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Entertainment Editor (1988 KP) created a video about track It Don't Suit Me (Like Before) by John Moreland in Big Bad Luv by John Moreland in Music
Oct 21, 2017
Dean (6921 KP) rated John Wick. Chapter 4 (2023) in Movies
Apr 10, 2023
Great Action (2 more)
Lots of locations
Donnie Yen
Bit repetitive at times in fight style (1 more)
Bullet proof suits?
Ninja Level
You know what you will get with a John Wick film, can it maintain the high standards and offer something new? Well there are plenty of fights against crazy characters and in fantastic locations.
The first half of the film really cranks it up a level again. Donnie Yen as the blind assassin is class. Bill Skarsgard is a good choice of villian.
The only slight downers were the idea of bullet proof smart suits and having to suspend belief at times for some fights. John falling down tons of steps in one scene was silly.
Overall though a great action film with amazing fights if a little repetitive over the long run time. Maybe the 3rd is just a little better allround.
The first half of the film really cranks it up a level again. Donnie Yen as the blind assassin is class. Bill Skarsgard is a good choice of villian.
The only slight downers were the idea of bullet proof smart suits and having to suspend belief at times for some fights. John falling down tons of steps in one scene was silly.
Overall though a great action film with amazing fights if a little repetitive over the long run time. Maybe the 3rd is just a little better allround.
Lee (2222 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
May 17, 2019 (Updated May 17, 2019)
More of the same, and that's perfectly ok with me!
The original John Wick movie in 2014 was one hell of a pleasant surprise. Keanu Reeves exploded onto the screen as the retired contract killer, sporting sharp suits and expertly taking out the bad guys who stole his prized car, and killed his dog. Beautifully choreographed, intensely satisfying action - just pure escapism. John Wick 2 landed in 2017 and expanded on some of the mythology introduced in the first movie, delving into the wider world of an assassin community which seemingly outnumbers average citizens! But John Wick broke the rules, losing his cool and killing a member of the High Table on the grounds of the Continental Hotel, a place designated to be safe ground for those in the assassin business. His actions led to him being deemed "excommunicado" by the High Table, with all privileges removed and an open contract of $14 million placed on his head. Wick had just an hour head start granted to him by old friend Winston, before becoming fair game for anyone and everyone. And that is where the second movie left us dangling...
Chapter 3 picks things up pretty much right from where chapter 2 ended. It's around 5:10pm, and a wounded John Wick is making his way through New York with his latest doggy friend alongside him. Excommunicado kicks in at 6pm, and he is clocked by various assassins as he moves through the streets, all preparing themselves for getting their shot at the $14 million. He takes care of the important stuff - making sure his dog is in safe hands and that his wounded shoulder is patched up - and every so often we cut to the administration room, where communications are sent out to all the assassins, paperwork gets stamped and a time check is announced. 20 minutes until excommunicado, 10 minutes, 1 minute, 5 seconds. It's an intense build up and you have no idea what's going to happen at 6pm, but you cannot wait to find out!
When 6pm arrives, it's not quite the all out war you're expecting. Instead, we get a bunch of nicely choreographed fights involving small groups of chancers, all keen to try their hand at taking out the legendary John Wick. We get book-fu, we get horse-fu, and we get a fight in a room full of knives and swords. Which is great, unless you're squeamish about anything involving sharp objects and eyeballs (that would be me then).
As much as I'd love to watch two solid hours of John Wick just kicking ass, there does need to be the odd break here and there, and there's a lengthy period where the brakes are slammed on somewhat. We get bogged down in more mythology, and while John tries to arrange safe passage to Casablanca in order to bargain for his life, an adjudicator arrives in New York to question those who seemingly broke the rules to help John in the last movie and serve suitable punishment on them.
When John hooks up with old friend Sofia (Halle Berry), things move up a gear once more. Sofia can more than hold her own in a fight and it's an impressive, albeit far too brief performance from Halle Berry. But it's her two dogs who manage to steal the show during a fight between John, Sofia and another bunch of goons. Repeatedly leaping out of nowhere and viciously taking guys down with a set of pretty impressive moves of their own. Going for the neck, pulling on arms, but mostly going for the crotch.
The final act resorts to simply providing a relentless onslaught of opponents for John to take out, and that's perfectly fine by me. Pausing for breath after each round (for our benefit as much as his!), before moving to the next. While not quite as impressive as the original movie, this was on the same level as chapter 2 for me. And I certainly haven't tired of seeing John Wick do his thing just yet.
Chapter 3 picks things up pretty much right from where chapter 2 ended. It's around 5:10pm, and a wounded John Wick is making his way through New York with his latest doggy friend alongside him. Excommunicado kicks in at 6pm, and he is clocked by various assassins as he moves through the streets, all preparing themselves for getting their shot at the $14 million. He takes care of the important stuff - making sure his dog is in safe hands and that his wounded shoulder is patched up - and every so often we cut to the administration room, where communications are sent out to all the assassins, paperwork gets stamped and a time check is announced. 20 minutes until excommunicado, 10 minutes, 1 minute, 5 seconds. It's an intense build up and you have no idea what's going to happen at 6pm, but you cannot wait to find out!
When 6pm arrives, it's not quite the all out war you're expecting. Instead, we get a bunch of nicely choreographed fights involving small groups of chancers, all keen to try their hand at taking out the legendary John Wick. We get book-fu, we get horse-fu, and we get a fight in a room full of knives and swords. Which is great, unless you're squeamish about anything involving sharp objects and eyeballs (that would be me then).
As much as I'd love to watch two solid hours of John Wick just kicking ass, there does need to be the odd break here and there, and there's a lengthy period where the brakes are slammed on somewhat. We get bogged down in more mythology, and while John tries to arrange safe passage to Casablanca in order to bargain for his life, an adjudicator arrives in New York to question those who seemingly broke the rules to help John in the last movie and serve suitable punishment on them.
When John hooks up with old friend Sofia (Halle Berry), things move up a gear once more. Sofia can more than hold her own in a fight and it's an impressive, albeit far too brief performance from Halle Berry. But it's her two dogs who manage to steal the show during a fight between John, Sofia and another bunch of goons. Repeatedly leaping out of nowhere and viciously taking guys down with a set of pretty impressive moves of their own. Going for the neck, pulling on arms, but mostly going for the crotch.
The final act resorts to simply providing a relentless onslaught of opponents for John to take out, and that's perfectly fine by me. Pausing for breath after each round (for our benefit as much as his!), before moving to the next. While not quite as impressive as the original movie, this was on the same level as chapter 2 for me. And I certainly haven't tired of seeing John Wick do his thing just yet.
BankofMarquis (1832 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
May 19, 2019 (Updated May 19, 2019)
Great Fight Choreography in a very strong 3rd Chapter
The latest installment of the JOHN WICK story (titled CHAPTER 3 - PARABELLUM) is one long chase scene. It's 2 hours and 10 minutes of John Wick (Keanu Reeves) running and fighting and chasing and fighting and running again and fighting again.
And...that's just fine with me. For JOHN WICK 3 (JW3 as I'll call it from now on) is one of the finest choreographed films (fight scene-wise) that I have seen in quite a long time.
Picking up right after JOHN WICK CHAPTER 2 - JW3 follows John as he is declared "Ex-Communicado" from the underground Assassins organization that he has been a part of, then retired from, then pulled back in with a $14 million bounty on his head.
This flick kicks right into action (literally) with John and a few "red-shirt assassins" taking on each other in a hallway filled with knives. Will all these knives be used in the ensuing fight? You bet they will be - but it is how they are used - and how this scene (and all the fight scenes) are set-up, choreographed, and shot that makes this movie a strong cut above the standard fare in this sort of film.
That's because Director Chad Stahelski - a stunt man/fight coordinator for over 70 films - wisely focuses his attention on the grace, athleticism and strength of the stunts/fights and eschews the "quick-cut edit" style of fight scenes that is so en vogue these days. Stahelski keeps his camera "in place" and lets us, the audience, watch what's going on in (seemingly) long shots that are going to have you saying to yourself "how did they do that". Stahelski has helmed all 3 John Wick films thus far and I hope he helms many, many more.
You'll also be asking yourself how did 53 year old Keanu Reeves do all that fight work? It is incredible, physical work for him - and he is up to the task. John Wick is a man of few words - and much, much action - which suits the acting talents of this performer quite well.
Back for another go in the series - and having fun along the way - are Ian McShane, Lawrence Fishburne and Lance Reddick - as colleagues, collaborators and/or foes of John Wick in this underworld. Capably joining in - with just as much a twinkle in their eyes - are Angelica Huston, Hallee Berry (in her best work in years) and Jerome Flynn (Bron from Game of Thrones). A new addition (at least to me) was the strong work brought forth by Asia Kate Dillon (TV's ORANGE IS THE NEW BLACK) as "the Adjudicator" - who is monitoring the John Wick proceedings, Special mention needs to be made of the work of Mark Dacascos (TV's Iron Chef America!) as Wick's chief adversary - a strong effort (both acting-wise and physically/fighting wise) that I just didn't know this performer had in him.
A quick side-note on some animal performances here. There is a scene where a bad guy "gets it" from a horse...and I thought...how are they going to top that...and then immediately top it - GOOD FOR YOU, HORSE! And...a film has FINALLY figured out a way to use attack/guard dogs in a way that had you rooting for these four-legged, furry friends over the fiends they are attacking.
But...make no mistake about this...this film is about the fighting...and the intriguing Assassin's world that was first presented in the original (and I do mean ORIGINAL) John Wick film. I said at the time that I hoped they would expand this world, I wanted to see more of it. And...expand it they have...for the better. The world has become more intriguing to me, and I want EVEN MORE, PLEASE, of this world and of the uniquely original fight choreography that comes along with it.
This film is not for everyone - it is bloody (but in a "cartoon way"...I wouldn't say it is gory) and it is one long chase scene. But, if this is "your thing", you'll enjoy it very much.
Letter Grade: A-
8 stars out of 10 and you can take that to the Bank(ofMarquis)
And...that's just fine with me. For JOHN WICK 3 (JW3 as I'll call it from now on) is one of the finest choreographed films (fight scene-wise) that I have seen in quite a long time.
Picking up right after JOHN WICK CHAPTER 2 - JW3 follows John as he is declared "Ex-Communicado" from the underground Assassins organization that he has been a part of, then retired from, then pulled back in with a $14 million bounty on his head.
This flick kicks right into action (literally) with John and a few "red-shirt assassins" taking on each other in a hallway filled with knives. Will all these knives be used in the ensuing fight? You bet they will be - but it is how they are used - and how this scene (and all the fight scenes) are set-up, choreographed, and shot that makes this movie a strong cut above the standard fare in this sort of film.
That's because Director Chad Stahelski - a stunt man/fight coordinator for over 70 films - wisely focuses his attention on the grace, athleticism and strength of the stunts/fights and eschews the "quick-cut edit" style of fight scenes that is so en vogue these days. Stahelski keeps his camera "in place" and lets us, the audience, watch what's going on in (seemingly) long shots that are going to have you saying to yourself "how did they do that". Stahelski has helmed all 3 John Wick films thus far and I hope he helms many, many more.
You'll also be asking yourself how did 53 year old Keanu Reeves do all that fight work? It is incredible, physical work for him - and he is up to the task. John Wick is a man of few words - and much, much action - which suits the acting talents of this performer quite well.
Back for another go in the series - and having fun along the way - are Ian McShane, Lawrence Fishburne and Lance Reddick - as colleagues, collaborators and/or foes of John Wick in this underworld. Capably joining in - with just as much a twinkle in their eyes - are Angelica Huston, Hallee Berry (in her best work in years) and Jerome Flynn (Bron from Game of Thrones). A new addition (at least to me) was the strong work brought forth by Asia Kate Dillon (TV's ORANGE IS THE NEW BLACK) as "the Adjudicator" - who is monitoring the John Wick proceedings, Special mention needs to be made of the work of Mark Dacascos (TV's Iron Chef America!) as Wick's chief adversary - a strong effort (both acting-wise and physically/fighting wise) that I just didn't know this performer had in him.
A quick side-note on some animal performances here. There is a scene where a bad guy "gets it" from a horse...and I thought...how are they going to top that...and then immediately top it - GOOD FOR YOU, HORSE! And...a film has FINALLY figured out a way to use attack/guard dogs in a way that had you rooting for these four-legged, furry friends over the fiends they are attacking.
But...make no mistake about this...this film is about the fighting...and the intriguing Assassin's world that was first presented in the original (and I do mean ORIGINAL) John Wick film. I said at the time that I hoped they would expand this world, I wanted to see more of it. And...expand it they have...for the better. The world has become more intriguing to me, and I want EVEN MORE, PLEASE, of this world and of the uniquely original fight choreography that comes along with it.
This film is not for everyone - it is bloody (but in a "cartoon way"...I wouldn't say it is gory) and it is one long chase scene. But, if this is "your thing", you'll enjoy it very much.
Letter Grade: A-
8 stars out of 10 and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated The Gray Man (2022) in Movies
Aug 6, 2022
Entertaining Enough...but...NOTHING NEW
Have you seen the touring company of Hamilton when it came to your town? You liked it, didn’t you? I sure did, but I didn’t like it as much as I liked the Broadway Company of Hamilton that I saw in NYC the year before.
Such is the case with the new Ryan Gosling/Chris Evans action flick THE GRAY MAN. It is reminiscent of the MISSION IMPOSSIBLE, BOURNE and JOHN WICK films - and is very enjoyable - but I like the other movies better.
Directed by THE RUSSO BROTHERS (AVENGERS: ENDGAME) and written by Joe Russo, Christopher Markus and Stephen McFeely (writers of AVENGERS: ENDGAME), based on the book by Mark Greaney, THE GRAY MAN stars Gosling (LA LA LAND) as an enigmatic secret agent (is their any other kind) who is sent on a deadly mission that, perhaps isn’t what it seems on the surface (are there any other)?
This is a plot VERY reminiscent of the aforementioned MISSION IMPOSSIBLE, BOURNE and JOHN WICK films and when Chris Evans (CAPTAIN AMERICA, of course) and Ana de Armas (the latest James Bond flick, NO TIME TO DIE) show up as a few other mercenaries who might be on Gosling’s side - or might not - you can’t help but be reminded of those other flicks.
And that’s the trouble with THE GRAY MAN, it just can’t compete (at least in my memory) with those other films, mostly because it doesn’t do anything new. It is your basic “Super Spy” flick, very professionally done, but it isn’t anything you haven’t seen before.
The actors (Gosling, de Armas and Evans) are very good in their roles and have enigmatic (Gosling), out of control (Evans) and mysterious (de Armas) down very well and are ably assisted by wily veterans like Alfre Woodard (CROSS CREEK) and good ol’ Billy Bob Thornton (SLINGBLADE) who seem to having a good time going along for the ride.
And…it’s a fun ride…the action scenes are well done, set-up and choreographed professionally with just enough unique ways to take out a henchman or blow-up some sort of transport to make it interesting to watch, but…again…it’s really nothing new.
An entertaining 2 hours of film-making - and a film that will have a sequel on the way - there are worst ways to spend your time and with good (enough) action sequences and interesting and charismatic performers to watch - THE GRAY MAN suits its purpose…it entertains.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
Such is the case with the new Ryan Gosling/Chris Evans action flick THE GRAY MAN. It is reminiscent of the MISSION IMPOSSIBLE, BOURNE and JOHN WICK films - and is very enjoyable - but I like the other movies better.
Directed by THE RUSSO BROTHERS (AVENGERS: ENDGAME) and written by Joe Russo, Christopher Markus and Stephen McFeely (writers of AVENGERS: ENDGAME), based on the book by Mark Greaney, THE GRAY MAN stars Gosling (LA LA LAND) as an enigmatic secret agent (is their any other kind) who is sent on a deadly mission that, perhaps isn’t what it seems on the surface (are there any other)?
This is a plot VERY reminiscent of the aforementioned MISSION IMPOSSIBLE, BOURNE and JOHN WICK films and when Chris Evans (CAPTAIN AMERICA, of course) and Ana de Armas (the latest James Bond flick, NO TIME TO DIE) show up as a few other mercenaries who might be on Gosling’s side - or might not - you can’t help but be reminded of those other flicks.
And that’s the trouble with THE GRAY MAN, it just can’t compete (at least in my memory) with those other films, mostly because it doesn’t do anything new. It is your basic “Super Spy” flick, very professionally done, but it isn’t anything you haven’t seen before.
The actors (Gosling, de Armas and Evans) are very good in their roles and have enigmatic (Gosling), out of control (Evans) and mysterious (de Armas) down very well and are ably assisted by wily veterans like Alfre Woodard (CROSS CREEK) and good ol’ Billy Bob Thornton (SLINGBLADE) who seem to having a good time going along for the ride.
And…it’s a fun ride…the action scenes are well done, set-up and choreographed professionally with just enough unique ways to take out a henchman or blow-up some sort of transport to make it interesting to watch, but…again…it’s really nothing new.
An entertaining 2 hours of film-making - and a film that will have a sequel on the way - there are worst ways to spend your time and with good (enough) action sequences and interesting and charismatic performers to watch - THE GRAY MAN suits its purpose…it entertains.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
Cristov Russell (3 KP) rated Admist the Chaos by Sara Bareilles in Music
May 25, 2019 (Updated May 25, 2019)
Sara's latest has her working with T Bone Burnett (one of my favorite producers) who has worked with artists like Sam Phillips, Elvis Costello, Roy Orbison and Cassandra Wilson. Burnett, who is himself a recording artists and songwriter is a perfect choice, giving Bareilles a cohesive sound that suits her rich tone like a deep cushioned coach wrapped in a soft warm blanket.
Each of the tracks were written or co-workers by Bareilles and none disappoint. From the jangly mid-tempo Fire about a relationship that just isn't working to A Safe Place to Land; a beautifully sorrow drenched but hopeful duet with John Legend.
My favorite, Orpheus, about giving someone comfort and a peaceful space admist the chaos is where the album gets its name and many of the songs themes circle around the idea of finding peace or coming to terms with life.
Armor, a feminist anthem, pays tribute to those who paved the way and warns misogynists that those standing up to them today pale in comparison to the coming generation. It was inspired by the #metoo movement and released early as a response to Brett Kavanagh hearings.
If I Can't Have You deals with trying to get over the loss of a love. It's a breezy after the tears track best enjoyed with a glass of wine.
Burnett's influence shows on Eyes On You with its just inside the barn door toe tapping country tinges.
Miss Simone is a love letter to the lady herself for providing the soundtrack to an enduring romance.
The album closes with a track that fits well with its siblings but I can't say I like it quite as much. It's not a bad track and Bareilles and Legend sound great together but it feels like a leftover song. It was inspired by the immigrant families being separated.
Each of the tracks were written or co-workers by Bareilles and none disappoint. From the jangly mid-tempo Fire about a relationship that just isn't working to A Safe Place to Land; a beautifully sorrow drenched but hopeful duet with John Legend.
My favorite, Orpheus, about giving someone comfort and a peaceful space admist the chaos is where the album gets its name and many of the songs themes circle around the idea of finding peace or coming to terms with life.
Armor, a feminist anthem, pays tribute to those who paved the way and warns misogynists that those standing up to them today pale in comparison to the coming generation. It was inspired by the #metoo movement and released early as a response to Brett Kavanagh hearings.
If I Can't Have You deals with trying to get over the loss of a love. It's a breezy after the tears track best enjoyed with a glass of wine.
Burnett's influence shows on Eyes On You with its just inside the barn door toe tapping country tinges.
Miss Simone is a love letter to the lady herself for providing the soundtrack to an enduring romance.
The album closes with a track that fits well with its siblings but I can't say I like it quite as much. It's not a bad track and Bareilles and Legend sound great together but it feels like a leftover song. It was inspired by the immigrant families being separated.
Night Reader Reviews (683 KP) rated Will Shaksper's Secret in Books
Feb 4, 2020
Honest Review for Free Copy of Book
As there is nothing to prove otherwise I have to label Will Shaksper’s Secret by John Hole as a work of fiction through the way it is written would almost suggest otherwise. Without a works-cited or a bibliography or anything saying it is even loosely based in fact I can not give this book any other category.
In 1584 John Heminges is dismissed from his job largely due to sleeping with his boss’s wife. During his interactions with her, she robs him, leaving him penniless and alone. It is because of this that he ends up on the outside of a playhouse and saves Henry Condell thus connecting him to the theater. Within the preforming group he meats Christopher Marlowe and Will Shaksper.
As it happens Christopher Marlowe gets into quite a bit of trouble for preaching atheism in a time when the church is struggling to begin with. This results in the threat of execution hanging over him. To protect him from this fate, other performers create a plan to make it appear that Christopher Marlowe is dead, allowing him to disappear. After he has been gone for some time Will Shaksper stars producing some wonder plays of amazing quality but they always come following a visit from a messenger.
The concept of Will Shakespear not actually being the famous playwright that everyone knows him to be is interesting. Also, the circumstances that allowed to trade of writing from Christopher Marlowe to Will Shaksper was strange in a way that makes one question if things could actually have worked out that way. Sadly to say thought the title and description on the back promise an interesting read yet the book fails to deliver. The book itself ended up being very dry and the “blustering, boiserous journey” ended up dragging and slow.
Adults who enjoy Shakspere both in language and historically would be the type of person ideally interested in this book. They dry style and language used best suits this book for those who are true fand of literary classics. Others may attempt to read it but might find the language a bit difficult. I rate this book 1 out of 4. The back of this book promises a much more interesting story than what it actually is. Besides being dry the plot is largely lost among the language. I understand what was being attempted and give the author credit for it, but I believe it largely missed the mark.
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In 1584 John Heminges is dismissed from his job largely due to sleeping with his boss’s wife. During his interactions with her, she robs him, leaving him penniless and alone. It is because of this that he ends up on the outside of a playhouse and saves Henry Condell thus connecting him to the theater. Within the preforming group he meats Christopher Marlowe and Will Shaksper.
As it happens Christopher Marlowe gets into quite a bit of trouble for preaching atheism in a time when the church is struggling to begin with. This results in the threat of execution hanging over him. To protect him from this fate, other performers create a plan to make it appear that Christopher Marlowe is dead, allowing him to disappear. After he has been gone for some time Will Shaksper stars producing some wonder plays of amazing quality but they always come following a visit from a messenger.
The concept of Will Shakespear not actually being the famous playwright that everyone knows him to be is interesting. Also, the circumstances that allowed to trade of writing from Christopher Marlowe to Will Shaksper was strange in a way that makes one question if things could actually have worked out that way. Sadly to say thought the title and description on the back promise an interesting read yet the book fails to deliver. The book itself ended up being very dry and the “blustering, boiserous journey” ended up dragging and slow.
Adults who enjoy Shakspere both in language and historically would be the type of person ideally interested in this book. They dry style and language used best suits this book for those who are true fand of literary classics. Others may attempt to read it but might find the language a bit difficult. I rate this book 1 out of 4. The back of this book promises a much more interesting story than what it actually is. Besides being dry the plot is largely lost among the language. I understand what was being attempted and give the author credit for it, but I believe it largely missed the mark.
https://nightreaderreviews.blogspot.com
https://facebook.com/nightreaderreviews
https://smashbomb.com/nightreader
JT (287 KP) rated Argo (2012) in Movies
Mar 10, 2020
Does making a film based on a true story make it any more endearing to the Oscar big wigs? Possibly, but one thing is for sure, Ben Affleck’s third film Argo is an outstanding piece of film making with exceptional attention to detail and sense of realism.
In 1979 Iran was overrun by Iranian revolutionaries, these revolutionaries stormed the American embassy taking several Americans hostage. Six of those managed to escape to the official residence of the Canadian Ambassador where the CIA was eventually ordered to get them out of the country by whatever means necessary.
Led by Tony Mendez (Affleck) a CIA expert in exfiltration he puts together an elaborate plan to go in as a film producer and rescue the six who’ll pose as a film crew on a location hunt for new sci-fi flick, Argo. Even if this was fiction it would be a pretty daring plan in an environment that was so hostile for its time they’re hanging people by cranes in the street, and women carry machine guns!
In order to make the film seem as real as possible Mendez enlists the help of John Chambers (John Goodman) a Hollywood make-up artist whose helped the CIA out before and film producer Lester Siegel (Alan Arkin). Between them they put the film into fake production, concoct false identities for the six and set about taking them out directly though the Iranian airport in a daring escape.
Affleck gets the cinematography spot on, creating a grainy perspective for that era and using some real footage as well. It all helps convey the narrative and plot that this was one of the most dangerous missions of its time and one what would live long in CIA and American history.
Goodman and Arkin add a humorous element to the proceedings “if it’s going to be a fake film I want it to be a fake hit” Lester claims when he’s approached about the project. The other side feels like a 70s version of 24 with the political suits in boardrooms arguing about the best way to execute the plan.
The tension is built slowly with everything climaxing to a pulsating last act which will have your heart pounding and seat gripped. Personally I didn’t endear to any of the six escapees, their stories are not built up enough other than they’re all unsure if they can trust Mendez to get them back on home soil safely.
Argo got the best picture Oscar over a lot of other seemingly worthy nominees, but you couldn’t deny Affleck his moment in the spotlight and cementing him as one of the best actor to director transitions. While the film might not be entirely accurate, Affleck just wants to get to the heart of this espionage thriller and does so while finding a perfect balance between comedy and drama.
In 1979 Iran was overrun by Iranian revolutionaries, these revolutionaries stormed the American embassy taking several Americans hostage. Six of those managed to escape to the official residence of the Canadian Ambassador where the CIA was eventually ordered to get them out of the country by whatever means necessary.
Led by Tony Mendez (Affleck) a CIA expert in exfiltration he puts together an elaborate plan to go in as a film producer and rescue the six who’ll pose as a film crew on a location hunt for new sci-fi flick, Argo. Even if this was fiction it would be a pretty daring plan in an environment that was so hostile for its time they’re hanging people by cranes in the street, and women carry machine guns!
In order to make the film seem as real as possible Mendez enlists the help of John Chambers (John Goodman) a Hollywood make-up artist whose helped the CIA out before and film producer Lester Siegel (Alan Arkin). Between them they put the film into fake production, concoct false identities for the six and set about taking them out directly though the Iranian airport in a daring escape.
Affleck gets the cinematography spot on, creating a grainy perspective for that era and using some real footage as well. It all helps convey the narrative and plot that this was one of the most dangerous missions of its time and one what would live long in CIA and American history.
Goodman and Arkin add a humorous element to the proceedings “if it’s going to be a fake film I want it to be a fake hit” Lester claims when he’s approached about the project. The other side feels like a 70s version of 24 with the political suits in boardrooms arguing about the best way to execute the plan.
The tension is built slowly with everything climaxing to a pulsating last act which will have your heart pounding and seat gripped. Personally I didn’t endear to any of the six escapees, their stories are not built up enough other than they’re all unsure if they can trust Mendez to get them back on home soil safely.
Argo got the best picture Oscar over a lot of other seemingly worthy nominees, but you couldn’t deny Affleck his moment in the spotlight and cementing him as one of the best actor to director transitions. While the film might not be entirely accurate, Affleck just wants to get to the heart of this espionage thriller and does so while finding a perfect balance between comedy and drama.
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 (965 KP) rated The Adjustment Bureau (2011) in Movies
Aug 7, 2019
The Adjustment Bureau is based on (or it may be more accurate to say, inspired by) the Philip K. Dick short story “Adjustment Team”, and stars Matt Damon as David Norris, a New York politician running for the U.S. Senate and Emily Blunt as Elise Sellas, a professional ballerina.
When David and Elise first meet in the men’s restroom and he doesn’t question her gender I knew this wasn’t going to be the typical boy meets girl story. Just to clarify, I’m not saying she turns out to be a he, I’m just saying it’s good to check out the engine under the hood. But what should have been a once in a restroom… er, lifetime encounter, becomes a second, then a third and… you get the point. Shortly after their second encounter where David finally gets Elise’s name and number written on a business card he walks in on a strange group of well dressed individuals who were what can only be described as “probing” his friends in a conference room. So David does what any sane person would do after witnessing a group probing, he runs (like you wouldn’t? ). After running down a few hallways, he’s captured. Let’s be honest, running down hallways isn’t Oscar material, so I was glad it was short-lived. David learns that these well-dressed individuals work for The Adjustment Bureau.
This secret organization works behind the scenes to ensure the course of destiny, as written by “The Chairman”, goes as planned and they tell him that men’s room ballerinas are not part of the plan for him. At this point I wanted to yell “Screw them, go for the ballerina! They’re bendy!” but before I could, Agent Richardson (played by John Slattery) informs David that if he doesn’t follow the plan they have for him then they will… well, let’s just say they will probe him like nobody’s business. Then before they leave they take the business card with Elise’s name and number on it and before you can say “rooster-block” they throw him to the floor like Chevy Chase impersonating President Ford and disappear.
In time David and Elise are reunited by chance and with some information given to him by his disgruntled Adjustment Bureau ex-caseworker Agent Harry (played by Anthony Mackie), David works hard to overcome the obstacles placed before them by the Adjustment Bureau. But when Agent Thompson (played by Terence Stamp) joins the fray, he tells David what will happen to Elise if he doesn’t leave her.
Does love win in the end, does fate win or are they eaten by the alligators in the New York City sewers? I will tell you, that once again, the alligators did not win. The film does an excellent job of balancing its romance and thriller aspects with just enough humor to compliment the first two aspects, making it a very enjoyable movie for an individual, a couple or a group of friends to see. On a side note, when the film was over I left the movie wanting to buy a suit and I really dislike wearing suits.
When David and Elise first meet in the men’s restroom and he doesn’t question her gender I knew this wasn’t going to be the typical boy meets girl story. Just to clarify, I’m not saying she turns out to be a he, I’m just saying it’s good to check out the engine under the hood. But what should have been a once in a restroom… er, lifetime encounter, becomes a second, then a third and… you get the point. Shortly after their second encounter where David finally gets Elise’s name and number written on a business card he walks in on a strange group of well dressed individuals who were what can only be described as “probing” his friends in a conference room. So David does what any sane person would do after witnessing a group probing, he runs (like you wouldn’t? ). After running down a few hallways, he’s captured. Let’s be honest, running down hallways isn’t Oscar material, so I was glad it was short-lived. David learns that these well-dressed individuals work for The Adjustment Bureau.
This secret organization works behind the scenes to ensure the course of destiny, as written by “The Chairman”, goes as planned and they tell him that men’s room ballerinas are not part of the plan for him. At this point I wanted to yell “Screw them, go for the ballerina! They’re bendy!” but before I could, Agent Richardson (played by John Slattery) informs David that if he doesn’t follow the plan they have for him then they will… well, let’s just say they will probe him like nobody’s business. Then before they leave they take the business card with Elise’s name and number on it and before you can say “rooster-block” they throw him to the floor like Chevy Chase impersonating President Ford and disappear.
In time David and Elise are reunited by chance and with some information given to him by his disgruntled Adjustment Bureau ex-caseworker Agent Harry (played by Anthony Mackie), David works hard to overcome the obstacles placed before them by the Adjustment Bureau. But when Agent Thompson (played by Terence Stamp) joins the fray, he tells David what will happen to Elise if he doesn’t leave her.
Does love win in the end, does fate win or are they eaten by the alligators in the New York City sewers? I will tell you, that once again, the alligators did not win. The film does an excellent job of balancing its romance and thriller aspects with just enough humor to compliment the first two aspects, making it a very enjoyable movie for an individual, a couple or a group of friends to see. On a side note, when the film was over I left the movie wanting to buy a suit and I really dislike wearing suits.