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365Flicks (235 KP) rated Dead Rising: Endgame (2016) in Movies
Nov 20, 2019
There are a plethora of really shitty movies based on Games being released each year. None of them holding a candle to the source material it is based on. However each and every time I get suckered in because I want to be impressed by these attempts, as a movie fan and a gamer I need to be impressed. Lets be honest the premise of the Dead Rising games is just about absurd enough to work as a movie and with this being the second outing well have they learnt.
Based on the worldwide smash-hit video game series, Dead Rising: Endgame is the sequel to Dead Rising: Watchtower. Directed by Pat Williams (Continuum), written by Michael Ferris (Terminator Salvation) and Tim Carter (Mortal Kombat: Legacy) and starring Jesse Metcalfe, Marie Avgeropoulos and Dennis Haysbert.
Journalist Chase Carter Heads back into a quarantine zone to find the truth as to what happened to his partner. He and a small group of Journalists want to expose the creators of the outbreak. What he is going to find is a huge cover up that is going to threaten everything. General Lyons (Dennis Haysbert, President Palmer in 24 “Yaaaay”), is a Military officer who will never let anyone get in his way. Racing against the clock, Chase and crew must slice, hack and use any weapon at there disposal to find there way through the zombie hordes and out of the quarantine zone.
I really couldn’t figure out where I stood with this movie at first. I felt like I maybe should of been on the side of thinking it was hot trash. However the Dialogue all though Cheesy at times suits the world its in. The acting although not exactly Andrew Lincoln levels is pretty damn good for this type of flick. Budget and effects wise I had no complaints you could see they hadn’t cheaped out on the practical or the FX on the Zombies they were genuinely scary and brought a certain amount of originality.
I would recommend you see this movie. Go into expecting a fun action packed romp of a movie. Brad Pitts World War Z this movie is not, Zack Snyder’s Dawn of the Dead Remake this movie also is not, but the best thing is that it knows its not those movies, it knows its a Dead Rising tie-in and it brings all of that together in this glorious fun time at the movies. Who knew Jesse Metcalfe was a total Bad Ass????
Based on the worldwide smash-hit video game series, Dead Rising: Endgame is the sequel to Dead Rising: Watchtower. Directed by Pat Williams (Continuum), written by Michael Ferris (Terminator Salvation) and Tim Carter (Mortal Kombat: Legacy) and starring Jesse Metcalfe, Marie Avgeropoulos and Dennis Haysbert.
Journalist Chase Carter Heads back into a quarantine zone to find the truth as to what happened to his partner. He and a small group of Journalists want to expose the creators of the outbreak. What he is going to find is a huge cover up that is going to threaten everything. General Lyons (Dennis Haysbert, President Palmer in 24 “Yaaaay”), is a Military officer who will never let anyone get in his way. Racing against the clock, Chase and crew must slice, hack and use any weapon at there disposal to find there way through the zombie hordes and out of the quarantine zone.
I really couldn’t figure out where I stood with this movie at first. I felt like I maybe should of been on the side of thinking it was hot trash. However the Dialogue all though Cheesy at times suits the world its in. The acting although not exactly Andrew Lincoln levels is pretty damn good for this type of flick. Budget and effects wise I had no complaints you could see they hadn’t cheaped out on the practical or the FX on the Zombies they were genuinely scary and brought a certain amount of originality.
I would recommend you see this movie. Go into expecting a fun action packed romp of a movie. Brad Pitts World War Z this movie is not, Zack Snyder’s Dawn of the Dead Remake this movie also is not, but the best thing is that it knows its not those movies, it knows its a Dead Rising tie-in and it brings all of that together in this glorious fun time at the movies. Who knew Jesse Metcalfe was a total Bad Ass????
LeftSideCut (3778 KP) rated The Cabin in the Woods (2012) in Movies
Dec 29, 2019 (Updated Jan 22, 2020)
I absolutely love The Cabin in the Woods. It's masquerades as a straight up horror flick but with a ridiculous curve ball thrown in(no spoilers here, but seriously, watch it already!), that manages to subvert everything you would expect from a standard slasher type horror.
The cast are all great - Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, and Jesse Williams - all play typically heightened stereotypes of the kind of run of the mill teenage cannon fodder you usually find within the genre, and with the film's tongue firmly in cheek, it hard to not like any of them.
Then you also have Richard Jenkins and Bradley Whitford providing the majority of the comic relief, and the two of them together are pretty funny, and seem to be having a ball filming.
The narrative of The Cabin in the Woods is the secret ingredient here though. It's fun, it's different, and when the aforementioned twist arrives, it shifts heard pretty quickly, providing one if the most absurd and memorable final acts I've seen in a horror movie.
The gore and violence on display is truly astonishing, and it's nice to see that the effects teams on board used a lot of practical effects to achieve a lot of this, with digital effects used only when necessary. The costume designs for a certain aspect of the film are fantastic as well (still trying to avoid spoilers).
I can't for the life of me see why anyone who likes horror wouldn't get a kick out of The Cabin in the Woods. It tries to do something different, and in my opinion pulls it off with flying bloody colours, and is easily one of my favourite horrors out there.
The cast are all great - Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, and Jesse Williams - all play typically heightened stereotypes of the kind of run of the mill teenage cannon fodder you usually find within the genre, and with the film's tongue firmly in cheek, it hard to not like any of them.
Then you also have Richard Jenkins and Bradley Whitford providing the majority of the comic relief, and the two of them together are pretty funny, and seem to be having a ball filming.
The narrative of The Cabin in the Woods is the secret ingredient here though. It's fun, it's different, and when the aforementioned twist arrives, it shifts heard pretty quickly, providing one if the most absurd and memorable final acts I've seen in a horror movie.
The gore and violence on display is truly astonishing, and it's nice to see that the effects teams on board used a lot of practical effects to achieve a lot of this, with digital effects used only when necessary. The costume designs for a certain aspect of the film are fantastic as well (still trying to avoid spoilers).
I can't for the life of me see why anyone who likes horror wouldn't get a kick out of The Cabin in the Woods. It tries to do something different, and in my opinion pulls it off with flying bloody colours, and is easily one of my favourite horrors out there.
Bob Mann (459 KP) rated Jungle Cruise (2021) in Movies
Aug 2, 2021
Star power from Johnson and Blunt (1 more)
Direction, cinematography, special effects and score all top notch
An Amazon-based blockbuster that delivers!
Dating from 1955, Jungle Cruise was one of the key attractions at Disneyland when it first opened. Full of corny spiel from the lovable boat captains, the experience is nicely evoked in the new Disney movie: a true summer blockbuster that delights.
Positives:
- Cut the movie open and it reads "summer blockbuster pleaser" through the middle. This is largely down to the charisma of its two stars, Blunt and Johnson, who prove why they are both such bankable commodities. It's clearly based on the "will they/won't they" simmering sexual chemistry between two polar-opposites, as featured in movies such as "Romancing the Stone" and "The African Queen". (Since the theme park ride was heavily influenced by the latter, this is no surprise). But there's also a heavy dose of tongue-in-cheek ridiculousness as featured in other great B-movie homages such as "The Mummy" and (most notably) "Raiders of the Lost Ark". (A few scenes directly mimic the Indiana Jones movies.)
- The supporting cast also have fun with their roles. Jack Whitehouse, doing almost a like-for-like copy of John Hannah's character in "The Mummy", could have been extremely annoying. But although he's the comic relief in the piece, he steers it just the right side of farcical, avoiding Jar-Jar Binks territory. ("When in Rome" he declares, swallowing a flagon of fermented spit. "God - I wish I was in Rome"!) Jesse Plemons, one of my favourite actors, who proved his comic chops in "Game Night", here delivers one of the most over-the-top Nazis since Ronald Lacey's Toht in "Raiders". Rounding things off is Paul Giamatti with a bizarrely comic performance as Nilo, a competing riverboat owner.
- Special effects, cinematography (Flavio Martínez Labiano, of "The Shallows") and James Newton-Howard's score all add to the lush blockbuster feel of the movie. And director Jaume Collet-Serra (who did the clever shark B-movie "The Shallows") keeps the movie clipping along at a fine rate, with only a few sections of character-building dialogue to get the kids fidgety.
Negatives:
- I mean, it's popcorn nonsense of course. The Amazonian 'McGuffin' is a tree that only comes to life under very specific conditions. And isn't it amazing that watery machinery (developed by who?) still works after at least 400 years, when my dishwasher gives up after ten? (But it's done with verve and style, so who cares?)
- Although the screenplay is actually very slick for a movie of this type, it feels like a script by committee at times. A single writer might have been tempted to duck the Hollywood ending and leave things on a more thoughtful, albeit downbeat, note.
Summary Thoughts on "Jungle Cruise": This was a pleasant surprise for me. A fun and light-hearted movie that ticks all the boxes as a summer blockbuster. It nicely evokes the cheesiness of the theme park ride operator (past alumni have included Robin Williams and Kevin Costner), especially with Johnson's opening scenes. But then rounds it out as a spectacular and appealing tongue-in-cheek adventure.
And, by the way, in case you fancy sitting through the interminable end titles to watch a post-credits scene.... there isn't one.
(#takenonefortheteam).
Parental Guidance: One question might be whether, with a "12A" certificate, this summer blockbuster is one that your kids might enjoy or be freaked out by. A comparison with "Raiders of the Lost Ark" is perhaps useful here. There are quite a number of "jolts" involving snakes and bees but probably not as bad as the ones you get in an uncut version of "Raiders" (think the spiked Satipo; the mummies/snakes when escaping the 'Well of Souls'; and the melting Nazi bad-guys). So if you have kids that lapped up that stuff then I don't think they would have any issues with this one.
(For the full graphical review, please check out One Mann's Movies on the web, Facebook or Tiktok. Thanks).
Positives:
- Cut the movie open and it reads "summer blockbuster pleaser" through the middle. This is largely down to the charisma of its two stars, Blunt and Johnson, who prove why they are both such bankable commodities. It's clearly based on the "will they/won't they" simmering sexual chemistry between two polar-opposites, as featured in movies such as "Romancing the Stone" and "The African Queen". (Since the theme park ride was heavily influenced by the latter, this is no surprise). But there's also a heavy dose of tongue-in-cheek ridiculousness as featured in other great B-movie homages such as "The Mummy" and (most notably) "Raiders of the Lost Ark". (A few scenes directly mimic the Indiana Jones movies.)
- The supporting cast also have fun with their roles. Jack Whitehouse, doing almost a like-for-like copy of John Hannah's character in "The Mummy", could have been extremely annoying. But although he's the comic relief in the piece, he steers it just the right side of farcical, avoiding Jar-Jar Binks territory. ("When in Rome" he declares, swallowing a flagon of fermented spit. "God - I wish I was in Rome"!) Jesse Plemons, one of my favourite actors, who proved his comic chops in "Game Night", here delivers one of the most over-the-top Nazis since Ronald Lacey's Toht in "Raiders". Rounding things off is Paul Giamatti with a bizarrely comic performance as Nilo, a competing riverboat owner.
- Special effects, cinematography (Flavio Martínez Labiano, of "The Shallows") and James Newton-Howard's score all add to the lush blockbuster feel of the movie. And director Jaume Collet-Serra (who did the clever shark B-movie "The Shallows") keeps the movie clipping along at a fine rate, with only a few sections of character-building dialogue to get the kids fidgety.
Negatives:
- I mean, it's popcorn nonsense of course. The Amazonian 'McGuffin' is a tree that only comes to life under very specific conditions. And isn't it amazing that watery machinery (developed by who?) still works after at least 400 years, when my dishwasher gives up after ten? (But it's done with verve and style, so who cares?)
- Although the screenplay is actually very slick for a movie of this type, it feels like a script by committee at times. A single writer might have been tempted to duck the Hollywood ending and leave things on a more thoughtful, albeit downbeat, note.
Summary Thoughts on "Jungle Cruise": This was a pleasant surprise for me. A fun and light-hearted movie that ticks all the boxes as a summer blockbuster. It nicely evokes the cheesiness of the theme park ride operator (past alumni have included Robin Williams and Kevin Costner), especially with Johnson's opening scenes. But then rounds it out as a spectacular and appealing tongue-in-cheek adventure.
And, by the way, in case you fancy sitting through the interminable end titles to watch a post-credits scene.... there isn't one.
(#takenonefortheteam).
Parental Guidance: One question might be whether, with a "12A" certificate, this summer blockbuster is one that your kids might enjoy or be freaked out by. A comparison with "Raiders of the Lost Ark" is perhaps useful here. There are quite a number of "jolts" involving snakes and bees but probably not as bad as the ones you get in an uncut version of "Raiders" (think the spiked Satipo; the mummies/snakes when escaping the 'Well of Souls'; and the melting Nazi bad-guys). So if you have kids that lapped up that stuff then I don't think they would have any issues with this one.
(For the full graphical review, please check out One Mann's Movies on the web, Facebook or Tiktok. Thanks).
Bob Mann (459 KP) rated The Post (2017) in Movies
Sep 29, 2021
Landing the Hindenburg in a Thunderstorm.
What a combination: Streep, Hanks, Spielberg, Kaminski behind the camera, Williams behind the notes. What could possibly go wrong?
Nothing as it turns out. After, for me, the disappointment of “The BFG” here is Spielberg on firm ground and at the height of his game.
It’s 1971 and the New York Times is in trouble for publishing what became known as “The Pentagon Papers”: a damning account of multiple administration’s dodgy dealings around the Vietnam War, put together by Robert McNamara (Bruce Greenwood, “Star Trek: Into Darkness“) and meant for “posterity” – not for publication! Watching from the sidelines with frustration at their competitor’s scoop are the Washington Post’s editor Ben Bradlee (Tom Hanks, “Bridge of Spies“, “Inferno“) and the new owner Kay Graham (Meryl Streep, “Florence Foster Jenkins“, “Suffragette“). With immaculate timing, Graham is taking the paper public, so needs the newspaper embroiled in any sort of scandal like a hole in the head. But with the US First Amendment under pressure, will Graham and Bradlee put their business and their freedom at risk by publishing and being damned?
Bradlee (Tom Hanks) and Graham (Meryl Streep) in the Washington Post’s newsroom.
Both of the leads play characters that are quite strikingly out of character from their normal roles.
In a seamingly endless run of ‘kick-ass’ women in the movie driving seat, here I expected Streep to be in full “Iron Lady” mode, but in fact she starts the film as quite the opposite: nervous, timid, vascillating. For although the story is about “The Washington Post” and “The Pentagon Papers”, the real story is about Graham herself (Liz Hannah’s script is actually based on Graham’s autobiography). In many ways it’s about a woman, in a male world, overcoming her fear and finding her own voice. As has been demonstrated in many recent films (“Hidden Figures” for example) the working world for woman has changed so markedly since the 60’s and 70’s that it’s almost impossible to relate to these chavenistic attitudes. Graham is repeatedly downtrodden as “not good enough” by her underlings within earshot, and then thanks them “for their frankness”. When the women folk retire at dinner, to let the men-folk talk politics, Graham meekly goes with them. Even her father, for God’s sake, left the newspaper not to her but to her (now late) husband! It’s no surprise then that she is coming from a pretty low base of self-confidence, and her journey in the film – as expertly played by Streep – is an extraordinarily rousing one.
The real deal: Ben Bradlee and Kay Graham.
Hanks, normally the guy you’d most like to invite round for dinner (@tomhanks if you happen to be reading this sir, that’s a genuine invitation… we make a mean lasagne here!) also plays somewhat outside of his normal character here. As Bradlee, he is snappy, brusque and businesslike. Although I don’t think he could ever quite match the irascibility of the character’s portrayal by Jason Robards in the classic “All the President’s Men” – who could? – its a character with real screen presence.
The similarities with Alan J Pakula’s 1976 classic Watergate movie – one of my personal favourites – don’t stop there. The same sets that were once populated by Redford and Hoffman are gloriously reproduced with Spielberg and Janusz Kaminski delivering great tracking shots through the newsroom. (Watch out for Sacha Spielberg – daughter of Stephen and Kate Capshaw – who also turns up there delivering a package).
The scoop revealed: Odenkirk, Hanks and David Cross get the low-down.
The supporting cast includes Sarah Paulson (so memorable in “The Trial of O.J. Simpson”) as Bradlee’s wife Tony, Bradley Whitford (“The West Wing”, “Get Out“) and Tracy Letts (“The Big Short“) as two of Graham’s board advisors and Jesse Plemons (“The Program“, “Bridge of Spies“) as the lead legal advisor. Particularly impressive though is Bob Odenkirk (“Breaking Bad”) as Ben Bagdikian, Bradlee’s lead investigative reporter on the case: all stress, loose change and paranoia in his dealings with the leaky Daniel Ellsberg (Matthew Rhys).
Bagdikian (Bob Odenkirk) ordering a drink for himself and his travelling companion.
In a memorable piece of casting Richard Nixon is played by…. Richard Nixon. Although a silluohetted Curzon Dobell stalks the Oval office, the ex-president’s original phone recordings are played on the soundtrack. (There, I knew those recordings would be useful for something… thank heavens he kept them all!)
The film also demonstrates in fascinating style the newsprint business of yesteryear. When I click a button on my PC and a beautifully laser-printed page streams out of my Epson printer, it still seems like witchcraft to me! But it is extraordinary to think that newspapers in those days were put together by typesetters manually building up the pages from embossed metal letters laboriously slotted into a frame. Brilliantly evocative.
Ellsberg (Matthew Rhys) takes a risk.
If Spielberg has a fault, it is one of sentimentality – something that is pointed out in Susan Lacy’s superb HBO documentary on Spielberg (something I have yet to write a review on, but if you like Spielberg you should definitely seek out). Here he falls into that trap again, with an unnecessary bedroom scene between Graham and her daughter tipping the screenplay into mawkishness. It’s unnecessary since we don’t need the points raised rammed down our throats again. It’s something repeated in a rather bizarre final scene with Graham walking down the steps of the supreme court with admiring woman – only woman – watching her. These irritations tarnish for me what could have been a top-rated film.
But the movie is an impressive watch and older viewers, and anyone interested in American political history will, I think, love it. The film, especially with its nice epilogue, did make me immediately want to come home and put “All the President’s Men” on again… which is never a bad thing. Highly recommended.
Nothing as it turns out. After, for me, the disappointment of “The BFG” here is Spielberg on firm ground and at the height of his game.
It’s 1971 and the New York Times is in trouble for publishing what became known as “The Pentagon Papers”: a damning account of multiple administration’s dodgy dealings around the Vietnam War, put together by Robert McNamara (Bruce Greenwood, “Star Trek: Into Darkness“) and meant for “posterity” – not for publication! Watching from the sidelines with frustration at their competitor’s scoop are the Washington Post’s editor Ben Bradlee (Tom Hanks, “Bridge of Spies“, “Inferno“) and the new owner Kay Graham (Meryl Streep, “Florence Foster Jenkins“, “Suffragette“). With immaculate timing, Graham is taking the paper public, so needs the newspaper embroiled in any sort of scandal like a hole in the head. But with the US First Amendment under pressure, will Graham and Bradlee put their business and their freedom at risk by publishing and being damned?
Bradlee (Tom Hanks) and Graham (Meryl Streep) in the Washington Post’s newsroom.
Both of the leads play characters that are quite strikingly out of character from their normal roles.
In a seamingly endless run of ‘kick-ass’ women in the movie driving seat, here I expected Streep to be in full “Iron Lady” mode, but in fact she starts the film as quite the opposite: nervous, timid, vascillating. For although the story is about “The Washington Post” and “The Pentagon Papers”, the real story is about Graham herself (Liz Hannah’s script is actually based on Graham’s autobiography). In many ways it’s about a woman, in a male world, overcoming her fear and finding her own voice. As has been demonstrated in many recent films (“Hidden Figures” for example) the working world for woman has changed so markedly since the 60’s and 70’s that it’s almost impossible to relate to these chavenistic attitudes. Graham is repeatedly downtrodden as “not good enough” by her underlings within earshot, and then thanks them “for their frankness”. When the women folk retire at dinner, to let the men-folk talk politics, Graham meekly goes with them. Even her father, for God’s sake, left the newspaper not to her but to her (now late) husband! It’s no surprise then that she is coming from a pretty low base of self-confidence, and her journey in the film – as expertly played by Streep – is an extraordinarily rousing one.
The real deal: Ben Bradlee and Kay Graham.
Hanks, normally the guy you’d most like to invite round for dinner (@tomhanks if you happen to be reading this sir, that’s a genuine invitation… we make a mean lasagne here!) also plays somewhat outside of his normal character here. As Bradlee, he is snappy, brusque and businesslike. Although I don’t think he could ever quite match the irascibility of the character’s portrayal by Jason Robards in the classic “All the President’s Men” – who could? – its a character with real screen presence.
The similarities with Alan J Pakula’s 1976 classic Watergate movie – one of my personal favourites – don’t stop there. The same sets that were once populated by Redford and Hoffman are gloriously reproduced with Spielberg and Janusz Kaminski delivering great tracking shots through the newsroom. (Watch out for Sacha Spielberg – daughter of Stephen and Kate Capshaw – who also turns up there delivering a package).
The scoop revealed: Odenkirk, Hanks and David Cross get the low-down.
The supporting cast includes Sarah Paulson (so memorable in “The Trial of O.J. Simpson”) as Bradlee’s wife Tony, Bradley Whitford (“The West Wing”, “Get Out“) and Tracy Letts (“The Big Short“) as two of Graham’s board advisors and Jesse Plemons (“The Program“, “Bridge of Spies“) as the lead legal advisor. Particularly impressive though is Bob Odenkirk (“Breaking Bad”) as Ben Bagdikian, Bradlee’s lead investigative reporter on the case: all stress, loose change and paranoia in his dealings with the leaky Daniel Ellsberg (Matthew Rhys).
Bagdikian (Bob Odenkirk) ordering a drink for himself and his travelling companion.
In a memorable piece of casting Richard Nixon is played by…. Richard Nixon. Although a silluohetted Curzon Dobell stalks the Oval office, the ex-president’s original phone recordings are played on the soundtrack. (There, I knew those recordings would be useful for something… thank heavens he kept them all!)
The film also demonstrates in fascinating style the newsprint business of yesteryear. When I click a button on my PC and a beautifully laser-printed page streams out of my Epson printer, it still seems like witchcraft to me! But it is extraordinary to think that newspapers in those days were put together by typesetters manually building up the pages from embossed metal letters laboriously slotted into a frame. Brilliantly evocative.
Ellsberg (Matthew Rhys) takes a risk.
If Spielberg has a fault, it is one of sentimentality – something that is pointed out in Susan Lacy’s superb HBO documentary on Spielberg (something I have yet to write a review on, but if you like Spielberg you should definitely seek out). Here he falls into that trap again, with an unnecessary bedroom scene between Graham and her daughter tipping the screenplay into mawkishness. It’s unnecessary since we don’t need the points raised rammed down our throats again. It’s something repeated in a rather bizarre final scene with Graham walking down the steps of the supreme court with admiring woman – only woman – watching her. These irritations tarnish for me what could have been a top-rated film.
But the movie is an impressive watch and older viewers, and anyone interested in American political history will, I think, love it. The film, especially with its nice epilogue, did make me immediately want to come home and put “All the President’s Men” on again… which is never a bad thing. Highly recommended.