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Phillip McSween (751 KP) rated A Star Is Born (1976) in Movies
Jun 30, 2020
Decent, But Hoped For More
When a local singer is discovered by a big time star, she finds that her time in the spotlight isn’t all she expected it to be.
Acting: 10
While I wasn’t in love with Barbara Streisand’s lead role of Esther Hoffman, she did alright for the most part. I’ll just say it was a little bit better than bearable. I’m never one to say an actor has to knock it out of the park, but they can’t be so bad as to take me out of the movie. For any of her shortcomings Kris Kristofferson made up for it playing the alcoholic musician John Norman Howard. He definitely carries the chemistry between the two.
Beginning: 10
Solid kickoff as you are immediately engaged with John’s character and his shortcomings as a man. You can see this guy is a trainwreck and anyone that gets close to him will probably be brought down too. While I have seen the previous two versions before this one, it made me interested to see how they would tackle his struggles.
Characters: 8
Cinematography/Visuals: 10
For what it’s worth, I did like what director Frank R. Pierson did in showing Esther’s life at home versus what the glamorous life looked like. Before she makes it big, and even in some of the quieter moments, there is peace, shots of calm and quiet. The road life is an entirely different animal, however, as heaps of fans cheer her on at every turn and you can feel just how overwhelming it is. I appreciated that stark contrast.
Conflict: 7
Entertainment Value: 7
Throughout its 141-minute duration, A Star is Born definitely has its shining spots. Who doesn’t love a good rags to riches story? In a twist you can see coming for some time, this is a rags to riches to mortal endings story. I enjoyed watching her rise to stardom although some parts were truly unbearable with John’s character being such a total anus. It was over-the-top at times and took some of the enjoyment away.
Memorability: 2
Pace: 6
Plot: 8
Resolution: 4
Overall: 72
Of the four versions, this is hands-down the weakest A Star is Born. It’s not a horrible movie and I definitely wouldn’t steer someone away from checking it out at least once. For me, it just doesn’t stand the test of time.
Acting: 10
While I wasn’t in love with Barbara Streisand’s lead role of Esther Hoffman, she did alright for the most part. I’ll just say it was a little bit better than bearable. I’m never one to say an actor has to knock it out of the park, but they can’t be so bad as to take me out of the movie. For any of her shortcomings Kris Kristofferson made up for it playing the alcoholic musician John Norman Howard. He definitely carries the chemistry between the two.
Beginning: 10
Solid kickoff as you are immediately engaged with John’s character and his shortcomings as a man. You can see this guy is a trainwreck and anyone that gets close to him will probably be brought down too. While I have seen the previous two versions before this one, it made me interested to see how they would tackle his struggles.
Characters: 8
Cinematography/Visuals: 10
For what it’s worth, I did like what director Frank R. Pierson did in showing Esther’s life at home versus what the glamorous life looked like. Before she makes it big, and even in some of the quieter moments, there is peace, shots of calm and quiet. The road life is an entirely different animal, however, as heaps of fans cheer her on at every turn and you can feel just how overwhelming it is. I appreciated that stark contrast.
Conflict: 7
Entertainment Value: 7
Throughout its 141-minute duration, A Star is Born definitely has its shining spots. Who doesn’t love a good rags to riches story? In a twist you can see coming for some time, this is a rags to riches to mortal endings story. I enjoyed watching her rise to stardom although some parts were truly unbearable with John’s character being such a total anus. It was over-the-top at times and took some of the enjoyment away.
Memorability: 2
Pace: 6
Plot: 8
Resolution: 4
Overall: 72
Of the four versions, this is hands-down the weakest A Star is Born. It’s not a horrible movie and I definitely wouldn’t steer someone away from checking it out at least once. For me, it just doesn’t stand the test of time.
Life is not going well for Harley Quinn (Margot Robbie). She has recently
split from the Joker and is wallowing in self-pity and trying to find a
new focus in her life. As a further complication; the protection she
enjoyed under the Joker has vanished and now everyone with a grudge is
gunning for her.
Fate has Harley cross paths with a young Pickpocket named Cassandra (Ella
Jay Basco), who comes into possession of a diamond that happens to hold a
very valuable secret. Before Harley knows what has hit her; she is on the
run not only from all manner of thugs but the very dangerous Roman Siona
(Ewan Mc Gregor) has upped the stakes for their heads and will stop at nothing to get it.
Throw in a disgruntled Detective (Rose Perez) a jaded singer (Jurnee
Smollett-Bell), and a mysterious assassin (Mary Elizabeth Winstead) and
you have a very interesting and dangerous mix.
Sadly the film becomes jumbled at the start as the film will go down certain paths only to abruptly stop, rewind, go down another path, and resume.
This comes off as a disjointed mess at times and while I took it to help symbolize the mental state of Harley; it made connecting with the character and stories difficult.
This combined with the over the top
characters and routine story underminded the potential of the film.
While it entertained in parts, I do have to wonder if Director Cathy Yan
was in over her head. Yan had previously done four shorts and an Art Film
and seemed to be unsure of the pacing, action, and visual effects at times
as it certainally showed.
It is rumored that the head of the John Wick
stunt team was brought in to oversee reshoots for the film but Yan has
claimed this was simply for Second Unit work.
The film does have a strong theme of empowerment and I liked how it
emphasized that a woman does not need anyone to be strong and that they
have limitless potential. This is a very strong message that worked
wiell. Sadly the story offered no real variation from what we have seen
many times before in action and comic films and underscores how DC and
Warner Bros constantly come up lacking in this genrre where Marvel soars
time and again.
There isome entertainment in the film and Robbie is the perfect embodiyment of the character, sadly this Bird never really takes
flight.
2.5 out of 5
split from the Joker and is wallowing in self-pity and trying to find a
new focus in her life. As a further complication; the protection she
enjoyed under the Joker has vanished and now everyone with a grudge is
gunning for her.
Fate has Harley cross paths with a young Pickpocket named Cassandra (Ella
Jay Basco), who comes into possession of a diamond that happens to hold a
very valuable secret. Before Harley knows what has hit her; she is on the
run not only from all manner of thugs but the very dangerous Roman Siona
(Ewan Mc Gregor) has upped the stakes for their heads and will stop at nothing to get it.
Throw in a disgruntled Detective (Rose Perez) a jaded singer (Jurnee
Smollett-Bell), and a mysterious assassin (Mary Elizabeth Winstead) and
you have a very interesting and dangerous mix.
Sadly the film becomes jumbled at the start as the film will go down certain paths only to abruptly stop, rewind, go down another path, and resume.
This comes off as a disjointed mess at times and while I took it to help symbolize the mental state of Harley; it made connecting with the character and stories difficult.
This combined with the over the top
characters and routine story underminded the potential of the film.
While it entertained in parts, I do have to wonder if Director Cathy Yan
was in over her head. Yan had previously done four shorts and an Art Film
and seemed to be unsure of the pacing, action, and visual effects at times
as it certainally showed.
It is rumored that the head of the John Wick
stunt team was brought in to oversee reshoots for the film but Yan has
claimed this was simply for Second Unit work.
The film does have a strong theme of empowerment and I liked how it
emphasized that a woman does not need anyone to be strong and that they
have limitless potential. This is a very strong message that worked
wiell. Sadly the story offered no real variation from what we have seen
many times before in action and comic films and underscores how DC and
Warner Bros constantly come up lacking in this genrre where Marvel soars
time and again.
There isome entertainment in the film and Robbie is the perfect embodiyment of the character, sadly this Bird never really takes
flight.
2.5 out of 5
Gareth von Kallenbach (971 KP) rated Footloose (2011) in Movies
Aug 7, 2019
Public dancing is against the law in the small religious town of Bomont. But Boston-raised teenager, Ren McCormack and the Reverend’s daughter Ariel have other ideas in this remake of the 1984 classic.
The original “Footloose” requires a 1980s mindset and was successful partially due the disjointed storytelling of teen films during that era. Up until now it could be said that there is no “Footloose” without Kevin Bacon. But surprise! The remake is so good that you may need to step back.
The cast is more polished than the original, particularly in lead female role of Ariel Moore brought back to the screen by Julianne Hough. Hough’s performance is more engaging than that of the original portrayal by Lori Singer. Taking the reigns of the role that made Kevin Bacon famous is Kenny Wormald as city boy Ren. Wormald wears the role with charm and the required “Footloose” too-cool-for-school style.
Reverend Shaw Moore, now played by Dennis Quaid, is far more emotional than the original depiction of the character first played by a John Lithgow. However, the same cannot be said for his wife, Vi Moore, with a disappointing performance from Andy McDowell. This is balanced however by the truly enjoyable portrayal of Ren’s best friend Willard by the well-timed comedy of Miles Teller.
Yes, there were cheesy moments. There was even a sunset so over the top that it may remind you Star Wars buffs of a certain lengthy romance scene in Episode Two. And yes, more than one of the reanimated lines from the classic film was forced. But the flubs were few and far between as this “Footloose” remake manages to succeed in many places where the original could have been improved.
The explanation of tragedy that originally befell Bomont has been extended, giving the town’s anti-dance perspective a little more sway. And this time around “Footloose” directly addresses a number of the small town versus big city stereotypes with strong dual sided humor.
The new “Footloose” still has less dancing then you want from a film entirely about dance, but when it does occur the style is much more diverse, ranging from hip hop to that famous “Footloose” country. There were things missed from the original; particularly the precision of Bacon’s solo dance scene, but this remake honors the impact of the original while standing on its own.
Now where do you buy a pair of red cowboy boots?!
The original “Footloose” requires a 1980s mindset and was successful partially due the disjointed storytelling of teen films during that era. Up until now it could be said that there is no “Footloose” without Kevin Bacon. But surprise! The remake is so good that you may need to step back.
The cast is more polished than the original, particularly in lead female role of Ariel Moore brought back to the screen by Julianne Hough. Hough’s performance is more engaging than that of the original portrayal by Lori Singer. Taking the reigns of the role that made Kevin Bacon famous is Kenny Wormald as city boy Ren. Wormald wears the role with charm and the required “Footloose” too-cool-for-school style.
Reverend Shaw Moore, now played by Dennis Quaid, is far more emotional than the original depiction of the character first played by a John Lithgow. However, the same cannot be said for his wife, Vi Moore, with a disappointing performance from Andy McDowell. This is balanced however by the truly enjoyable portrayal of Ren’s best friend Willard by the well-timed comedy of Miles Teller.
Yes, there were cheesy moments. There was even a sunset so over the top that it may remind you Star Wars buffs of a certain lengthy romance scene in Episode Two. And yes, more than one of the reanimated lines from the classic film was forced. But the flubs were few and far between as this “Footloose” remake manages to succeed in many places where the original could have been improved.
The explanation of tragedy that originally befell Bomont has been extended, giving the town’s anti-dance perspective a little more sway. And this time around “Footloose” directly addresses a number of the small town versus big city stereotypes with strong dual sided humor.
The new “Footloose” still has less dancing then you want from a film entirely about dance, but when it does occur the style is much more diverse, ranging from hip hop to that famous “Footloose” country. There were things missed from the original; particularly the precision of Bacon’s solo dance scene, but this remake honors the impact of the original while standing on its own.
Now where do you buy a pair of red cowboy boots?!
Gareth von Kallenbach (971 KP) rated Bad Times at the El Royale (2018) in Movies
Jul 2, 2019
The El Royale Hotel sit directly on the California and Nevada border just outside of Lake Tahoe. In its heyday, the novelty hotel, vibrant and bustling with activity. Even getting visits from famous actors, singers and politicians. But by the 1960s those days had gone and now it is rundown and mostly vacant. Then on one fateful day a group of random strangers meet at the El Royale. There is a minister, Father Daniel Flynn (Jeff Bridges), on his way back from Oakland visiting his brother. Singer Darlene Sweet (Cynthia Erivo) who came to the El Royale because her midday casino singing gig in Reno didn’t pay enough for her to stay anywhere else. Then there is Laramie Seymour Sullivan (John Hamm) the vacuum salesman who talks fast and loud. His company does all the hotel bookings so he was stuck with the El Royale, but he is dead set on enjoying the luxurious Honeymoon Suite given the choices. Lastly, there is Emily (Dakota Johnson) she doesn’t say much besides she wants a room far away from the other guests. The mismatched group is all greeted by the bellhop/bar tender/service manager Miles (Lewis Pullman). All seems like a chance meeting of a group of travelers. But nothing is what it seems. By the nights end all manner of secrets will come out and all the guests’ lives will be in jeopardy.
El Royale is a well-crafted and executed mystery/thriller. Writer and Director Drew Goddard (The Martian) does a great job of telling an original story. It keeps you guessing to the end. The cast for the most part is really good. Chris Hemsworth (as Billy Lee) and Cailee Spaeny (as Ruth Summersping) have more underwhelming performances compared to the rest of the cast but still good. Cynthia Erivo, for me, had a great performance. I thought her voice was amazing and how her character was developed throughout the film was interesting and well done. The pace of the movie does start out somewhat slow but rapidly builds and overall is good. The film is set in the 1960s and definitely feels like of that era with the music, news stories, overall appearance of the hotel rooms, etc.
I enjoyed this film. I thought the way the story unfolded was interesting and original. One part that really occurred to be later is that you never really knew who the hero of the film was or would wind up being. When I thought I had it figured out something would happen to change my mind. Or maybe there was not really hero. The slow build up was a little long for me but otherwise it was a great movie theater experience.
El Royale is a well-crafted and executed mystery/thriller. Writer and Director Drew Goddard (The Martian) does a great job of telling an original story. It keeps you guessing to the end. The cast for the most part is really good. Chris Hemsworth (as Billy Lee) and Cailee Spaeny (as Ruth Summersping) have more underwhelming performances compared to the rest of the cast but still good. Cynthia Erivo, for me, had a great performance. I thought her voice was amazing and how her character was developed throughout the film was interesting and well done. The pace of the movie does start out somewhat slow but rapidly builds and overall is good. The film is set in the 1960s and definitely feels like of that era with the music, news stories, overall appearance of the hotel rooms, etc.
I enjoyed this film. I thought the way the story unfolded was interesting and original. One part that really occurred to be later is that you never really knew who the hero of the film was or would wind up being. When I thought I had it figured out something would happen to change my mind. Or maybe there was not really hero. The slow build up was a little long for me but otherwise it was a great movie theater experience.
Bong Mines Entertainment (15 KP) rated VOLUME 1 by Tash in Music
Sep 2, 2019
Tash is a talented singer-songwriter and gifted musician from Australia. Not too long ago, she released a music video for her lovely single, entitled, “The Signs”.
“I wrote ‘The Signs’ in a similar headspace to the way I wrote ‘DREAMING’. It’s about feeling suspicious that omens exist and that maybe I’d done something to deserve my own misfortune. I don’t actually believe in any of that stuff, but at the time I’d probably had a weird week and started wondering if opening umbrellas indoors is the cause of it.” – Tash
The audiovisual, equipped with a classic ‘80s flare, opt for sprinkles of VHS frames and subtle animation.
Also, the music video follows a relaxed Tash as she travels sonically through the bustling city at nighttime.
‘The Signs’ is featured on Tash’s latest EP, entitled, “VOLUME 1”. The likable 5-track project contains her previously released tune, entitled, “What a Lovely Mess”.
“Tash is such a prolific songwriter and we feel that anyone who listens to the EP is going to have a very special listening experience” – producer of the EP, Mark J Feist (Beyoncé, Mary J. Blige, John Legend, Little Mix)
Tash was discovered by multi-platinum record producer and songwriter Mark J. Feist on Instagram.
She started by posting acoustic covers of popular songs and has since reached over 800K impressions a week.
Tash has quickly established herself as one of this year’s most exciting artists to watch.
She was born into a musical family to a guitar-teaching mother and bass-playing father.
At such a young age, she has sold out numerous shows including performances at Soho House NYC, Sayers Club Los Angeles, Peppermint Club, and Hotel Cafe.
So far, her music has amassed over 80M streams and garnered over 12M views online across various social media platforms.
“I’m questioning the way it works what did I do to deserve this change of rhythm so bitter, I’m getting butthurt about almost everything, it’s unsettling. Focus on better things. Stop, stop hiding in your euphemisms, believing your superstition, following your intuition ain’t always so good for you. I know if you bring bad, the bad will come to you. That doesn’t mean that all the black cat bullsh*t is actually true, nah. Don’t need my fortune told to tell me I’ve got unrequited love. I’ve got issues with my trust. I’ve got a conscience. That’s enough for me to think that’s enough for me.” – lyrics, “The Signs”
Tash is the first artist to ever perform on the roof at the Facebook Campus.
Her songs have been added to over 20+ Spotify, Amazon, and Apple playlists.
Also, she was placed on the Apple Music homepage in the USA as well as featured in their Swipe Up viral campaign.
“I wrote ‘The Signs’ in a similar headspace to the way I wrote ‘DREAMING’. It’s about feeling suspicious that omens exist and that maybe I’d done something to deserve my own misfortune. I don’t actually believe in any of that stuff, but at the time I’d probably had a weird week and started wondering if opening umbrellas indoors is the cause of it.” – Tash
The audiovisual, equipped with a classic ‘80s flare, opt for sprinkles of VHS frames and subtle animation.
Also, the music video follows a relaxed Tash as she travels sonically through the bustling city at nighttime.
‘The Signs’ is featured on Tash’s latest EP, entitled, “VOLUME 1”. The likable 5-track project contains her previously released tune, entitled, “What a Lovely Mess”.
“Tash is such a prolific songwriter and we feel that anyone who listens to the EP is going to have a very special listening experience” – producer of the EP, Mark J Feist (Beyoncé, Mary J. Blige, John Legend, Little Mix)
Tash was discovered by multi-platinum record producer and songwriter Mark J. Feist on Instagram.
She started by posting acoustic covers of popular songs and has since reached over 800K impressions a week.
Tash has quickly established herself as one of this year’s most exciting artists to watch.
She was born into a musical family to a guitar-teaching mother and bass-playing father.
At such a young age, she has sold out numerous shows including performances at Soho House NYC, Sayers Club Los Angeles, Peppermint Club, and Hotel Cafe.
So far, her music has amassed over 80M streams and garnered over 12M views online across various social media platforms.
“I’m questioning the way it works what did I do to deserve this change of rhythm so bitter, I’m getting butthurt about almost everything, it’s unsettling. Focus on better things. Stop, stop hiding in your euphemisms, believing your superstition, following your intuition ain’t always so good for you. I know if you bring bad, the bad will come to you. That doesn’t mean that all the black cat bullsh*t is actually true, nah. Don’t need my fortune told to tell me I’ve got unrequited love. I’ve got issues with my trust. I’ve got a conscience. That’s enough for me to think that’s enough for me.” – lyrics, “The Signs”
Tash is the first artist to ever perform on the roof at the Facebook Campus.
Her songs have been added to over 20+ Spotify, Amazon, and Apple playlists.
Also, she was placed on the Apple Music homepage in the USA as well as featured in their Swipe Up viral campaign.
BankofMarquis (1832 KP) rated Bohemian Rhapsody (2018) in Movies
Nov 4, 2018
Come for the music, stay...for the music
My musical tastes end somewhere in the late 1970's/early 1980's. Billy Joel, ELO and, especially, Queen were in constant rotation on my turntable. So it was with a mixture of excitement and nervousness that I checked out BOHEMIAN RHAPSODY, the "Queen movie".
Fortunately, this film rekindled my love for the music of Queen. I gotta admit, I was cranking Queen tunes in the car on the ride home. Unfortunately, the storytelling is weak, so I really did not gain any insight into Freddy, his family, the group, his marriage, his bi-sexuality, his drug use, the times they lived in or the AIDS epidemic of the '80's. All these items were touched upon in the movie, but not delved into, leaving a void in the part of my brain that craves a good, meaningful and touching story with my movie/musicals. It certainly doesn't help this story that I have the wonderful A STAR IS BORN sitting in my recent memory.
But the music, the musical performances and the acting performances of all involved almost make up for this void, leaving a very satisfying experience at the movies.
BOHEMIAN RHAPSODY follows young Farrokh Bulsara as he joins the band SMILE, changes the bands name to QUEEN, changes his name to Freddie Mercury and becomes an International Superstar leading up to the inevitable fall and resurgence at the Live Aid concert in the 1980's.
In the lead, Rami Malik is wonderful. He has the essence of the superstar we know down well. He is a winning, watchable presence on screen and I wouldn't be surprised if he is mentioned when Oscar nominations roll around. Joining him as members of the band are Ben Hardy as Roger Taylor, Joe Mazzello as John Deacon and Gwilym Lee as Brian May. All are effective enough in their roles - and believable in the musical scenes - with Lee standing out just a bit more than the others.
Also along for the ride are Lucy Boyton as Freddy's wife, Mary Austin and Tom Hollander, Mike Myers and Aidan Gillen as music execs aiding and attempting to guide Queen to the top. Only Allen Leech as Paul Prenter is unconvincing on the screen. But, I blame this more to the decisions of the screenwriters and directors for Paul is the "villain" of this piece - and a not-too-subtle villain at that.
But, Director Bryan Singer (X-MEN, THE USUAL SUSPECTS) is forgiven his lapses in content and subtlety as the music scenes are strong - and the film finishes with a 20 minute recreation of Queen at the Live Aid concert that is worth the price of admission all on it's own.
All in all, a good time at the movies. If you like Queen, you'll be entertained by this film.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Fortunately, this film rekindled my love for the music of Queen. I gotta admit, I was cranking Queen tunes in the car on the ride home. Unfortunately, the storytelling is weak, so I really did not gain any insight into Freddy, his family, the group, his marriage, his bi-sexuality, his drug use, the times they lived in or the AIDS epidemic of the '80's. All these items were touched upon in the movie, but not delved into, leaving a void in the part of my brain that craves a good, meaningful and touching story with my movie/musicals. It certainly doesn't help this story that I have the wonderful A STAR IS BORN sitting in my recent memory.
But the music, the musical performances and the acting performances of all involved almost make up for this void, leaving a very satisfying experience at the movies.
BOHEMIAN RHAPSODY follows young Farrokh Bulsara as he joins the band SMILE, changes the bands name to QUEEN, changes his name to Freddie Mercury and becomes an International Superstar leading up to the inevitable fall and resurgence at the Live Aid concert in the 1980's.
In the lead, Rami Malik is wonderful. He has the essence of the superstar we know down well. He is a winning, watchable presence on screen and I wouldn't be surprised if he is mentioned when Oscar nominations roll around. Joining him as members of the band are Ben Hardy as Roger Taylor, Joe Mazzello as John Deacon and Gwilym Lee as Brian May. All are effective enough in their roles - and believable in the musical scenes - with Lee standing out just a bit more than the others.
Also along for the ride are Lucy Boyton as Freddy's wife, Mary Austin and Tom Hollander, Mike Myers and Aidan Gillen as music execs aiding and attempting to guide Queen to the top. Only Allen Leech as Paul Prenter is unconvincing on the screen. But, I blame this more to the decisions of the screenwriters and directors for Paul is the "villain" of this piece - and a not-too-subtle villain at that.
But, Director Bryan Singer (X-MEN, THE USUAL SUSPECTS) is forgiven his lapses in content and subtlety as the music scenes are strong - and the film finishes with a 20 minute recreation of Queen at the Live Aid concert that is worth the price of admission all on it's own.
All in all, a good time at the movies. If you like Queen, you'll be entertained by this film.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (971 KP) rated Hot Tub Time Machine (2010) in Movies
Aug 8, 2019
Adam (John Cusack) is a man going nowhere fast. Upon his return home one day, Adam finds his girlfriend gone, his nephew Jacob (Clark Duke) in his basement addicted to playing online games that simulate real life, and his friend Lou (Rob Corddry) in the hospital.
When Adam meets up with his friend Nick (Craig Robinson) at the hospital, Nick attempts to brighten up Lou by offering him a trip to their old ski resort to relive the fun of their youth. With Jacob tagging along, the three friends head back to the site of their past glory, and realize that things have not improved with time.
The scenic town is now run down and largely abandoned and their resort has long since seen better days. Undaunted, the group breaks out the alcohol and heads for the hot tub in an effort to make the most out of their time with one another and to escape their empty lives.
Upon awakening from their stupor the group discovers that they have been whisked back to 1986 and they appear to everyone there as the younger versions of themselves. Jacob flips though when he sees himself as a flickering image and becomes convinced that they must not do anything to alter the future and must relive the weekend of 1986 over exactly as they did the first time.
A quirky repair man (Chevy Chase), indicates that he can fix the tub, but that he will need some time. Adam is thrilled when he meets his old girlfriend and then laments the fact that he has to end their relationship in order to preserve the timeline. Adam has long regretted her leaving the love of his life and is tempted to do things differently this time.
Nick looks to relieve his failed musical debut as a singer, but knows that he must do what is needed to get home. Lou, on the other hand, is the loose cannon of the group and is thrilled to get another chance at glory and chase women since he has become a pathetic loser in the future.
What follows is a madcap and outrageous comedy that lovingly resurrects the classic 80’s movies of old and infuses the modern gross out humor to successfully blend the old with the new as the friends struggle to get through the weekend and return home without altering the future.
The cast is solid, and Crispin Glover is great as the bizarre bellhop destined to have his arm go missing, but the when and how drives Lou insane in anticipation. While Robinson and Cusack do solid work, Corddry steals the film as a scheming, madcap mix of depravity and patheticness that drives the film.
While the movie did drag in a few parts for me there were enough laughs in the film to keep me interested and enjoy the nostalgic look back at my beloved 80s.
When Adam meets up with his friend Nick (Craig Robinson) at the hospital, Nick attempts to brighten up Lou by offering him a trip to their old ski resort to relive the fun of their youth. With Jacob tagging along, the three friends head back to the site of their past glory, and realize that things have not improved with time.
The scenic town is now run down and largely abandoned and their resort has long since seen better days. Undaunted, the group breaks out the alcohol and heads for the hot tub in an effort to make the most out of their time with one another and to escape their empty lives.
Upon awakening from their stupor the group discovers that they have been whisked back to 1986 and they appear to everyone there as the younger versions of themselves. Jacob flips though when he sees himself as a flickering image and becomes convinced that they must not do anything to alter the future and must relive the weekend of 1986 over exactly as they did the first time.
A quirky repair man (Chevy Chase), indicates that he can fix the tub, but that he will need some time. Adam is thrilled when he meets his old girlfriend and then laments the fact that he has to end their relationship in order to preserve the timeline. Adam has long regretted her leaving the love of his life and is tempted to do things differently this time.
Nick looks to relieve his failed musical debut as a singer, but knows that he must do what is needed to get home. Lou, on the other hand, is the loose cannon of the group and is thrilled to get another chance at glory and chase women since he has become a pathetic loser in the future.
What follows is a madcap and outrageous comedy that lovingly resurrects the classic 80’s movies of old and infuses the modern gross out humor to successfully blend the old with the new as the friends struggle to get through the weekend and return home without altering the future.
The cast is solid, and Crispin Glover is great as the bizarre bellhop destined to have his arm go missing, but the when and how drives Lou insane in anticipation. While Robinson and Cusack do solid work, Corddry steals the film as a scheming, madcap mix of depravity and patheticness that drives the film.
While the movie did drag in a few parts for me there were enough laughs in the film to keep me interested and enjoy the nostalgic look back at my beloved 80s.
Graham Massey recommended The Nubians of Plutonia by Sun Ra in Music (curated)
Allison Anders recommended Monterey Pop (1968) in Movies (curated)
Lee (2222 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Feb 8, 2020
Without a doubt, the best thing about the disastrous Suicide Squad movie of 2016 was Margot Robbie as Harley Quinn. With what little she was given to work with, she went all in and truly made the role her own. A return to the character was inevitable really, and thankfully, that return is not in the form of Suicide Squad 2 but Birds of Prey and the fabulous emancipation of one Harley Quinn.
When we join Harley, she’s just broken up with the Joker. A nice little animated intro, with voiceover from Harley, gives us a quick overview of her life from birth, through childhood and eventually to the point where her and Mr J part ways. She hasn’t made it public knowledge just yet though, for fear of what might happen when word gets out that she no longer has the Joker’s protection. Instead, Harley buys herself a hyena called Bruce, takes part in vicious roller derbys and spends her nights partying at the nightclub of Gotham crime lord Roman Sionis (Ewan McGregor).
Following an explosive public declaration of her relationship status - driving a big truck into Ace Chemicals, the spot where Harley first pledged herself to Mr J - Harley begins to find her life becoming increasingly entwined with that of the other Birds of Prey that will eventually make up the all-women squad. Renee Montoya (Rosie Perez) is a detective, in the process of investigating a series of murders by a crossbow wielding killer named Huntress (Mary Elizabeth Winstead) before the chemical factory explosion. Black Canary (Jurnee Smollett-Bell), a singer at Sionis’ nightclub and packing a voice powerful enough to shatter glass. And finally, young pickpocket Cassandra Cain (Ella Jay Basco). All of these women either have an axe to grind with men that treated them badly, or are currently being hunted by most of Gotham City’s bad guys. Their coming together, and subsequent emancipation, forms the basis of the movie.
That initial process involves a lot of time shifting and flashbacks while we are introduced to the key characters and plot points, before jumping back minutes, hours or even days in order to start filling in the narrative blanks. It’s messy at times and for the most part, it doesn’t really work either. Thankfully though, it’s a tactic that is ditched well before the halfway point.
The ‘Birds’ all have interesting back stories, and great potential in some cases too, but for the most part it’s Harley who is front and centre, stealing the limelight, and it never really feels as though we get to experience the others very much in comparison. Outside of the female leads, I didn’t really think much of Ewan McGregor and didn’t feel him to be a very convincing threat at all.
Birds of Prey is jam packed with creatively chaotic action and fight scenes from Chad Stahelski, who was responsible for the John Wick movies. They are confidently executed, at times cartoon-like, and usually accompanied by a kick-ass soundtrack.
I was initially going to give this a 6/10. But then I looked back at my rating for Suicide Squad and saw that was the rating I gave that. Birds of Prey is good, but not great. However, it is definitely a big improvement on Suicide Squad, so for that I give it a 7.
When we join Harley, she’s just broken up with the Joker. A nice little animated intro, with voiceover from Harley, gives us a quick overview of her life from birth, through childhood and eventually to the point where her and Mr J part ways. She hasn’t made it public knowledge just yet though, for fear of what might happen when word gets out that she no longer has the Joker’s protection. Instead, Harley buys herself a hyena called Bruce, takes part in vicious roller derbys and spends her nights partying at the nightclub of Gotham crime lord Roman Sionis (Ewan McGregor).
Following an explosive public declaration of her relationship status - driving a big truck into Ace Chemicals, the spot where Harley first pledged herself to Mr J - Harley begins to find her life becoming increasingly entwined with that of the other Birds of Prey that will eventually make up the all-women squad. Renee Montoya (Rosie Perez) is a detective, in the process of investigating a series of murders by a crossbow wielding killer named Huntress (Mary Elizabeth Winstead) before the chemical factory explosion. Black Canary (Jurnee Smollett-Bell), a singer at Sionis’ nightclub and packing a voice powerful enough to shatter glass. And finally, young pickpocket Cassandra Cain (Ella Jay Basco). All of these women either have an axe to grind with men that treated them badly, or are currently being hunted by most of Gotham City’s bad guys. Their coming together, and subsequent emancipation, forms the basis of the movie.
That initial process involves a lot of time shifting and flashbacks while we are introduced to the key characters and plot points, before jumping back minutes, hours or even days in order to start filling in the narrative blanks. It’s messy at times and for the most part, it doesn’t really work either. Thankfully though, it’s a tactic that is ditched well before the halfway point.
The ‘Birds’ all have interesting back stories, and great potential in some cases too, but for the most part it’s Harley who is front and centre, stealing the limelight, and it never really feels as though we get to experience the others very much in comparison. Outside of the female leads, I didn’t really think much of Ewan McGregor and didn’t feel him to be a very convincing threat at all.
Birds of Prey is jam packed with creatively chaotic action and fight scenes from Chad Stahelski, who was responsible for the John Wick movies. They are confidently executed, at times cartoon-like, and usually accompanied by a kick-ass soundtrack.
I was initially going to give this a 6/10. But then I looked back at my rating for Suicide Squad and saw that was the rating I gave that. Birds of Prey is good, but not great. However, it is definitely a big improvement on Suicide Squad, so for that I give it a 7.