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Matthew Krueger (10051 KP) rated The Lion King (1994) in Movies
Mar 17, 2020
Hakuna Matata
The Lion King- such a classic. Its perfect, amazing, fantasic and phenomenal and than thier just had to remake last year, live action style because of $$$ and have beyonce voice one of the charcters and have a second soundtrack with rap stars??? Anyways, the songs are so excellent, you have... "Circle of Life", "I Just Cant Wait to be King", "Be Perpared", "Hakuna Matata" and "Can't You Feel The Love Tonight".
The plot: This Disney animated feature follows the adventures of the young lion Simba (Jonathan Taylor Thomas), the heir of his father, Mufasa (James Earl Jones). Simba's wicked uncle, Scar (Jeremy Irons), plots to usurp Mufasa's throne by luring father and son into a stampede of wildebeests. But Simba escapes, and only Mufasa is killed. Simba returns as an adult (Matthew Broderick) to take back his homeland from Scar with the help of his friends Timon (Nathan Lane) and Pumbaa (Ernie Sabella).
A classic film.
The plot: This Disney animated feature follows the adventures of the young lion Simba (Jonathan Taylor Thomas), the heir of his father, Mufasa (James Earl Jones). Simba's wicked uncle, Scar (Jeremy Irons), plots to usurp Mufasa's throne by luring father and son into a stampede of wildebeests. But Simba escapes, and only Mufasa is killed. Simba returns as an adult (Matthew Broderick) to take back his homeland from Scar with the help of his friends Timon (Nathan Lane) and Pumbaa (Ernie Sabella).
A classic film.
David McK (3219 KP) rated Terminator 3 - Rise of the Machines (2003) in Movies
Sep 27, 2020
"She'll be back..."
Third entry in The Terminator series, which is no no longer considered to be in canon (nor are Terminator: Salvation or Terminator: Genisys), with Jonathan Mostow taking over the reins from James Cameron and with ol' Arnie - pre becoming The Governator (of California), I believe - reprising his most famous role of a Terminator, a killing machine from the future sent back to fulfill a mission.
And, here, that mission involves Nick Stahles (taking over from Edward Furlong's) now 25 year old John Connor, who is living off the grid and on the road.
There also yet another sleek Terminator sent back, here taking the form of Kristinna Loken's T-X, with her own mission: I must admit, as well, to being rather surprised at that downer of an ending the first time I saw this!
Third entry in The Terminator series, which is no no longer considered to be in canon (nor are Terminator: Salvation or Terminator: Genisys), with Jonathan Mostow taking over the reins from James Cameron and with ol' Arnie - pre becoming The Governator (of California), I believe - reprising his most famous role of a Terminator, a killing machine from the future sent back to fulfill a mission.
And, here, that mission involves Nick Stahles (taking over from Edward Furlong's) now 25 year old John Connor, who is living off the grid and on the road.
There also yet another sleek Terminator sent back, here taking the form of Kristinna Loken's T-X, with her own mission: I must admit, as well, to being rather surprised at that downer of an ending the first time I saw this!
Darren (1599 KP) rated Blood Myth (2019) in Movies
Oct 31, 2019
Characters – James Lincoln is a journalist, his latest case involves in trying to debunk folklore which he is finding all too easy, until he learns about this newest one, which he decides to use as his final part of the article, he takes his fiancée who is pregnant and he has cheated on before to investigate. He spends time trying to find his missing fiancée learning that not everything is a myth. Harriet is the pregnant wife that joins James on his journey, she does disappear, being the mystery about what is going on. Alexandra is the local woman that has been studying the myth for years, being the only person that helps James out. We do meet plenty of locals, with most just dismissing James cries for help.
Performances – Jonathan McClean is the star of the show, he is involved in nearly every scene, it is his work dealing with being tired of the investigations, which is clear how he is dealing with this story. The rest of the cast don’t get much time to do anything more than the basics required, not given enough time to do much more.
Story – The story follows a journalist that is investigating myths and folklores with the latest one being one that might have more truths behind it. The story is interesting because it does show how frustrated the journalist is doing this story, which is against the normal as we usually see overly enthusiastic ghost hunters trying to debunk them. The story flows as James learns more about everything, but just like him, we don’t learn much about what is happening until he does. We do get plenty of mystery, but like most films like this the story ends up going in the same direction.
Horror – The horror in this film comes from the unknown, this does leave us wondering just what is going on, with the darkness and noise being used to the strongest effects.
Settings – The film is set in a small British village, which does help play into the folklore because the small villages are always going to have them.
Special Effects – The effects are saved for big moments in the film, they are kept hidden more than thrown onto the audience.
Scene of the Movie – The day after the first night.
That Moment That Annoyed Me – Too much searching though.
Final Thoughts – This is a horror that does ask plenty of questions, with what is going on, only to follow a simple instruction on how everything ends up unfolding.
Overall: Folklore horror 101
Performances – Jonathan McClean is the star of the show, he is involved in nearly every scene, it is his work dealing with being tired of the investigations, which is clear how he is dealing with this story. The rest of the cast don’t get much time to do anything more than the basics required, not given enough time to do much more.
Story – The story follows a journalist that is investigating myths and folklores with the latest one being one that might have more truths behind it. The story is interesting because it does show how frustrated the journalist is doing this story, which is against the normal as we usually see overly enthusiastic ghost hunters trying to debunk them. The story flows as James learns more about everything, but just like him, we don’t learn much about what is happening until he does. We do get plenty of mystery, but like most films like this the story ends up going in the same direction.
Horror – The horror in this film comes from the unknown, this does leave us wondering just what is going on, with the darkness and noise being used to the strongest effects.
Settings – The film is set in a small British village, which does help play into the folklore because the small villages are always going to have them.
Special Effects – The effects are saved for big moments in the film, they are kept hidden more than thrown onto the audience.
Scene of the Movie – The day after the first night.
That Moment That Annoyed Me – Too much searching though.
Final Thoughts – This is a horror that does ask plenty of questions, with what is going on, only to follow a simple instruction on how everything ends up unfolding.
Overall: Folklore horror 101
Christine A. (965 KP) rated Hark! the Herald Angels Scream: An Anthology in Books
Jan 22, 2019
Anthology of Christmas or winter themed horror stories
I was provided with a complimentary copy of this book so I could give an honest review.
I waited until closer to the holiday to read this book and, with all of the rushing involved with the season, forgot to post my review. The Christmas season may be over, but it is still winter, so grab a cup of hot chocolate and be prepared to be entertained.
Hark! The Herald Angels Scream by Edited by Christopher Golden is an "anthology of all-new short fiction from some of the most talented and original writers of horror today." Included are eighteen stories of Christmas or winter themed horror from authors: Kelley Armstrong, Christopher Golden, Elizabeth Hand, Michael Koryta, Sarah Langan, Joe R. Lansdale, Tim Lebbon, Sarah Lotz, Jonathan Maberry, Josh Malerman, Seanan McGuire, John M. McIlveen, James A. Moore, Sarah Pinborough, Angela Slatter, Scott Smith,Thomas E. Sniegoski, and Jeff Strand.
The cover quickly bring to mind "Tales from the Crypt", a campy, horror anthology television series with a memorable narrator, Crypt Keeper. The stories written could have been been portrayed in any of the episodes. As with "Tales from the Crypt", the stories in "Hark! The Herald Angels Scream" were creepy, funny, chilling, gruesome, dark, and definitely worth your time.
The stories are well written and stand alone.
I waited until closer to the holiday to read this book and, with all of the rushing involved with the season, forgot to post my review. The Christmas season may be over, but it is still winter, so grab a cup of hot chocolate and be prepared to be entertained.
Hark! The Herald Angels Scream by Edited by Christopher Golden is an "anthology of all-new short fiction from some of the most talented and original writers of horror today." Included are eighteen stories of Christmas or winter themed horror from authors: Kelley Armstrong, Christopher Golden, Elizabeth Hand, Michael Koryta, Sarah Langan, Joe R. Lansdale, Tim Lebbon, Sarah Lotz, Jonathan Maberry, Josh Malerman, Seanan McGuire, John M. McIlveen, James A. Moore, Sarah Pinborough, Angela Slatter, Scott Smith,Thomas E. Sniegoski, and Jeff Strand.
The cover quickly bring to mind "Tales from the Crypt", a campy, horror anthology television series with a memorable narrator, Crypt Keeper. The stories written could have been been portrayed in any of the episodes. As with "Tales from the Crypt", the stories in "Hark! The Herald Angels Scream" were creepy, funny, chilling, gruesome, dark, and definitely worth your time.
The stories are well written and stand alone.
Bob Mann (459 KP) rated Star Trek: First Contact (1996) in Movies
Sep 28, 2021
It’s a close run thing with “Wrath of Khan”, but this tops it as my favourite Trek film. There are so many memorable scenes:
The dramatic opening shots of Picard strapped into the Borg ship (and the subsequent jolts x 2!);
The comical drinking scene between Troi (Marina Sirtis) and Cochrane (James Cromwell);
The “Big Sleep” style holodeck sequence;
The spectacular entrance of the Borg Queen (Alice Krige);
The first warp flight;
The first contact scene, framed by Jerry Goldsmith‘s spectacular theme.
We’re up to the Enterprise-E in this one, and even that gets a self-destruct sequence! These movies must be playing havoc with their insurance premiums!
There are some nice touches for Trek fans in here: the first appearance of Robert Picardo‘s holographic doctor (before he became a regular on Star Trek: Voyager); and Dwight Schultz reprising his role from the TNG series as the nerdy fan-boy Lieutenant Barclay. In addition, the whole cast (including Gates McFadden’s Crusher) get a fairer share of the air time under Jonathan Frake’s direction.
Once again, the time travel (particularly the return journey!) is just a bit too trite and convenient. But other than that, this is a top-notch Trek movie. It features (in Alfre Woodard, just BAFTA nominated) a strong role for a female of colour. And it provides a great chance to showcase Stewart’s acting talents, as he wrestles with his own ‘great white whale’.
Given my love for the movie, I was tempted to give this one 5*s. The one thing holding me back is just a single line of dialogue. Do you know the one? Zephram Cochrane’s line…
“So, you’re astronauts? On some kind of a star trek?”.
It is just SO UTTERLY CRASS that I manage to throw up a little in my mouth as that scene happens. WHY WRITERS, WHY???
The dramatic opening shots of Picard strapped into the Borg ship (and the subsequent jolts x 2!);
The comical drinking scene between Troi (Marina Sirtis) and Cochrane (James Cromwell);
The “Big Sleep” style holodeck sequence;
The spectacular entrance of the Borg Queen (Alice Krige);
The first warp flight;
The first contact scene, framed by Jerry Goldsmith‘s spectacular theme.
We’re up to the Enterprise-E in this one, and even that gets a self-destruct sequence! These movies must be playing havoc with their insurance premiums!
There are some nice touches for Trek fans in here: the first appearance of Robert Picardo‘s holographic doctor (before he became a regular on Star Trek: Voyager); and Dwight Schultz reprising his role from the TNG series as the nerdy fan-boy Lieutenant Barclay. In addition, the whole cast (including Gates McFadden’s Crusher) get a fairer share of the air time under Jonathan Frake’s direction.
Once again, the time travel (particularly the return journey!) is just a bit too trite and convenient. But other than that, this is a top-notch Trek movie. It features (in Alfre Woodard, just BAFTA nominated) a strong role for a female of colour. And it provides a great chance to showcase Stewart’s acting talents, as he wrestles with his own ‘great white whale’.
Given my love for the movie, I was tempted to give this one 5*s. The one thing holding me back is just a single line of dialogue. Do you know the one? Zephram Cochrane’s line…
“So, you’re astronauts? On some kind of a star trek?”.
It is just SO UTTERLY CRASS that I manage to throw up a little in my mouth as that scene happens. WHY WRITERS, WHY???
Gareth von Kallenbach (971 KP) rated Hotel Transylvania 2 (2015) in Movies
Aug 6, 2019
Hotel Transylvania 2 is a new animated family film from Columbia Films, produced by Sony.
It has a huge voice cast, including stars Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, Steve Buscemi, David Spade, Fran Dresher, Molly Shannon, Megan Mullally, Dana Carvey, Mel Brooks & Jon Lovitz.
This movie was super cute. The adult audience, myself included, laughed out loud, a lot. The kids thought it was hilarious, too.
One thing I liked a lot is that NOT all the good parts are in the commercials and previews, which means there is still “movie left to see” when you get to actually see the film, which is frequently not the case with highly advertised films.
The movie picks up where the first one left off, showing the wedding of Drac’s daughter Mavis to human Jonathan, and quickly jumping from there to the birth of a child (a son! (Named Dennis)) and then to the boys fourth birthday.
When Dennis doesn’t show any signs of his vamp heritage, Drac feels he must step in and try to help the boy “find his fangs”. Jonathan’s parents are none too thrilled with this turn of events and protest in words and actions.
The overall tone of the movie is happy, and teaches a lesson of acceptance.
The chemistry that showed up in the first film, is back in force between Dracula and his hotel buddies, and causes the movie to flow along without any major hiccups.
The jokes are cute, and play to both the kids and to adult humor.
There wasn’t anything that I found to be so inappropriate that it made my grind my teeth, which was a nice change in a children’s film.
If I had to make a complaint, it would honestly be that the movie seemed to almost move TOO quickly and I could have sat through another 20 minutes at least. Even though it’s run time is 90 minutes, it doesn’t “feel like” it lasts that long, and even my 7 year old son said it was ‘a quick movie’.
It has a huge voice cast, including stars Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, Steve Buscemi, David Spade, Fran Dresher, Molly Shannon, Megan Mullally, Dana Carvey, Mel Brooks & Jon Lovitz.
This movie was super cute. The adult audience, myself included, laughed out loud, a lot. The kids thought it was hilarious, too.
One thing I liked a lot is that NOT all the good parts are in the commercials and previews, which means there is still “movie left to see” when you get to actually see the film, which is frequently not the case with highly advertised films.
The movie picks up where the first one left off, showing the wedding of Drac’s daughter Mavis to human Jonathan, and quickly jumping from there to the birth of a child (a son! (Named Dennis)) and then to the boys fourth birthday.
When Dennis doesn’t show any signs of his vamp heritage, Drac feels he must step in and try to help the boy “find his fangs”. Jonathan’s parents are none too thrilled with this turn of events and protest in words and actions.
The overall tone of the movie is happy, and teaches a lesson of acceptance.
The chemistry that showed up in the first film, is back in force between Dracula and his hotel buddies, and causes the movie to flow along without any major hiccups.
The jokes are cute, and play to both the kids and to adult humor.
There wasn’t anything that I found to be so inappropriate that it made my grind my teeth, which was a nice change in a children’s film.
If I had to make a complaint, it would honestly be that the movie seemed to almost move TOO quickly and I could have sat through another 20 minutes at least. Even though it’s run time is 90 minutes, it doesn’t “feel like” it lasts that long, and even my 7 year old son said it was ‘a quick movie’.
Movie Metropolis (309 KP) rated Vacation (2015) in Movies
Jun 11, 2019
Family holidays will never be the same
It was 1983 when Chevy Chase and Beverly D’Angelo made the infamous decision to take their family across the US to “America’s Favourite Family Fun Park” in National Lampoon’s Vacation.
Being the best in the long-running series, it seemed natural for it to receive a fully-fledged sequel of some kind, but it has taken up until now to get the balance right, but does Vacation evoke memories of that brilliant road-trip comedy?
Ed Helms takes on the role of an adult Rusty Griswold as he, like his father makes the epic trip to Walley World theme park alongside his long-suffering wife Debbie (Christina Applegate) and his two sons James and Kevin, played by Skyler Gisondo and Steele Stebbins respectively.
Everybody’s favourite thunder-god, Chris Hemsworth makes a rather revealing cameo as Rusty’s brother-in-law and ladies’ man, Stone Crandall, and helps lift Vacation out of what could have been a half-way lull.
Naturally, there are many tasteful references to its predecessor but this isn’t just a lesson in comedy history. Writers Jonathan Goldstein and John Francis Daley inject some much-needed modern humour into the film – this is most definitely a movie from the 21st Century.
Ed Helms and Christina Applegate have real chemistry as the married couple but it is in their children that most of the laughs are. James and Kevin are the stereotypical, bickering siblings but like everything in Vacation they are turned up to eleven.
From raw sewage infested hot springs to a would-be maniac truck driver, the gags on the whole hit the spot every single time – by no means an easy feat when writing a comedy over 90 minutes in length. There are a couple of ill-placed laughs like a Four Corners police brawl that threaten to stop the film in its tracks, but thankfully these are few and far between.
Short but sweet cameos for Chevy Chase and Beverly D’Angelo towards the climax anchor Vacation to what came before it and it’s nice that the writers didn’t forget to honour those roots in more ways than sickly nostalgia.
The direction is also positively inspired. Acting like a tourist brochure for the USA, Vacation makes you feel like you’re part of the vast locations. From desolate highways to bustling cities, it’s all here and beautifully shot.
Unfortunately the plot seems to run a little out of steam towards the end. After all, there’s only so much déjà vu a story can take and it seems that the writers put all their best work in the first two thirds of the movie, as is the case with many films in the genre.
Nevertheless, Vacation is a confident film that knows exactly what it’s trying to be. Acting as a standalone comedy for newcomers and a decent sequel for fans of the original, it has something for everyone.
The acting is sublime and the casting choices are spot on, only a lacklustre final third pull it back from the edge of glory.
I probably won’t be planning that road trip any time soon.
https://moviemetropolis.net/2015/08/23/family-holidays-will-never-be-the-same-vacation-review/
Being the best in the long-running series, it seemed natural for it to receive a fully-fledged sequel of some kind, but it has taken up until now to get the balance right, but does Vacation evoke memories of that brilliant road-trip comedy?
Ed Helms takes on the role of an adult Rusty Griswold as he, like his father makes the epic trip to Walley World theme park alongside his long-suffering wife Debbie (Christina Applegate) and his two sons James and Kevin, played by Skyler Gisondo and Steele Stebbins respectively.
Everybody’s favourite thunder-god, Chris Hemsworth makes a rather revealing cameo as Rusty’s brother-in-law and ladies’ man, Stone Crandall, and helps lift Vacation out of what could have been a half-way lull.
Naturally, there are many tasteful references to its predecessor but this isn’t just a lesson in comedy history. Writers Jonathan Goldstein and John Francis Daley inject some much-needed modern humour into the film – this is most definitely a movie from the 21st Century.
Ed Helms and Christina Applegate have real chemistry as the married couple but it is in their children that most of the laughs are. James and Kevin are the stereotypical, bickering siblings but like everything in Vacation they are turned up to eleven.
From raw sewage infested hot springs to a would-be maniac truck driver, the gags on the whole hit the spot every single time – by no means an easy feat when writing a comedy over 90 minutes in length. There are a couple of ill-placed laughs like a Four Corners police brawl that threaten to stop the film in its tracks, but thankfully these are few and far between.
Short but sweet cameos for Chevy Chase and Beverly D’Angelo towards the climax anchor Vacation to what came before it and it’s nice that the writers didn’t forget to honour those roots in more ways than sickly nostalgia.
The direction is also positively inspired. Acting like a tourist brochure for the USA, Vacation makes you feel like you’re part of the vast locations. From desolate highways to bustling cities, it’s all here and beautifully shot.
Unfortunately the plot seems to run a little out of steam towards the end. After all, there’s only so much déjà vu a story can take and it seems that the writers put all their best work in the first two thirds of the movie, as is the case with many films in the genre.
Nevertheless, Vacation is a confident film that knows exactly what it’s trying to be. Acting as a standalone comedy for newcomers and a decent sequel for fans of the original, it has something for everyone.
The acting is sublime and the casting choices are spot on, only a lacklustre final third pull it back from the edge of glory.
I probably won’t be planning that road trip any time soon.
https://moviemetropolis.net/2015/08/23/family-holidays-will-never-be-the-same-vacation-review/
Bob Mann (459 KP) rated The Mercy (2018) in Movies
Sep 29, 2021
“With shroud, and mast, and pennon fair”.
It’s 1968. Donald Crowhurst (Colin Firth, “Kingsman: The Golden Circle“; “Magic in the Moonlight“), an amateur sailor and entrepreneur based in Teignmouth, Devon, is inspired by listening to single-handed round-the-world yachtsman Sir Francis Chichester and does a a crazy thing. He puts his business, his family’s house and his own life on the line by entering the Sunday Times single-handed round-the-world yacht race. It’s not even as if he has a boat built yet!
Lending him the money, under onerous terms, are local businessman Mr Best (Ken Stott, “The Hobbit“) and local newspaper editor Rodney Hallworth (David Thewlis, “Wonder Woman“, “The Theory of Everything“). With the race deadline upon him, Crowhurst is pressed into sailing away from his beloved wife Clare (Rachel Weisz, “Denial“, “The Lobster“) and young family in a trimaran that is well below par.
But what happens next is so ludicrous that it makes a mockery of whoever wrote this ridiculous work of fiction. Ah… but wait a minute… it’s a true story!
It is in fact such an astonishing story that this is a film that is easy to spoil in a review, a fact that seems to have passed many newspaper reviewers by (Arrrggghhh!!). So I will leave much comment to a “spoiler section” that follows the trailer (which is also best avoided). This is honestly a film worth seeing cold. What can I say that is spoiler-free then?
Firth and Weisz make a well-matched couple, and the rest of the cast is peppered with well-known faces from British film and (particularly) TV: Andrew Buchan and Jonathan Bailey (from “Broadchurch”); Mark Gatiss (“Sherlock”, “Out Kind of Traitor“); Adrian Schiller (“Victoria”; “Beauty and the Beast“).
The first part of the film is well executed and excellent value for older viewers. 60’s Devon is warm, bucolic and nostalgic. In fact, the film beautifully creates the late 60’s of my childhood, from the boxy hardwood furniture of the Crowhurst’s house to the Meccano set opened at Christmas time.
Once afloat though, the film is less successful at getting its sea-legs. The story is riveting, but quite a number of the scenes raise more questions than they answer. As stress takes hold it is perhaps not surprising that there are a few fantastical flights of movie fancy. But some specific elements in Scott Burns’ script don’t quite gel: a brass clock overboard is a case in point. What? Why?
And it seems to be light on the fallout from the race: there is a weighty scene in the trailer between Best and Hallworth that (unless I dozed off!) I don’t think appeared in the final cut, and I think was needed.
All in all, I was left feeling mildly dissatisfied: a potentially good film by “Theory of Everything” director James Marsh that rather goes off the rails in the final stretch.
This was a time where morality and honour were often rigidly adhered to – British “stiff upper lip” and all that – and seemed to carry a lot more weight than they do today. So some of the decisions in the film might mystify younger viewers. But for the packed older audience in my showing (Cineworld: this needs to be put on in a bigger screen!) then it was a gripping, stressful, but far from flawless watch.
I’d also like to take this opportunity to pay my respects to the film’s composer Jóhann Jóhannsson, who shockingly died last week at the ridiculously young age of 48. His strange and atmospheric music for films including “The Theory of Everything“, “Sicario” and (particularly) “Arrival” set him on the path to be a film composing great of the future. Like James Horner, another awful and untimely loss to the film music industry.
Lending him the money, under onerous terms, are local businessman Mr Best (Ken Stott, “The Hobbit“) and local newspaper editor Rodney Hallworth (David Thewlis, “Wonder Woman“, “The Theory of Everything“). With the race deadline upon him, Crowhurst is pressed into sailing away from his beloved wife Clare (Rachel Weisz, “Denial“, “The Lobster“) and young family in a trimaran that is well below par.
But what happens next is so ludicrous that it makes a mockery of whoever wrote this ridiculous work of fiction. Ah… but wait a minute… it’s a true story!
It is in fact such an astonishing story that this is a film that is easy to spoil in a review, a fact that seems to have passed many newspaper reviewers by (Arrrggghhh!!). So I will leave much comment to a “spoiler section” that follows the trailer (which is also best avoided). This is honestly a film worth seeing cold. What can I say that is spoiler-free then?
Firth and Weisz make a well-matched couple, and the rest of the cast is peppered with well-known faces from British film and (particularly) TV: Andrew Buchan and Jonathan Bailey (from “Broadchurch”); Mark Gatiss (“Sherlock”, “Out Kind of Traitor“); Adrian Schiller (“Victoria”; “Beauty and the Beast“).
The first part of the film is well executed and excellent value for older viewers. 60’s Devon is warm, bucolic and nostalgic. In fact, the film beautifully creates the late 60’s of my childhood, from the boxy hardwood furniture of the Crowhurst’s house to the Meccano set opened at Christmas time.
Once afloat though, the film is less successful at getting its sea-legs. The story is riveting, but quite a number of the scenes raise more questions than they answer. As stress takes hold it is perhaps not surprising that there are a few fantastical flights of movie fancy. But some specific elements in Scott Burns’ script don’t quite gel: a brass clock overboard is a case in point. What? Why?
And it seems to be light on the fallout from the race: there is a weighty scene in the trailer between Best and Hallworth that (unless I dozed off!) I don’t think appeared in the final cut, and I think was needed.
All in all, I was left feeling mildly dissatisfied: a potentially good film by “Theory of Everything” director James Marsh that rather goes off the rails in the final stretch.
This was a time where morality and honour were often rigidly adhered to – British “stiff upper lip” and all that – and seemed to carry a lot more weight than they do today. So some of the decisions in the film might mystify younger viewers. But for the packed older audience in my showing (Cineworld: this needs to be put on in a bigger screen!) then it was a gripping, stressful, but far from flawless watch.
I’d also like to take this opportunity to pay my respects to the film’s composer Jóhann Jóhannsson, who shockingly died last week at the ridiculously young age of 48. His strange and atmospheric music for films including “The Theory of Everything“, “Sicario” and (particularly) “Arrival” set him on the path to be a film composing great of the future. Like James Horner, another awful and untimely loss to the film music industry.
BankofMarquis (1832 KP) rated Hamilton (2020) in Movies
Jul 5, 2020
Captures the power of being in "the room where it happens"
I'll just cut to the chase, the filmed version of the mega-hit stage musical HAMILTON (now streaming on Disney+) is terrific. If you are one of the few that have not seen this, check it out - you'll be glad you did.
I could go on and on about the Pulitzer-Prize winning show, the script, the music, the performances and/or the cross-cultural casting - all of which works to perfection, but what separates this film from the other hit Broadway shows that are converted to film is how well that the filmmakers were able to translate the power of being inside the theater during a live performance of this show.
Credit, of course, needs to go to the visionaries responsible for this show, creator/writer/star Lin-Manuel Miranda and Director Thomas Kail. They realized pretty early on (when the show was becoming the phenomenon that it has become) that they wanted to preserve this event for future generations, so started making plans to film the show - in High Def - with an audience and without an audience (for close-ups). In June 2016, about a month before the original cast started leaving the show (and right after the show won 11 Tony Awards), they spent $10 million to capture the show - with live audiences on Sunday and Tuesday and then spent the rest of Sunday night and all day Monday doing close-ups and crane shots to augment the action.
The results are outstanding. The wide-shots show the breadth of the production - showing the strong, Tony Award winning choreography by Andy Blankenbuehler, the unique, minimal and highly versatile set, the Tony Award winning costumes by Paul Tazewell and the Lighting Design that earned Howell Blinkley a Tony. All of these are showcased in this film - special note should be made about the Lighting that needed to be tweaked on the spot for the filming.
As for the close-ups, they showcase the wry smile and comedic delight that Tony winner Daveed Diggs shows in his roles as Lafayette/Jefferson, the power and sorrow of Tony Award winner Renee Elise Goldsberry - her spotlight number SATISFIED is as "perfect" a musical number as you will ever see. The powerful acting of Leslie Odom, Jr. as Aaron Burr (who won the Tony as Best Actor over Lin-Manuel's performance as Hamilton) as well as terrific supporting turns by the likes of Anthony Ramos (Lawrence/Phillip), Chris Jackson (showing real leadership as George Washington) and Okieriete Onaodwoan as Hercules Mulligan (one of my absolute favorite characters in this show)./James Madison.
Special note should be made to Jonathan Groff's portrayal of King George III - it is, basically, a cameo role, but he is filmed with such tight close-ups (showing spittle rolling down has chin as he sings) that marvelously juxtaposes King George's real emotions with that of the words he is speaking.
But, of course, the real star is Lin-Manuel Miranda - the genius creative force behind Hamilton. Interestingly enough, I thought his performance was the weakest of the lead cast (don't get me wrong, he was still excellent - just not "as excellent" as some of the others). His true vision, of course, was to tell the story of "the people of that era" as told by "the people of our era".
That is the true genius of Hamilton.
Letter Grade: A+
10 stars out of 10 (can I turn this up to 11)?
I could go on and on about the Pulitzer-Prize winning show, the script, the music, the performances and/or the cross-cultural casting - all of which works to perfection, but what separates this film from the other hit Broadway shows that are converted to film is how well that the filmmakers were able to translate the power of being inside the theater during a live performance of this show.
Credit, of course, needs to go to the visionaries responsible for this show, creator/writer/star Lin-Manuel Miranda and Director Thomas Kail. They realized pretty early on (when the show was becoming the phenomenon that it has become) that they wanted to preserve this event for future generations, so started making plans to film the show - in High Def - with an audience and without an audience (for close-ups). In June 2016, about a month before the original cast started leaving the show (and right after the show won 11 Tony Awards), they spent $10 million to capture the show - with live audiences on Sunday and Tuesday and then spent the rest of Sunday night and all day Monday doing close-ups and crane shots to augment the action.
The results are outstanding. The wide-shots show the breadth of the production - showing the strong, Tony Award winning choreography by Andy Blankenbuehler, the unique, minimal and highly versatile set, the Tony Award winning costumes by Paul Tazewell and the Lighting Design that earned Howell Blinkley a Tony. All of these are showcased in this film - special note should be made about the Lighting that needed to be tweaked on the spot for the filming.
As for the close-ups, they showcase the wry smile and comedic delight that Tony winner Daveed Diggs shows in his roles as Lafayette/Jefferson, the power and sorrow of Tony Award winner Renee Elise Goldsberry - her spotlight number SATISFIED is as "perfect" a musical number as you will ever see. The powerful acting of Leslie Odom, Jr. as Aaron Burr (who won the Tony as Best Actor over Lin-Manuel's performance as Hamilton) as well as terrific supporting turns by the likes of Anthony Ramos (Lawrence/Phillip), Chris Jackson (showing real leadership as George Washington) and Okieriete Onaodwoan as Hercules Mulligan (one of my absolute favorite characters in this show)./James Madison.
Special note should be made to Jonathan Groff's portrayal of King George III - it is, basically, a cameo role, but he is filmed with such tight close-ups (showing spittle rolling down has chin as he sings) that marvelously juxtaposes King George's real emotions with that of the words he is speaking.
But, of course, the real star is Lin-Manuel Miranda - the genius creative force behind Hamilton. Interestingly enough, I thought his performance was the weakest of the lead cast (don't get me wrong, he was still excellent - just not "as excellent" as some of the others). His true vision, of course, was to tell the story of "the people of that era" as told by "the people of our era".
That is the true genius of Hamilton.
Letter Grade: A+
10 stars out of 10 (can I turn this up to 11)?