Search
Search results
JT (287 KP) rated The Lincoln Lawyer (2011) in Movies
Mar 10, 2020
Contains spoilers, click to show
When Edward Norton [SPOILER ALERT] raised a smirk at the end of Primal Fear to reveal himself as a sick and twisted killer it capped a sublime performance from an actor that would go on to do bigger and better things.
Primal Fear was a courtroom thriller that held you all the way to the bitter end, and as that solemn expression washed over poor Richard Gere‘s face at the end you could only stand up and applaud.
The Lincoln Lawyer travels down a similar premise, but despite all the twists and turns in a plot based on the novel by Michael Connelly it fails to keep the tension high enough to satisfy us to a pay off that is only blip on the thriller spectrum, I personally wanted something bigger.
Maybe you’re seduced by his Texan drawl or his searing good looks, either way its a solid performance from someone whose comfortable in this type of atmosphere
McConaughey plays Mick Haller a defence attourney working out the back of his sleak looking black Lincoln, and whose job it is to pretty much keep the scum of the earth on the streets, something which has obviously damaged his marraige with Maggie McPherson (Tomei). His reputation though is flipped over mid way through and we suddenly get an insight into a man that is as much a doting father as he is a great defence attorney.
Well alright, alright, alright!
When he’s asked to defend rich boy Louis Roulet (Phillippe) for beating a prostitute to within an inch of her life he suddenly gets a conscience when he realizes that the clean cut image might be a façade to something much more sinister. The film itself is not bad at all, and in parts it’s actually very good with McConaughey calling on his supporting cast for help which includes John Leguizamo and William H. Macy.
McConaughey’s court presence is smooth and charismatic, which would probably make him quite a good litigator in the real world. Maybe you’re seduced by his Texan drawl or his searing good looks, either way its a solid performance from someone who’s comfortable in this type of atmosphere.
Phillippe is certainly no Norton, and you know right off the bat that he’s as guilty as hell but its a good turn from him nonetheless. As thrillers go its up there and is thoroughly enjoyable, most notably for McConaughey’s performance which is a role that has been a long time coming for him, and one that he nails right to the court room wall.
Primal Fear was a courtroom thriller that held you all the way to the bitter end, and as that solemn expression washed over poor Richard Gere‘s face at the end you could only stand up and applaud.
The Lincoln Lawyer travels down a similar premise, but despite all the twists and turns in a plot based on the novel by Michael Connelly it fails to keep the tension high enough to satisfy us to a pay off that is only blip on the thriller spectrum, I personally wanted something bigger.
Maybe you’re seduced by his Texan drawl or his searing good looks, either way its a solid performance from someone whose comfortable in this type of atmosphere
McConaughey plays Mick Haller a defence attourney working out the back of his sleak looking black Lincoln, and whose job it is to pretty much keep the scum of the earth on the streets, something which has obviously damaged his marraige with Maggie McPherson (Tomei). His reputation though is flipped over mid way through and we suddenly get an insight into a man that is as much a doting father as he is a great defence attorney.
Well alright, alright, alright!
When he’s asked to defend rich boy Louis Roulet (Phillippe) for beating a prostitute to within an inch of her life he suddenly gets a conscience when he realizes that the clean cut image might be a façade to something much more sinister. The film itself is not bad at all, and in parts it’s actually very good with McConaughey calling on his supporting cast for help which includes John Leguizamo and William H. Macy.
McConaughey’s court presence is smooth and charismatic, which would probably make him quite a good litigator in the real world. Maybe you’re seduced by his Texan drawl or his searing good looks, either way its a solid performance from someone who’s comfortable in this type of atmosphere.
Phillippe is certainly no Norton, and you know right off the bat that he’s as guilty as hell but its a good turn from him nonetheless. As thrillers go its up there and is thoroughly enjoyable, most notably for McConaughey’s performance which is a role that has been a long time coming for him, and one that he nails right to the court room wall.
Guy Pearce recommended The Godfather (1972) in Movies (curated)
LeftSideCut (3778 KP) rated The Batman (2022) in Movies
Mar 7, 2022
Like many others, I've been pretty much sold on The Batman since the first trailer dropped, to the point where I was worried that my own hype would leave me disappointed. Luckily that's not the case. Matt Reeves has crafted the definitive live action Batman experience.
The character himself has gone through many iterations over the years, and most of them come with their own merits, but he works aesthetically and thematically better at the darker end of the spectrum. This Batman is certainly that. The narrative takes place wholeheartedly in the criminal underbelly of Gotham, bathing in it's corruption. It's noir-thriller construction compliments the setting perfectly, presenting a slow burning crime piece, with occasional bursts of action, that never feels boring over its near 3 hour runtime.
Pattinsons take on the character could be the very best yet. Through projects such as The Lighthouse and Tenet, he's proven that he has the chops for this kind of thing, and he nails it without a doubt. I was pleasantly surprised by how much on screen Batman we got. He's under the cowl more often than not, and it's an understandable direction to take considering how great the suit looks alongside the general aesthetic of the film. Paul Dano's Riddler is a worthy foe as well. This villain is portrayed as unhinged and dangerous from the get go, a person who is angry and upset with the world, and who has the capacity to bring Gotham to its knees. His master plan is wonderful to watch unfold. Dano is golden in anything he appears in, and my only real complaint about The Batman is that we didn't get more of him.
Colin Farrell, Zoe Kravitz, Jeffrey Wright, and John Turturro are all fantastic supports. It's a well rounded cast, playing well written characters.
The direction and cinematography on display is some of the best I've ever seen in a comic book movie. Reeves has a great eye, from Cloverfield to his Planet of the Apes entries, he has a certain brand of cinema magic that suits Gotham down to the ground. Throw Greig Fraser into the mix, fresh from his outstanding work with Dune, and you have a pretty solid pairing that results in a breathtaking, visual feast, all backed up by a phenomenal music score, from the ever reliable Michael Giacchino.
I can't heap enough praise onto The Batman, a patient, unforgiving, enthralling, and bleak comic adaption that sits at the top of the pile that is deserving of its glowing reviews.
The character himself has gone through many iterations over the years, and most of them come with their own merits, but he works aesthetically and thematically better at the darker end of the spectrum. This Batman is certainly that. The narrative takes place wholeheartedly in the criminal underbelly of Gotham, bathing in it's corruption. It's noir-thriller construction compliments the setting perfectly, presenting a slow burning crime piece, with occasional bursts of action, that never feels boring over its near 3 hour runtime.
Pattinsons take on the character could be the very best yet. Through projects such as The Lighthouse and Tenet, he's proven that he has the chops for this kind of thing, and he nails it without a doubt. I was pleasantly surprised by how much on screen Batman we got. He's under the cowl more often than not, and it's an understandable direction to take considering how great the suit looks alongside the general aesthetic of the film. Paul Dano's Riddler is a worthy foe as well. This villain is portrayed as unhinged and dangerous from the get go, a person who is angry and upset with the world, and who has the capacity to bring Gotham to its knees. His master plan is wonderful to watch unfold. Dano is golden in anything he appears in, and my only real complaint about The Batman is that we didn't get more of him.
Colin Farrell, Zoe Kravitz, Jeffrey Wright, and John Turturro are all fantastic supports. It's a well rounded cast, playing well written characters.
The direction and cinematography on display is some of the best I've ever seen in a comic book movie. Reeves has a great eye, from Cloverfield to his Planet of the Apes entries, he has a certain brand of cinema magic that suits Gotham down to the ground. Throw Greig Fraser into the mix, fresh from his outstanding work with Dune, and you have a pretty solid pairing that results in a breathtaking, visual feast, all backed up by a phenomenal music score, from the ever reliable Michael Giacchino.
I can't heap enough praise onto The Batman, a patient, unforgiving, enthralling, and bleak comic adaption that sits at the top of the pile that is deserving of its glowing reviews.
Gareth von Kallenbach (971 KP) rated Transformers: Dark of the Moon (2011) in Movies
Aug 7, 2019
Delivering a much-needed shot of adrenaline to the summer movie season, “Transformers: Dark of the Moon”, arrives awash in stunning visuals and cutting-edge 3-D.
The movie picks up a few years after the events of the last film, as Sam (Shia LaBeouff), is struggling to adjust to his post college life. Despite the fact that he has been honored by the president for his heroic actions in the two previous films, Sam finds himself like many graduates, unable to find a job in today’s economy.
Sam bemoans the fact that he wants to do its work that matters again to his new girlfriend Carly (Rose Huntington-Whiteley), and is become increasingly frustrated with not being able to contribute to their finances. The fact that Carly works for suave and rich boss named Dylan, (Patrick Dempsey), only heightens Sam’s insecurity.
Meanwhile Sam’s Autobot friends are working closely with the government to root out any threats to national security as well as staying on alert for Decepticon attacks.
It is learned that an object great importance is on the moon in a crashed ship, and that the United States and Russia created their space race during the Cold War in an effort to obtain the secrets of the crash.
When alerted to the existence of the crash site, the Autobots investigate and discover their long-lost leader Sentinel Prime (Leonard Nimoy) is still alive and guarding precious cargo.
Despite meeting interference from a politician overseeing the top-secret program (Francis McDormand), Sam discovers a shocking secret with the help of Simmons (John Turturro), which soon has the entire planet caught in a battle between the two alien forces.
As loyalty, love, and friendships are put to the test, Sam and the Autobots must once again face their mortal enemies to save all life on earth.
The film is much darker than the previous films in the series as watching cities and civilian’s cut down during various enemy attacks may be hard for some fans of the series to watch.
That being said, the film is a visual masterpiece as the wizards at Industrial Light and Magic have crafted an amazing experience that at times is hard to believe are comprised of digital imagery rather than actual creatures.
Director Michael Bay who made a name for himself with summer action films that are big on explosions while short on plot has created arguably the best film of the series and perhaps of his career.
While the film runs at two hours and 40 minutes and does at times lag, Bay keeps things moving along at a steady clip and injects a little bit of humor into the film in between the chaos and mayhem.
While the acting and plot are not going to win any awards, they are better than usual for a summer action film.
It was reported that Paramount pressured Bay into filming in 3-D by threatening post convert the film if he had filmed in 2D. Bay responded with lavish 3-D effects that show off the true beauty and potential of the new 3-D technology and drastically underscores why Hollywood needs to stop doing the vastly inferior post conversion 3-D which has been done to the majority of 3D films that are being released. While it does not have the immersive quality of “Avatar”, the film nonetheless provides quality visual experience without resorting to the in-your-face gimmicks which are so common with 3-D films.
There are several fine supporting performances in the film including John Malkovich, Alan Tudyk, and John Tuturro who lift up the scenes they are in. Rose Huntington-Whiteley taking over for Megan Fox provides a fresh new romantic interest for Sam even though she’s given little more to do than play the damsel in distress for large parts the film. When she is given the chance, she throws herself deep into the action with a gusto worthy of any of her cast mates.
The film does have more than a few plot holes and without giving away any spoilers, suffice it to say that I had to question the events the last two films after seeing this one.
When a long-term objective is revealed, I had to ask why the events of the previous films took place now rather than in the past when certain parties had all of the required information available to them for decades.
It certainly would’ve been just as easy for characters to have initiated the actions of this film in an earlier film or timeline and would have wasted less resources.
That being said, when you’re dealing with shape changing aliens, one does have to allow a good degree of leeway in the storytelling process.
While it may not be the end to the series, certain cast members (Shia LaBeouff), have indicated that this is their last performance in the series. If that is the case, the film goes out on a strong note is arguably the best film in the series and a highly enjoyable summer movie experience.
The movie picks up a few years after the events of the last film, as Sam (Shia LaBeouff), is struggling to adjust to his post college life. Despite the fact that he has been honored by the president for his heroic actions in the two previous films, Sam finds himself like many graduates, unable to find a job in today’s economy.
Sam bemoans the fact that he wants to do its work that matters again to his new girlfriend Carly (Rose Huntington-Whiteley), and is become increasingly frustrated with not being able to contribute to their finances. The fact that Carly works for suave and rich boss named Dylan, (Patrick Dempsey), only heightens Sam’s insecurity.
Meanwhile Sam’s Autobot friends are working closely with the government to root out any threats to national security as well as staying on alert for Decepticon attacks.
It is learned that an object great importance is on the moon in a crashed ship, and that the United States and Russia created their space race during the Cold War in an effort to obtain the secrets of the crash.
When alerted to the existence of the crash site, the Autobots investigate and discover their long-lost leader Sentinel Prime (Leonard Nimoy) is still alive and guarding precious cargo.
Despite meeting interference from a politician overseeing the top-secret program (Francis McDormand), Sam discovers a shocking secret with the help of Simmons (John Turturro), which soon has the entire planet caught in a battle between the two alien forces.
As loyalty, love, and friendships are put to the test, Sam and the Autobots must once again face their mortal enemies to save all life on earth.
The film is much darker than the previous films in the series as watching cities and civilian’s cut down during various enemy attacks may be hard for some fans of the series to watch.
That being said, the film is a visual masterpiece as the wizards at Industrial Light and Magic have crafted an amazing experience that at times is hard to believe are comprised of digital imagery rather than actual creatures.
Director Michael Bay who made a name for himself with summer action films that are big on explosions while short on plot has created arguably the best film of the series and perhaps of his career.
While the film runs at two hours and 40 minutes and does at times lag, Bay keeps things moving along at a steady clip and injects a little bit of humor into the film in between the chaos and mayhem.
While the acting and plot are not going to win any awards, they are better than usual for a summer action film.
It was reported that Paramount pressured Bay into filming in 3-D by threatening post convert the film if he had filmed in 2D. Bay responded with lavish 3-D effects that show off the true beauty and potential of the new 3-D technology and drastically underscores why Hollywood needs to stop doing the vastly inferior post conversion 3-D which has been done to the majority of 3D films that are being released. While it does not have the immersive quality of “Avatar”, the film nonetheless provides quality visual experience without resorting to the in-your-face gimmicks which are so common with 3-D films.
There are several fine supporting performances in the film including John Malkovich, Alan Tudyk, and John Tuturro who lift up the scenes they are in. Rose Huntington-Whiteley taking over for Megan Fox provides a fresh new romantic interest for Sam even though she’s given little more to do than play the damsel in distress for large parts the film. When she is given the chance, she throws herself deep into the action with a gusto worthy of any of her cast mates.
The film does have more than a few plot holes and without giving away any spoilers, suffice it to say that I had to question the events the last two films after seeing this one.
When a long-term objective is revealed, I had to ask why the events of the previous films took place now rather than in the past when certain parties had all of the required information available to them for decades.
It certainly would’ve been just as easy for characters to have initiated the actions of this film in an earlier film or timeline and would have wasted less resources.
That being said, when you’re dealing with shape changing aliens, one does have to allow a good degree of leeway in the storytelling process.
While it may not be the end to the series, certain cast members (Shia LaBeouff), have indicated that this is their last performance in the series. If that is the case, the film goes out on a strong note is arguably the best film in the series and a highly enjoyable summer movie experience.
Gareth von Kallenbach (971 KP) rated Bumblebee (2018) in Movies
Jul 2, 2019
Like most kids growing up in the 80’s the Transformers always held a special place in my heart. I didn’t have a huge collection because the die-cast/plastic vehicles that transformed into robots could get a little expensive. Thankfully the morning cartoons and comic books filled in the spaces where I lacked the toys. When I heard there would be a live action movie based on the characters that had been such a integral part of my childhood, I couldn’t help but feel excited. I had seen some of the previews of the original Transformers movie by Michael Bay, the characters looked different than I imagined, but how bad could it be. The movie started, and heart break ensued, the first one was ok, the second was worse, and so on and so forth to a point where I still have not brought myself to watch the last installment of the Michael Bay franchise. Fast Forward to the first glimpse I had of Bumblebee, a prequel/reboot of the Transformers franchise, and that feeling of trepidation lingered. The first glimmer of hope was when the previews began to show images of the Transformers that I remembered, now referred to as G1 (Generation One), these transformers were recognizable. Still, the stories have always been lacking, so while I held out a glimmer of hope, I was sure to guard my heart closely…after all, we’ve been down this road before.
Bumblebee begins on Cybertron, where the Autobots and Decepticons are battling for control of what is left of the planet. The visuals are stunning, and as I stated before, here our all our favorites from the G1 universe in their recognizable forms. Once I saw Wheeljack, a personal favorite of mine, I felt I was in for something special. The Autobots are losing control to the evil Decepticons and are forced to evacuate Cybertron to regroup. Bumblebee is sent to Earth, a planet where Optimus Prime feels that the Autobots can rendezvous, but also tasked to protect the planet from any encroachment of the Decepticons.
Bumblebee unfortunately crash lands in the middle of a military training exercise and is quickly engaged by the armed forces there. While Bumblebee alone is a match for the Humvees and small arms fire, the battle is quickly joined by a Decepticon who has followed Bumblebee to Earth. He is completely out matched and outgunned it is not long before Bumblebee is defeated and barely escapes with his life. It is here that he is “saved” by Charlie Watson (Hailee Steinfeld) who finds the battered and broken beetle in a junkyard on her birthday, and a deep bond between the two is formed.
Bumblebee does not disappoint in its amazing visuals. The robots are as big as ever, yet now retain a more familiar look. The story still has explosions, and epic one-on-one robot battles that fans of the Michael Bay franchise can enjoy, but it’s the deep and meaningful story where Bumblebee truly shines. Written by Christina Hodson (Shut In/Unforgetable) and Directed by Travis Knight (Kudo and the Two Strings/Paranorman) we are finally given a story with a plot that fans of the series can get behind and enjoy. It’s not to say that the story is perfect, there are still the occasional lines that fall into groan-worthy territory, but to say that Bumblebee surpasses the previous live action movies is an understatement.
You don’t have to be a fan (or have any familiarity at all) with the Transformer toys, cartoon, or live action movies to enjoy it. However, for those who have been fortunate (or unfortunate) to experience them all will appreciate the subtle nods to previous films. The audience clapped and cheered when Stan Bush’s well-known Transformer song The Touch exploded on screen. Sure, it’s a spoiler, but for those who are still reluctant to see it based on previous films, maybe it’s exactly what’s needed. The film is littered with such nods and die-hard Transformer fans are in for a real treat.
The acting in the film is top-notch, not only by Hailee Steinfeld and Jorge Lendeborg Jr who are the main human characters, but by the supporting characters as well. John Cena brings his witty one-liners and Peter Cullen once again reprises his role of the now infamous Optimus Prime. For a movie that seems more at home as a summer blockbuster, it carries with it a tremendous amount of heart. Even Bumblebee who rarely utters a word throughout the entire film, brings out emotion in his facial expressions, or movements.
I’ll admit that going into Bumblebee I had my reservations and for those who have been burned by previous iterations of the series it’s a completely understandable concern. I’ll say it here though, Bumblebee is a terrific Transformers movie, easily on-par with the animated film, which to date had been the only Transformer movie worth talking about. Fans of the franchise will not be disappointed, and probably like myself, will be naming the numerous Transformers on the screen, by how they look…not by what they are called. In the famous words of Optimus Prime…Autobots Roll-out, and go see Bumblebee, coming to theaters on December 21st.
Bumblebee begins on Cybertron, where the Autobots and Decepticons are battling for control of what is left of the planet. The visuals are stunning, and as I stated before, here our all our favorites from the G1 universe in their recognizable forms. Once I saw Wheeljack, a personal favorite of mine, I felt I was in for something special. The Autobots are losing control to the evil Decepticons and are forced to evacuate Cybertron to regroup. Bumblebee is sent to Earth, a planet where Optimus Prime feels that the Autobots can rendezvous, but also tasked to protect the planet from any encroachment of the Decepticons.
Bumblebee unfortunately crash lands in the middle of a military training exercise and is quickly engaged by the armed forces there. While Bumblebee alone is a match for the Humvees and small arms fire, the battle is quickly joined by a Decepticon who has followed Bumblebee to Earth. He is completely out matched and outgunned it is not long before Bumblebee is defeated and barely escapes with his life. It is here that he is “saved” by Charlie Watson (Hailee Steinfeld) who finds the battered and broken beetle in a junkyard on her birthday, and a deep bond between the two is formed.
Bumblebee does not disappoint in its amazing visuals. The robots are as big as ever, yet now retain a more familiar look. The story still has explosions, and epic one-on-one robot battles that fans of the Michael Bay franchise can enjoy, but it’s the deep and meaningful story where Bumblebee truly shines. Written by Christina Hodson (Shut In/Unforgetable) and Directed by Travis Knight (Kudo and the Two Strings/Paranorman) we are finally given a story with a plot that fans of the series can get behind and enjoy. It’s not to say that the story is perfect, there are still the occasional lines that fall into groan-worthy territory, but to say that Bumblebee surpasses the previous live action movies is an understatement.
You don’t have to be a fan (or have any familiarity at all) with the Transformer toys, cartoon, or live action movies to enjoy it. However, for those who have been fortunate (or unfortunate) to experience them all will appreciate the subtle nods to previous films. The audience clapped and cheered when Stan Bush’s well-known Transformer song The Touch exploded on screen. Sure, it’s a spoiler, but for those who are still reluctant to see it based on previous films, maybe it’s exactly what’s needed. The film is littered with such nods and die-hard Transformer fans are in for a real treat.
The acting in the film is top-notch, not only by Hailee Steinfeld and Jorge Lendeborg Jr who are the main human characters, but by the supporting characters as well. John Cena brings his witty one-liners and Peter Cullen once again reprises his role of the now infamous Optimus Prime. For a movie that seems more at home as a summer blockbuster, it carries with it a tremendous amount of heart. Even Bumblebee who rarely utters a word throughout the entire film, brings out emotion in his facial expressions, or movements.
I’ll admit that going into Bumblebee I had my reservations and for those who have been burned by previous iterations of the series it’s a completely understandable concern. I’ll say it here though, Bumblebee is a terrific Transformers movie, easily on-par with the animated film, which to date had been the only Transformer movie worth talking about. Fans of the franchise will not be disappointed, and probably like myself, will be naming the numerous Transformers on the screen, by how they look…not by what they are called. In the famous words of Optimus Prime…Autobots Roll-out, and go see Bumblebee, coming to theaters on December 21st.
Chris Hooker (419 KP) rated No Way Home (A Science Fiction Anthology) in Books
Jan 12, 2018
I received [No Way Home] from author [Harry Manners] in exchange for a honest review. This collection of short stories with the theme of being stranded, in one way or another, was a thought provoking read.
[To Sing of Chaos and Eternal Night] by [Lucas Bale] took me a few days to get past the beginning. The concept of a soldier who has lost all being and is just thought sent to robotic bodies and told to fight the enemy was interesting. As I stated, unfortunately, it was a slow start but the ending was worth the read.
[XE, or People Are Strange] by [S. Elliot Brandis]gave a new meaning to getting away from it all. The main character, Bradley, volunteers to be put in a shuttle to find a new habitable plant. His mission is one way and he is to send a signal back to Earth if it is a safe place. Apparently, though, he is not the first, or only, person on the new planet. I really liked the twist in this story.
[Grist] by [J.S. Collyer] is a futuristic view where one entity has taken control and all others are forced to work for them, often underground. Wyatt was not born into this so he remembers fresh air and sun. He wants to escape and be free again. Just daring to think this way can be deadly and he must know who to trust. The question this story had me asking was what is life worth?
[Merely A Madness] by [S.W. Fairbrother] was one I was really excited to see in this collection because I had read [The Secret Dead] and loved it. [Merely A Madness] did not disappoint in anyway. Earth has become a hostile place but most people have escaped off planet. Hannah loves old earth and Mullen sets up a holiday because he aims to please. This would be like current day people going to a wild west ranch, real but not too real. Things go horribly wrong and Mullen must make a hard choice. This story was one of my favorites by far.
[Revolver] by [Michael Patrick Hicks] was the most overtly political and also one of the most enjoyable. The concept of reality TV and politics preying on the unfortunates is so scary because it is not far from our current reality. I really loved the statement made in this one.
[The Happy Place] by [Harry Manners] was a story of a dream gone horribly wrong. Michael has always dreamed of going to the stars and with his wife this dream becomes a reality as he is chosen to colonize Mars. Years later he realizes his dream may be a nightmare as he begins to lose everything he loves. The only thing that keeps him going is 'the Happy Place', a virtual reality of his memories from Earth, but keeping this secret from those he loves may cost him even more. This is the third work I have read from [Harry Manners] and I love how he handles loneliness and making hard decisions. His characters are always deeper than they first appear.
[Renata] by [Nadine Matheson] is a futuristic spy story wrapped in a mob hit with political intrigue. Yes, I enjoyed this one as well. Kaoru is an assassin who gets his assignments from his brother. His latest target is in the past. This is the assignment that may just kill him.
[Cold Witness] by [A.S. Sinclair] was a mental thriller. John Marshall is sent to check out an abandoned military complex that he is told little about. When he arrives there he hears rumors of strange things involving the final project at the base. Upon arrival he begins hallucinating and his memories begin to meld with others. The question of what is reality is constant throughout.
All the stories were well written and enjoyable. I also liked how each author wrote an "Afterword" that explained a little of how they came up with the concept they did. I recommend this to any fan of futuristic and science fiction.
[To Sing of Chaos and Eternal Night] by [Lucas Bale] took me a few days to get past the beginning. The concept of a soldier who has lost all being and is just thought sent to robotic bodies and told to fight the enemy was interesting. As I stated, unfortunately, it was a slow start but the ending was worth the read.
[XE, or People Are Strange] by [S. Elliot Brandis]gave a new meaning to getting away from it all. The main character, Bradley, volunteers to be put in a shuttle to find a new habitable plant. His mission is one way and he is to send a signal back to Earth if it is a safe place. Apparently, though, he is not the first, or only, person on the new planet. I really liked the twist in this story.
[Grist] by [J.S. Collyer] is a futuristic view where one entity has taken control and all others are forced to work for them, often underground. Wyatt was not born into this so he remembers fresh air and sun. He wants to escape and be free again. Just daring to think this way can be deadly and he must know who to trust. The question this story had me asking was what is life worth?
[Merely A Madness] by [S.W. Fairbrother] was one I was really excited to see in this collection because I had read [The Secret Dead] and loved it. [Merely A Madness] did not disappoint in anyway. Earth has become a hostile place but most people have escaped off planet. Hannah loves old earth and Mullen sets up a holiday because he aims to please. This would be like current day people going to a wild west ranch, real but not too real. Things go horribly wrong and Mullen must make a hard choice. This story was one of my favorites by far.
[Revolver] by [Michael Patrick Hicks] was the most overtly political and also one of the most enjoyable. The concept of reality TV and politics preying on the unfortunates is so scary because it is not far from our current reality. I really loved the statement made in this one.
[The Happy Place] by [Harry Manners] was a story of a dream gone horribly wrong. Michael has always dreamed of going to the stars and with his wife this dream becomes a reality as he is chosen to colonize Mars. Years later he realizes his dream may be a nightmare as he begins to lose everything he loves. The only thing that keeps him going is 'the Happy Place', a virtual reality of his memories from Earth, but keeping this secret from those he loves may cost him even more. This is the third work I have read from [Harry Manners] and I love how he handles loneliness and making hard decisions. His characters are always deeper than they first appear.
[Renata] by [Nadine Matheson] is a futuristic spy story wrapped in a mob hit with political intrigue. Yes, I enjoyed this one as well. Kaoru is an assassin who gets his assignments from his brother. His latest target is in the past. This is the assignment that may just kill him.
[Cold Witness] by [A.S. Sinclair] was a mental thriller. John Marshall is sent to check out an abandoned military complex that he is told little about. When he arrives there he hears rumors of strange things involving the final project at the base. Upon arrival he begins hallucinating and his memories begin to meld with others. The question of what is reality is constant throughout.
All the stories were well written and enjoyable. I also liked how each author wrote an "Afterword" that explained a little of how they came up with the concept they did. I recommend this to any fan of futuristic and science fiction.
Hadley (567 KP) rated The Silver Eyes (Five Nights at Freddy's, #1) in Books
Jul 5, 2019
It was in 2014 when the video game Five Nights at Freddy's debuted, and now it's one of the most well known horror games in the world. Homicidal animatronics, a nighttime security guard, and a children's pizza restaurant make up Scott Cawthon's world in FNAF. Fast forward to 2016: Cawthon makes the game's story into a book series. The lore surrounding the video game franchise seems to be more sought after than the game play itself. ' The Silver Eyes' is the first of three books telling the dark story from Cawthon, but from the eyes of the animatronics creator's daughter, Charlie, instead of the night guard at Freddy Fazbear's Pizzeria.
We start with seventeen-year-old Charlie, who is returning to her hometown of Hurricane, Utah for a scholarship/memorial ceremony dedicated to her deceased childhood friend, Michael. She has a reunion with other childhood friends: Carlton, Jessica, John, Lamar and Marla; all of who share the same tragedy of Michael's disappearance from when they were children at Freddy Fazbear's. This disappearance seems to be the only thing the group can discuss, but more so from Charlie because her father was blamed for Michael's disappearance. This, the shared experience of being present at the time of Michael's kidnapping, and having been part of the same circle of friends, dominates this story. Charlie is our main point of view, but we are given a few glimpses from other characters which end up irrelevant.
Charlie's father, years before, had the pizzeria Freddy Fazbear's built in Hurricane, but after Michael was kidnapped while being there, it was shut down and, now, a mall is being built around it. But, with the stigma coming from Fazbear's kidnapping, no businesses will agree to have their store put inside the new building, leaving it abandoned. Right away, the reader is taken with the group of friends on a trip to the building, where they break into Fazbear's with only a lone guard on duty, but with the amount of noise the group makes and even, somehow, turning the electricity back on, it's unreasonable to the reader that the guard isn't aware of their presence. (Even the characters don't seem worried about the guard coming in and kicking them out).
Without trying to give any spoilers away to those who may not know the story- the night guard finally shows up later on in the book, but only to join the group on their third adventure through the abandoned Fazbear's. And it is as this point, the book is at it's best. Even the writing seems to change - - - as if a different person took over for the second part of the book (which is a good thing).
Cawthon and Breed-Wrisley tried their best to convey the story of Five Nights at Freddy's, but although the story is a good one, the writing is lacking in many aspects. There's not just a few inconsistencies that I found, but rather a lot, and one of these is an important one: Charlie,earlier on in the story, tells us about her twin brother, Sammy, being kidnapped from the first Pizzeria her father had built, but later on, she states that Sammy was present at the newer Fazbear's when clearly he had been kidnapped before the newer restaurant was even built.
This story isn't so much about animatronics and a child murderer, but rather a group of children that shared a trauma that permeates into their adulthood. Sadly, the symptoms of this trauma aren't clearly stated from a reality stand point, but the teen drama is held in-check, making it a much more pleasant read than most young adult books. Character development is also lacking enough that--- even the main character--- seems like a stranger to the reader, where interactions between most of the group seems forced and unreasonable.
I can only recommend this book to fans of Five Nights at Freddy's, but as just a casual reader of the horror genre, the writing is a huge disappointment. I can't and won't read this again.
We start with seventeen-year-old Charlie, who is returning to her hometown of Hurricane, Utah for a scholarship/memorial ceremony dedicated to her deceased childhood friend, Michael. She has a reunion with other childhood friends: Carlton, Jessica, John, Lamar and Marla; all of who share the same tragedy of Michael's disappearance from when they were children at Freddy Fazbear's. This disappearance seems to be the only thing the group can discuss, but more so from Charlie because her father was blamed for Michael's disappearance. This, the shared experience of being present at the time of Michael's kidnapping, and having been part of the same circle of friends, dominates this story. Charlie is our main point of view, but we are given a few glimpses from other characters which end up irrelevant.
Charlie's father, years before, had the pizzeria Freddy Fazbear's built in Hurricane, but after Michael was kidnapped while being there, it was shut down and, now, a mall is being built around it. But, with the stigma coming from Fazbear's kidnapping, no businesses will agree to have their store put inside the new building, leaving it abandoned. Right away, the reader is taken with the group of friends on a trip to the building, where they break into Fazbear's with only a lone guard on duty, but with the amount of noise the group makes and even, somehow, turning the electricity back on, it's unreasonable to the reader that the guard isn't aware of their presence. (Even the characters don't seem worried about the guard coming in and kicking them out).
Without trying to give any spoilers away to those who may not know the story- the night guard finally shows up later on in the book, but only to join the group on their third adventure through the abandoned Fazbear's. And it is as this point, the book is at it's best. Even the writing seems to change - - - as if a different person took over for the second part of the book (which is a good thing).
Cawthon and Breed-Wrisley tried their best to convey the story of Five Nights at Freddy's, but although the story is a good one, the writing is lacking in many aspects. There's not just a few inconsistencies that I found, but rather a lot, and one of these is an important one: Charlie,earlier on in the story, tells us about her twin brother, Sammy, being kidnapped from the first Pizzeria her father had built, but later on, she states that Sammy was present at the newer Fazbear's when clearly he had been kidnapped before the newer restaurant was even built.
This story isn't so much about animatronics and a child murderer, but rather a group of children that shared a trauma that permeates into their adulthood. Sadly, the symptoms of this trauma aren't clearly stated from a reality stand point, but the teen drama is held in-check, making it a much more pleasant read than most young adult books. Character development is also lacking enough that--- even the main character--- seems like a stranger to the reader, where interactions between most of the group seems forced and unreasonable.
I can only recommend this book to fans of Five Nights at Freddy's, but as just a casual reader of the horror genre, the writing is a huge disappointment. I can't and won't read this again.
Bob Mann (459 KP) rated Halloween (2018) in Movies
Sep 28, 2021
“He’s waited for me; I’ve waited for him”.
A blood-soaked history.
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
Gareth von Kallenbach (971 KP) rated Transformers (2007) in Movies
Aug 14, 2019
Based on the popular line of toys and animated television series from the 80’s. Steven Spielberg and Michael Bay have teamed up to create a mega million FX extravaganza that will delight fans both old and new.
The story involves a group of sentient machines who have battled for centuries in an effort to locate and possess an all powerful object. The kind Autobots led by Optimus Prime, wish to locate and destroy the artifact to keep it from the evil Decepticons who would use the artificat for their own evil purposes, and the deaths of billions.
The film opens with a spectacular battle at a U.S. military installation in the middle east, where one of the Decepticons is attempting to access sensative information from the computer network. Overwhelmed by the attack and subsequent assault on Air Force One, the U.S. government has called in the best and brightest in effort to get to the bottom of the mysterious attacks and the mysterious assailants.
Meanwhile, mild mannered high school student Sam Witicky (Shia LaBeouf), is trying to raise money for a car, and uses his class presentation to hawk his Ebay auctions, unaware that the fate of the universe will soon rest in his hands. After purchasing a used Camaro and giving a ride to the hottest girl in school Mikaela (Megan Fox), Sam thinks his luck is about to change. Little does Sam know that his car is actually one of the advanced scouts for the Autobots, who are attempting to locate one of the items in Sam’s online auction, as it actually contains clues as to the location of the lost artifact.
In short order, the two sides are facing off in several shape changing battles with Sam, Mikaela, and the rest of humanity caught in the balance. Bay and Spielberg have done a great job of combining jaw-dropping FX and action with the humor, charm, and fun that made the original series such a huge success. The audience at my press screening reacted very positively to the film, and there were numerous cheers and rounds of enthusiastic applause throughout the film.
If I had to find fault with the film, it would be that at roughly the 3/4 point, a plot line involving John Turturro as an agent in a secret organization seems forced and unnecessary, as it greatly detracts from the pacing and action of the film. Until this point, the film was very engrossing and moved along at a brisk clip. When the film gets back to the action, it delivers with a solid finale, that while using some of the action film staples, still manages to keep it exciting.
LaBeof works well with Fox and there are numerous supporting roles and cameos that make “Transformers” a pleasant, if silly treat.
The story involves a group of sentient machines who have battled for centuries in an effort to locate and possess an all powerful object. The kind Autobots led by Optimus Prime, wish to locate and destroy the artifact to keep it from the evil Decepticons who would use the artificat for their own evil purposes, and the deaths of billions.
The film opens with a spectacular battle at a U.S. military installation in the middle east, where one of the Decepticons is attempting to access sensative information from the computer network. Overwhelmed by the attack and subsequent assault on Air Force One, the U.S. government has called in the best and brightest in effort to get to the bottom of the mysterious attacks and the mysterious assailants.
Meanwhile, mild mannered high school student Sam Witicky (Shia LaBeouf), is trying to raise money for a car, and uses his class presentation to hawk his Ebay auctions, unaware that the fate of the universe will soon rest in his hands. After purchasing a used Camaro and giving a ride to the hottest girl in school Mikaela (Megan Fox), Sam thinks his luck is about to change. Little does Sam know that his car is actually one of the advanced scouts for the Autobots, who are attempting to locate one of the items in Sam’s online auction, as it actually contains clues as to the location of the lost artifact.
In short order, the two sides are facing off in several shape changing battles with Sam, Mikaela, and the rest of humanity caught in the balance. Bay and Spielberg have done a great job of combining jaw-dropping FX and action with the humor, charm, and fun that made the original series such a huge success. The audience at my press screening reacted very positively to the film, and there were numerous cheers and rounds of enthusiastic applause throughout the film.
If I had to find fault with the film, it would be that at roughly the 3/4 point, a plot line involving John Turturro as an agent in a secret organization seems forced and unnecessary, as it greatly detracts from the pacing and action of the film. Until this point, the film was very engrossing and moved along at a brisk clip. When the film gets back to the action, it delivers with a solid finale, that while using some of the action film staples, still manages to keep it exciting.
LaBeof works well with Fox and there are numerous supporting roles and cameos that make “Transformers” a pleasant, if silly treat.
LeftSideCut (3778 KP) rated American Horror Story - Season 4 in TV
Nov 18, 2019 (Updated Nov 18, 2019)
Season 4 of AHS, subtitled 'Freak Show' gets a bad wrap in my opinion.
It doesn't reach the lofty heights of the first two seasons, but there's plenty to love and it tries something new.
The bulk of the series revolves around Elsa Mars (Jessica Lange) and her group of travelling sideshow performers, all who have some sort of abnormality. As they arrive in 1951 Florida to set up shop and make a living amongst a world that fears and targets them, they are also being eyed up by Richard Spencer (Denis O'Hare), a shady businessman attempting to profit from their misfortune, and Dandy Mott (Finn Wittrock), who harbours an unhealthy obsession with the Freak Show, and in particular, conjoined twins Bette and Dot Tattler (Sarah Paulson).
All the while, a murderous and sinister clown called Twisty (John Carroll Lynch) is on the loose, causing the finger to be pointed at another Freak Show member, Jimmy Darling (Evan Peters).
All of these plot lines running at once actually run side by side pretty smoothly, making for an engaging narrative, with plenty of plot twists along the way.
The Twisty plot line is proper classic slasher horror, and is unfortunately tied up pretty quickly, but it makes way for a surprisingly touching story about family, and what it means to be different.
I found myself caring about almost everybody during Freak Show. It's very well written.
The cast are as usual, pretty great. As well as the cast members mentioned above, we have returning AHS in the likes of Kathy Bates, Francis Conroy, Emma Roberts, Angela Bassett, and Naomi Grossman, as well as some new blood in the form of Michael Chiklis, Erika Ervin, Mat Fraser, Wes Bentley, and Neil Patrick-Harris.
Sarah Paulson is the undisputed highlight during this season, playing two characters at once, with some fantastic effects work going on.
The only character I really struggled to get on board with here was Elsa, which is a shame as she's front and centre. No fault of the great Jessica Lange of course.
The season drags for a while in the mid section, but with so many likable characters, it's not a huge issue.
Freak Show is also the first season that has a concrete connection to other seasons in the AHS story, confirming finally that all the seasons take place in the same universe, which is incredibly exciting, and opens the door for a lot of possibilities.
The gore effects and horror elements continue to be a big plus for AHS, and as always, the anthology format keeps it feeling fresh. Another win for Ryan Murphy and co.
It doesn't reach the lofty heights of the first two seasons, but there's plenty to love and it tries something new.
The bulk of the series revolves around Elsa Mars (Jessica Lange) and her group of travelling sideshow performers, all who have some sort of abnormality. As they arrive in 1951 Florida to set up shop and make a living amongst a world that fears and targets them, they are also being eyed up by Richard Spencer (Denis O'Hare), a shady businessman attempting to profit from their misfortune, and Dandy Mott (Finn Wittrock), who harbours an unhealthy obsession with the Freak Show, and in particular, conjoined twins Bette and Dot Tattler (Sarah Paulson).
All the while, a murderous and sinister clown called Twisty (John Carroll Lynch) is on the loose, causing the finger to be pointed at another Freak Show member, Jimmy Darling (Evan Peters).
All of these plot lines running at once actually run side by side pretty smoothly, making for an engaging narrative, with plenty of plot twists along the way.
The Twisty plot line is proper classic slasher horror, and is unfortunately tied up pretty quickly, but it makes way for a surprisingly touching story about family, and what it means to be different.
I found myself caring about almost everybody during Freak Show. It's very well written.
The cast are as usual, pretty great. As well as the cast members mentioned above, we have returning AHS in the likes of Kathy Bates, Francis Conroy, Emma Roberts, Angela Bassett, and Naomi Grossman, as well as some new blood in the form of Michael Chiklis, Erika Ervin, Mat Fraser, Wes Bentley, and Neil Patrick-Harris.
Sarah Paulson is the undisputed highlight during this season, playing two characters at once, with some fantastic effects work going on.
The only character I really struggled to get on board with here was Elsa, which is a shame as she's front and centre. No fault of the great Jessica Lange of course.
The season drags for a while in the mid section, but with so many likable characters, it's not a huge issue.
Freak Show is also the first season that has a concrete connection to other seasons in the AHS story, confirming finally that all the seasons take place in the same universe, which is incredibly exciting, and opens the door for a lot of possibilities.
The gore effects and horror elements continue to be a big plus for AHS, and as always, the anthology format keeps it feeling fresh. Another win for Ryan Murphy and co.