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Movie Metropolis (309 KP) rated Jurassic World: Fallen Kingdom (2018) in Movies
Jun 10, 2019
A bold new era
“We’re not on an island anymore” barks Chris Pratt’s Owen Grady towards the finale of Jurassic World: Fallen Kingdom. And he’s not wrong, the fifth film in the Jurassic franchise says goodbye to Isla Nublar in rip-roaring fashion, transforming itself into a a family friendly gothic horror film in its last hour.
Ok, ok, let’s start from the beginning. The Jurassic franchise has often been criticised for relying too heavily on the same story points to make a film. 2015’s Jurassic World, whilst becoming one of the highest-grossing films of all time, was lambasted for being a modern-day reimagining of 1993’s classic, Jurassic Park. And while some of that criticism was justified, it was still pure sugary, popcorn entertainment.
Now, three years later, director J.A. Bayona (The Impossible, A Monster Calls) takes over from Colin Trevorrow to bring us a film that starts out like we expect, but ends on a note that will transform the series beyond recognition. The question is, does it actually work?
Three years after the destruction of the Jurassic World theme park, Owen Grady (Pratt) and Claire Dearing (Bryce Dallas Howard) return to the island of Isla Nublar to save the remaining dinosaurs from a volcano that’s about to erupt. They soon encounter terrifying new breeds of gigantic dinos while uncovering a conspiracy that threatens the entire planet and our own existence.
Fallen Kingdom begins with a pre-title card sequence situated in the lagoon of Isla Nublar that is up there with the best in the series. J.A. Bayona masterfully uses light and shadow to create a really compelling opening that is sure to be one of the summer’s best action scenes. And that is a trait that is brought to the rest of the film. Fallen Kingdom is absolutely beautiful.
The cinematography is exquisite and much better than the staid filming style of Bayona’s predecessor. There are scenes throughout this film that feel like they could be pulled straight from the screen and hung in your living room: it’s gorgeous.
Despite Bayona’s inexperience at creating a juggernaut film like this, his previous films are felt throughout. There’s a deep, earthy colour palatte that is the polar opposite of what we saw in Jurassic World. Where that was clinical and far too blue, Bayona’s colourings feel real, raw and grounded in reality.
The cast is also an incredibly strong part of the film. Pratt and Bryce Dallas Howard both sizzle with on-screen chemistry and there’s a cheeky nod to the backlash Howard faced after wearing high-heels for much of Jurassic World’s runtime. Newcomers Justice Smith and Daniella Pineda are terrific as a jumpy IT wiz and veterinary surgeon respectively. James Cromwell is nicely ret-conned into the story as John Hammond’s business partner, Benjamin, and adds a touch of class to proceedings.
Rafe Spall is excellent as the slimy assistant of Benjami, Eli and Toby Jones hams up the screen as an auctioneer. So far, so good then?
The first half of the film, situated on Isla Nublar as it pops into life is astounding and features some of the best destruction ever put to film. The CGI is leaps and bounds ahead of its predecessor and the dinosaurs feel absolutely real throughout. What I didn’t expect however, is poignancy. There are moments in Fallen Kingdom that have real emotional whack, especially as the rescue operation leaves the island. A lone Brachiosaur standing at the dock is heart-breaking and beautifully done.
J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series
Unfortunately, Fallen Kingdom’s biggest selling point is also its biggest downfall. In trying to do something new, the film stalls as we head to a gothic-esque mansion for the final hour. The confines of the house slow the pacing right down and despite the constant onslaught of action, it really does lag. The special effects and animatronics remain flawless and the action is thrilling, but the script lets them down.
Speaking of the script, this was Jurassic World’s biggest weakness and the same can be said here. Colin Trevorrow and Derek Connelly should be applauded for bringing this franchise back from the edge of extinction, but my god, they cannot write dialogue to save their lives. The characters often converse in what feels like speech bubbles and this can really bring you out of the moment.
There’s also a laughably poor plot twist that feels like it was written by a five-year-old to add some wow factor to the film’s final third. It fails miserably. Then there’s the film’s ‘villain’, the Indoraptor. This genetically modified beast is a sorely underdeveloped entity throughout the film. Sure, she’s menacing enough, but it feels shoehorned in. Trevorrow has stated that Fallen Kingdom will be the last Jurassic movie to feature hybrid dinosaurs: this is absolutely the right decision.
Trevorrow has said that his Jurassic vision is a new trilogy, but the ending of Fallen Kingdom feels like it simply can’t be fixed in one more film. It’s Planet of the Apes-esque in scale.
When we take a look at the score, it’s a story of two halves. Michael Giacchino is one of the greatest composers working today and his music for Jurassic World was absolutely sublime. Here, however, the music is unrecognisable as Jurassic in its construction. John Williams’ iconic theme is rendered to a few bars here and there and that’s a real shame. It’s a good score most definitely, but it could have been so much better.
Finally, we have to circle back around to the cast and the elephant in the room: Jeff Goldblum. His return as Dr Ian Malcolm in this film adds a nice bookend, beginning and end, but you have seen all but two or three lines of his dialogue in the trailer. A horrifically underused presence, but a nice cameo nonetheless.
Overall, Jurassic World: Fallen Kingdom is a solid addition to the ever-expanding series. J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series with superb set pieces, well-choreographed action and gorgeous cinematography. However, once again the film is let down by poor scriptwriting from Trevorrow and Connelly and a second half that struggles to keep pace with the stunning first.
Is it better than Jurassic World? Well that’s for you to decide, but comparing them is almost impossible.
https://moviemetropolis.net/2018/06/07/jurassic-world-fallen-kingdom-review-a-bold-new-era/
Ok, ok, let’s start from the beginning. The Jurassic franchise has often been criticised for relying too heavily on the same story points to make a film. 2015’s Jurassic World, whilst becoming one of the highest-grossing films of all time, was lambasted for being a modern-day reimagining of 1993’s classic, Jurassic Park. And while some of that criticism was justified, it was still pure sugary, popcorn entertainment.
Now, three years later, director J.A. Bayona (The Impossible, A Monster Calls) takes over from Colin Trevorrow to bring us a film that starts out like we expect, but ends on a note that will transform the series beyond recognition. The question is, does it actually work?
Three years after the destruction of the Jurassic World theme park, Owen Grady (Pratt) and Claire Dearing (Bryce Dallas Howard) return to the island of Isla Nublar to save the remaining dinosaurs from a volcano that’s about to erupt. They soon encounter terrifying new breeds of gigantic dinos while uncovering a conspiracy that threatens the entire planet and our own existence.
Fallen Kingdom begins with a pre-title card sequence situated in the lagoon of Isla Nublar that is up there with the best in the series. J.A. Bayona masterfully uses light and shadow to create a really compelling opening that is sure to be one of the summer’s best action scenes. And that is a trait that is brought to the rest of the film. Fallen Kingdom is absolutely beautiful.
The cinematography is exquisite and much better than the staid filming style of Bayona’s predecessor. There are scenes throughout this film that feel like they could be pulled straight from the screen and hung in your living room: it’s gorgeous.
Despite Bayona’s inexperience at creating a juggernaut film like this, his previous films are felt throughout. There’s a deep, earthy colour palatte that is the polar opposite of what we saw in Jurassic World. Where that was clinical and far too blue, Bayona’s colourings feel real, raw and grounded in reality.
The cast is also an incredibly strong part of the film. Pratt and Bryce Dallas Howard both sizzle with on-screen chemistry and there’s a cheeky nod to the backlash Howard faced after wearing high-heels for much of Jurassic World’s runtime. Newcomers Justice Smith and Daniella Pineda are terrific as a jumpy IT wiz and veterinary surgeon respectively. James Cromwell is nicely ret-conned into the story as John Hammond’s business partner, Benjamin, and adds a touch of class to proceedings.
Rafe Spall is excellent as the slimy assistant of Benjami, Eli and Toby Jones hams up the screen as an auctioneer. So far, so good then?
The first half of the film, situated on Isla Nublar as it pops into life is astounding and features some of the best destruction ever put to film. The CGI is leaps and bounds ahead of its predecessor and the dinosaurs feel absolutely real throughout. What I didn’t expect however, is poignancy. There are moments in Fallen Kingdom that have real emotional whack, especially as the rescue operation leaves the island. A lone Brachiosaur standing at the dock is heart-breaking and beautifully done.
J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series
Unfortunately, Fallen Kingdom’s biggest selling point is also its biggest downfall. In trying to do something new, the film stalls as we head to a gothic-esque mansion for the final hour. The confines of the house slow the pacing right down and despite the constant onslaught of action, it really does lag. The special effects and animatronics remain flawless and the action is thrilling, but the script lets them down.
Speaking of the script, this was Jurassic World’s biggest weakness and the same can be said here. Colin Trevorrow and Derek Connelly should be applauded for bringing this franchise back from the edge of extinction, but my god, they cannot write dialogue to save their lives. The characters often converse in what feels like speech bubbles and this can really bring you out of the moment.
There’s also a laughably poor plot twist that feels like it was written by a five-year-old to add some wow factor to the film’s final third. It fails miserably. Then there’s the film’s ‘villain’, the Indoraptor. This genetically modified beast is a sorely underdeveloped entity throughout the film. Sure, she’s menacing enough, but it feels shoehorned in. Trevorrow has stated that Fallen Kingdom will be the last Jurassic movie to feature hybrid dinosaurs: this is absolutely the right decision.
Trevorrow has said that his Jurassic vision is a new trilogy, but the ending of Fallen Kingdom feels like it simply can’t be fixed in one more film. It’s Planet of the Apes-esque in scale.
When we take a look at the score, it’s a story of two halves. Michael Giacchino is one of the greatest composers working today and his music for Jurassic World was absolutely sublime. Here, however, the music is unrecognisable as Jurassic in its construction. John Williams’ iconic theme is rendered to a few bars here and there and that’s a real shame. It’s a good score most definitely, but it could have been so much better.
Finally, we have to circle back around to the cast and the elephant in the room: Jeff Goldblum. His return as Dr Ian Malcolm in this film adds a nice bookend, beginning and end, but you have seen all but two or three lines of his dialogue in the trailer. A horrifically underused presence, but a nice cameo nonetheless.
Overall, Jurassic World: Fallen Kingdom is a solid addition to the ever-expanding series. J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series with superb set pieces, well-choreographed action and gorgeous cinematography. However, once again the film is let down by poor scriptwriting from Trevorrow and Connelly and a second half that struggles to keep pace with the stunning first.
Is it better than Jurassic World? Well that’s for you to decide, but comparing them is almost impossible.
https://moviemetropolis.net/2018/06/07/jurassic-world-fallen-kingdom-review-a-bold-new-era/
Lee (2222 KP) rated Star Wars: Episode IX - The Rise of Skywalker (2019) in Movies
Dec 20, 2019
I have very mixed feelings following The Rise of Skywalker, the concluding chapter of not just another trilogy of Star Wars movies but also the conclusion of the Skywalker saga. Starting this trilogy, I was comforted by the familiarity presented in The Force Awakens and I felt that movie got the balance right between it's handling of the past and the introduction of new characters, scenarios and threats. But, I’m one of those people that was ultimately disappointed by The Last Jedi. Not the kind that fanboy rages about Star Wars and my entire childhood being ruined, as there are actually a lot of things I liked about it, but I do feel it deviated too much from some of the direction introduced in the previous movie and the movies prior to that. So I went into The Rise of Skywalker not quite as excited as I've been previously, but still cautiously optimistic following a trailer which managed to give me goosebumps pretty much every time I saw it.
As a final chapter, The Rise of Skywalker has a lot resting on it's shoulders. Concluding, and wrapping things up, while not completely ignoring the ideas put forth in The Last Jedi, JJ Abrams is however clearly more interested in revisiting some of his own ideas from The Force Awakens. But I felt that maybe he was relying a little too much on that familiarity aspect at times, as he tries to please everyone.
In The Rise of Skywalker, the resistance are still outnumbered by the First Order and Kylo Ren is now Supreme Leader. Meanwhile, Rey is training with Leia, becoming more confident and powerful, while Finn, Poe and Chewie are out in the Millennium Falcon gathering intel from spies. But an old threat from the past has returned, as a message goes out across the galaxy from an unknown region - Emperor Palpatine is warning of revenge, supported by a powerful fleet of ships.
To go into much more detail would involve spoilers, but lets just say that the first half of the movie involves a search to find something which is going to help them find something else, which is going to lead to the location of the emperor. The quest takes us from location to location, with the odd rescue along the way and the occasional new character popping up. Rey and Ren still have a bond which means that they can manipulate and battle each other from anywhere in the galaxy as Ren and his knights seek out Rey and her team in order to destroy them. There's a lot going on in that first half, and it all felt a bit messy. It's fair to say, I was very bored by this first half.
Around that half way mark though, the journey takes us to a world in the Endor system, where the remains of the second Death Star lies out at sea, among towering waves. It's there that an epic battle between Rey and Ren takes place, which you no doubt will have seen snippets of in the trailers or marketing material. Waves crash around them and the visuals, the choreography, the score, it all came together and really kick started the second half off for me. I still can't quite put my finger on it, but from that point on I felt a real shift (in the force?) and I began to really enjoy the rest of the movie, right up until the huge, inevitable and breathtaking final battle.
As mentioned earlier, there are certainly a lot of characters to take care of in this movie, including plenty of newcomers, all fighting for attention and screen-time. Some of the seemingly important characters introduced to us previously in this trilogy feel a bit lost at times, while we do still manage to find time for a very welcome return by Landon Calrissian. Rey and Ren are both outstanding once again and a special mention goes out to Richard E Grant, who I thought was brilliant as head of the First Order fleet, Allegiant General Pride. Scenes involving Carrie Fisher are beautifully handled, but I felt that the fan service went a little bit too far with some of the scenes involving Luke Skywalker.
The level of craftsmanship and design that goes into a Star Wars movie is always incredible and The Rise of Skywalker is no exception, elevated by a powerful John Williams score and some amazing visuals. I'm really not sure what I was expecting from this final chapter but, despite it all coming good for me in the end, I do feel slightly disappointed overall by the wildly differing halves of the movie. Still, there's nothing quite like seeing a new Star Wars movie on the big screen at Christmas time!
As a final chapter, The Rise of Skywalker has a lot resting on it's shoulders. Concluding, and wrapping things up, while not completely ignoring the ideas put forth in The Last Jedi, JJ Abrams is however clearly more interested in revisiting some of his own ideas from The Force Awakens. But I felt that maybe he was relying a little too much on that familiarity aspect at times, as he tries to please everyone.
In The Rise of Skywalker, the resistance are still outnumbered by the First Order and Kylo Ren is now Supreme Leader. Meanwhile, Rey is training with Leia, becoming more confident and powerful, while Finn, Poe and Chewie are out in the Millennium Falcon gathering intel from spies. But an old threat from the past has returned, as a message goes out across the galaxy from an unknown region - Emperor Palpatine is warning of revenge, supported by a powerful fleet of ships.
To go into much more detail would involve spoilers, but lets just say that the first half of the movie involves a search to find something which is going to help them find something else, which is going to lead to the location of the emperor. The quest takes us from location to location, with the odd rescue along the way and the occasional new character popping up. Rey and Ren still have a bond which means that they can manipulate and battle each other from anywhere in the galaxy as Ren and his knights seek out Rey and her team in order to destroy them. There's a lot going on in that first half, and it all felt a bit messy. It's fair to say, I was very bored by this first half.
Around that half way mark though, the journey takes us to a world in the Endor system, where the remains of the second Death Star lies out at sea, among towering waves. It's there that an epic battle between Rey and Ren takes place, which you no doubt will have seen snippets of in the trailers or marketing material. Waves crash around them and the visuals, the choreography, the score, it all came together and really kick started the second half off for me. I still can't quite put my finger on it, but from that point on I felt a real shift (in the force?) and I began to really enjoy the rest of the movie, right up until the huge, inevitable and breathtaking final battle.
As mentioned earlier, there are certainly a lot of characters to take care of in this movie, including plenty of newcomers, all fighting for attention and screen-time. Some of the seemingly important characters introduced to us previously in this trilogy feel a bit lost at times, while we do still manage to find time for a very welcome return by Landon Calrissian. Rey and Ren are both outstanding once again and a special mention goes out to Richard E Grant, who I thought was brilliant as head of the First Order fleet, Allegiant General Pride. Scenes involving Carrie Fisher are beautifully handled, but I felt that the fan service went a little bit too far with some of the scenes involving Luke Skywalker.
The level of craftsmanship and design that goes into a Star Wars movie is always incredible and The Rise of Skywalker is no exception, elevated by a powerful John Williams score and some amazing visuals. I'm really not sure what I was expecting from this final chapter but, despite it all coming good for me in the end, I do feel slightly disappointed overall by the wildly differing halves of the movie. Still, there's nothing quite like seeing a new Star Wars movie on the big screen at Christmas time!
Andy Meakin (5 KP) rated Star Wars: Episode VIII - The Last Jedi (2017) in Movies
Jan 8, 2018
Great visuals let down by meandering story
For those who are unaware, The Jast Jedi is the latest instalment in the core Star Wars series, and picks up from where Force Awakens left off. Rey (played by the decidedly average Daisy Ridley) is on an island with Mark Hamill (playing himself it seems as the mannerisms of the character bore no similarity to the one we saw in Episodes 4, 5 and 6). Chewbacca is also there, but you wouldn’t really tell aside from a few “comedy” moments with the creatures of the island shoehorned in to seemingly ignore the trauma of losing his blood-oath life companion in the last film (Han Solo….keep up people) and instead have him there to just growl at “The Most Annoying and Unnecessary Additions To Film Since Jar Jar”™ from time to time. Whilst there she seeks to recruit Mark to aid Carrie Fisher’s rebellion (again…something not quite right about the character, and another who seems to have gotten over a traumatic murder of a loved one….by a loved one…quite rapidly) and also train her up in the way of the Super-Jedi (seriously, the powers are far beyond anything we have come to know from Jedi before).
Meanwhile Finn wakes up so he can perform comedy pratfalls a lot, Poe has become a one-man-army who could possibly defeat the whole Empire if Carrie would just stop demoting him, and BB8 seems to have more internal mechanical abilities than Cyborg in the DC comics. Remember how much the paring of Rey and Finn worked in the previous film? Yeah, that’s not here. How about Poe and Finn…that bromance? Nope. Okay…what about….ah forget it.
So, on the flip-side Kylo Ren (Adam Driver who I genuinely don’t get the obsession some folk have with) is acting all emo at how Supreme Leader Snoke is seemingly in love with General Hux (Domhall Gleeson, who acts like he’s in a Carry On film). Snoke is no longer a huge hologram, but is now a physical entity in the film, played (rather excellently I must add) by CGI mo-cap legend Andy Serkis. Strange that a CGI character feels more real than any of the rest of the cast, but hey-ho. With his mighty fleet, Snoke leads the battle to wipe the last remnants of the Rebellion….
The film opens with a spectacular space battle, and certainly doesn’t skimp on set-pieces throughout, with land and space being covered in glory. But story wise there isn’t much going on, even though Rian Johnson clearly thinks there is. Not really a spoiler, but when the Rebel fleet are on the run, trying to stay out of reach of the First Order craft, you do wonder why a few of the first order fleet didn’t just jump to a short hyperdrive to pen the Rebels in, rather than just following behind like sheep. That minor niggle is the smallest of the film’s story problems.
The issue seems to be that many moments have been engineered purely to pull the rug out from under the fan-theorists, rather than being included to actually serve the story on offer. None of the reveals are particularly clever, and one moment in particular resonated in the same manner the “Martha!” moment did in Batman v Superman, so poorly presented that it was almost hilarious in the reveal. Shoehorn in a few cameos, and contrived scene set ups and the whole thing feels like it is trying to pack two films into one, and in order to do so decided to cut out all the bits that make sense to make room for ‘action…fights….explosions…and…..’
…PORGS! Damn those things to Hades! Absolutely unnecessary, irritating, and jarring enough when on screen to make you stop actually caring about the action going on. They are used at the most inopportune moments in a poor attempt to generate laughs! I’ve seen people argue that, “Star Wars is for kids, so of course some things would be childish!” A poor excuse, and it’s the same one George Lucas used for Jar Jar Binks. Still feel it’s a good excuse? They are a marketing ploy to sell cuddly merchandise, and they are awful!
It’s not entirely bad, though. As mentioned the action and effects work is stunning, and there are some marvellous visual feasts on offer. The score is, as expected from music maestro John Williams, enchanting, thrilling, and with plenty of echoes of previous themes morphed into the mix. It’s just that, overall, this feels less like part of the Star Wars series, and more like a fan-fiction. It’s a shame as Rian Johnson has a strong pedigree with Brick and Looper, and hearing he has been granted a new trilogy of films of his own design was exciting news. After this, however, all I can say is that I’m glad JJ Abrams is coming back for the final part – maybe the magic will return with him.
Better than the prequels, including Rogue One, but the weaker of the rest, The Last Jedi is overlong for no real reason, and not as sharp as it wants to be. All gloss and style, but with very little substance.
Meanwhile Finn wakes up so he can perform comedy pratfalls a lot, Poe has become a one-man-army who could possibly defeat the whole Empire if Carrie would just stop demoting him, and BB8 seems to have more internal mechanical abilities than Cyborg in the DC comics. Remember how much the paring of Rey and Finn worked in the previous film? Yeah, that’s not here. How about Poe and Finn…that bromance? Nope. Okay…what about….ah forget it.
So, on the flip-side Kylo Ren (Adam Driver who I genuinely don’t get the obsession some folk have with) is acting all emo at how Supreme Leader Snoke is seemingly in love with General Hux (Domhall Gleeson, who acts like he’s in a Carry On film). Snoke is no longer a huge hologram, but is now a physical entity in the film, played (rather excellently I must add) by CGI mo-cap legend Andy Serkis. Strange that a CGI character feels more real than any of the rest of the cast, but hey-ho. With his mighty fleet, Snoke leads the battle to wipe the last remnants of the Rebellion….
The film opens with a spectacular space battle, and certainly doesn’t skimp on set-pieces throughout, with land and space being covered in glory. But story wise there isn’t much going on, even though Rian Johnson clearly thinks there is. Not really a spoiler, but when the Rebel fleet are on the run, trying to stay out of reach of the First Order craft, you do wonder why a few of the first order fleet didn’t just jump to a short hyperdrive to pen the Rebels in, rather than just following behind like sheep. That minor niggle is the smallest of the film’s story problems.
The issue seems to be that many moments have been engineered purely to pull the rug out from under the fan-theorists, rather than being included to actually serve the story on offer. None of the reveals are particularly clever, and one moment in particular resonated in the same manner the “Martha!” moment did in Batman v Superman, so poorly presented that it was almost hilarious in the reveal. Shoehorn in a few cameos, and contrived scene set ups and the whole thing feels like it is trying to pack two films into one, and in order to do so decided to cut out all the bits that make sense to make room for ‘action…fights….explosions…and…..’
…PORGS! Damn those things to Hades! Absolutely unnecessary, irritating, and jarring enough when on screen to make you stop actually caring about the action going on. They are used at the most inopportune moments in a poor attempt to generate laughs! I’ve seen people argue that, “Star Wars is for kids, so of course some things would be childish!” A poor excuse, and it’s the same one George Lucas used for Jar Jar Binks. Still feel it’s a good excuse? They are a marketing ploy to sell cuddly merchandise, and they are awful!
It’s not entirely bad, though. As mentioned the action and effects work is stunning, and there are some marvellous visual feasts on offer. The score is, as expected from music maestro John Williams, enchanting, thrilling, and with plenty of echoes of previous themes morphed into the mix. It’s just that, overall, this feels less like part of the Star Wars series, and more like a fan-fiction. It’s a shame as Rian Johnson has a strong pedigree with Brick and Looper, and hearing he has been granted a new trilogy of films of his own design was exciting news. After this, however, all I can say is that I’m glad JJ Abrams is coming back for the final part – maybe the magic will return with him.
Better than the prequels, including Rogue One, but the weaker of the rest, The Last Jedi is overlong for no real reason, and not as sharp as it wants to be. All gloss and style, but with very little substance.
Bob Mann (459 KP) rated Breaking In (2018) (2018) in Movies
Sep 29, 2021
Get In.
Into every life a little rain must fall. Some fairly pervasive advertising drove me into the cinema to see this one… often a sign that the distributors think it has legs. And from its quirky opening titles (with a COMPLETELY expected shock denouement!) I started to think it did have something. The beginning is in fact VERY similar to the introductory scene of “Get Out” in its randomness, and for one brief moment I wondered if the film was trying to parody that indie classic from last year… with only some studio lawyers getting in the way of them really calling it “Get In”. (“No, no, no… ‘Get’ is copyrighted… you’ll have to use some other word!”).
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!
Gareth von Kallenbach (965 KP) rated Star Wars: Episode III – Revenge of the Sith (2005) in Movies
Aug 14, 2019
After three long years of waiting, countless internet rumors, and high expectations, the final big screen Star Wars film, Star Wars: Episode III Revenge of the Sith has arrived to the delight of millions of fans worldwide.
The lavish and dark film chronicles the fall of the Republic, the demise of the Jedi Knights, and the creation of Darth Vader amongst several plotlines that complete the Prequel Trilogy.
While many critics and fans had mixed reactions to the previous films in the Prequel Trilogy, the rumors of a much darker more mature Star Wars had even the most jaded curious to see just how dark creator George Lucas was willing to go.
The film opens with the familiar main theme by John Williams and the scrolling text that updates the viewers that the Clone Wars that started at the end of the last film are still raging, and that the Separatist movement under the leadership of Count Dooku (Christopher Lee), have kidnapped the Chancellor of the Republic (Ian Mc Diarmid), and a desperate battle over the capitol planet of Coruscant has ensued.
In a dazzling blend of colors, action, and motion, two fighters piloted by Obi Wan Kenobi (Ewan McGregor), and Anakin Skywalker (Hayden Christensen), weave in and around countless fighters and capitol ships engaged in deadly combat. To say that it is an overwhelming visual display would be an understatement, as it is simply jaw dropping to see the detail that the magicians at Industrial Light and Magic have crafted.
Obi Wan and Anakin are spearheading the rescue effort that eventually puts them not only against Dooku, but the new villain, the deadly cyborg General Grevious and this is all within the first 15 minutes of the film.
Upon returning the Chancellor to Coruscant, Anakin is greeted by his wife in secret, Padme, (Natalie Portman), who informs him that she is expecting their baby.
Overjoyed by the news, and to be home after many long months away fighting, Anakin as if in a true Shakespearean tragedy proclaims that he has never been happier in his life.
Anakin’s peace is soon disrupted as he begins to have visions of his wife dying in childbirth, since these are the same type of visions Anakin had shortly before the death of his mother years earlier, he becomes obsessed with protecting his wife.
As further political intrigue unfolds, Chancellor Palpatine appoints Anakin to be his representative on the Jedi Council in a move that does nor sit well with the Jedi Elite, especially Mace Windu (Samuel L. Jackson), who begrudgingly accepts the appointment but does not bestow the title of Master upon Anakin causing further friction for the emotional Anakin.
It seems that the Jedi do not trust Palpatine and are convinced he is up to something, and will not relinquish his emergency powers that were granted to him during the war.. Towards this end, The Jedi Council tasks Anakin to spy on his friend the Chancellor and report what he has learned to the council.
This in turn causes much conflict in Anakin as he is torn between his duty as a Jedi and his friendship with the Chancellor. Since Obi Wan has been dispatched to hunt down General Grevious, Anakin is without his usually confidant and mentor leaving Palpatine to influence Anakin and turn him toward fateful decisions that will eventually change the course of the galaxy.
While filled with plenty of political intrigue, and dazzling action sequences, what drives this film is the gripping, human drama of the characters. While the viewers know what is to become of Anakin, seeing the path he takes is what makes this film a true tragedy as he does what he does for noble reasons. In a true Faustian tale, the devil does not reveal himself nor his true intentions until it is already well past the point of no return.
Lucas is careful to show Anakin as a sympathetic and loving person, who has matured from the spoiled character that he was in the last film. While at times the dialogue of the film may seem to some to be very basic, the tragic turn of events in the film helps to underscore the central themes of love, friendship, and betrayal.
The supporting work in the film is solid, especially the emotionally packed work of Mc Gregor and the maniacal performance of Mc Diarmid. My only real regret is that Portman did not have a larger role or more for her character to do, that being said, the film works on all levels.
Visually the film is amazing as the exotic locales, action, and computer generated characters such as Yoda and Grevious are a marvel to behold. It is amazing how much technology has advanced since the last film, but once again, Lucas has set the bar very high for others to follow.
Lucas has taken in my opinion some very undeserved criticism for the Prequel Trilogy, and Sith should dispel those who said that his best work was behind him and that he should have turned the directing duties over to another as this film once again underscores that he is one of the most gifted visionaries ever, and has created the ultimate saga for the ages that is second to none, and one that has and will stand the test of time.
Sith is a riveting and emotional film, that holds nothing back, it is the darkest Star Wars yet and is easily the best of the Prequel trilogy and on par with any of the classic originals, and is a true masterpiece that will delight fans old and new.
The lavish and dark film chronicles the fall of the Republic, the demise of the Jedi Knights, and the creation of Darth Vader amongst several plotlines that complete the Prequel Trilogy.
While many critics and fans had mixed reactions to the previous films in the Prequel Trilogy, the rumors of a much darker more mature Star Wars had even the most jaded curious to see just how dark creator George Lucas was willing to go.
The film opens with the familiar main theme by John Williams and the scrolling text that updates the viewers that the Clone Wars that started at the end of the last film are still raging, and that the Separatist movement under the leadership of Count Dooku (Christopher Lee), have kidnapped the Chancellor of the Republic (Ian Mc Diarmid), and a desperate battle over the capitol planet of Coruscant has ensued.
In a dazzling blend of colors, action, and motion, two fighters piloted by Obi Wan Kenobi (Ewan McGregor), and Anakin Skywalker (Hayden Christensen), weave in and around countless fighters and capitol ships engaged in deadly combat. To say that it is an overwhelming visual display would be an understatement, as it is simply jaw dropping to see the detail that the magicians at Industrial Light and Magic have crafted.
Obi Wan and Anakin are spearheading the rescue effort that eventually puts them not only against Dooku, but the new villain, the deadly cyborg General Grevious and this is all within the first 15 minutes of the film.
Upon returning the Chancellor to Coruscant, Anakin is greeted by his wife in secret, Padme, (Natalie Portman), who informs him that she is expecting their baby.
Overjoyed by the news, and to be home after many long months away fighting, Anakin as if in a true Shakespearean tragedy proclaims that he has never been happier in his life.
Anakin’s peace is soon disrupted as he begins to have visions of his wife dying in childbirth, since these are the same type of visions Anakin had shortly before the death of his mother years earlier, he becomes obsessed with protecting his wife.
As further political intrigue unfolds, Chancellor Palpatine appoints Anakin to be his representative on the Jedi Council in a move that does nor sit well with the Jedi Elite, especially Mace Windu (Samuel L. Jackson), who begrudgingly accepts the appointment but does not bestow the title of Master upon Anakin causing further friction for the emotional Anakin.
It seems that the Jedi do not trust Palpatine and are convinced he is up to something, and will not relinquish his emergency powers that were granted to him during the war.. Towards this end, The Jedi Council tasks Anakin to spy on his friend the Chancellor and report what he has learned to the council.
This in turn causes much conflict in Anakin as he is torn between his duty as a Jedi and his friendship with the Chancellor. Since Obi Wan has been dispatched to hunt down General Grevious, Anakin is without his usually confidant and mentor leaving Palpatine to influence Anakin and turn him toward fateful decisions that will eventually change the course of the galaxy.
While filled with plenty of political intrigue, and dazzling action sequences, what drives this film is the gripping, human drama of the characters. While the viewers know what is to become of Anakin, seeing the path he takes is what makes this film a true tragedy as he does what he does for noble reasons. In a true Faustian tale, the devil does not reveal himself nor his true intentions until it is already well past the point of no return.
Lucas is careful to show Anakin as a sympathetic and loving person, who has matured from the spoiled character that he was in the last film. While at times the dialogue of the film may seem to some to be very basic, the tragic turn of events in the film helps to underscore the central themes of love, friendship, and betrayal.
The supporting work in the film is solid, especially the emotionally packed work of Mc Gregor and the maniacal performance of Mc Diarmid. My only real regret is that Portman did not have a larger role or more for her character to do, that being said, the film works on all levels.
Visually the film is amazing as the exotic locales, action, and computer generated characters such as Yoda and Grevious are a marvel to behold. It is amazing how much technology has advanced since the last film, but once again, Lucas has set the bar very high for others to follow.
Lucas has taken in my opinion some very undeserved criticism for the Prequel Trilogy, and Sith should dispel those who said that his best work was behind him and that he should have turned the directing duties over to another as this film once again underscores that he is one of the most gifted visionaries ever, and has created the ultimate saga for the ages that is second to none, and one that has and will stand the test of time.
Sith is a riveting and emotional film, that holds nothing back, it is the darkest Star Wars yet and is easily the best of the Prequel trilogy and on par with any of the classic originals, and is a true masterpiece that will delight fans old and new.
Daniel Boyd (1066 KP) rated Star Wars: Episode VII - The Force Awakens (2015) in Movies
Jul 20, 2017
There has been an awakening...
Contains spoilers, click to show
There was a point where I honestly thought that this day was never going to come. Ladies and gentlemen, for the first time in 30 years we have an exciting, entertaining Star Wars movie. Now this review will contain a non spoilers section and a spoilers section, so if you haven’t seen the movie yet, maybe don’t read past the spoiler warning. So, strap in because if this franchise is starting as it means to go on, then I’ve got a good feeling about this…
First off, let’s talk about the new cast. All three of them are fantastic in their performances, with Daisy Ridley as Rey, John Boyega as Finn and Oscar Isaac as Poe Dameron respectively. Poe has the smallest role, which is my biggest and only complaint about the character, because he is awesome. He is funny, he’s an amazing pilot, he reeks of cool and he is the one character in this movie that I’d love to get a pint with. Finn is another new character, dealing with an inner conflict, (which I won’t ruin,) but is still likeable and relatable. Rey is arguably the most central of the three new main cast members and she delivers also, she sold the fairly bland character dealing with an exciting new adventure calling her name pretty well, but possibly could have done more in a few scenes, as it sort of feels like they could have cast anyone of the same age in this role and they would have delivered, but she did well enough. Of course, the old cast are also back, Anthony Daniels as C3PO is just as irritating as he was 30 years ago and while it’s nice to see Peter Mahew back as Chewie, they really could have put any tall, thin guy into the furry costume and it wouldn’t have made any difference. Carrie Fisher is back as Leia and the while lines she had were entertaining and at times touching, she simply wasn’t in the movie enough. I won’t talk about Luke until the spoilers section, so let’s move on to Han. It’s nice to see grumpy old gramps Harrison Ford actually look enthusiastic and as if he is actually enjoying himself for a change. His performance surprisingly isn’t phoned in and he genuinely commits to the role just as much as he did 30 years ago. Also, out of the original returning cast, he is definitely in the movie most.
Now that we have discussed the light side, now let’s move onto the dark side. Personally I don’t think these characters are as strong as the protagonists. It’s not the fault of the actors, Domnall Gleason as Hux is great, super evil and almost Nazi-like, Andy Serkis as Snoke is intimidating in his performance also and Adam Driver as Kylo Ren is one of the best performances in the movie, showing sadness and anger, all while being an unhinged threatening presence. The problem here is that the villains in this movie just don’t have the same impact as the villains in the original , Hux and Ren are made out to be young and naïve and while Snoke is pulling the strings, but we only ever see him as a hologram and even then, we don’t see him all that much. It’s as if this is these villain’s origin story, but in A New Hope, the villains and the Empire already felt like an established, villainous organisation, whereas in this movie it is as if a bunch of amateurs have happened across a new death star (let’s not lie, that’s all that the Starkiller base is,) and they don’t really know what they are doing. And Captain Phasma? Hardly worth talking about, she is in two scenes and does nothing in either of them besides let herself get taken advantage of. So that’s a summary on how I felt about the characters in general, onto the movie as a whole.
I feel that Abrams has gotten the tone of this movie just right. It’s funny enough that it’s constantly entertaining and never boring and it’s serious enough that you feel a genuine, palpable threat throughout. The score is also fantastic, as is expected from John Williams and overall the effects are spot on also. I did have a slight problem with some of the CGI characters, namely Snoke, the tentacle monsters that show up briefly and the market owner that was in possession of the Falcon at the start of the movie played by Simon Pegg, but there were also a lot of puppets and practical effects were used and it really pays off in the overall look of the movie, no more crammed scenes of cartoon garbage like the prequels, just what matters. The pacing of this movie is very fast, some might say too fast, with Abrams not really giving the viewers time to breathe and digest what they just saw before throwing another dogfight or lightsaber battle at them, but hey, at least you can’t say it’s boring and I’m happy to say that there isn’t a senate discussion in sight. I really do feel like I have to see the movie again however before making an overall verdict and that is due to the extremely fast pacing and because of all of the significant events that happen nothing really stands out, which leaves a lack of meat on the bone. The story is well written however, the world is built well and the characters are all introduced well, but the story does follow a lot of the same beats as the original trilogy. Without giving anything away, the story is divided up into three distinct acts, with each taking place on a different planet followed by an epilogue at the end. There is a cantina scene, a robot carrying an important message to be delivered, Tie Fighter vs. X Wing dogfights and a death star-like weapon of mass destruction, there is even a trench run.
Okay, so I saw the movie again on Tuesday this week and while most of what I felt the first time I felt again, making a lot of the feelings I had after my first viewing more concrete, I did notice a few new things. Also, from this point on there will be spoilers.
Knowing what was coming before it did really helped the pacing of this movie, it was much easier to digest a second time, but at no point was it a chore to watch the film again. I also noticed a lot more lens flares this time, upon first viewing I thought that the only lens flare in the movie was when the Starkiller base fires it’s weapon, but there are in fact quite a few throughout the film. Also the end scene with Luke was a lot better the second time, it didn’t feel as awkward or drawn out and felt more like a fitting end to the movie, although if you ask me, Luke should have at least had a line. Also the revelation that Kylo Ren was actually Ben Solo, Han’s son and Han’s death scene at the hands of Ren were also better on second viewing. While Han’s death was somewhat predictable and probably could have been executed better, it was nice to have him in this movie for the time we got him and I’m sure Harrison Ford is more than happy to never have to play the character again. Also BB-8 is possibly even more likable the second time. Seeing the movie again I also gained a greater appreciation for the cinematography in it, with some awesome long shots showing off the dogfights and the First Order vs. Resistance action. I’m glad I got to see the movie a second time as it has upped my opinion of the movie and if you are a Star Wars fan, it’s something that I would strongly recommend you do.
First off, let’s talk about the new cast. All three of them are fantastic in their performances, with Daisy Ridley as Rey, John Boyega as Finn and Oscar Isaac as Poe Dameron respectively. Poe has the smallest role, which is my biggest and only complaint about the character, because he is awesome. He is funny, he’s an amazing pilot, he reeks of cool and he is the one character in this movie that I’d love to get a pint with. Finn is another new character, dealing with an inner conflict, (which I won’t ruin,) but is still likeable and relatable. Rey is arguably the most central of the three new main cast members and she delivers also, she sold the fairly bland character dealing with an exciting new adventure calling her name pretty well, but possibly could have done more in a few scenes, as it sort of feels like they could have cast anyone of the same age in this role and they would have delivered, but she did well enough. Of course, the old cast are also back, Anthony Daniels as C3PO is just as irritating as he was 30 years ago and while it’s nice to see Peter Mahew back as Chewie, they really could have put any tall, thin guy into the furry costume and it wouldn’t have made any difference. Carrie Fisher is back as Leia and the while lines she had were entertaining and at times touching, she simply wasn’t in the movie enough. I won’t talk about Luke until the spoilers section, so let’s move on to Han. It’s nice to see grumpy old gramps Harrison Ford actually look enthusiastic and as if he is actually enjoying himself for a change. His performance surprisingly isn’t phoned in and he genuinely commits to the role just as much as he did 30 years ago. Also, out of the original returning cast, he is definitely in the movie most.
Now that we have discussed the light side, now let’s move onto the dark side. Personally I don’t think these characters are as strong as the protagonists. It’s not the fault of the actors, Domnall Gleason as Hux is great, super evil and almost Nazi-like, Andy Serkis as Snoke is intimidating in his performance also and Adam Driver as Kylo Ren is one of the best performances in the movie, showing sadness and anger, all while being an unhinged threatening presence. The problem here is that the villains in this movie just don’t have the same impact as the villains in the original , Hux and Ren are made out to be young and naïve and while Snoke is pulling the strings, but we only ever see him as a hologram and even then, we don’t see him all that much. It’s as if this is these villain’s origin story, but in A New Hope, the villains and the Empire already felt like an established, villainous organisation, whereas in this movie it is as if a bunch of amateurs have happened across a new death star (let’s not lie, that’s all that the Starkiller base is,) and they don’t really know what they are doing. And Captain Phasma? Hardly worth talking about, she is in two scenes and does nothing in either of them besides let herself get taken advantage of. So that’s a summary on how I felt about the characters in general, onto the movie as a whole.
I feel that Abrams has gotten the tone of this movie just right. It’s funny enough that it’s constantly entertaining and never boring and it’s serious enough that you feel a genuine, palpable threat throughout. The score is also fantastic, as is expected from John Williams and overall the effects are spot on also. I did have a slight problem with some of the CGI characters, namely Snoke, the tentacle monsters that show up briefly and the market owner that was in possession of the Falcon at the start of the movie played by Simon Pegg, but there were also a lot of puppets and practical effects were used and it really pays off in the overall look of the movie, no more crammed scenes of cartoon garbage like the prequels, just what matters. The pacing of this movie is very fast, some might say too fast, with Abrams not really giving the viewers time to breathe and digest what they just saw before throwing another dogfight or lightsaber battle at them, but hey, at least you can’t say it’s boring and I’m happy to say that there isn’t a senate discussion in sight. I really do feel like I have to see the movie again however before making an overall verdict and that is due to the extremely fast pacing and because of all of the significant events that happen nothing really stands out, which leaves a lack of meat on the bone. The story is well written however, the world is built well and the characters are all introduced well, but the story does follow a lot of the same beats as the original trilogy. Without giving anything away, the story is divided up into three distinct acts, with each taking place on a different planet followed by an epilogue at the end. There is a cantina scene, a robot carrying an important message to be delivered, Tie Fighter vs. X Wing dogfights and a death star-like weapon of mass destruction, there is even a trench run.
Okay, so I saw the movie again on Tuesday this week and while most of what I felt the first time I felt again, making a lot of the feelings I had after my first viewing more concrete, I did notice a few new things. Also, from this point on there will be spoilers.
Knowing what was coming before it did really helped the pacing of this movie, it was much easier to digest a second time, but at no point was it a chore to watch the film again. I also noticed a lot more lens flares this time, upon first viewing I thought that the only lens flare in the movie was when the Starkiller base fires it’s weapon, but there are in fact quite a few throughout the film. Also the end scene with Luke was a lot better the second time, it didn’t feel as awkward or drawn out and felt more like a fitting end to the movie, although if you ask me, Luke should have at least had a line. Also the revelation that Kylo Ren was actually Ben Solo, Han’s son and Han’s death scene at the hands of Ren were also better on second viewing. While Han’s death was somewhat predictable and probably could have been executed better, it was nice to have him in this movie for the time we got him and I’m sure Harrison Ford is more than happy to never have to play the character again. Also BB-8 is possibly even more likable the second time. Seeing the movie again I also gained a greater appreciation for the cinematography in it, with some awesome long shots showing off the dogfights and the First Order vs. Resistance action. I’m glad I got to see the movie a second time as it has upped my opinion of the movie and if you are a Star Wars fan, it’s something that I would strongly recommend you do.
Kirk Bage (1775 KP) rated Game Of Thrones in TV
Aug 6, 2020
Look on the bright side, we all said, without really believing it, when lockdown hit in March – time to watch those box sets we’ve been putting off. Well that was, of course, a great idea! For me that box set was possibly the biggest of all: the behemoth that is GOT.
Much like when a new band gets big quickly and you refuse to listen to the hype, I avoided watching the biggest show in the world, even when it was on in the same room as I tried to read a book in the other corner. It wasn’t that I thought I wouldn’t like it, but more that I didn’t believe it could be anywhere near as good as folk were making it out to be, especially as season one looked like only a slight step up on the swords and sandles exploitation-fests that had been going around. I labelled it “Tits and Dragons” and got on with my life for the next 8 years.
March 2020 will go down in history as the biggest spike in streaming TV services the globe will ever see. Literally millions of previously casual watchers, who had been busy having lives and jobs, turned to Netflix, Amazon Prime, Now TV and iPlayer etc, in search of endless hours of easy entertainment they could immerse their bored and twitchy minds inside of. Without internet at home, I had to go a bit more old school and rely on my daughter posting me the DVDs of GOT season by season.
I found season one enjoyable, with caveats, as it seemed to be one massive exposition (and sexposition) workshop. Obviously the main characters were being set up for big storylines down the road. In which sense it reminded me of a soap opera; in how it flitted between characters and relationships, never dwelling on one plot point for more than two minutes. I liked the way the production had set itself up though – the sets and costumes were of a much higher level than was usual for this kind of thing. Then there was those great opening credits, which become impossible not to hum along to as you get more into it.
Sadly, the first big shock moment didn’t shock me, as I’d heard so much about it on social media 9 years ago. But it was still very well done. Bold and brave; to take out a big name that early was a master stroke. By the end of S1E9 I was properly hooked. Although it helped I didn’t have anything else to do!
The next two weeks I had to wait for season two to be posted out, so I embarked on watching all the DVD commentaries too to kill some time in the evenings whilst I waited. This is almost certainly something I wouldn’t have done under normal circumstances and I believe it is what cemented my enjoyment of it as a whole. Listening to the cast and crew reminisce about what a great time they had, and how close they all were, really helped put it into context for me. I was already loving Peter Dinklage and Lena Headey, but their humour and irreverence in the commentaries made it feel like there were pals in the room watching it with me.
By season two and beyond, I was looking at maps, memorizing every minor character’s name, house and motto, and just immersing in it to the point of obsession. As, I guess, millions of people had already done over the years, but now I got what the fuss was all about. It is an addictive show; you have to know what happens next, you simply can’t leave it alone! Whether it is hissing and booing at Joffrey, or loving to hate Cersei, or siding with the bastards and broken things, there is always something engaging going on – and when a character you disliked dies horribly it is so satisfying!
It is a weird mix, however, of moments so horribly signposted, with some dubious acting, and moments of real surprise and emotion delivered with great acting. Many of the characters really grow into their skins as the actors get more familiar and comfortable being them. The writers too get better at putting the right words in their mouths, and learn to minimise the exposition moments. The young ones in particular really grow impressively as it goes on into seasons 3 and 4. Maisie Williams as the slightly sadistic loner Arya Stark especially. I loved how none stereotypical that character was, and have to say her relationship with The Hound was my favourite thing in the whole show.
At the climax of season four, which I believe was the peak of it artistically, the story arc of Dinklage as Tyrion Lannister, aka The Imp, becomes so compellingly good you can’t take your eyes off him. I had already come to the conclusion that his scenes were the best ones, but this went to 11 on the dial. And it gets better thinking back on it too. Which can’t truly be said of where they go with John Snow and Daenarys, who are ostensibly the main draw by this point, as all storylines seem to mirror their journeys on opposite sides of the world; a song of ice and fire, indeed.
Seasons 5 and 6 continued to be great, even though the dramatic peaks were hard to top. What did improve was the big set pieces, as episodes such as Hardhome and Battle of the Bastards upper the bar on huge battles, staged masterfully. There were things happening that I had never seen in a TV show before, both creatively and budget spent. Watching some of the making of documentaries was fascinating in this regard. The props department alone was astonishingly detailed, to Lord of the Rings degrees, properly impressive!
To go into story and scene details here is pointless, and I don’t want to include any more spoilers than I already have, just in case there is anyone else like me, that hasn’t done the whole journey yet. Obviously, there was some controversy in where seasons 7 and especially 8 went with some storylines and characters. I thought it was mostly fine, to be honest, I just went with it. But it did become a little stretched and hurried, as it raced towards its conclusion. It’s hard for me to get a proper impression of how tense and then annoying it would be to wait a long time for a new season and then have it not go where you imagined it would. Not a problem for me, as I blitzed the final 4 seasons in about a week.
As the episode ratings of season 8 on IMDb indicate, folk were not happy. There was an element of anti-climax, to be fair, but what else could it have been, now so many people claim it as their own? The end isn’t perfect, and that may have a lot to do with the fact they stopped following the books, because they hadn’t been written. In all honestly, I didn’t care. It was spectacular and diverting enough to keep my attention, and my investment in the characters not brutally killed off was not teenage enough to take it personally. I do have sympathy for fans that felt their loyalty betrayed, but come on… it’s just a TV show.
Watching the same fictional world for more than 70 actual hours can do things to you brain. In conclusion I would say I loved going there! The good things always outweighed the annoying things, and it is an experience I would recommend to anyone who hasn’t done it. Whatever age you are, it is a must see phenomenon, like The Sopranos – oh wait, I haven’t seen that yet either…
Much like when a new band gets big quickly and you refuse to listen to the hype, I avoided watching the biggest show in the world, even when it was on in the same room as I tried to read a book in the other corner. It wasn’t that I thought I wouldn’t like it, but more that I didn’t believe it could be anywhere near as good as folk were making it out to be, especially as season one looked like only a slight step up on the swords and sandles exploitation-fests that had been going around. I labelled it “Tits and Dragons” and got on with my life for the next 8 years.
March 2020 will go down in history as the biggest spike in streaming TV services the globe will ever see. Literally millions of previously casual watchers, who had been busy having lives and jobs, turned to Netflix, Amazon Prime, Now TV and iPlayer etc, in search of endless hours of easy entertainment they could immerse their bored and twitchy minds inside of. Without internet at home, I had to go a bit more old school and rely on my daughter posting me the DVDs of GOT season by season.
I found season one enjoyable, with caveats, as it seemed to be one massive exposition (and sexposition) workshop. Obviously the main characters were being set up for big storylines down the road. In which sense it reminded me of a soap opera; in how it flitted between characters and relationships, never dwelling on one plot point for more than two minutes. I liked the way the production had set itself up though – the sets and costumes were of a much higher level than was usual for this kind of thing. Then there was those great opening credits, which become impossible not to hum along to as you get more into it.
Sadly, the first big shock moment didn’t shock me, as I’d heard so much about it on social media 9 years ago. But it was still very well done. Bold and brave; to take out a big name that early was a master stroke. By the end of S1E9 I was properly hooked. Although it helped I didn’t have anything else to do!
The next two weeks I had to wait for season two to be posted out, so I embarked on watching all the DVD commentaries too to kill some time in the evenings whilst I waited. This is almost certainly something I wouldn’t have done under normal circumstances and I believe it is what cemented my enjoyment of it as a whole. Listening to the cast and crew reminisce about what a great time they had, and how close they all were, really helped put it into context for me. I was already loving Peter Dinklage and Lena Headey, but their humour and irreverence in the commentaries made it feel like there were pals in the room watching it with me.
By season two and beyond, I was looking at maps, memorizing every minor character’s name, house and motto, and just immersing in it to the point of obsession. As, I guess, millions of people had already done over the years, but now I got what the fuss was all about. It is an addictive show; you have to know what happens next, you simply can’t leave it alone! Whether it is hissing and booing at Joffrey, or loving to hate Cersei, or siding with the bastards and broken things, there is always something engaging going on – and when a character you disliked dies horribly it is so satisfying!
It is a weird mix, however, of moments so horribly signposted, with some dubious acting, and moments of real surprise and emotion delivered with great acting. Many of the characters really grow into their skins as the actors get more familiar and comfortable being them. The writers too get better at putting the right words in their mouths, and learn to minimise the exposition moments. The young ones in particular really grow impressively as it goes on into seasons 3 and 4. Maisie Williams as the slightly sadistic loner Arya Stark especially. I loved how none stereotypical that character was, and have to say her relationship with The Hound was my favourite thing in the whole show.
At the climax of season four, which I believe was the peak of it artistically, the story arc of Dinklage as Tyrion Lannister, aka The Imp, becomes so compellingly good you can’t take your eyes off him. I had already come to the conclusion that his scenes were the best ones, but this went to 11 on the dial. And it gets better thinking back on it too. Which can’t truly be said of where they go with John Snow and Daenarys, who are ostensibly the main draw by this point, as all storylines seem to mirror their journeys on opposite sides of the world; a song of ice and fire, indeed.
Seasons 5 and 6 continued to be great, even though the dramatic peaks were hard to top. What did improve was the big set pieces, as episodes such as Hardhome and Battle of the Bastards upper the bar on huge battles, staged masterfully. There were things happening that I had never seen in a TV show before, both creatively and budget spent. Watching some of the making of documentaries was fascinating in this regard. The props department alone was astonishingly detailed, to Lord of the Rings degrees, properly impressive!
To go into story and scene details here is pointless, and I don’t want to include any more spoilers than I already have, just in case there is anyone else like me, that hasn’t done the whole journey yet. Obviously, there was some controversy in where seasons 7 and especially 8 went with some storylines and characters. I thought it was mostly fine, to be honest, I just went with it. But it did become a little stretched and hurried, as it raced towards its conclusion. It’s hard for me to get a proper impression of how tense and then annoying it would be to wait a long time for a new season and then have it not go where you imagined it would. Not a problem for me, as I blitzed the final 4 seasons in about a week.
As the episode ratings of season 8 on IMDb indicate, folk were not happy. There was an element of anti-climax, to be fair, but what else could it have been, now so many people claim it as their own? The end isn’t perfect, and that may have a lot to do with the fact they stopped following the books, because they hadn’t been written. In all honestly, I didn’t care. It was spectacular and diverting enough to keep my attention, and my investment in the characters not brutally killed off was not teenage enough to take it personally. I do have sympathy for fans that felt their loyalty betrayed, but come on… it’s just a TV show.
Watching the same fictional world for more than 70 actual hours can do things to you brain. In conclusion I would say I loved going there! The good things always outweighed the annoying things, and it is an experience I would recommend to anyone who hasn’t done it. Whatever age you are, it is a must see phenomenon, like The Sopranos – oh wait, I haven’t seen that yet either…
Ryan Hill (152 KP) rated Man of Steel (2013) in Movies
May 21, 2019
"It's not an s on my world it means hope"
Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again. By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. We are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
Charlie Cobra Reviews (1840 KP) rated Raya and the Last Dragon (2021) in Movies
Mar 20, 2021 (Updated Mar 27, 2021)
Beautiful animation and good character design (2 more)
Voice acting/voice actors
Pretty good setup or start of story going into the movie
$29.99 on top of a Disney plus subscription (2 more)
More often than not pretty predictable and not enough surprises
Not enough stakes or characters never really felt like they were ever in danger to me
Raya, A Really Good Movie That Could Have Been Great
This movie was really good. I really liked it, from the character design to the excellent voice-actors and the setup of the story going into it in the beginning, it really had a lot going for it. This movie had a pretty good all-star cast of Asian voice actors and really liked Kelly Marie Tran and Awkwafina's performances. Awkwafina was really funny to me and her voice fit naturally for her character Sisu. The character designs were interesting to me and I liked the way they differed for the different tribes. I heard a lot of people were giving comparisons to Avatar: The Last Airbender and I can see why people would say that but for me there really isn't that much of a comparison. Avatar is by far a way better show but it also has a lot more episodes to be a better show and tell a better story. I feel this movie wasn't able to live up to the hype and the Disney standard in the long run but that doesn't stop it from trying. I just think that a lot of it is predictable and nothing really surprising, also as likable as the characters were, there wasn't a lot of character development outside of the main character and nothing to really make you feel enough for the other characters to make them really, really matter to the viewer/audience. The beginning like I said was a decent setup of the legend of how the people had the dragons protecting them from these evil spirits and how the last dragons used their power to save everyone. That was a pretty cool concept and I definitely like the way it lead into the introduction of the different tribal lands and tribes which exist in the present. The training scene with Chief Benja and Raya reminded me of something, from another movie but it was pretty cool. There are also some pretty funny and cool characters you meet later like the charismatic young boy Boun, the hilarious little baby Noi and let's not forget the adorable Tuk-Tuk, Raya's best friend. There's a lot more that I want to go over but I'll save it for the spoiler section because I don't want to ruin this movie for those who still want to see it. This movie doesn't get my must-see seal of approval but it did come close. Main reason is the additional $29.99 price tag on top of Disney plus subscription required for most people to see it at home. If you can see it without having to pay that price then I would say it's definitely worth checking out and if you're going to see it in theaters then it's worth taking the family too. But if your short on cash I'd say wait for this one to be free on Disney plus around June 4th. The rating I give for this movie is going to be a 7/10. It was really good but not great but I enjoyed it.
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Spoiler Section Review:
I thought this movie was really good but it definitely had a lot of flaws. One of those wasn't the character designs or animation which were looked awesome. Also the voice actors were really good and Awkwafina's performance really surprised me but was understandably one of the better performance's and reminded me of such great comedians who have leant their voices for roles like Robin Williams as Genie in Aladdin and Eddie Murphy as Mushu in Mulan and Donkey in Shrek. I mentioned in the first part of the review that the opening story of the legend of how the dragons saved everyone was a really cool concept I thought worked well into introducing the different tribes and then the main characters. That opening scene of Raya breaking into the orb chamber and training with her father reminded me of a scene from another movie. Not sure if it was Pacific Rim: Uprising where John Boyega's character Jake is stealing something from one of the giant robots or a scene from Indiana Jones but it felt very familiar. Which brings me to another big thing that I didn't like about this movie, which is that most if not all the movie was pretty predictable for me. Which doesn't necessary make it a bad thing or a bad movie but takes some of the fun out of it. One of the things that I didn't predict was how after making friends with Namaari in the beginning of the movie that she would totally backstab Raya the way she did. That was such a gripping and tense moment where Chief Benja had to come to Raya's rescue as the Fang tribe moves in to steal the orb. I really liked the part where he can see in the reflection of his sword that Raya was ready to continue fighting alongside him against all the enemies even when the other tribes came to steal the orb for themselves as well. The character designs and animation were really awesome too. I liked Raya's costume and how she transitioned from what she wore as a child to the time skip as well as the different attire that the different tribes had. I liked how they all were quite different beside just their clothes too, like how Raya's tribe was the Heart and they wore green and blue but their home was the most full of life, with plants and water, the Fang looked more like a city but like a capital militaristic feel to it, with much being about law and order or rule. The spine was more in the colder region and had big people wearing multiple layer clothing for warmth and Tail which little is known about even though it was the first one we're shown because it has been wiped out by the Druun and it is supposed to be a mainly dried up desert region and have small pockets of villages. The last one, Talon was probably one of the most colorful ones and smart in how they dealt with the Druun as well. They built their houses on stilts right on the water and had a huge marketplace where it seemed like a festival or party was going on because there was so many people going on as if there wasn't any danger. Another thing I liked about the movie was how Raya didn't have to have powers and she didn't have to be the rescued princess but instead was a strong capable person on her own. I also liked how it seemed the more the movie went on, she kept adding people to her group/crew on her journey. Kind of like Magnificent Seven. One thing I didn't like was that it never really felt like their were enough stakes along the way. Characters kept making mistakes but nothing bad really happened or mattered for long enough to impact the characters in a bad way. The part that got me the most was in the very beginning scene where the tribes try to steal the orb and it falls and breaks and Chief Benja gets shot by an arrow in the leg and tries his hardest to save Raya from the Druun as they come back and start devouring everyone turning them to stone. I heard a lot of people say that he didn't need to sacrifice himself and throw Raya into the river to save her if he just kept running; and that he probably could have hopped more on the other leg. If you think about it though he probably made it pretty far even though he had that injury and couldn't go on any further. I admit that this part got me a little emotional but for many people that knew it was a Disney movie and not Pixar figured that it didn't mean everyone would stay as stone. I however thought back to the beginning of the film and remember that even the dragons stayed as stone meaning it was possible that these people might never turn back to normal. The other part that got me was also a part I had a hard time with was when Namaari first sees Sisu and then her actions later after she tells her mother. I felt that Sisu should have told her something or vice-versa but I guess she stayed in shock. Also when she told her mother and the mother already knew I really felt like her Mother was the bad guy of the film but when Raya gives Namaari her pendant back and sets up a meeting with her, I really felt like I knew what would happen next. Namaari's mother, Virana would have a bunch of guards show up and it would be a setup and Namaari wouldn't have known about it and it would be a time for her character to redeem herself. Instead Namaari pulls out a crossbow when she sees Raya has all the pieces of the orb and while Sisu tries to talk her down Raya takes a chance to attack Namaari and Sisu gets struck with an arrow and falls into the river to die. I could totally see this happening but what I couldn't predict was that Namaari would blame it all on Raya and say it was all her fault and none of this would of happened if it wasn't for her. This was like the stupidest line in the movie and made no sense to me because Namaari was the one when she was a girl who backstabbed Raya and betrayed her as soon as she found out the location of the orb. So the scene where Raya is super pissed and trying to kill her was very gratifying to me because it made a lot of sense that Raya was mad and didn't care about anything but revenge in that part. Namaari tells her that she's lost everything already and doesn't care, and Raya decides to help her friends with her orb piece. As the pieces start losing power and they are becoming surrounded by the Druun, what doesn't make sense to me is how Raya chooses to put her faith in Namaari and let's herself become consumed by the Druun. Her friends decide to follow her example and do the same and eventually when Namaari is the only one she's able to put the pieces of the orb back together vanquishing the Druun and bringing everyone back to life including Sisu and all the dragons. I don't know to me it just seemed like Namaari was pretty irredeemable after all that she had done and didn't seem like it was a sure thing and this kind of bothered me. It seemed like the movie had a message about wanting to be able to trust people but showed more and more how sometimes you can't so had me pretty mixed about what the movie was really about. Anyways I think I went off a little too long for this review but it's because it was a fun watch for me. So like I said, I give this movie a 7/10 and say it's a really good movie.
https://youtu.be/3So_GFox4-A
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Spoiler Section Review:
I thought this movie was really good but it definitely had a lot of flaws. One of those wasn't the character designs or animation which were looked awesome. Also the voice actors were really good and Awkwafina's performance really surprised me but was understandably one of the better performance's and reminded me of such great comedians who have leant their voices for roles like Robin Williams as Genie in Aladdin and Eddie Murphy as Mushu in Mulan and Donkey in Shrek. I mentioned in the first part of the review that the opening story of the legend of how the dragons saved everyone was a really cool concept I thought worked well into introducing the different tribes and then the main characters. That opening scene of Raya breaking into the orb chamber and training with her father reminded me of a scene from another movie. Not sure if it was Pacific Rim: Uprising where John Boyega's character Jake is stealing something from one of the giant robots or a scene from Indiana Jones but it felt very familiar. Which brings me to another big thing that I didn't like about this movie, which is that most if not all the movie was pretty predictable for me. Which doesn't necessary make it a bad thing or a bad movie but takes some of the fun out of it. One of the things that I didn't predict was how after making friends with Namaari in the beginning of the movie that she would totally backstab Raya the way she did. That was such a gripping and tense moment where Chief Benja had to come to Raya's rescue as the Fang tribe moves in to steal the orb. I really liked the part where he can see in the reflection of his sword that Raya was ready to continue fighting alongside him against all the enemies even when the other tribes came to steal the orb for themselves as well. The character designs and animation were really awesome too. I liked Raya's costume and how she transitioned from what she wore as a child to the time skip as well as the different attire that the different tribes had. I liked how they all were quite different beside just their clothes too, like how Raya's tribe was the Heart and they wore green and blue but their home was the most full of life, with plants and water, the Fang looked more like a city but like a capital militaristic feel to it, with much being about law and order or rule. The spine was more in the colder region and had big people wearing multiple layer clothing for warmth and Tail which little is known about even though it was the first one we're shown because it has been wiped out by the Druun and it is supposed to be a mainly dried up desert region and have small pockets of villages. The last one, Talon was probably one of the most colorful ones and smart in how they dealt with the Druun as well. They built their houses on stilts right on the water and had a huge marketplace where it seemed like a festival or party was going on because there was so many people going on as if there wasn't any danger. Another thing I liked about the movie was how Raya didn't have to have powers and she didn't have to be the rescued princess but instead was a strong capable person on her own. I also liked how it seemed the more the movie went on, she kept adding people to her group/crew on her journey. Kind of like Magnificent Seven. One thing I didn't like was that it never really felt like their were enough stakes along the way. Characters kept making mistakes but nothing bad really happened or mattered for long enough to impact the characters in a bad way. The part that got me the most was in the very beginning scene where the tribes try to steal the orb and it falls and breaks and Chief Benja gets shot by an arrow in the leg and tries his hardest to save Raya from the Druun as they come back and start devouring everyone turning them to stone. I heard a lot of people say that he didn't need to sacrifice himself and throw Raya into the river to save her if he just kept running; and that he probably could have hopped more on the other leg. If you think about it though he probably made it pretty far even though he had that injury and couldn't go on any further. I admit that this part got me a little emotional but for many people that knew it was a Disney movie and not Pixar figured that it didn't mean everyone would stay as stone. I however thought back to the beginning of the film and remember that even the dragons stayed as stone meaning it was possible that these people might never turn back to normal. The other part that got me was also a part I had a hard time with was when Namaari first sees Sisu and then her actions later after she tells her mother. I felt that Sisu should have told her something or vice-versa but I guess she stayed in shock. Also when she told her mother and the mother already knew I really felt like her Mother was the bad guy of the film but when Raya gives Namaari her pendant back and sets up a meeting with her, I really felt like I knew what would happen next. Namaari's mother, Virana would have a bunch of guards show up and it would be a setup and Namaari wouldn't have known about it and it would be a time for her character to redeem herself. Instead Namaari pulls out a crossbow when she sees Raya has all the pieces of the orb and while Sisu tries to talk her down Raya takes a chance to attack Namaari and Sisu gets struck with an arrow and falls into the river to die. I could totally see this happening but what I couldn't predict was that Namaari would blame it all on Raya and say it was all her fault and none of this would of happened if it wasn't for her. This was like the stupidest line in the movie and made no sense to me because Namaari was the one when she was a girl who backstabbed Raya and betrayed her as soon as she found out the location of the orb. So the scene where Raya is super pissed and trying to kill her was very gratifying to me because it made a lot of sense that Raya was mad and didn't care about anything but revenge in that part. Namaari tells her that she's lost everything already and doesn't care, and Raya decides to help her friends with her orb piece. As the pieces start losing power and they are becoming surrounded by the Druun, what doesn't make sense to me is how Raya chooses to put her faith in Namaari and let's herself become consumed by the Druun. Her friends decide to follow her example and do the same and eventually when Namaari is the only one she's able to put the pieces of the orb back together vanquishing the Druun and bringing everyone back to life including Sisu and all the dragons. I don't know to me it just seemed like Namaari was pretty irredeemable after all that she had done and didn't seem like it was a sure thing and this kind of bothered me. It seemed like the movie had a message about wanting to be able to trust people but showed more and more how sometimes you can't so had me pretty mixed about what the movie was really about. Anyways I think I went off a little too long for this review but it's because it was a fun watch for me. So like I said, I give this movie a 7/10 and say it's a really good movie.
https://youtu.be/3So_GFox4-A
