Search
Search results
JT (287 KP) rated I Am Number Four (2011) in Movies
Mar 10, 2020
Bland and flat for the first half then bells and whistles for the final act, it’s not awe inspiring stuff really, a Twilight for the Sci-fi genre. When their home planet is destroyed by Mogadorians, nine infant aliens with extraordinary powers and their guardians are scattered around the Earth hiding from certain death.
With the first three dead the leather trench coat wearing villains, complete with odd looking tattoos and piranha like teeth come after Number 4, John Smith (Pettyfer).
Hiding out in a small town Smith tries to fit in, experiencing everything that a normal everyday teenager would do, while trying to suppress hidden powers that he slowly grasps the responsibility of.
He falls for the shy blonde, Sarah (Agron) who hides behind the lens of her camera, and befriends the local nerd who believes that Aliens have abducted his dad, well help is at hand there.
It really is a film of two halves, with the romantic adolescents looking to find each other and rebelling the elements that threaten to tear them apart.
Caruso then suddenly ramps the action and visual set pieces up as the battle across town heats up with the Mogadorians hot on their heels. There is also the introduction of Number 6 (Teresa Palmer), leather clad and sexy she rides in on a shiny red Ducati to help save the day complete with her own set of unique powers.
There is no denying that the finale certainly lifts the film but by this time the only thing it will achieve will be waking the audience up from what was a boring opening.
A sequel is no doubt a sure thing, but do we really need another franchise of teen lust and super powers? We’ve already had Potter and Cullen!
With the first three dead the leather trench coat wearing villains, complete with odd looking tattoos and piranha like teeth come after Number 4, John Smith (Pettyfer).
Hiding out in a small town Smith tries to fit in, experiencing everything that a normal everyday teenager would do, while trying to suppress hidden powers that he slowly grasps the responsibility of.
He falls for the shy blonde, Sarah (Agron) who hides behind the lens of her camera, and befriends the local nerd who believes that Aliens have abducted his dad, well help is at hand there.
It really is a film of two halves, with the romantic adolescents looking to find each other and rebelling the elements that threaten to tear them apart.
Caruso then suddenly ramps the action and visual set pieces up as the battle across town heats up with the Mogadorians hot on their heels. There is also the introduction of Number 6 (Teresa Palmer), leather clad and sexy she rides in on a shiny red Ducati to help save the day complete with her own set of unique powers.
There is no denying that the finale certainly lifts the film but by this time the only thing it will achieve will be waking the audience up from what was a boring opening.
A sequel is no doubt a sure thing, but do we really need another franchise of teen lust and super powers? We’ve already had Potter and Cullen!
Gareth von Kallenbach (980 KP) rated Ice Age: Collision Course (2016) in Movies
Aug 6, 2019
The fifth installment of the franchise hit Ice Age reunites us with Manny
the mammoth (Ray Romano) and his two best friends, Diego the Sabre-tooth
Tiger (Denis Leary) and Sid the Sloth (John Leguizamo). Over the course of
the first 4 films, the unlikely trio become the best of friends,
introduction of love interests for both Manny and Diego, and the birth of a
Manny’s little girl. In this chapter, Manny and Ellie’s daughter Peaches
(Keke Palmer) is engaged to Julian. Manny’s struggle to let go of his
little girl causes tension with his relationship with Julian (Adam Devine).
The unlikely herd is struck by a meteor shower, that was as usual caused by
Scrat the squirrel, that forces them underground back to to land of
Dinosaurs. The return of hyperactive weasel Buck (Simon Peg) is the
highlight of movie, with his unconventional tactics, outlandish anecdotes
and death defying acrobatics. Buck figures out a large asteroid is headed
towards Earth threatening to destroy the entire planet. The only way to
stop the asteroid from it’s extinction level destruction is to find a way
to divert the asteroid away from the planet using magnetic force. And, so
begins the adventure of the herd trying to find the town of Geotopia and
using its sacred gems to help create the magnetic field needed.
They are definitely trashing the laws of paleontology and geology with this
film. The far fetched plot line leaves little to be desired compared to
the story line of its predecessors. The audience is kept busy dealing with
boring family squabbles and Sid desperate to still find love. If it wasn’t
for the role of Buck, the adult audience would consider this movie to be a
complete flop. The younger generation will be scratching their heads
wondering if this scenario is even plausible. I know, my 8 year old kid
was questioning it! Nonetheless, there was enough slap stick comedy and
antics to keep kids entertained and parents chuckling.
the mammoth (Ray Romano) and his two best friends, Diego the Sabre-tooth
Tiger (Denis Leary) and Sid the Sloth (John Leguizamo). Over the course of
the first 4 films, the unlikely trio become the best of friends,
introduction of love interests for both Manny and Diego, and the birth of a
Manny’s little girl. In this chapter, Manny and Ellie’s daughter Peaches
(Keke Palmer) is engaged to Julian. Manny’s struggle to let go of his
little girl causes tension with his relationship with Julian (Adam Devine).
The unlikely herd is struck by a meteor shower, that was as usual caused by
Scrat the squirrel, that forces them underground back to to land of
Dinosaurs. The return of hyperactive weasel Buck (Simon Peg) is the
highlight of movie, with his unconventional tactics, outlandish anecdotes
and death defying acrobatics. Buck figures out a large asteroid is headed
towards Earth threatening to destroy the entire planet. The only way to
stop the asteroid from it’s extinction level destruction is to find a way
to divert the asteroid away from the planet using magnetic force. And, so
begins the adventure of the herd trying to find the town of Geotopia and
using its sacred gems to help create the magnetic field needed.
They are definitely trashing the laws of paleontology and geology with this
film. The far fetched plot line leaves little to be desired compared to
the story line of its predecessors. The audience is kept busy dealing with
boring family squabbles and Sid desperate to still find love. If it wasn’t
for the role of Buck, the adult audience would consider this movie to be a
complete flop. The younger generation will be scratching their heads
wondering if this scenario is even plausible. I know, my 8 year old kid
was questioning it! Nonetheless, there was enough slap stick comedy and
antics to keep kids entertained and parents chuckling.
Gareth von Kallenbach (980 KP) rated Take Me Home Tonight (2011) in Movies
Aug 7, 2019
If you’re planning an 80’s party anytime soon, make sure to download the soundtrack to Take Me Home Tonight. The opening montage alone reminded me of everything I loved about the 80’s. It also gave us a glimpse of Matt Franklin’s high school years. Matt, played by Topher Grace, was the kid voted as “Smartest” in his class, one who existed on the outer fringes of high school popularity, who always had his eye on the most popular girl in school, Tori Fredreking, but could never muster up the courage or find that “in” to catch her attention.
Unsure of where his life is taking him, Matt decides to take a break from MIT during the summer of ’88 and ends up working at Suncoast Video. Of course, who should come strolling in to his store one day but Matt’s high school crush herself. Hoping to impress her, Matt ditches his Suncoast nametag, and tells Tori, played by Teresa Palmer (a deadringer for Kristen Stewart, if Kirsten were blond and more animated), that he works for Goldman-Sachs. Tori’s a banker herself, it turns out, and her curiousity is finally piqued and she encourages him to attend Kyle Masterson’s annual Labor Day party.
Matt relies on his twin sister Wendy, played by Anna Faris, and their best friend Barry, an intense Dan Fogler, to help him build on this “in” and finally get Tori’s phone number. But Matt isn’t the only one having to deal with the confusing transition into adulthood. Wendy has to decide if she wants to pursue her Masters or settle down with her boyfriend Kyle, while Barry just got fired from his car salesman job. The three of them decide to attend the end-of-summer party thrown by Wendy’s boyfriend Kyle, played by Parks & Rec’s Chris Pratt, all with the intent of “living in the now.” Apparently living in the now means commiting grand theft auto, experimenting with cocaine, perpetuating a lie and crashing a bankers’ party.
Despite the silly hijinks, Matt isn’t hard to root for, especially given Topher Grace’s signature sympathetic awkwardness. Fogler’s comic foil to Grace’s straight-man dances precariously along the line between funny and WTH? When the movie about Sam Kinnison’s life is ever made, Fogler should be given serious consideration.
There’s good chemistry between the cast and there’s just enough sweet romance to balance out the outrageous situations. Silly, predictable entertainment, made more fun by the nostalgic soundtrack, this movie is tamer than most of the R-rated comedies of recent note. Think any John Hughes movie meets Hot Tub Time Machine.
Unsure of where his life is taking him, Matt decides to take a break from MIT during the summer of ’88 and ends up working at Suncoast Video. Of course, who should come strolling in to his store one day but Matt’s high school crush herself. Hoping to impress her, Matt ditches his Suncoast nametag, and tells Tori, played by Teresa Palmer (a deadringer for Kristen Stewart, if Kirsten were blond and more animated), that he works for Goldman-Sachs. Tori’s a banker herself, it turns out, and her curiousity is finally piqued and she encourages him to attend Kyle Masterson’s annual Labor Day party.
Matt relies on his twin sister Wendy, played by Anna Faris, and their best friend Barry, an intense Dan Fogler, to help him build on this “in” and finally get Tori’s phone number. But Matt isn’t the only one having to deal with the confusing transition into adulthood. Wendy has to decide if she wants to pursue her Masters or settle down with her boyfriend Kyle, while Barry just got fired from his car salesman job. The three of them decide to attend the end-of-summer party thrown by Wendy’s boyfriend Kyle, played by Parks & Rec’s Chris Pratt, all with the intent of “living in the now.” Apparently living in the now means commiting grand theft auto, experimenting with cocaine, perpetuating a lie and crashing a bankers’ party.
Despite the silly hijinks, Matt isn’t hard to root for, especially given Topher Grace’s signature sympathetic awkwardness. Fogler’s comic foil to Grace’s straight-man dances precariously along the line between funny and WTH? When the movie about Sam Kinnison’s life is ever made, Fogler should be given serious consideration.
There’s good chemistry between the cast and there’s just enough sweet romance to balance out the outrageous situations. Silly, predictable entertainment, made more fun by the nostalgic soundtrack, this movie is tamer than most of the R-rated comedies of recent note. Think any John Hughes movie meets Hot Tub Time Machine.
Gareth von Kallenbach (980 KP) rated Be Cool (2005) in Movies
Aug 14, 2019
It has been ten years since audiences last saw Chili Palmer (John Travolta), a former criminal who uses his criminal experiences to become a successful film producer. The how and why Chili made this transition was documented in the 1995 film Get Shorty.
As the film opens, Chili is discussing his frustrations with the film industry with his associate Tommy (James Woods), at a sidewalk cafe. The conversation is interrupted by a barrage of bullets that leaves Tommy dead and Chili with more questions than answers. It seems that Tommy was taken down by a criminal organization and as such, his record company now finds itself in dire straits as his widow Edie (Uma Thurman), struggles to keep the company afloat.
Since Chili is friends with Edie and wants to move to the music business, he uses this opportunity to introduce a new prodigy named Linda Moon (Christina Milian) to her and prepares to record her.
Things become complicated when Chili discovers that Linda is under contract to some very shady characters, including Nick Carr (Harvey Keitel) who, like Chili, has a criminal past and is not above using thugs to eliminate or intimidate those into doing his bidding. His right hand man is the hood obsessed Raji (Vince Vaughn) and his massive yet closeted muscle Elliott (Dwayne “The Rock” Johnson).
If you are not confused yet, don’t worry as the plot will be come even more complex when record producer Sin LaSalle (Cedric the Entertainer), demands $300,000 in owed money from Tommy, due in under a week to keep his boys from taking out Chili and ruining Edie’s company.
The great thing about Be Cool is that no matter how many characters come and go from the every changing plot, it is always well paced and funny, and does not lose momentum.
The audience, like most of the characters, is forced to figure things out as they happen with the exception being Chili who seems to have things figured out even before he takes the necessary steps to resolve the situation.
The cast seems to be having a great time playing their parts and Travolta and Thurman seem to have a very easy going and natural chemistry, especially when they follow up their Pulp Fiction dance with a spirited number. The film also boasts many cameos and I will refrain from spoiling them here.
The highlight of the film would have to be The Rock as he daringly pokes fun at his tough guy persona and signature raised eyebrow by playing the identity confused Elliott who is more at ease belting out torch songs than he is at bashing heads.
The only real issue with the film was that Thurman’s character did not always have much to do aside from standing around looking pretty and being the supportive love interest in the film.
That being said, if you do not mind a twisting plot, over the top characters, and some goofiness, than Be Cool is just the film for you.
As the film opens, Chili is discussing his frustrations with the film industry with his associate Tommy (James Woods), at a sidewalk cafe. The conversation is interrupted by a barrage of bullets that leaves Tommy dead and Chili with more questions than answers. It seems that Tommy was taken down by a criminal organization and as such, his record company now finds itself in dire straits as his widow Edie (Uma Thurman), struggles to keep the company afloat.
Since Chili is friends with Edie and wants to move to the music business, he uses this opportunity to introduce a new prodigy named Linda Moon (Christina Milian) to her and prepares to record her.
Things become complicated when Chili discovers that Linda is under contract to some very shady characters, including Nick Carr (Harvey Keitel) who, like Chili, has a criminal past and is not above using thugs to eliminate or intimidate those into doing his bidding. His right hand man is the hood obsessed Raji (Vince Vaughn) and his massive yet closeted muscle Elliott (Dwayne “The Rock” Johnson).
If you are not confused yet, don’t worry as the plot will be come even more complex when record producer Sin LaSalle (Cedric the Entertainer), demands $300,000 in owed money from Tommy, due in under a week to keep his boys from taking out Chili and ruining Edie’s company.
The great thing about Be Cool is that no matter how many characters come and go from the every changing plot, it is always well paced and funny, and does not lose momentum.
The audience, like most of the characters, is forced to figure things out as they happen with the exception being Chili who seems to have things figured out even before he takes the necessary steps to resolve the situation.
The cast seems to be having a great time playing their parts and Travolta and Thurman seem to have a very easy going and natural chemistry, especially when they follow up their Pulp Fiction dance with a spirited number. The film also boasts many cameos and I will refrain from spoiling them here.
The highlight of the film would have to be The Rock as he daringly pokes fun at his tough guy persona and signature raised eyebrow by playing the identity confused Elliott who is more at ease belting out torch songs than he is at bashing heads.
The only real issue with the film was that Thurman’s character did not always have much to do aside from standing around looking pretty and being the supportive love interest in the film.
That being said, if you do not mind a twisting plot, over the top characters, and some goofiness, than Be Cool is just the film for you.
Nick Rhodes recommended Never Mind The Bollocks, Here's The Sex Pistols by The Sex Pistols in Music (curated)
BankofMarquis (1832 KP) rated All That Jazz (1979) in Movies
Oct 1, 2020
Full Blown Fosse (and that's a good thing)
After THE FRENCH CONNECTION, JAWS, MARATHON MAN and SORCERER (and, if I'm honest, JAWS II), my brother and I thought Roy Scheider was just about the toughest son-of-a-gun on the planet, so when he asked if I wanted to check out the latest "Roy Scheider flick", I jumped at the chance.
Little did either of us know that it was the semi-autobiographical Bob Fosse gem ALL THAT JAZZ. Me, being a musical theater kid, was thrilled by this unexpected spectacle while my brother (who would rather sit through C-Span than watch a musical) calls it, to this day, his "favorite" musical (granted, not a long list).
I've rewatched this film various times over the years and still liked it, but I hadn't checked it out for over 20 years at this point, so it was with some trepidation that I popped my DVD in (yes, I own the DVD, not the Blu-Ray) and sat back to see how well it holds up.
And...I shouldn't have worried, for it holds up very, very well. Not only as a film, not only as a musical, not only as a look into the life and times (and style) of Bob Fosse, but also as a looking glass into the late 1970's.
Written and Directed by famed Director/Choreographer Bob Fosse (CABARET, CHICAGO), ALL THAT JAZZ tells the (much more than) semi-autobiographical story of famed Director/Choreographer Joe Gideon (Scheider) who is pushing himself hard to finish a film and mount a Broadway show relying on booze, drugs and philandering.
The performances are strong in this film with a bevy of "Fosse regulars" strutting their stuff. From Leland Palmer (in the obvious Gwen Verdon role) to Ann Reinking (in the Ann Reinking role) to Ben Vereen (as the variety show headliner from hell) they all bring strong Broadway credentials to the screen making the musical numbers a veritable showcase of Fosse movements.
A very young Jessica Lange (in an early role that would showcase her acting chops) is mesmerizing, haunting and very, very watchable as a mysterious women in Joe's life while a very young John Lithgow shows up (and chews the scenery very, very well) as a rival director.
The surprise to me, of course, was the strong performance of Scheider in the lead role. He was Oscar-nominated for his work (deservingly so) and when he finally steps into the big finale musical number, he shows that he can hold his own (surprisingly so). He is PERFECTLY cast as Joe Gideon and he never really approached this strong work again in his career.
But, make no mistake about it, this film showcases Bob Fosse's Directing and Choreography skills - and they are excellent. The style of the film - bouncing from real life to something more ethereal - is strong, and strongly Fosse, giving a clear idea of the life and time in which these events unfold. I stated earlier that this film is a "looking glass" into the late 1970's, and I meant it. It immediately brought me back to those times - both the good and bad of it.
The musical numbers are fascinating to watch with the dancing particularly stunning as the angles and forms that the dancers make with their bodies and arms and legs are a wonder to behold. There has never been anyone like Fosse (before or since) and it is GREAT to watch a showcase of his talents.
This film was nominated for 9 Oscars - winning 4 - but losing Picture, Director (Fosse) and Actor (Scheider) to KRAMER vs. KRAMER (Picture, Director - Robert Benton and Actor - Dustin Hoffman). Now, I haven't seen Kramer vs. Kramer in a long, long time (probably not since I saw it in the theaters in 1979), but I gotta think ALL THAT JAZZ is better in all those categories.
If you haven't seen this in awhile - or if you have NEVER seen it - check out ALL THAT JAZZ, you'll be glad you did.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Little did either of us know that it was the semi-autobiographical Bob Fosse gem ALL THAT JAZZ. Me, being a musical theater kid, was thrilled by this unexpected spectacle while my brother (who would rather sit through C-Span than watch a musical) calls it, to this day, his "favorite" musical (granted, not a long list).
I've rewatched this film various times over the years and still liked it, but I hadn't checked it out for over 20 years at this point, so it was with some trepidation that I popped my DVD in (yes, I own the DVD, not the Blu-Ray) and sat back to see how well it holds up.
And...I shouldn't have worried, for it holds up very, very well. Not only as a film, not only as a musical, not only as a look into the life and times (and style) of Bob Fosse, but also as a looking glass into the late 1970's.
Written and Directed by famed Director/Choreographer Bob Fosse (CABARET, CHICAGO), ALL THAT JAZZ tells the (much more than) semi-autobiographical story of famed Director/Choreographer Joe Gideon (Scheider) who is pushing himself hard to finish a film and mount a Broadway show relying on booze, drugs and philandering.
The performances are strong in this film with a bevy of "Fosse regulars" strutting their stuff. From Leland Palmer (in the obvious Gwen Verdon role) to Ann Reinking (in the Ann Reinking role) to Ben Vereen (as the variety show headliner from hell) they all bring strong Broadway credentials to the screen making the musical numbers a veritable showcase of Fosse movements.
A very young Jessica Lange (in an early role that would showcase her acting chops) is mesmerizing, haunting and very, very watchable as a mysterious women in Joe's life while a very young John Lithgow shows up (and chews the scenery very, very well) as a rival director.
The surprise to me, of course, was the strong performance of Scheider in the lead role. He was Oscar-nominated for his work (deservingly so) and when he finally steps into the big finale musical number, he shows that he can hold his own (surprisingly so). He is PERFECTLY cast as Joe Gideon and he never really approached this strong work again in his career.
But, make no mistake about it, this film showcases Bob Fosse's Directing and Choreography skills - and they are excellent. The style of the film - bouncing from real life to something more ethereal - is strong, and strongly Fosse, giving a clear idea of the life and time in which these events unfold. I stated earlier that this film is a "looking glass" into the late 1970's, and I meant it. It immediately brought me back to those times - both the good and bad of it.
The musical numbers are fascinating to watch with the dancing particularly stunning as the angles and forms that the dancers make with their bodies and arms and legs are a wonder to behold. There has never been anyone like Fosse (before or since) and it is GREAT to watch a showcase of his talents.
This film was nominated for 9 Oscars - winning 4 - but losing Picture, Director (Fosse) and Actor (Scheider) to KRAMER vs. KRAMER (Picture, Director - Robert Benton and Actor - Dustin Hoffman). Now, I haven't seen Kramer vs. Kramer in a long, long time (probably not since I saw it in the theaters in 1979), but I gotta think ALL THAT JAZZ is better in all those categories.
If you haven't seen this in awhile - or if you have NEVER seen it - check out ALL THAT JAZZ, you'll be glad you did.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Hacksaw Ridge (2016) in Movies
Sep 29, 2021
In God, and Doss, we Trust.
Those dreaded words – “Based On A True Story” – emerge again from the blackness of the opening page. Actually, no. In a move that could be considered arrogant if it wasn’t so well researched, here we even lose the first two words.
When a war film is described as being “visceral” then you know you need to steel yourself mentally for what you might see. But given that this film is based around the horrendously brutal combat between the Americans and the Japanese on the Pacific island of Okinawa in 1945 this is a warning well-founded. For the battle scenes in this film are reminiscent of the opening scenes of “Saving Private Ryan” in their brutality: long gone are the war films of John Wayne where there would be a shot, a grasp of the stomach and a casual descent to earth.
But before we get to the battle itself, the film has a leisurely hour of character building which is time well spent (although it could have perhaps been trimmed a tad tighter). Desmond Doss (Andrew Garfield, “The Amazing Spiderman”, “Never Let Me Go”) grows up a God-fearing youngster in the beautiful surroundings of the Blue Ridge Mountains of Virginia. His alcoholic father (Hugo Weaving, “The Lord of the Rings”, “The Matrix”) has been mentally traumatised by the First World War, further strengthening Desmond’s fervent belief in following the Ten Commandments; most notably “Thou Shalt Not Kill”. But his patriotic sense of duty is also strong, and Doss signs up after Pearl Harbor and is posted to a rifle brigade that – given his refusal to even touch a rifle – puts him on a collision course with the US Army. It also (obviously) disrupts his romance with nurse sweetheart Dorothy (Teresa Palmer).
This is really two films in one, with the first half setting up extremely well the characters that make the second half so effective. For you care – really care – for what happens to most of the characters involved, especially the zealous and determined Doss who has nothing to face the Japanese hoards with but a medical bag. The feelings that comes to top of mind are awe that these real people actually had to go through this horror and hope that in today’s increasingly unstable political world we will never need to again face such inhumanity of man against man again.
Andrew Garfield really carries this film, and his Best Actor Oscar nomination is well-deserved. He is perfectly cast as the (onward) Christian soldier. Also outstanding is Hugo Weaving in an emotional and persuasive role playing opposite Rachel Griffiths (“Saving Mr Banks”) his wife. But the real acting surprise here for me was Vince Vaughn (“The Wedding Crashers”) who plays the no-nonsense platoon Sergeant Howell: never one of my favourite actors, here he brings in a warm and nuanced performance that ends with a memorable action scene.
Also worthy of specific note is Dan Oliver (“Mad Max: Fury Road”) and his team of special effects technicians, the stunt teams (led by Kyle Gardiner and Mic Rodgers), production designer Barry Robinson and the hair and makeup team, all of who collaborate to make the final half of the film so gripping.
The film marks a comeback from the film society ‘naughty step’ of Mel Gibson after his much publicised fall from grace in the mid-noughties. A Best Director Oscar nomination would appear to cement that resurrection. For this is a phenomenal achievement in direction and one that should be applauded.
The film bears closest comparison with the interesting two-film combo from Clint Eastwood – “Flags of our Fathers” (from the American viewpoint) and “Letters from Iwo Jima” (from the Japanese viewpoint). While all three films share the same blood and guts quotient, with “Hacksaw Ridge” edging this award, the Eastwood films tend to have more emotional depth and a more thought-provoking treatment of the Japanese angle. In “Hacksaw Ridge”, while the war crimes of the Japanese are clear, the war crimes of the Americans are quietly cloaked behind a cryptic line (“They didn’t make it”).
That being said, there is no crime in a rollicking good story well told, and “Hacksaw Ridge” is certainly that. This was a film I did not have high hopes for. But I was surprised to be proved wrong. Recommended.
When a war film is described as being “visceral” then you know you need to steel yourself mentally for what you might see. But given that this film is based around the horrendously brutal combat between the Americans and the Japanese on the Pacific island of Okinawa in 1945 this is a warning well-founded. For the battle scenes in this film are reminiscent of the opening scenes of “Saving Private Ryan” in their brutality: long gone are the war films of John Wayne where there would be a shot, a grasp of the stomach and a casual descent to earth.
But before we get to the battle itself, the film has a leisurely hour of character building which is time well spent (although it could have perhaps been trimmed a tad tighter). Desmond Doss (Andrew Garfield, “The Amazing Spiderman”, “Never Let Me Go”) grows up a God-fearing youngster in the beautiful surroundings of the Blue Ridge Mountains of Virginia. His alcoholic father (Hugo Weaving, “The Lord of the Rings”, “The Matrix”) has been mentally traumatised by the First World War, further strengthening Desmond’s fervent belief in following the Ten Commandments; most notably “Thou Shalt Not Kill”. But his patriotic sense of duty is also strong, and Doss signs up after Pearl Harbor and is posted to a rifle brigade that – given his refusal to even touch a rifle – puts him on a collision course with the US Army. It also (obviously) disrupts his romance with nurse sweetheart Dorothy (Teresa Palmer).
This is really two films in one, with the first half setting up extremely well the characters that make the second half so effective. For you care – really care – for what happens to most of the characters involved, especially the zealous and determined Doss who has nothing to face the Japanese hoards with but a medical bag. The feelings that comes to top of mind are awe that these real people actually had to go through this horror and hope that in today’s increasingly unstable political world we will never need to again face such inhumanity of man against man again.
Andrew Garfield really carries this film, and his Best Actor Oscar nomination is well-deserved. He is perfectly cast as the (onward) Christian soldier. Also outstanding is Hugo Weaving in an emotional and persuasive role playing opposite Rachel Griffiths (“Saving Mr Banks”) his wife. But the real acting surprise here for me was Vince Vaughn (“The Wedding Crashers”) who plays the no-nonsense platoon Sergeant Howell: never one of my favourite actors, here he brings in a warm and nuanced performance that ends with a memorable action scene.
Also worthy of specific note is Dan Oliver (“Mad Max: Fury Road”) and his team of special effects technicians, the stunt teams (led by Kyle Gardiner and Mic Rodgers), production designer Barry Robinson and the hair and makeup team, all of who collaborate to make the final half of the film so gripping.
The film marks a comeback from the film society ‘naughty step’ of Mel Gibson after his much publicised fall from grace in the mid-noughties. A Best Director Oscar nomination would appear to cement that resurrection. For this is a phenomenal achievement in direction and one that should be applauded.
The film bears closest comparison with the interesting two-film combo from Clint Eastwood – “Flags of our Fathers” (from the American viewpoint) and “Letters from Iwo Jima” (from the Japanese viewpoint). While all three films share the same blood and guts quotient, with “Hacksaw Ridge” edging this award, the Eastwood films tend to have more emotional depth and a more thought-provoking treatment of the Japanese angle. In “Hacksaw Ridge”, while the war crimes of the Japanese are clear, the war crimes of the Americans are quietly cloaked behind a cryptic line (“They didn’t make it”).
That being said, there is no crime in a rollicking good story well told, and “Hacksaw Ridge” is certainly that. This was a film I did not have high hopes for. But I was surprised to be proved wrong. Recommended.
Gareth von Kallenbach (980 KP) rated Warm Bodies (2013) in Movies
Aug 7, 2019
Considering how many movies are typically released in the first quarter of the year, Warm Bodies is by far the best movie of 2013 so far. “Zombie Love Story” was the first term that came to my mind when I was first made aware of the movie, but it is so much more than that. Part “Romeo and Juliet”, part “Zombieland”, this adaptation of Isaac Marion’s critically acclaimed young adult novel is a humorous and surprisingly fresh zombie movie that gives its own unique look at love.
R, the zombie in our “Romeo” role, is your typical walker (excuse me while I borrow terms from another hit zombie medium). He moves around without purpose, mostly spending his days at the airport. He carries “conversations” with another zombie, M, and his internal monologue certainly lets the viewer know that zombies are fully aware of what they are. As a result of their condition, they no longer have control over what they do. Nor does R try to make excuses for it; they are what they are. This is demonstrated when he and a horde of walkers attack a group of humans. In this group is Julie, who as I am sure you have guessed is our “Juliet”. R immediately falls for her and is determined to have her reciprocate the feelings. This might prove to be difficult, considering that humans and zombies at their core just want to kill each other. It is this feeling, this emotion, that humans thought zombies incapable of, that begins to change R, and other zombies around him.
After the attack, R takes Julie back to his… er, safe haven comes to mind, but it’s really just an abandoned airplane sitting on a tarmac filled with wacky items that R has collected in the time since he became a zombie. Writer/Director Jonathan Levine, who adapted Marion’s novel, has managed to create very smart, witty dialogue, but in a cute way as he did with The Wackness (which Levine also wrote). The sincerity of the dialogue in the movie keeps you interested in a growing relationship that’s way, way outside the box. There is plenty of violence in the movie too, as we see R attack a human, bite their arm, and hide their brains away for a snack later. Speaking of brain, the film explains that when a zombie eats a human’s brains, they remember our memories. This is kind of important.
Despite being a very different romantic comedy, the film also delivers a healthy horror flick. Zombies are not the only thing that is a result of the zombie outbreak. In this post-apocalyptic world there is another threat: bonies. Bonies are zombies that are so far gone they do not care anymore. They’ve given up, have peeled off their skin and attack anything with beating hearts. R says it best in the film. “Zombies do this also, but at least they are conflicted about eating it.” Even though the bonies are fully CG creations, and utterly obviously so, Levine has done it in such a way that you only get quick glances, which is a nice way to keep the PG-13 rating considering all of the blood flowing in the film.
Nicholas Hoult is fantastic in the lead role of R, and he finds a way to turn on the creepy just as easily as he can turn the funny on. Everything our “Romeo” character is supposed to be is remarkably portrayed by Hoult. Of course it helps to have a great supporting cast, Teresa Palmer strong and sweet as Julie and John Malkovich as her father who is the hardened general who is leading the human survivors.
Warm Bodies is a great zombie movie, with an excellent sound track to set the mood throughout the film. But it’s more than that. It is also a charming story of unconventional love. Telling the story from R’s point of view gives it a very fresh feel, but it’s the thought and care that Levine and the cast members put into it that make it such a superb film. Warm Bodies is a love story between woman and monster, and the screenwriting and execution delivers a charm that cannot be denied. Warm Bodies is funny, but it’s also sweet, a bit dark at times, and highly original. All of this combined makes it the first must-see film of 2013.
R, the zombie in our “Romeo” role, is your typical walker (excuse me while I borrow terms from another hit zombie medium). He moves around without purpose, mostly spending his days at the airport. He carries “conversations” with another zombie, M, and his internal monologue certainly lets the viewer know that zombies are fully aware of what they are. As a result of their condition, they no longer have control over what they do. Nor does R try to make excuses for it; they are what they are. This is demonstrated when he and a horde of walkers attack a group of humans. In this group is Julie, who as I am sure you have guessed is our “Juliet”. R immediately falls for her and is determined to have her reciprocate the feelings. This might prove to be difficult, considering that humans and zombies at their core just want to kill each other. It is this feeling, this emotion, that humans thought zombies incapable of, that begins to change R, and other zombies around him.
After the attack, R takes Julie back to his… er, safe haven comes to mind, but it’s really just an abandoned airplane sitting on a tarmac filled with wacky items that R has collected in the time since he became a zombie. Writer/Director Jonathan Levine, who adapted Marion’s novel, has managed to create very smart, witty dialogue, but in a cute way as he did with The Wackness (which Levine also wrote). The sincerity of the dialogue in the movie keeps you interested in a growing relationship that’s way, way outside the box. There is plenty of violence in the movie too, as we see R attack a human, bite their arm, and hide their brains away for a snack later. Speaking of brain, the film explains that when a zombie eats a human’s brains, they remember our memories. This is kind of important.
Despite being a very different romantic comedy, the film also delivers a healthy horror flick. Zombies are not the only thing that is a result of the zombie outbreak. In this post-apocalyptic world there is another threat: bonies. Bonies are zombies that are so far gone they do not care anymore. They’ve given up, have peeled off their skin and attack anything with beating hearts. R says it best in the film. “Zombies do this also, but at least they are conflicted about eating it.” Even though the bonies are fully CG creations, and utterly obviously so, Levine has done it in such a way that you only get quick glances, which is a nice way to keep the PG-13 rating considering all of the blood flowing in the film.
Nicholas Hoult is fantastic in the lead role of R, and he finds a way to turn on the creepy just as easily as he can turn the funny on. Everything our “Romeo” character is supposed to be is remarkably portrayed by Hoult. Of course it helps to have a great supporting cast, Teresa Palmer strong and sweet as Julie and John Malkovich as her father who is the hardened general who is leading the human survivors.
Warm Bodies is a great zombie movie, with an excellent sound track to set the mood throughout the film. But it’s more than that. It is also a charming story of unconventional love. Telling the story from R’s point of view gives it a very fresh feel, but it’s the thought and care that Levine and the cast members put into it that make it such a superb film. Warm Bodies is a love story between woman and monster, and the screenwriting and execution delivers a charm that cannot be denied. Warm Bodies is funny, but it’s also sweet, a bit dark at times, and highly original. All of this combined makes it the first must-see film of 2013.