course not! Marisa Tomei is smokin' and brings honest energy to her supporting role.
The final boss battle is fun. So are the scenes on a ferry and a national monument. There's action, and there's a lot of growing up for Peter Parker and his friends. I'm not MCU fatigued after watching, but I do have a sudden urge to revisit Pretty in Pink.
Tom Holland is great as Spider-man. His Spidey is different, and in a way, refreshing. I like how the origin story is skipped, and instead, we dive head into the day-to-day adventures of a semi-awkward, fifteen-year-old. I'm more interested in the growth of Peter Parker, than the development of Holland's Spider-Man Spidey-Powers. I'm still undecided about the way Spidey looks in his costume. To me, he looks more like a CGI goofnut, than an Avenger. But, how many kids get to have Jennifer Connelly on standby, whenever they need a helpful voice?
Homecoming might not feel and act like your typical MCU movie, but it does prove we still need Tony Stark, Happy Hogan and Pepper Potts in our lives. I smiled with all the screen time Happy has. He's truly an underrated character in the MCU. Plus, Tony plays the "cool uncle" spot-on.
One of the biggest criticisms with the MCU people have is the boring villain. Not in this case. Michael Keaton plays reverse-Batman, and his character actually has depth, an interesting storyline and a surprise twist. Bookem Woodbine plays a fun henchman, and all movies benefit from the presence of Donald Glover. The bad guys are not a snore nor a bore at this Homecoming Dance with the Devil.
I hope I wasn't the only one laughing at the casting of Tony Revolori as Flash the Bully. He's about as intimidating as a can of ravioli. Zendaya is way underused, but she shines in her scenes. I wish Ned was my best friend, but the poor fella will probably be typecast for life. However, he's a hilarious guy. How can you not like him?
Did you think I forgot about Aunt May? Of course not! Marisa Tomei is smokin' and brings honest energy to her supporting role.
The final boss battle is fun. So are the scenes on a ferry and a national monument. There's action, and there's a lot of growing up for Peter Parker and his friends. I'm not MCU fatigued after watching, but I do have a sudden urge to revisit Pretty in Pink.
Gareth von Kallenbach (965 KP) rated The Day the Earth Stood Still (2008) in Movies
Aug 14, 2019
In 1951 Director Robert Wise helped create one of the most insightful films of the dawning Science Fiction genre. At that time, the growing theme was the good folks of Earth having to defend ourselves against all manner of evil creatures from beyond.
This tone has carried over to modern day as the notion of hostile invaders from beyond has become part of our cinematic and written culture.
The ironic thing about “The Day The Earth Stood Still” was that it was a cautionary tale that stood apart from the genre films of the day. Instead of an all out assault on humanity, a visitor named Klaatu (Michael Rennie) came to deliver a message that change was needed or else there would be dire consequences. Klaatu told the people of the earth that they must learn to live in peace and make war a thing of the past or they would run the risk of being destroyed by more powerful races that would see them as a threat to their peaceful ways.
Klaatu had a powerful robot named Gort who would destroy any hints of aggression and used him to get his message of the need for peace across.
Now in 2008, 20th Century Fox has recreated this classic tale with a star studded cast and a large production budget.
In the new version, Jennifer Connelly stars as Helen Benson, a scientist who is raising her stepson Jacob (Jaden Smith), who still mourns for his father who was recently killed while serving in the gulf. One night, Helen is taken into custody by agents who whisk her and other scientists to a secret conference where it is learned that an object in on a collision course with Manhattan and that due to a lack of warning, there is no time to evacuate the city.
Just when the gathered group prepares for the worst, the mysterious object lands in the middle of Central Park and after being surrounded by the military, produces a lone being from the interior of the spherical object. Just as Helen is about to make first contact with the being, he is shot by a nervous soldier, and before anyone knows what has happened, a giant mechanized being emerges from the sphere and incapacitates the assembled crowd with a sound wave. Just as the creature is about to take matters further he is called off by the wounded being.
The wounded being is taken to for medical care and the confounded scientists are amazed to find a human being underneath the organic suit that the being was wearing. The being grows very quickly and is soon a full grown adult.
Naturally these events are very concerning to the U.S. government and Defense Secretary Jackson (Kathy Bates). The Being identifies himself as Klaatu (Keanu Reeves), and asks to speak with the leaders of the world about a very important matter. Jackson is convinced that Klaatu is the first wave of an invasion and orders him to be interrogated in order to learn his true mission.
Klaatu is able to escape and soon finds himself on the run with Helen and in doing so, learns about humanity. As his mission is revealed, it soon becomes a race against time for Klaatu and Helen to save the world from the greatest threat it has ever known.
The setup to the new film was very good and I was fortunate enough to see the film at an Imax screen which really enhanced the visuals of the film. Sadly there was not enough action for it to hold my attention as the best visuals in the film were largely shown in the trailer.
Once the events of the plot were put into motion, I found them to be very underwhelming, and the message of the film was lost in a series of muddled dialogue and a script lacking any really tension or drama. Klaatu is supposed to be a fish out of water that learns through Helen and Jacob about the other side of humanity, the one that is not about war, death, and destruction. Yet, thanks to the lack of chemistry between Reeves and the always good Connelly the audience is left with little to root for.
When the action finally comes it is very brief and restrained and not nearly enough to save the film, which stumbles to a very awkward and predictable finale.
I had hoped that this new version would be able to up the action promised in the first film and greater delve into the origins of Klaatu as well as the message of change he brought to humanity. Instead the film loses its way and the message becomes an afterthought leaving the audience with very little.
This tone has carried over to modern day as the notion of hostile invaders from beyond has become part of our cinematic and written culture.
The ironic thing about “The Day The Earth Stood Still” was that it was a cautionary tale that stood apart from the genre films of the day. Instead of an all out assault on humanity, a visitor named Klaatu (Michael Rennie) came to deliver a message that change was needed or else there would be dire consequences. Klaatu told the people of the earth that they must learn to live in peace and make war a thing of the past or they would run the risk of being destroyed by more powerful races that would see them as a threat to their peaceful ways.
Klaatu had a powerful robot named Gort who would destroy any hints of aggression and used him to get his message of the need for peace across.
Now in 2008, 20th Century Fox has recreated this classic tale with a star studded cast and a large production budget.
In the new version, Jennifer Connelly stars as Helen Benson, a scientist who is raising her stepson Jacob (Jaden Smith), who still mourns for his father who was recently killed while serving in the gulf. One night, Helen is taken into custody by agents who whisk her and other scientists to a secret conference where it is learned that an object in on a collision course with Manhattan and that due to a lack of warning, there is no time to evacuate the city.
Just when the gathered group prepares for the worst, the mysterious object lands in the middle of Central Park and after being surrounded by the military, produces a lone being from the interior of the spherical object. Just as Helen is about to make first contact with the being, he is shot by a nervous soldier, and before anyone knows what has happened, a giant mechanized being emerges from the sphere and incapacitates the assembled crowd with a sound wave. Just as the creature is about to take matters further he is called off by the wounded being.
The wounded being is taken to for medical care and the confounded scientists are amazed to find a human being underneath the organic suit that the being was wearing. The being grows very quickly and is soon a full grown adult.
Naturally these events are very concerning to the U.S. government and Defense Secretary Jackson (Kathy Bates). The Being identifies himself as Klaatu (Keanu Reeves), and asks to speak with the leaders of the world about a very important matter. Jackson is convinced that Klaatu is the first wave of an invasion and orders him to be interrogated in order to learn his true mission.
Klaatu is able to escape and soon finds himself on the run with Helen and in doing so, learns about humanity. As his mission is revealed, it soon becomes a race against time for Klaatu and Helen to save the world from the greatest threat it has ever known.
The setup to the new film was very good and I was fortunate enough to see the film at an Imax screen which really enhanced the visuals of the film. Sadly there was not enough action for it to hold my attention as the best visuals in the film were largely shown in the trailer.
Once the events of the plot were put into motion, I found them to be very underwhelming, and the message of the film was lost in a series of muddled dialogue and a script lacking any really tension or drama. Klaatu is supposed to be a fish out of water that learns through Helen and Jacob about the other side of humanity, the one that is not about war, death, and destruction. Yet, thanks to the lack of chemistry between Reeves and the always good Connelly the audience is left with little to root for.
When the action finally comes it is very brief and restrained and not nearly enough to save the film, which stumbles to a very awkward and predictable finale.
I had hoped that this new version would be able to up the action promised in the first film and greater delve into the origins of Klaatu as well as the message of change he brought to humanity. Instead the film loses its way and the message becomes an afterthought leaving the audience with very little.
BankofMarquis (1832 KP) rated Gosford Park (2001) in Movies
Mar 24, 2020
Underneath it all...and Altman film
Do you like DOWNTON ABBEY? Do you like Agatha Christie Murder Mysteries? Do you like the 1970's British television series UPSTAIRS DOWNSTAIRS? If your answer to any of these questions is yes, then do I have a film for you.
GOSFORD PARK is an English Murder Mystery, set in the 1920's, featuring an All Star Cast, Directed by a 7 time Oscar nominee. It received critical acclaim in the year it was released (2001), earned 7 Oscar nominations (including Best Picture) and won the Oscar for Best Original Screenplay (Julian Fellowes...who would go on to create/write DOWNTON ABBEY).
Set in an English Country Manor, overseen by overbearing Lord William McCordle (Michael Gambon, the 2nd Albus Dumbledore in the Harry Potter films), GOSFORD PARK tells of the trials, tribulations, loves and death (yes, there's a murder) of a host of characters both Upstairs (the wealthy) and Downstairs (the servants).
And what a cast it is! Kristin Scott Thomas, Maggie Smith, Charles Dance, Jeremy Northam, Tom Hollander and Bob Balaban lead the group of the wealthy, while Helen Mirren, Alan Bates, Clive Owen, Kelly MacDonald, Eileen Atkins and Emily Watson head up the cast of servants below the stairs.
Both Maggie Smith and Helen Mirren were nominated for an Oscar for Best Supporting Actress for their work in this film (both losing to Jennifer Connelly for A BEAUTIFUL MIND).
Directed by Robert Altman (M*A*S*H, NASHVILLE), GOSFORD PARK is much of what you would expect from an Altman film...many, many people living their lives, sometimes intersecting with others, often times just going off on their own, tied together by the circumstances of being in this giant manor house on a weekend of a murder.
It is an ambitious, "Oscar bait" film that succeeds for the most part. And, if you are into the costumes, sets, Interior Design and intimate scenes of people talking, then you will be richly rewarded by this film.
I loved this film when it first came out and was anxiously looking forward to re-visiting it.
While I still liked it during this viewing, I did find the pacing to be languid and I started finding myself being frustrated by threads and character direction that just sort of petered out or ended all together with no real resolution. I know this was on purpose, for Altman would argue that this is what happens in real life, but I found this frustrating.
But this film has much, much going for it and if you haven't seen this - or haven't seen this in awhile - and are a fan of these types of films, then GOSFORD PARK will be a very rewarding 2 hours and 11 minutes of a movie going experience.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank (ofMarquis)
GOSFORD PARK is an English Murder Mystery, set in the 1920's, featuring an All Star Cast, Directed by a 7 time Oscar nominee. It received critical acclaim in the year it was released (2001), earned 7 Oscar nominations (including Best Picture) and won the Oscar for Best Original Screenplay (Julian Fellowes...who would go on to create/write DOWNTON ABBEY).
Set in an English Country Manor, overseen by overbearing Lord William McCordle (Michael Gambon, the 2nd Albus Dumbledore in the Harry Potter films), GOSFORD PARK tells of the trials, tribulations, loves and death (yes, there's a murder) of a host of characters both Upstairs (the wealthy) and Downstairs (the servants).
And what a cast it is! Kristin Scott Thomas, Maggie Smith, Charles Dance, Jeremy Northam, Tom Hollander and Bob Balaban lead the group of the wealthy, while Helen Mirren, Alan Bates, Clive Owen, Kelly MacDonald, Eileen Atkins and Emily Watson head up the cast of servants below the stairs.
Both Maggie Smith and Helen Mirren were nominated for an Oscar for Best Supporting Actress for their work in this film (both losing to Jennifer Connelly for A BEAUTIFUL MIND).
Directed by Robert Altman (M*A*S*H, NASHVILLE), GOSFORD PARK is much of what you would expect from an Altman film...many, many people living their lives, sometimes intersecting with others, often times just going off on their own, tied together by the circumstances of being in this giant manor house on a weekend of a murder.
It is an ambitious, "Oscar bait" film that succeeds for the most part. And, if you are into the costumes, sets, Interior Design and intimate scenes of people talking, then you will be richly rewarded by this film.
I loved this film when it first came out and was anxiously looking forward to re-visiting it.
While I still liked it during this viewing, I did find the pacing to be languid and I started finding myself being frustrated by threads and character direction that just sort of petered out or ended all together with no real resolution. I know this was on purpose, for Altman would argue that this is what happens in real life, but I found this frustrating.
But this film has much, much going for it and if you haven't seen this - or haven't seen this in awhile - and are a fan of these types of films, then GOSFORD PARK will be a very rewarding 2 hours and 11 minutes of a movie going experience.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank (ofMarquis)
Kirk Bage (1775 KP) rated Alita: Battle Angel (2019) in Movies
Jan 22, 2021
Robert Rodriguez is not a good director. He isn’t an especially good writer or producer either. This is the guy responsible for four Spy Kids films, that start below average and downgrade exponentially into excruciatingly awful. What he is pretty good at is ideas, and seeing the potential of something visually arresting and exciting. That is what led to the success of Sin City, arguably his best effort to date, because he saw how the comic book creations of Frank Miller could become live action and he made it happen.
Alita: Battle Angel is a similar deal. This time Yukito Kishiro’s early 90s manga creation is the inspiration. With James Cameron as producer, and the considerable talents of Christoph Waltz, Jennifer Connelly and Mahershala Ali onboard, it would have been pretty hard for even Rodriguez to mess this up entirely. Although at times he does seem to try, mostly by doing too much and making certain sections too busy and too confusingly cross-genre, like he is frantically trying to colour within the lines whilst using every felt-tip in the pack. A habit that means every now and again something great happens, but you may have missed it in all the background noise.
Compare this film, that just falls short of qualifying for my Bad Movie Triple Bill list, to Spielberg’s superior yet similarly busy Ready Player One. Both involve high concept future realities that are very tech and AI driven. Both make extensive use of CGI and vivid colour palettes. Both are frenetic and demand an audience pays attention in order to fully appreciate the storyline. The difference is that one zig-zags back and forth in tone and momentum, and one is razor sharp in moving us from one idea to the next on a perfect learning curve towards a satisfying climax and conclusion. Guess which one is which? This is why Spielberg is Spielberg and Rodriguez is… a hack.
That said, Alita as a character and concept is charming, and you do therefore find yourself at least wanting to discover her story. The action scenes are also quite electric, and the visuals are often breath-taking. But the whole is less than the sum of the parts here, and we are left with something that can only really exist in the same box as dozens of admirable sci-fi B-movies aimed at teenagers, such as The Maze Runner, Mortal Engines and The City of Ember. It also continues to prove the point alongside Ghost in the Shell and Speed Racer that Anime / Manga into live action is a very tricky business.
There is definitely an audience out there for this movie, and I dare say at some point I will be tempted to give it another watch. What is definitely worth watching however, is how James Cameron uses this as a stepping stone to perfecting virtual humans on the big screen. I am sure everyone involved learned a lot in that respect, so all is far from lost.
Alita: Battle Angel is a similar deal. This time Yukito Kishiro’s early 90s manga creation is the inspiration. With James Cameron as producer, and the considerable talents of Christoph Waltz, Jennifer Connelly and Mahershala Ali onboard, it would have been pretty hard for even Rodriguez to mess this up entirely. Although at times he does seem to try, mostly by doing too much and making certain sections too busy and too confusingly cross-genre, like he is frantically trying to colour within the lines whilst using every felt-tip in the pack. A habit that means every now and again something great happens, but you may have missed it in all the background noise.
Compare this film, that just falls short of qualifying for my Bad Movie Triple Bill list, to Spielberg’s superior yet similarly busy Ready Player One. Both involve high concept future realities that are very tech and AI driven. Both make extensive use of CGI and vivid colour palettes. Both are frenetic and demand an audience pays attention in order to fully appreciate the storyline. The difference is that one zig-zags back and forth in tone and momentum, and one is razor sharp in moving us from one idea to the next on a perfect learning curve towards a satisfying climax and conclusion. Guess which one is which? This is why Spielberg is Spielberg and Rodriguez is… a hack.
That said, Alita as a character and concept is charming, and you do therefore find yourself at least wanting to discover her story. The action scenes are also quite electric, and the visuals are often breath-taking. But the whole is less than the sum of the parts here, and we are left with something that can only really exist in the same box as dozens of admirable sci-fi B-movies aimed at teenagers, such as The Maze Runner, Mortal Engines and The City of Ember. It also continues to prove the point alongside Ghost in the Shell and Speed Racer that Anime / Manga into live action is a very tricky business.
There is definitely an audience out there for this movie, and I dare say at some point I will be tempted to give it another watch. What is definitely worth watching however, is how James Cameron uses this as a stepping stone to perfecting virtual humans on the big screen. I am sure everyone involved learned a lot in that respect, so all is far from lost.
BankofMarquis (1832 KP) rated Top Gun: Maverick (2022) in Movies
Jun 1, 2022
The very definition of "Summer Flick"
There is absolutely no denying it - TOP GUN: MAVERICK is the very definition of a “Summer Blockbuster” movie - the kind of film that will appeal to a wide variety of audiences who want nothing more than to escape into a world of heroes (and villains), good vs. evil, with lots of fast chases and things exploding.
And that is just what you get with the sequel to the 1986 hit - a summer blockbuster, which will do well at the box office - just don’t expect tricky plot developments or in-depth character examinations. The plot and the characters are just there to deliver the blockbuster goods.
Bringing back the main character from the first TOP GUN film, Tom Cruise as Captain Pete “Maverick” Mitchell, TOP GUN: MAVERICK shows Maverick 30 years (or so) after the events of the first film with “just one more” mission to go. Maverick is brought back to train a dozen hot-shot pilots, including one that is the son of his best friend - a friend who’s death Maverick has been traumatized by during the past 30 years.
Cruise, of course, is perfect in this role. He has the right blend of arrogance and charisma to pull of the fine balance needed between these two traits. Jennifer Connelly is on board as the requisite love interest and she more than holds her own with Cruise in what is an underwritten role as are all of the roles in this film by writer Peter Craig (BAD BOYS FOR LIFE) with Direction by Joseph Kosinski (OBLIVION).
Miles Teller (the son of the man who Maverick is mourning, who blames Maverick for his dad’s death), John Hamm (the a-hole boss that thinks that Maverick is “writing checks his body can’t cash”), Glen Powell (the arrogant young hot shot) and the rest are all one-note caricatures that leaves the audience not really caring about their fate.
Only Val Kilmer (reprising his role as “Iceman” from the first movie) comes out of this unscathed for his character is suffering from throat cancer and cannot speak above a whisper (much like Kilmer in real life). It was good to see him on the big screen again.
But…you don’t come to this film for the characters, you come to this picture for the high-flying action sequences, and…in the last part of this film…you get ‘em in spades! Unfortunately, you get way too LITTLE action in the first part of this film, it’s mostly nostalgic fond remembrances of the first film, so I found myself wriggling in my seat waiting for the action that I knew was to come.
It’s the perfect summer movie and one that is far more superior being seen on the big screen. It is the type of flick that one doesn’t have to pay to close attention to, but when it does grab your attention, it does it well…enough.
If you have the need…the need for speed…you can do much worse than TOP GUN: MAVERICK.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
And that is just what you get with the sequel to the 1986 hit - a summer blockbuster, which will do well at the box office - just don’t expect tricky plot developments or in-depth character examinations. The plot and the characters are just there to deliver the blockbuster goods.
Bringing back the main character from the first TOP GUN film, Tom Cruise as Captain Pete “Maverick” Mitchell, TOP GUN: MAVERICK shows Maverick 30 years (or so) after the events of the first film with “just one more” mission to go. Maverick is brought back to train a dozen hot-shot pilots, including one that is the son of his best friend - a friend who’s death Maverick has been traumatized by during the past 30 years.
Cruise, of course, is perfect in this role. He has the right blend of arrogance and charisma to pull of the fine balance needed between these two traits. Jennifer Connelly is on board as the requisite love interest and she more than holds her own with Cruise in what is an underwritten role as are all of the roles in this film by writer Peter Craig (BAD BOYS FOR LIFE) with Direction by Joseph Kosinski (OBLIVION).
Miles Teller (the son of the man who Maverick is mourning, who blames Maverick for his dad’s death), John Hamm (the a-hole boss that thinks that Maverick is “writing checks his body can’t cash”), Glen Powell (the arrogant young hot shot) and the rest are all one-note caricatures that leaves the audience not really caring about their fate.
Only Val Kilmer (reprising his role as “Iceman” from the first movie) comes out of this unscathed for his character is suffering from throat cancer and cannot speak above a whisper (much like Kilmer in real life). It was good to see him on the big screen again.
But…you don’t come to this film for the characters, you come to this picture for the high-flying action sequences, and…in the last part of this film…you get ‘em in spades! Unfortunately, you get way too LITTLE action in the first part of this film, it’s mostly nostalgic fond remembrances of the first film, so I found myself wriggling in my seat waiting for the action that I knew was to come.
It’s the perfect summer movie and one that is far more superior being seen on the big screen. It is the type of flick that one doesn’t have to pay to close attention to, but when it does grab your attention, it does it well…enough.
If you have the need…the need for speed…you can do much worse than TOP GUN: MAVERICK.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Only The Brave (2017) in Movies
Jun 10, 2019
One of the year's best films
Films based on true events are ten-a-penny these days. From 2015s stunning American Sniper and 2016s breath-taking Deepwater Horizon to the critically acclaimed Patriots Day, there seems to be no stopping the ‘true to life’ variety of movies that has suddenly become very popular.
The trouble is, getting the films right is trickier than for any other genre. Not only do you have to please the audience with bombastic spectacle, you have to respect the events that caused them to exist in the first place. The new kid on the block is Only the Brave. But does this tale of the Granite Mountain Hotshots do their incredibly tragic story justice?
Through hope, determination, sacrifice and the drive to protect families and communities, the Granite Mountain Hotshots become one of the most elite firefighting teams in the country. While most people run from danger, they run toward it — watching over lives, homes and everything people hold dear, forging a unique brotherhood that comes into focus with one fateful fire in Yarnell, Arizona.
With a cast that includes the likes of Jeff Bridges, Miles Teller, Josh Brolin, Jennifer Connelly and Andie MacDowell to name but a few, there’s no denying there is some seriously good talent on offer here. After researching the people these characters are based on, it appears that director Joseph Kosinski – who just so happens to be directing the long-awaited Top Gun sequel – has picked the perfect group of actors to portray them.
Teller is frankly, outstanding as troubled Brendan McDonough, joining the Hotshots after leaving his life of crime and addiction behind him. Josh Brolin is his ever-magnetic self as group leader Eric Marsh and the legendary Jeff Bridges really needs no introduction. The cast ooze class in every frame.
Cinematography wise, the lush landscapes of Arizona lend themselves perfectly to a beautifully shot film that features intense CGI and tasteful practical effects. Make no mistake though, this is not an action film and it feels all the better for it. While the fires themselves are mightily impressive and rendered with magnificent detail and precision, the real action here is in the human drama, of which there is an abundance.
The fact that this touching story is based on true events means that the subject matter needs to be handled as sensitively as possible and in that respect, Only the Brave has succeeded on every level. The touching tribute to these incredible men before the end credits proves to be a final emotional gut-punch after 2 hours of absolute excellence.
The script is good at making us feel for these people through their daily personal lives and their professional mentalities. In fact, it’s so well written, it may just be one of the best scripts I’ve had the pleasure of watching come to life all year and coupled with the glorious airborne shots, it makes for a deeply immersive film.
Only the Brave isn’t a film that shouts about any one thing it does well. Instead Joseph Kosinski rallies a phenomenal cast in a film that is beautifully written, exquisitely acted and is a fitting but perhaps most importantly, touching, tribute to the men who desperately tried to protect those around them.
https://moviemetropolis.net/2017/11/11/only-the-brave-review/
The trouble is, getting the films right is trickier than for any other genre. Not only do you have to please the audience with bombastic spectacle, you have to respect the events that caused them to exist in the first place. The new kid on the block is Only the Brave. But does this tale of the Granite Mountain Hotshots do their incredibly tragic story justice?
Through hope, determination, sacrifice and the drive to protect families and communities, the Granite Mountain Hotshots become one of the most elite firefighting teams in the country. While most people run from danger, they run toward it — watching over lives, homes and everything people hold dear, forging a unique brotherhood that comes into focus with one fateful fire in Yarnell, Arizona.
With a cast that includes the likes of Jeff Bridges, Miles Teller, Josh Brolin, Jennifer Connelly and Andie MacDowell to name but a few, there’s no denying there is some seriously good talent on offer here. After researching the people these characters are based on, it appears that director Joseph Kosinski – who just so happens to be directing the long-awaited Top Gun sequel – has picked the perfect group of actors to portray them.
Teller is frankly, outstanding as troubled Brendan McDonough, joining the Hotshots after leaving his life of crime and addiction behind him. Josh Brolin is his ever-magnetic self as group leader Eric Marsh and the legendary Jeff Bridges really needs no introduction. The cast ooze class in every frame.
Cinematography wise, the lush landscapes of Arizona lend themselves perfectly to a beautifully shot film that features intense CGI and tasteful practical effects. Make no mistake though, this is not an action film and it feels all the better for it. While the fires themselves are mightily impressive and rendered with magnificent detail and precision, the real action here is in the human drama, of which there is an abundance.
The fact that this touching story is based on true events means that the subject matter needs to be handled as sensitively as possible and in that respect, Only the Brave has succeeded on every level. The touching tribute to these incredible men before the end credits proves to be a final emotional gut-punch after 2 hours of absolute excellence.
The script is good at making us feel for these people through their daily personal lives and their professional mentalities. In fact, it’s so well written, it may just be one of the best scripts I’ve had the pleasure of watching come to life all year and coupled with the glorious airborne shots, it makes for a deeply immersive film.
Only the Brave isn’t a film that shouts about any one thing it does well. Instead Joseph Kosinski rallies a phenomenal cast in a film that is beautifully written, exquisitely acted and is a fitting but perhaps most importantly, touching, tribute to the men who desperately tried to protect those around them.
https://moviemetropolis.net/2017/11/11/only-the-brave-review/
Gareth von Kallenbach (965 KP) rated Alita: Battle Angel (2019) in Movies
Jul 2, 2019
Don’t let the “big anime eyes” or unusual title fool you into thinking this will be a lame film. Yes, this movie is based off a manga you’ve probably never heard of. Yes, it is easy to dismiss this film as something that will bomb like last year’s Mortal Engines. But if you place your faith in director Robert Rodriguez and writer/producer James Cameron, you will be treated to a surprisingly solid narrative and fast paced visual spectacle that is worth the price of admission to view in the theater.
The biggest praise I can give to Alita: Battle Angel is that the visually stunning world they create on screen feels “lived in” and real. I found it easy to accept and understand the rules of that world they built and explained throughout film. And while we are not given a full history of their world, we are given enough explanation to understand how or why something existed in their world. This gives us the opportunity to focus on the story of “self-discovery” that Alita ultimately is.
Rosa Salazar motion capture performance of Alita is excellent. Not only in movement but in emotionally delivery. You get the real sense of discovery with this amazing world that Alita is being exposed to. Additionally, as she begins to become more self-aware of who she is, you can understand the emotion and she struggles with love, trust and obligation. Furthermore, from a technical standpoint, by the end of the movie, I was not thinking of Alita being something that is motion captured and instead just accepted her as part of this onscreen world they delivered. This is really something that becomes make or break with this film for some people and it’s easy to dismiss it based on the trailers. However in context of the film, it works and does a good job drawing you in.
In addition to Alita, we are given strong performances from the ensemble cast of characters in the film. Christoph Waltz play’s Alita surrogate father Dr. Dyson Ido, Keean Johnson as the street smart and resourceful Hugo, Mahershala Ali as the gangster type gate keeper Vector, Jennifer Connelly as the morally ambiguous goal focused scientist and Ed Skrein as the cocky bounty hunter. Each of these characters play their roles well and help usher in the different levels of the society they live in. Perhaps the once complaint I have of this film is that the pacing of this film is so fast that we miss an opportunity to obtain a bit more backstory from some of these characters. It is not a big loss, but it makes you wonder if this film would have been better served as a 10 episode Netflix series or something of that nature.
In the end, I found myself enjoying this film more than I expected I would. Is it a perfect film? No. Nor does it invoke emotionally deep existential thought that the manga it is based on provides. But it does tell a sold story of self-discovery in a visually stunning and fully realized world. It is fun, fast paced and something that should be seen in the theaters. And if possible, do yourself a favor and watch it in 3D. This film has some of the best 3D effects since Avatar. The 3D doesn’t feel like an afterthought or gimmicky, but instead works to enhance the on screen world.
The biggest praise I can give to Alita: Battle Angel is that the visually stunning world they create on screen feels “lived in” and real. I found it easy to accept and understand the rules of that world they built and explained throughout film. And while we are not given a full history of their world, we are given enough explanation to understand how or why something existed in their world. This gives us the opportunity to focus on the story of “self-discovery” that Alita ultimately is.
Rosa Salazar motion capture performance of Alita is excellent. Not only in movement but in emotionally delivery. You get the real sense of discovery with this amazing world that Alita is being exposed to. Additionally, as she begins to become more self-aware of who she is, you can understand the emotion and she struggles with love, trust and obligation. Furthermore, from a technical standpoint, by the end of the movie, I was not thinking of Alita being something that is motion captured and instead just accepted her as part of this onscreen world they delivered. This is really something that becomes make or break with this film for some people and it’s easy to dismiss it based on the trailers. However in context of the film, it works and does a good job drawing you in.
In addition to Alita, we are given strong performances from the ensemble cast of characters in the film. Christoph Waltz play’s Alita surrogate father Dr. Dyson Ido, Keean Johnson as the street smart and resourceful Hugo, Mahershala Ali as the gangster type gate keeper Vector, Jennifer Connelly as the morally ambiguous goal focused scientist and Ed Skrein as the cocky bounty hunter. Each of these characters play their roles well and help usher in the different levels of the society they live in. Perhaps the once complaint I have of this film is that the pacing of this film is so fast that we miss an opportunity to obtain a bit more backstory from some of these characters. It is not a big loss, but it makes you wonder if this film would have been better served as a 10 episode Netflix series or something of that nature.
In the end, I found myself enjoying this film more than I expected I would. Is it a perfect film? No. Nor does it invoke emotionally deep existential thought that the manga it is based on provides. But it does tell a sold story of self-discovery in a visually stunning and fully realized world. It is fun, fast paced and something that should be seen in the theaters. And if possible, do yourself a favor and watch it in 3D. This film has some of the best 3D effects since Avatar. The 3D doesn’t feel like an afterthought or gimmicky, but instead works to enhance the on screen world.
Gareth von Kallenbach (965 KP) rated Top Gun: Maverick (2022) in Movies
May 19, 2022
Back in 1987, Tom Cruise and Paramount released “Top Gun” and in doing so created a cultural phenomenon that launched Cruise into Superstardom and became an enduring classic.
Now after decades away and delays due to the pandemic, Cruise has returned to the franchise with “Top Gun: Maverick” and has crafted the rare feat, of a sequel that is not only better than the original but also gives audiences an edge of the seat summer event film when it is needed the most.
Cruise stars as Captain Pete Mitchell who after thirty years is not only haunted by his past but unable to shed his insubordinate and impulsive ways which have kept him from reaching the rank of Admiral and have moved him from one assignment to another.
After his latest action confirms his incredible aviation skills but infuriates the upper brass in the process, Mitchell is out of options as he is unwilling to retire, unable to be promoted, and out of posting options. He is tasked by an old friend with enough clout to watch out for him to return to the Top Gun program as an instructor. Mitchell is hesitant as his last attempt as an instructor did not last long and he believes he is better suited to fly versus teaching.
It is learned that an enemy faction is about to open a Uranium enrichment facility in violation of established law that would threaten the region, and Mitchell is tasked with training a team of Top Gun graduates in three weeks who can make what appears to be a near-impossible assault on the facility to destroy it before it becomes a threat.
While the assembled pilots represent a brash and talented group, Mitchell must contend with the ghosts of his past as one of the members Bradley ‘Rooster’ Bradshaw (Miles Teller), is the son of his deceased friend Goose and has a very fractured relationship with Bradshaw over their shared past.
With pressure on him from Admiral Simpson (Jon Hamm), Mitchell must somehow find a way to train the group in a small amount of time for what is considered by many to be an impossible mission due to the terrain, defenses, and location of their target.
The film is an edge-of-the-seat adrenaline rush that grabs ahold of you from the start and never lets up. From the opening music to the intense aerial sequences, the audience was hooked as gasps and cheers erupted frequently as the characters and action clearly connected with the audience.
While the visual sequences are nothing short of spectacular, the film is a character-based story and there is a depth to Mitchell and many of the cast that goes much deeper than one would normally see in a summer action film.
Jennifer Connelly offers a great counter-point to Mitchell as a person from his past that has known him through several key moments of his career and helps him endure the turbulent emotions that he has.
From the solid characters and story to the rousing final segments of the movie, “Top Gun: Maverick” returns the Summer Event film in grand style and exceeded my expectations and the original in every way.
Now after decades away and delays due to the pandemic, Cruise has returned to the franchise with “Top Gun: Maverick” and has crafted the rare feat, of a sequel that is not only better than the original but also gives audiences an edge of the seat summer event film when it is needed the most.
Cruise stars as Captain Pete Mitchell who after thirty years is not only haunted by his past but unable to shed his insubordinate and impulsive ways which have kept him from reaching the rank of Admiral and have moved him from one assignment to another.
After his latest action confirms his incredible aviation skills but infuriates the upper brass in the process, Mitchell is out of options as he is unwilling to retire, unable to be promoted, and out of posting options. He is tasked by an old friend with enough clout to watch out for him to return to the Top Gun program as an instructor. Mitchell is hesitant as his last attempt as an instructor did not last long and he believes he is better suited to fly versus teaching.
It is learned that an enemy faction is about to open a Uranium enrichment facility in violation of established law that would threaten the region, and Mitchell is tasked with training a team of Top Gun graduates in three weeks who can make what appears to be a near-impossible assault on the facility to destroy it before it becomes a threat.
While the assembled pilots represent a brash and talented group, Mitchell must contend with the ghosts of his past as one of the members Bradley ‘Rooster’ Bradshaw (Miles Teller), is the son of his deceased friend Goose and has a very fractured relationship with Bradshaw over their shared past.
With pressure on him from Admiral Simpson (Jon Hamm), Mitchell must somehow find a way to train the group in a small amount of time for what is considered by many to be an impossible mission due to the terrain, defenses, and location of their target.
The film is an edge-of-the-seat adrenaline rush that grabs ahold of you from the start and never lets up. From the opening music to the intense aerial sequences, the audience was hooked as gasps and cheers erupted frequently as the characters and action clearly connected with the audience.
While the visual sequences are nothing short of spectacular, the film is a character-based story and there is a depth to Mitchell and many of the cast that goes much deeper than one would normally see in a summer action film.
Jennifer Connelly offers a great counter-point to Mitchell as a person from his past that has known him through several key moments of his career and helps him endure the turbulent emotions that he has.
From the solid characters and story to the rousing final segments of the movie, “Top Gun: Maverick” returns the Summer Event film in grand style and exceeded my expectations and the original in every way.